#which team you are on is a very important factor to me

[beautifulbrainrot]

first time

spencer reid x fem!reader

cw 18+ fem!virgin!reader, implied age gap (reader in 20s, spencer in like.. s7-15) soft fluffy sex, a bit jokey (you’ll see), swearing, oral (f!receiving), unprotected p in v

a/n def the longest thing i’ve ever written so please lmk if this is nonsensical babble ..

-

when you first met spencer reid, you thought he was one of the most handsome men you’d ever seen.

as you got closer to him, you realised that no only was he extremely attractive, he was smart, awkward but charming, all around the perfect man. of course you wanted him! who wouldn’t?

except there were a few things stopping you from making a move as most people might do. first of all, he was your coworker. you had recently started at the BAU, and you did not want to be that new girl who sleeps with her more senior coworkers. another thing was that you were slightly.. more inexperienced than most in that particular feild. you had never had sex. or dated anyone. or even had a first kiss. god, you were pathetic! you wanted those things, so desperately, but many factors had stopped you.

and who would want the pathetic, over 20 year old virgin? at least that’s what you thought.

spencer had had his eye on you since you joined the team. at first it was innocent, you were smart and seemed nice, and awfully pretty. then, being a profiler, he started noticing things about you. you were extra nervous around him, blushing when he would talk to you. and recently you had even begun to avoid him. ducking away when he called your name from across the room, avoiding conversation if not pertinent to work and just overall staying away from him.

he had grown quite fond of you over the time you’d been on the team, even developing a small crush on you. who was he kidding, it was a huge crush. his eyes lingered on your pretty face a little too long, he didn’t mind it when you touched him (which was uncommon for someone he didn’t know very well) and he found himself thinking about you more than he normally would with his friends, even his closest friends.

spencer reid had a crush on you.

and you had a crush on spencer reid.

problem was, you were avoiding him like the plague and he didn’t really know how to talk to you.

you were at a impass.

good thing is, spencer had gotten better over the years at his people skills, and talking to people wasn’t as daunting as it once was for him. he just needed to wait for the right moment.

the right moment came in the office, late in the evening, when you, him and two or so others were still there. he walked up to your desk, knocking quietly on the wood of the table to alert you to the fact he was standing there.

you looked up, eyes widening as you saw it was spencer. standing at your desk. about to talk to you.

“hey, can i- can i talk to you for a second? in private.”

you nodded, blush dusting your cheeks. you followed him to an empty office, where you both stepped inside and he closed the door behind you.

“you’ve been avoiding me.” he started, looking down at you.

“i- i haven’t!”

“actually you have. we haven’t talked about anything not essential to work in… 1 week, 5 days and 2 hours.” he said, glancing down at his watch to see the exact time.

“you know the exact time we last talked..?” you asked, raising your eyebrow slightly. spencer’s eyes widened and he grimaced. real smooth.

“that’s.. not important. why are you avoiding me? i haven't said anything or done anything, have i?” he fretted, frowning slightly, wracking his brain for anything he might have done to upset you.

“no, spencer, you haven’t done anything! this is me- i’m.. i’m being unprofessional.” you sighed, gently placing your hand on his arm to calm him.

he gladly accepted the touch, holding back a smile as he realised this was the first time you touched him in weeks. your touch made him feel warm, heat radiating through his body from the spot on his arm where your palm lay.

“unprofessional, how?” he asked, tilting his head in a way that was akin to a confused puppy, which you thought was quite cute.

you sighed, deciding whether you were going to tell him or not. either he was going to be uncomfortable, or maybe, just maybe he might like you back.

“i had- well- i have a bit of a.. crush on you..” you whispered, grimacing as you realised that there was no taking back what you just said. no where else to go but forward. so you just started rambling.

“and- i mean! i didn’t want it to be uncomfortable or be unprofessional at work so i started avoiding you because you obviously don’t like me back so-“

“how’d you know i don’t like you back?”

“because who would like a pathetic twenty something year old virgin, who’s never even been kissed!” you yelled exasperatedly.

spencer’s eyes widened.

yours did too.

“i did.. not mean to say that.”

spencer didn’t say anything for a second.

“what i was trying to say.. is i do like you back.”

you looked up at him, shocked.

“even- even after what i just said?”

he shrugged, nodding.

“yes, i mean i was inexperienced in my twenties too. and now that i’m more experienced.. i can help you out.. if you want?” he breathed, voice low, his hands landing softly on your hips, thumbs rubbing small circles on your work skirt.

you knew you were blushing like crazy, embarrassment and lust heating up your cheeks.

“so.. i guess what i’m trying to say is.. do you want me to kiss you?”

you nodded dumbly, and barely a second passed before his large palms were cupping your heated cheeks, and his soft lips were of yours. you practically melted into him, turned into mush from the sweet and simple kiss.

he gently pulled away, and you looked up at him, eyes lidded and dazed.

“so.. how was that for your first kiss?”

you bit your lip, smiling softly.

“i think i want you to do it again.”

he didn’t waste any time, capturing your lips again, moulding them with his as he kissed you deeply. the kiss quickly got even deeper, more passionate, and when he pulled away you were flushed and panting.

emboldened, you initiated the next kiss, pushing yourself against his lean body, tangling your hands in his messy hair. he accepted this touch gladly, moaning lowly into your mouth at the feeling of your fingers tugging slightly on his soft locks.

by this point you were more than hot and bothered, practically soaking through your panties from just a few kisses. though who could blame you? you were a virgin kissing the most handsome man you’d ever seen in your life, and he was kissing you back. deeply. fervorously. passionately.

but just kissing wasn’t enough to satisfy this need inside of you. this want, this desperate urge. you needed him to touch you, to hold you, to fuck you. and you needed him to do it now.

“spencer-“ you whined, pulling away from his lips, pressing yourself closer against him.

“i need you.”

he cupped your cheeks again, looking down at your desperate face, eyes wide and wanting.

“i’m not taking your virginity in an empty office in the BAU.”

you groaned, and he laughed softly at the pout on your face.

“my apartment is near here! please spencer, please, i’m tired of waiting, i want you. now.” you cried, pressing yourself closer against him. it was then that you felt it. a bulge in his slacks.

holy fuck. he was hard. he was hard, because of you.

you trailed your hand down his body, ghosting over his crotch. you smiled as he closed his eyes with a shaky breath.

“c’mon... please can we go to mine?” you smiled softly, looking up at him, your smile widening as you saw that glint of pure lust in his gorgeous eyes.

he didn’t say anything for a second, seemingly weighing up the options, and deciding what to do. then finally, he spoke.

“okay.”

the trip back to your apartment was quick, and as soon as you entered the door, you were up against the wall again, your hands back in his hair and his on your hips.

slowly, you started grinding together, slightly clumsily at first on your part, but he quickly hooked your leg up and around his, pressing his clothed cock into your clothed core.

the pressure against your aching, soaked cunt was perfect, your head falling back slightly as you moaned. spencer took the opportunity to kiss on your jaw and down to neck, before going to your collar ( under where your work shirt would be ) to start sucking in a dark hickey.

you breath came out in pants, whimpering and moaning softly as he ground up into you.

“bedroom, please- please.” you gasped. you needed him. right fucking now.

you gasped, wrapping your hands around his neck as he suddenly picked you up, legs hooked around his hips, face in his neck as he carried you over to your bedroom.

he placed you gently on the bed, and stood over you. you were both looking at eachother with lust in your eyes, unable to tear away.

“do you want me to continue. do you want to have sex with me?”

you nodded quickly.

“words, baby.”

baby. holy fuck.

“i want to. please.” you answered quickly.

“do you want to take your clothes of for me?”

“only if you take yours of too.”

he smiled at that, quickly unbuttoning his shirt as you shedded your blouse.

“can you help with my bra?” you asked softly, turning, back to him.

he helped you unclasp it, and you turned back around, shedding the garment.

“beautiful.” he whispered as he looked at you, now only left in your panties.

you smiled softly, feeling completely comfortable as he looked at your nude chest. you in turn, started at his. he wasn’t muscley by any means, but he was lean and tall, with a small soft tummy you wanted to litter with a million kisses.

your eyes drifted down to his boxers, biting your lip as you saw the tent in his underwear. he smirked slightly as he watched your awestruck face closely, monitoring your expressions. spencer had come a long way with how he felt about his body, but he was still insecure. but seeing the way you looked at him, the pure awe and lust in your eyes made him feel better than ever before.

he whispered your name, and you looked up, small smile on your face.

“lie back, baby.” he said, his voice gentle and you couldn’t help but obey.

he helped you shuffle out of your panties, pulling them down off your legs, before pressing himself inbetween your legs.

your eyes widened as you realised what he was going to do.

“you don’t have to-“

“i want to. do you want me too?” he quickly answered.

you nodded, before quickly saying yes, remembering that he wanted vocal consent. you were blushing like crazy, and you leaned your head back into the pillows so that you could hide your heated face from him.

spencer didn’t notice, too busy gentle parting your thighs with his large hands, pushing them apart to reveal your glistening pussy to him.

overcome with lust and need, he leaned in, licking a broad stripe from your hole to your clit before circling his tongue around your clit softly.

you gasped and moaned lewdly, your lips parting as he continued licking your pussy, desperate to hear those sounds from you again.

he ate you liked a starved man, and just like his kisses he was passionate and feverous, moaning lowly into you. your taste was like honey to him, and the sounds you were making were angelic, music to his ears, the soft, needy noises coming from your parted lips as you squirmed on the bed encouraging to go faster, sloppier, deeper until you were screaming out with pleasure, legs trembling and shaking as you came hard on his readily awaiting tounge.

“holy.. holy fuck!” you laughed, quite literally in shock as he removed his face from between your quivering thighs. and fuck, if you didn’t almost come again at the sight of spencer reid, between your thighs, lips and chin slick with your juices, smiling softly up at you, pupils blown with lust.

he moved up your body, capturing your lips in a deep kiss, and you moaned at the taste of yourself on his tongue. it was sloppy and messy and dirty and perfect.

you parted from his lips, panting quietly.

“fuck me.” you said, biting your lip, “please?”

he kissed you chastely, before pulling away to remove his boxers. your eyes almost popped out of your head when you saw him, unrevealed to you at last. he was big. fuck. how were you going to take all of that?

“it’s okay. it’ll fit.” he breathed. you looked at him, jaw dropped. he talked about it so nochalantly, like he wasn’t constantly carrying around that fucking thing. you picked your jaw up and smirked softly. you could not wait to have him inside of you.

he lined himself up with you, and you shivered slightly with anticipation when you felt the head of him brush against your quivering hole.

holy fuck. this was happening.

he slowly pushed in, and you threw your head back into the pillows. the stretch burned, but soon the pain turned into pleasure, the feeling of being so filled, so fucking perfect you felt like crying and praising god. or spencer, really.

“feels- s’good spence-“ you chocked out, panting harshly into the quiet room as he stretched you open with his cock.

you both moaned as he bottomed out in you.

“are you ready?”

“so, so ready.”

he met your lips in a gentle kiss, that quickly turned rough and passionate as he started thrusting into you, pulling himself out before pushing back in.

as his thrusts got faster, you clung onto him, hands scratching down his back as he rhythmically fucked into you.

a continuous string of moans fell from your parted lips, the sounds going straight to spencer’s cock, making him go faster and deeper, holding you close as he fucked you.

he connected his lips to yours again, both of you moaning into eachothers mouths. the kiss was lewd and sloppy and passionate and so fucking perfect.

it didn’t take long before your legs were shaking again, your second orgasm of the night nearing. spencer could feel you clench around his cock as you neared the edge, the extra pressure causing him to get closer as well.

you both came together, holding each other close, moaning and panting. he pulled out gently, rolling over to lie next to you. you turned onto your side to look at him, and he did the same. you kissed him softly, chastely. unlike your previous kisses, this was gentler and softer, filling you with a different kind of warmth than the heat of lust.

“how was that for your first time? i hope i didn’t disappoint.” spencer grinned, and you couldn’t help the smile that formed on your face just looking at his.

“definitely didn’t disappoint.” you giggled. he wrapped his arm around you, holding your body close to him, both your eyes closing as the exhaustion of your long day and.. extracurricular activities finally caught up with you.

-

hope you like! reblogs and comments are always appreciated !

#spencer reid #spencer reid x reader #criminal minds #spencer reid fanfiction #spencer reid smut

[sunshine-theseus]

Bia | Kyra Cooney-Cross x Reader

Words: 2.8k Summary: you create your own boots and meet the most beautiful girl  - sorry I also used this to info dump about the necessity for boots designed specifically for women to lower injury risks Warnings: none i think. lemme know if there are any requested by - @hottiedogs375 i hope you enjoy, it's probably not my best :( definitely not as good as pequeña i think

My family was more of a cricket family than a football one. I wasn’t really fond of either, the shouting was always too much, and the food was somehow sloppy yet rock hard at the same time. Even when we watched at home. The living room would be full of sweaty angry men, sometimes my mum and sister would join if our team was actually doing well. Meanwhile you’d find me in my room at the very back corner of the attic, my room, with headphones on to block out the noise, usually designing something.

Despite the cricket background, I found myself intrigued by the design of women’s football kits. In my design and technology class in year 13, I fell down a research rabbit hole on football boots for women. It was then I discovered the lack of adaptation for the shoe. Women often just wear smaller sizes of boots designed for men, which has been one of the factors in the increase in injuries in the women’s game and I’d decided I wanted to fix that.

That’s how I found myself in front of a crowd, made up of possible brand ambassadors and sponsors, as well as a range of women’s athletes from across the world, pitching my idea.

“And that’s why brands like Bia are important to the growth of women’s football. The shape of the boot, the length of studs, the sole support, they’re all contributing factors to how players perform. When women footballers use the men’s boots, which is basically the only option, they aren’t going to grow used to the details designed for male anatomy. It’s causing stress on not only their feet but every ligament, every bone, every piece of them is suffering because they have to try and adapt to things they can’t possibly adapt to.” I felt like the closing of my speech was rather strong, especially as I watched players and possible sponsors stand to clap. The noise echoes throughout the auditorium and a happiness bubbles within me.

“Thank you for providing me this opportunity. Please, if anyone has any questions.” I gesture to the stand-up microphone in the middle aisle, and people rush to line up.

“What made you intent on creating a boot specifically for women, risking money and time on something people have tried to do before? Something you knew wasn’t guaranteed to work?”

“I know it’s funny, but my family was not a football one, so I didn’t grow up knowing much about the game. But in my a-levels design and technology class, we had to research an issue prevalent in an existing design, and I for some reason was just drawn to the idea that women don’t even get the choice of having a boot made for them. I found it unfair and uncaring. Everyone expects women to play at the same level as men yet won’t provide them with the necessary equipment to do so without them having to risk, quite possibly their career. And I couldn’t just move on after the class, I knew that I had to do something about it. So I’ve spent the past 3 years perfecting the design and building the brand, to be here in front of you all today.” Another round of applause is heard throughout the room before the next person steps up.

She’s a footballer, that I know. Young, no older than 21, my age. And very very pretty.

“This question probably isn’t quite as important as that one but, what made you pick the name Bia? It just seems like an interesting name.” people chuckle at the question, and the (newly discovered) Australian shyly looks around.

“No, I love this question. Bia is the Greek goddess of force and raw energy. She’s actually Nike’s sister, the goddess of victory and very obviously the brand. I think Bia resembles a lot of things within female athletes. They have this driving force and unbelieve power that they bring, and it just felt so right.”

“That’s sick. Can I also quickly ask, sorry, are these boots made for every female athlete? Like can someone in track and field use these or are they just for footballers?” the girl smiles brightly after her question, and I have to remember not to lose focus.

“While the primary focus is obviously footballers, I have researched the compatibility of boots between sports and yes, a professional sprinter like Sharika Jackson can use them just as well as you or Alexia Putellas could. And of course as the brand grows we’ll be able to develop even further and broaden our research further in creating boots fit for anyone.”

-

Questions carry on for a while, then I disappear behind the curtain that’s suspended behind me, rushing to remove my microphone. Eventually I slide out the side door and reach the separate room booked for ‘mingling’ after the panel.

Between talking to rich people desperate to make it seem like they care about others, and athletes who are very eager to know everything they can about the shoe, I try to keep an eye out for the nameless Australian. Every time I think I’ve spotted her; it seems she disappears. Bodies keep moving and she seems to be one of them.

Then I bump into someone. We both go stumbling but she catches me just before I head for the floor.

“I am so sorry I wasn’t looking where I was going.” And there she was, the girl I’d been looking for.

“No, no need to apologise. I’m Y/n.” I give her a hand to shake.

“Kyra.” There’s a pause before she continues.

“I’m a big fan of your boot. It’s truly incredible.” It’s hard not to blush and sputter out random sounds at her praise.

“Thank you. I’m really hoping this function works out.”

“Well I was thinking, when it does, if you need ‘a face of Bia’…”

“Oh my god yes that would be amazing. Seriously you have no idea how cool that would be.”

We talk for quite some time, and she sticks by my side when someone else comes to talk and ask question. When it’s time to go home we exchange numbers and that’s the first and last time I see her for a while.

-

5 months later is the next time I see Kyra in person. We’d both been travelling a lot, me for sponsors, ambassadors, and athletes, her for work. I’d expected to meet with her a few more times before we kick started the ‘face of Bia’ photoshoots, but as the fates had it, we found ourselves in a large warehouse, photo equipment, and many boxes of my shoes filling the space.

It suddenly all started to feel very real, and that made me nervous. So I packed myself into a small room in the corner as I tried to calm down, hoping the isolation and quiet would help me feel better.

Not even 2 minutes in, someone is following and taking a seat next to me.

“You right?” the voice is familiar and smooth.

“Yeah, yeah of course I am. It’s not like the biggest thing I’ve ever worked for in my life is basically in its final stage of release in the next room and I’m freaking out about it. What if they aren’t actually good? What if th-”

“I’m going to stop you right there. You sent me a pair 2 months ago, and I told you I would test them before saying anything, and I did just that. I took them to training. Ran on the pitch, walked, kicked the ball, passed, made risky moves. And what did I tell you after that?”

“‘These are the best fucking shoes ever.’ But what if they aren’t?”

“Listen Y/n, how many other athletes, not just me or footballers, did you send a pair to for testing?”

“Like 43. Basically every one that came to the panel plus some more.”

“How many told you they were good?”

“43.”

“Exactly. So we’re going to go out there together, you’re gonna tell the photographer what you want to see, every opinion, every change, anything, and we’re going to finalise your fucking dream.” Kyra picks me up without me even agreeing, and basically carries me out to the set up.

Ali Kreiger, despite her recent retirement, was currently being photographed. She’d been the one to reach out to me when she heard from, someone, and wanted to be an ambassador. I probably screamed so loud my neighbours thought I was getting murdered that day.

“They’re going to want a couple photos of you too probably. Either with the shoes or with one or all of us. Okay?” Kyra rubs a hand up and down my back as I take it all in.

I nod vigorously and try to shake my hands to get rid of the remaining nerves, eventually taking a seat next to the photographer, Eve. She asks for my input on every shot and manages to carry out my vision without fail every single time. As players filter in and out, I begin to truly relax and allow myself to take in the moment.

Zimmorlei Farquharson and Poppy Boltz, two AFLW players for the Brisbane Lions, were being photographed together when Kyra slid into the spare chair next to me. She didn’t say anything but when I looked over, I had to quickly look away again. Her outfit wasn’t something out of the ordinary, a loose cropped top and bike shorts, plus the sage green boots she was promoting. But the strip of skin that was exposed between her shirt and shorts was enticing and it was hard not to stare at the way her muscles contracted every time she moved in the seat.

I’m certain she caught me staring.

As she stands to take over the Australian Football players, Kyra leans over and whispers in my ear. It takes me a moment to process her words and by then she’s already under the lights.

“Good thing we’re taking some pictures. They’ll last longer.” To say I was stumped was a rather big understatement. Was she flirting with me?

I don’t get to think about it too much, Kyra looking my way every time she changed position or began to play around with the ball provided.

Not long after, I’m asked to join all the girls in front of the camera for a few shots. I knew it was coming but my heart still dropped into my stomach, and I choked on my breath. As expected, it’s Kyra who grabs my hand and instructs me to breathe slowly. Her thumb runs over the back of my hand and the motion begins to sooth me.

I take a place in front of the camera and the group of athletes. I’m not quite sure how to stand, but Kyra takes the space behind me, resting an arm over my shoulder and the other around my waist. It forces me to lean back naturally and as the girls around us take a stance, Eve continues to shoot.

“You and Kyra have a lot of chemistry by the looks of it, and she’s who you’re most comfortable with. Use that. Make it natural. The girls around you will adapt.” I expect the comment from Eve, but it’s Ali who puts a hand on my shoulder and reassures me.

With that instruction, and a nod from Eve, Kyra jumps on my back. It’s a pose that helps with showing off the boot and making me laugh. She then jumps off and takes my hands, turning me to face her as she dips. I rush to catch her as she falls, our faces a hair width apart.

Before I can think, I close the gap. My lips press hard against her’s as the camera shutter repeatedly goes off, but I don’t think anything of it. Until I pull away.

I almost drop her once my thoughts catch up to me.

“I am so sorry. What the fuck did I just do?” the rest of the girls had already walked away, so it was just us.

“Nothing you should regret or feel bad for.” Kyra stands right in front of me, our lips basically touching again.

“And maybe you should do it again.” I pause for a moment before leaning back down, kissing her again.

~~~~~

It takes three more weeks for the official brand release. After years of designing, making, spending every cent I had on these boots, Bia was officially the first woman specific sports boot.

Kyra’s first Arsenal game wearing them was the day of the release. She ended up talking about them in post-match interview after being asked “how were you excelling so well in the midfield today?” Not only was Bia’s sale numbers skyrocketing and the media account blowing up, so was my own.

I’d of course attended the match, excited to see them as an officially released boot. Someone had spotted me in the crowd and tweeted about it, talking about ‘the creator of that new boot brand is watching Kyra rep them for the first time live’. Someone else had caught me hugging Kyra on the pitch after the game and giving her a kiss on the cheek.

The rumours could only be expected. They also couldn’t be denied. Not without lying.

“I’m so proud of you.” The smooth Australian accent almost lulls me to sleep as we rest in Kyra’s bed, the sheets hiding our bare skin.

Her fingers trace shapes on my hip as she holds me, and I kiss along her collar bones and neck.

“And also very, very grateful for your genius brain creating those boots. Not only for helping my game play, but for bringing you to me.”

“I’m also grateful for my genius brain bringing us together.” I tease before softly kissing her.

It’d been impossible to escape her charm after our kiss at the photoshoot, so naturally we went on a date. And another, before she asked me to be her girlfriend. Eve sent me those photos just in case we wanted them in the brand release post. They currently sat in my hard drive, but it was very tempting to post a couple.

Kyra wanted a moment of privacy before the world knew, but I knew it didn’t matter whether it was out or a secret, as long as I had her.

-

A new power couple is on the rise in the world of Women’s Football. Creator of new women’s sports boots brand Bia, Y/n L/n, spotted with girlfriend, Arsenal and Matildas midfielder Kyra Cooney-Cross at a café in North London this morning before the London Derby. The couple confirmed their relationship mere days ago with photos of the lovebirds kissing from L/n’s brand shoot.

I laugh at the article as Kyra pulls into the Emirates parking, hand in mine. I’d become rather acquainted with her teammates and they begged me to come to the London Derby on the weekend. I couldn’t refuse when my girlfriend pulled out the puppy dog eyes and promised to ban me from any sort of affection, specifically kisses, for the week.

“You better win. I have a bet going with Niamh that you’ll beat her and I cannot lose a bet against her again.” Kyra chuckles and leaves with a kiss, sending me into the friends and family section of the stands.

It was nerve wracking going alone, but it was for Kyra and that was all I cared about. Supporting her like she supported me.

-

Kyra doesn’t start, which had been expected. Despite it, the girls were playing well and were up 3-1 at half-time. No yellow cards for either team had most people shocked though. The derby was known to be rough and physical, yet it seemed things were rather calm for the situation at hand.

There’s a substitute at half-time that puts Kyra back on the pitch. I blow a kiss when she looks my way as she jogs out and she pretends to catch it and place it on her cheek. Both of us are unaware of the interaction being caught on the big screen while people wait for the countdown.

It’s when extra time is announced that everyone in the stadium knows Arsenal have won the game. The Chelsea players look tired and defeated and the Arsenal girls don’t look much different, apart from the massive smiles that grace each one of their faces. The final whistle blows, and the crowd erupts in deafening cheers for the gunners, and I can’t help joining in.

After congratulating the blues on their performance and huddling with her own teammates, Kyra comes running for me. The guard on the other side of the barrier grows wary when I stand, clearly about to jump it, but Kyra gives him the okay and grabs me by the waist, helping me join her on the pitch.

“I’m so fucking proud of you.” I whisper as she stands on her tippy toes.

Her arms wrap tightly around my neck and mine go around her waist as she pulls me in for a kiss. It’s deep and passionate and the crowd around us cheers, some of the girls joining in.

“We’re both kinda killing it aren’t we?” I let out a laugh as she hops on my back, pointing me in the direction of her Matilda’s teammates, even Sam, who are grouped in the middle of the field.

She sprinkles kisses around my face as they talk between each other and I’ve never felt more content.

Fuck cricket, football is the sport for me.

#woso x reader #woso #womens soccer #wsl #woso fanfics #the matildas x reader #the matildas #kyra cooney cross x reader #kyra cooney cross #kyra cooney-cross #kyra cooney-cross x reader

[cassandraclare]

A bit of publishing stuff (if you get my newsletter you've already seen this)

So by now you lovely people have all seen the announcement about what books I have coming up next. Ragpicker King is coming March 4, 2025, and The Last King of Faerie is coming early 2026.

I know a lot of you were hoping for LKOF to come earlier. It’s going to be a big gap between the last Shadowhunter book and the next — three years. Previously the longest gap between Shadowhunter books was two years, between Mortal Instruments and the Dark Artifices.

I announced last year that I was taking time off — six months. It was the first time I’d taken any real time off since 2005. The pandemic had just happened and I was wiped out physically and mentally. I also needed to take stock of where I was in my publishing journey and really think about what I wanted — it had been years since I’d had time to consider whether I was happy, because I always had another deadline and that was always more important.

  When I came to the end of The Last Hours, I was “out of contract” — meaning I didn’t have any further Shadowhunter books that were owned by or owed to a publisher.  it was the first time that had happened since, again, 2005. Being out of contract is your one chance to change anything you want to change about your career, and I knew I was going to leave my longtime US publisher of the Shadowhunter books and move to Random House, who published Sword Catcher.

This isn’t a small decision for any writer to make. It sometimes happens when a writer has been at a publisher for a very long time that the nature of the publisher changes. Maybe all the people you worked with when you first came to that publisher have gone elsewhere, so your team has inherited you rather than having chosen you. Maybe your publisher has been sold to another company whose vision for that publisher doesn’t fit with yours. Maybe your publisher isn’t interested in your genre anymore. 

I spent a lot of time agonizing over the decision—I certainly could have stayed where I was, but I knew that was no longer the best decision for the books. So those of you who pay attention to these kinds of details will note that where the other Shadowhunter books have all been published by McElderry Books, these next ones will be published by Knopf. (Who are an amazing imprint. They make great books.)

Normally a writer wouldn’t really address switching publishers — it happens a lot, and most readers don’t care who publishes a book. I’m talking about it now because I know there will be a lot of people who are angry and don’t understand why Ragpicker King is coming out before Last King of Faerie. The short answer is: Ragpicker King has been under contract since it was sold along with Sword Catcher, years ago now, and I’m obligated to get it done when I said I was going to. The books of The Wicked Powers are only just now securely under contract enough to be announced, as you just saw! So Ragpicker King is planned to be turned in in a couple of months, and after that I will be able to focus entirely on The Last King of Faerie (which I already began, but since it was only sold to Knopf last October, I was only able to get started after that).

And it takes a a year at least to write a book and another good year or so to publish it, and that gets us to the pub dates we’ve got. I would love if I could get it to you earlier, but multiple factors have brought us to this point, and in the end, not rushing through them is the best thing for the books, and will produce the best version of those books. I always want to get you my best work — that’s what is important to me above all things.

In terms of other publishers in other countries — I’m staying with all my longterm Shadowhunter publishers. Nothing’s going to change for y’all — Walker Books is still publishing Shadowhunters in the UK, even though a different publisher is going to publish In Fire Foretold there (due to spiciness.) ;) 

For those of you who backed the Kickstarter, that will mean you do get new Shadowhunter content between now and early 2026* — which was part of the reason I did it! I’m also talking to my new publisher about bringing Better in Black out — with at least a six month gap for the Kickstarter backers to have it to themselves — so fingers crossed. There’s also Black Volume of the Dead, the final Eldest Curses book, which is still planned and which I am still excited to write, but since it is set after Last King of Faerie, it hasn’t been scheduled yet. More news on that as it develops—for now, I wanted to talk directly about the schedule in the next couple of years, since I feel confident it is set and will reliably happen this way, something I can’t yet say about 2027 and beyond. The point is, I’m really excited to bring you Wicked Powers just as soon as it is ready, and I know enough about it to say  it’s going to be quite a ride!

And also an early look at In Fire Foretold.

#shadowhunters #the wicked powers

[shima-draws]

OOUGHHH been thinking about Grovyle lately and how much I just *clenches fists* love him. Listen to me. Listen,

He is the character of all time. He’s introduced as a wanted criminal stealing something SO forbidden that even the worst Pokemon criminals won’t even touch. That immediately shoots his coolness factor through the ROOF. And the fact that nobody is able to catch him;; AND we see that he’s ridiculously clever and smart and can worm his way out of just about any situation with a bit of quick thinking. And he’s always surrounded in this air of mystery and intrigue and you’re set up to think well yeah he’s stealing Time Gears and stopping time everywhere OBVIOUSLY he has to be an asshole. Except during your first encounter with him he’s very calm and collected and shockingly polite, and even apologizes when he attacks you?? Basically just the opposite of what you’d expect from a criminal. And then to top it off you find out he’s from the FUTURE?? Which is SO sick. And he’s got some secret history with Dusknoir. And when he’s finally captured and being brought into Treasure Town all tied up he doesn’t even act out UNTIL Dusknoir mentions the planet’s paralysis. Which is the first hint you get that things are a leetle sus.

And when you get taken to the future and are about to be executed…he helps you? He has literally zero obligation to do so, esp since you’ve attacked him before. And there’s another subtle hint that maybe deep down he’s got a soft side, that he’s actually not a bad person. And it’s heartbreaking bc he finally knows someone else who is a common enemy of Dusknoir, and he clearly wants to team up with you, bc all this time he’d been by himself in the past and having people he can trust would make things so much easier (and it’s startling how easy he trusts others, too, especially considering everything he’s been through). But your partner isn’t having it and you can FEEL the disappointment he feels that he’s not able to convince you, that you aren’t going to work together, that he can’t have someone else to rely on besides himself. But that little spark, that glimmer of hope comes back when you catch up to him and you’re like yeah we’re going to decide for ourselves what we think about all this. And you find out from Celebi that Grovyle’s always been hasty, always hurrying ahead to try and achieve his goals, and it’s admirable but also regrettable bc he doesn’t ever have time for anything else.

And THEN you discover the truth…that he’s been your partner all along…and he speaks of you so fondly and has such faith in you that he’s totally fine leaving things to you and letting himself get captured because he trusts you SO much. And the despair right after when he finds out you’ve been traveling alongside him the entire time. His precious partner is also going to get captured and executed and the world is doomed to fall into disrepair. But then your partner ignites that spark of hope again and it’s enough, and you make it back to the past, and suddenly things are different but in a good way because Grovyle suddenly has someone to rely on again, even without a memory to go with it. But he can also tell that because of your amnesia he’s no longer important to you, not by choice of course, but you’ve found someone else, a partner suited for you that brings out the best in you. And that’s fucking heartbreaking because everything the two of you shared is gone now, and you’ve moved on, and even though you’re THERE you’re also so far away and so different from the person he once knew. But he knows he has to let you go, had to from the start anyway, because of the sacrifice you were prepared to make. That BOTH of you were prepared to make. And despite the fact that you have no memory he still. Trusts you. Completely. Enough to sacrifice himself to take Dusknoir back to the future. And believe that you’ll follow through with the vow you made and prevent the planet’s paralysis. And he KNOWS you will so he doesn’t know how much time he has left but it doesn’t matter because he’s been prepared to disappear, to die knowing that he’s saved the future, that he made his mark and was able to shine in his finest moments. He can leave this world knowing he did what he set out to do and he made a difference and things will be better for everyone he’s leaving behind. Shut up. Shut UP. I care about him so much I am GOING to explode. THE character ever. You don’t understand,

#I’ve been in love with him since 2008 and I will love him until the day I die. #Fuckign Grovyle PMD. Love of my life. TRULY the best Pokemon character ever written. #Shima speaks #Pokemon #PMD #Pokemon Mystery Dungeon #Grovyle #PMD Grovyle #PMD Sky #PMD2 #PMD Explorers #Sorry for the word vomit I’m just SO emo right now. God dammit. #Long post

[serpentarius]

been trying to wrap my head around the cancellation of "Our Flag Means Death" and why it hurts so fucking much. lots of folks who are much more eloquent than I have summed it up perfectly, but I still think it’s important I add my voice to the matter. 

It really, really sucks that the hurt is being compounded on us every time another queer/minority-led show gets prematurely cancelled. and for a long while, we also had to deal with the many shows that deliberately queerbaited us, which was a shitty and traumatic experience unto its own. And even though we’ve largely surpassed that early-‘00s-flavoured brand of queerbait now, mainstream queer media is still predominantly white-led. With the cancellation of OFMD, we've lost one of the very few intersectional queer shows in the mainstream. Shouldn’t we be beyond asking for crumbs at this point? Shouldn’t we get unabashedly intersectional shows helmed by and starring queer, BIPOC, and trans folks without them being axed for no rhyme or reason?

It’s exhausting at this point, honestly. OFMD has done so well in terms of viewership and engagement and fan response—almost entirely due to word of mouth and little thanks to the Max marketing team, mind you—and even still the show got cancelled? Can they make it make sense????

For me, the thing most akin to this OFMD situation was when Sense8 got cancelled. And yes, the fandom fought, and we eventually DID get a movie that wrapped things up years later! That gives me hope for OFMD, that maybe another network will pick it up, or maybe they’ll be able to make a movie someday. But what makes me sad about cases like Sense8 is knowing that the creators still had to force the narrative around the amount of time they were given. That the corporate overlords who only care about numbers and profit dictated how much time they had to wrap up their story.

And it fucking kills me that DJ only wanted one more season. One more season to complete the vision.

I'm just so mad that queer people are constantly being jerked around and used for profit and then left high and dry. And then we're given excuses like "oh there's no budget" or "oh there's not enough viewership, that's all it is". like, sure, maybe those are contributing factors, but then I look at all the useless garbage shows that have little viewership and high budgets that keep going forever and then I think "hmmmm, the math ain't mathing." It's fucking transparent; the corporations can spew all they want with their rainbow capitalism and talks about diversity, but the evidence is clear, and they can't convince me homophobia/racism/transphobia/etc. is not a factor in these decisions.

Anyways, back to OFMD. OFMD made me fall in love with fandom again. I drifted away from fandom for a while in my 20s, and while OFMD wasn't the first fandom that drew me back into the madness, it's certainly the largest. The sheer amount of creativity both within the show and outside of it has blown me away; I've read some of the best fics, seen some of the best art, and witnessed some of the most incredible creativity from people in this fandom.

And let's not forget the role of the show's creators and how they've interacted with us fans. They made us feel seen. And made us feel loved and valid, even when we were being weird and loud and horny. It's so fucking rare to see that. But they understood; understood that the show they made was for us, for any of us who've been marginalized or made to feel Othered or different or stuck in life or unsure of our identities. And they gave us so much love for it.

The story... man. The unique combination of quirky humour and bright visuals and dark, introspective moments, the gorgeous costumes and soft, lovely, unabashed queerness, and veteran actors and new actors all getting to shine, brilliant comedic actors getting to show off their dramatic chops and vice versa. For me, seeing Rhys Darby - an actor I've loved for a long time, but who I never thought I'd see in a leading role - getting to be the romantic lead in a queer role? And seeing acclaimed director/producer/screenwriter/actor Taika Waititi play opposite Rhys, as an indigenous Blackbeard? Fucking incredible. OFMD Edward Teach you will always be famous to me.

Anyways... despite my long ramblings here, I still don’t think I've been able to get to the root of WHY exactly this show has inched its way under my skin and stayed with me in the way it has. Maybe I'll spend years trying to understand it. But I DO know that it's in part to do with seeing both older queers AND a diverse range of queerness onscreen, in a way that I've never seen in media before. I DO know that OFMD has forced me to look inwardly, and allowed me to realize some important things about myself. About my own queerness, my own identity, things I'm still figuring out. I've cherished being able to see myself in Stede, in Ed, and each of the crew members. In Roach’s love for cooking, in Oluwande’s ability to mediate; in Jim’s quick temper, in the way Izzy builds walls to guard his heart. In Buttons’ quirkiness, in Wee John’s sass, in Frenchie’s ability to turn pain into humour; in The Swede’s silliness, in Lucius’ bluntness, in Pete’s soft heart beneath the skepticism. Lastly, OFMD has inspired me. To create, to write, to draw, to devour other peoples' works and worlds while I sit in sheer, overflowing joyousness at their talent.

so yeah. the news of this cancellation is upsetting and hurtful and disappointing. And it's making us cry, and it's making us grieve, and may make us hollow and numb at times because we've lost yet another thing we love so deeply before it was meant to go. It's so much more than "just a TV show". It means more to us than any passive mindless idiotic mind-numbing bullshit - because even though there's a time and a place and a purpose for that type of media, it's the thought-provoking work, the work that creators pour their entire hearts and souls into, that hit us deep in our own souls. The work that changes our lives. The work that has the ability to save lives, as I know OFMD has done for so many. 

please know I'm sending immense amounts of love and strength to those of you who are also hurting. we'll get through this, one way or another, and I'll keep up with the hope that we'll get more someday; but in the meantime, I'm holding you tight. ❤️️🫂

#our flag means death #ofmd #my thoughts #ofmd thoughts #sorry for the long rambles I just needed to scream into the void #I feel helpless right now but I also wanna fight #sending love ❤️

[sunny-day-jack-official]

So! The demo is finally out! Or, a bit of it is. What’s next?

Let’s run over a few questions, so hopefully everyone is in the loop!

Q: Why is it only a little bit after so long?

A: Development has been all over the place and a big reason is just how difficult it can be to mediate between artists, programmers, writers, etc.. Mental and physical health, personal emergencies, etc.. are also a big part of this— and it wasn’t anticipated that this would eat up so much time.

The original game was planned to have Sauce (presently speaking!) handling a large majority of tasks all at once. So— when health stalled, production stalled.

Of course, healing took a bit of time to. And even now, that’s why so much of the demo is left unfinished. Overall— it wasn’t possible to complete the demo in the same amount of time the original demo was completed because realistically speaking— that was extremely unhealthy and rushed.

Because of that tight deadline, 48 hours to a week, many significant errors or retconned elements made their way into the game. A huge toll was taken that resulted in extreme burnout after. Quality (as can be seen in the CGs) suffered. An emphasis on quality is currently being prioritized, but I can safely say that I am no longer able to work at my original 2021-2022 pace.

—

Q: Why are you (Sauce) working alone?

A: At this point in time— we had spent a while working on the GUI and design/function of the game. It is, after all, set to have some pretty hefty features.

Translation and dub settings

Censorship and Softcore modes

A VERY LARGE story map with several endings

An additional “one-shot” story mode wherein every ending you unlock, you then unlock additional content

That takes a lot more planning than we’d anticipated.

How do we make this efficiently run on most systems?

Are we able to make sure that the size of this game is compatible with older devices?

Are the assets optimized? ( A lot of time has gone into re-drawing and working out sprite systems )

What settings are accessibility necessary for impaired players? How do we implement those options?

How do we design a stylish and efficient system?

That was something we had figured originally would be pretty easy to work out! But multiple people here are wearing multiple hats.

The rest of the team is actively working on those portions. But at the moment— we’ve decided to shelve literal art development and scripting (which was where we were hovering for a while) until we got the programming bits truly sorted out.

That leaves little old me! While they worked on this, I’ve been spending time making sure we could serve you a sample of what’s to come. My job is doling out a taste of the narrative, style, etc.. That way, once they’re finished, we can consider any feedback in the implementation of these portions of the game in the final, official build.

Hopefully that makes sense! TL;DR - Everyone’s busy making the important program my bits and designing the menus. So I’ve stepped away to work on this so you all have something to see in the meantime!

—

Q: Why are you REBUILDING THE DEMO?

A: The old demo— you’d think it would be easy to patch up. But it’s literally the very first build, sized up and fixed and stitched over. Unfortunately it was an unoptimized mess, even for what it was.

Hopefully a cleaner, more organized build will allow for better gameplay. But the key factor is just a desire for better quality!

—

Q: How often will you be uploading new additions?

A: Until all the bugs are fixed and the whole demo is rebuilt. This should be every week or so until then. Once it’s all done, the demo will see a re-release publicly!

In the meantime, please keep in mind bugs may be aplenty— and I personally apologize for this. Demos released are intended to show proof of work— but they may not be the best, most fun experience for narrative-seeking players. It’s advised immersion-prioritizing players wait until the build is fully finished and christened on our steam page!

—

Q: Will there be Mac support?

A: I will absolutely try!

—

Hopefully that helps give a bit more insight. Unfortunately it’s difficult to articulate everything that’s going on, but we’ll do our best! We’d like to have someone more verbally gifted helping us to write these posts, but until we decide how to go about that, you’re stuck with me.

We’ll do the best we can to answer any questions as clearly as possible. And again— we thank you all for your patience.

Making SDJ was clearly a messier experience than we had considered. It’s been a rollercoaster— and as Sauce speaking, I can actually attribute most of the delays to my own personal health and absence.

That— I am sorry for.

The rest of the team is working very hard to put something together that’s quality. I can promise with my whole heart that they’re doing their best. We’re all just people passionate about this project, and no matter the weather I don’t think it’s ever not on our minds.

I look forwards to putting out a large Kickstarter update soon, detailing our work and more! And I’m excited to open the airways for more and more communication.

But for now— we’ll see you next bug-fixing update.

- Sauce

#somethings wrong with sunny day jack #swwsdj #sunny day jack #sdj #snaccpop studios #snaccpop #game development #vndev #visual novel #indie games #minors dni

[parachutingkitten]

Jay = High Intelligence, Low Wisdom

Kai = Low Intelligence, High Wisdom

Essay about this concept below the cut

Now these are all just my interpretations of the characters, I don't necessarily have hard evidence on hand to back all this up, but here we go:

I've been trying to put my finger on the Kai smart/dumb duality, and I think I can finally somewhat make out my thoughts. Kai is not smart. Book smarts don't come easily to him, he's not great at math, he's not great at overly complex stratagizing- but he's got a LOT of great knowledge in him.

Take the dragon healing in DR. He might not intuitively know how different medicines work or why, but he's got injured enough that he knows that type of information is important to know, and so he's forced it into his head. He couldn't tell you why the blue goop helpped the dragon, but he knew that it would, and that it would be important to remember that it would.

He's pretty good at navigating complex social situations, because he's good at reading people. Having had a history with extreme emotions, he knows how to take them into account, and knows how important it is to do so, even if it's not necessarily logical. I hate to say this, but he's very emotionally intelligent, which sounds kinda like an insult but is actually insanely valuable, because humans are inherently emotional creatures.

He's got a solid basis of common sense, and is constantly looking at the bigger picture. That's why he can come up with the best outline for a plan, because he can not think through the details. Now, if he tries to implement a plan of his without consulting others, he's probably going to miss some very important details, and screw himself over. But, he's most likely to have the best basic premise for an effective plan. This is why his intuition is usually correct. He's not logically thinking through the most likely scenario given all available factors, he's looking at every problem from the birds eye view, and is easily able to fill in the blanks, because he sees the whole picture. You can not tell me this kid knew Lloyd was the Green Ninja because he used logical deduction to eliminate all other possibilities, he had a gut feeling based on realizing the value of human life.

Now, sometimes you need details. And Kai is not good at those. He sucks at those. Big time. But he's self aware enough to know when those times are (most of the time, sometimes he wastes all his lives in a video game before talking to anyone else).

The thing all of these points have in common is that he's lived a very full life while making very many mistakes, and he's learned from all of them. He learns from his dumb mistakes, and is wise enough to know which lessons are worth holding on to.

Jay on the other hand... does not learn from his mistakes. He's got a real thick skull.

Inside that skull is a really smart guy who intuitively latches on to engineering and science concepts. He's got a whole heck of a lot of information that his brain is holding onto simply because it can. This man is all about the details. He gets hyperfixated on details to the point where it's a problem. He's the most likely to solve the intricate problem facing the team, forget that they need to stay hidden, and yell "I did it!". Good at details, bad at big picture. This is also why he usually gives up hope so easily compared to the rest of the team. He can not think long term, he can not see the bigger picture like Kai can, so road blocks in the current plan seem insurmountable.

Sure, he might have rigged an old sailing ship with rocket boosters, but he couldn't unscramble "darnagom" his logical problem solving skills are not what's carrying him.

My standby for the Jay dumb/smart duality is that he should have a significant amount of William Osman energy to him. He's very smart, and can work out how to solve intricate problems and make insane builds, but if making said things is a dangerous or dumb idea has never once crossed his mind, and if it has, he has actively chosen to ignore it. Jay's intelligence is much more creativity based than I think a lot of people like to think. Engineering is about slapping crazy ideas together which barely hold together at first- and that's Jay's brand of smarts.

If you compare this to Zane, that's the vital component that his intelligence is missing- the creativity. He is VERY good at assessing options, but not so great at coming up with new solutions himself. He's running on pure logic and tested successes. He's also missing that social intelligence that Kai has. I'd venture to say that Zane is, by far the most gullible member of the team. If there is not a solid logical reason to doubt something, he is absolutely going to take it at face value. Point being, all the ninja have different smarts, and stupidities, let's not try to conflate them too much.

#ninjago #dragons rising #long post #parachuterants #jay walker #kai smith #zane julien #jay ninjago #kai ninjago #I'm sure someone has mapped out them all as D&D characters by now #that's what I'm leaning towards #cole is the dumbest for the record #a lot of his points are in strength

[ninadove]

In defense of Huntlow

A love letter to Dana and the Owl Crew

Recently, I have been witnessing an increase in anti-Huntlow rhetoric on Tumblr, which I originally ignored, knowing how intense shipping wars can be.

Earlier today, however, I came across a very inflammatory post accusing Dana and the crew of bad - if not intentionally hurtful - writing for seemingly leaning towards making the ship canon.

As an ace, demiromantic lesbian who deeply cares about queer representation in media, I decided to share some thoughts on the matter, by addressing and hopefully debunking the main accusations I have seen out there.

I. A deliberate jab at the aspec community

Due to the dreadful lack of representation in mainstream media, many aspec viewers, myself included, headcanon Hunter as being somewhere on the spectrum.

Some erroneously believe that Hunter’s obvious crush on Willow invalidates this understanding of his character, and have even gone as far as to imply that the writing team deliberately deprived them of representation - ignoring the fact that Hunter’s arc was most likely fully fleshed out long before he was introduced to the fandom.

The thing is, we do get canon representation in the form of Lilith, who might be willing to boogy down to history town, but definitely isn’t willing to boogy down with you or anyone else for that matter. And let me tell you, she is *great* representation - a complex character who is in no way demonised or infantilised.

Additionally, and perhaps even more importantly, Hunter’s crush does *not* negate his belonging to the spectrum - key word here being *spectrum*. He might not fit the specific label you had in mind, but that’s alright - remember we come in all shapes and sizes!

II. Pushing a queer ship out of the spotlight

The argument here is that Huntlow has been distracting both the audience and the narrative itself from Lumity, an explicitely queer relationship that has been providing groundbreaking representation in the otherwise desperately heteronormative world of kids’ television.

I’ll be honest - I don’t really understand where this comes from. Huntlow might have been getting more fanart and fanfic lately due to the novelty factor, but in no way does this pose a credible threat to Lumity, which absolutely remains the main focus on the show as well as the most popular ship in the fandom ( in fact, most TOH artists seem to ship both pairings! ).

As of now, Huntlow is nothing more than a one-sided teenage crush, while Lumity has been getting in-depth development throughout season 2, culminating in their iconic kiss - I’m sure the team had to fight very hard for this scene to stay in, so let’s show some appreciation!

Interestingly, Raeda also benefited from the novelty factor when it was first introduced, and didn’t receive *nearly* as much backlash. The reason for this difference in treatment? Raeda is an explicitly queer ship.

And the thing is, in a series with so much representation, Huntlow might very well turn out to be as well ( cf point 1 ) ! There is a longstanding bias in the LGBTQIA community against « straight-passing » relationships and people who do not look « queer enough ». In all likeliness, we won’t get any confirmed labels for these two ( which is *fine* - they are kids! ), but it would be very interesting if the show actually took us down that road and forced us to confront our own biases.

( Also, people are allowed to be cishet. But that is not my point here. )

III. Underdevelopment and « bad writing »

As a RWBY veteran, I have grown used to Bumbleby-antis claiming the ship overtook the plot while paradoxically getting no development. This flawed logic seems to be repeated here, so let’s explore a couple of possibilities.

Personally, I would prefer Hunter and Willow’s relationship to stay as it is as of the end of season 2 - celebrating the important role first crushes can play in shaping one’s identity, even though they might never lead to any concrete romantic fulfillement. But, in the very likely occurrence that something *will* happen between these two, there is plenty of material to back them up.

A. Lumity parallels or the tomato syndrome

Some argue that Huntlow lacks development because all we’ve seen so far is one-sided blushing on Hunter’s part - completely overlooking the fact that this is exactly how Lumity started out!

The parallels do not stop there, however, as many excellent posts have pointed out. Both Amity and Hunter grew up in physically and emotionally abusive households, and connecting with their respective crushes helped them gain a new understanding of the world. In his « Captain », Hunter has found a person he can experience healthy admiration for, something that is also significant for Willow who has a history of being overlooked and underestimated.

In fact, one might even argue that Amity predicted Hunter’s crush - remember that one scene in Eclipse Lake? This is great foreshadowing!

B. Caleb parallels or the radical act of love

Now that we know more about Belos’ backstory, a key theme of the show is starting to emerge: love as a vector of rebellion, freedom and systemic change - a message that the LGBTQIA community as a whole is very familiar with.

While Hunter and the previous Golden Guards are all unique individuals with a mind and heart of their own, the fact that every single one of them ultimately chose to rebel against Belos is a strong sign that Caleb’s influence has persisted throughout the centuries. And what was Caleb’s biggest crime, exactly?

Falling in love with a witch.

The point here is not that Hunter is condemned to fall in love with a witch himself by virtue of being a clone with no agency of his own. It’s that Caleb’s hardships and bravery in the face of bigotry opened the door for him to proclaim his own independence through the radical act of embracing a form of love that the powers in place deem demonic and unnatural.

And what an amazing message to send out to a young audience.

IV. But… But the age gap is predatory!!!

I might be gay, but I can still do Maths. So let’s do just that.

Hunter is canonically 16. I don’t believe Willow’s age is ever outright stated in the series, but I assume she is around Luz’s age. Had it not been for Disney being, you know, Disney, our girl would have celebrated her quinceañera in season 3, so we can extrapolate that at this point in the story, Willow is around 15 as well.

That’s a one-year difference. Come on, guys.

Final thoughts: maybe stop being mad about everything all the time

Look guys, I get it, I really do. We have all been starving for queer content our entire lives, so when we finally get it, we expect it to match every single one of the expectations we’ve been desperately holding on for so long.

But the thing is, harassing a queer creator who is fighting tooth and nail to provide kids with life-changing ( and potentially life-saving ) representation is only going to hurt us further.

Use this energy to write fanfic, draw fanart, create a story that will inspire others the way this show does for so many of us. Campaign for more representation in media. Question your own biases and be a little kinder to one another.

And, most importantly - watch The Owl House!

#the owl house #toh #toh spoilers #dana terrace #the owl crew #hunter toh #willow park #huntlow #luz noceda #amity blight #lumity #eda clawthorne #raine whispers #raeda #lilith clawthorne #emperor belos #belos #philip whittebane #caleb whittebane #evelyn clawthorne #lgbtqia representation #character analysis #plot analysis #shipping wars #random ramblings #Thank you Tumblr for making the formatting literal Hell! #Unfortunately I am tougher and smarter than you #And thank you @dragongutsixofficial for reviewing this for me 💖

[brf-rumortrackinganon]

I think you and other anons are right - they would have got their half in/out deal. The main problem there, IMO, was Meghan's antagonism towards everyone. So they did not have any allies left, not in the family, not extended family, not staff. In the short year that Meghan was around she picked a fight with everyone, any everything, she hated everything, did not respect traditions or customs and scoffed at anything she was expected to do. And Harry blidly work shipped her, agreed to everything she said. That may be the biggest reason for her epic downfall.

Meghan wanted fame for herself, she thought she was the "product". Others may have, discreetly, made money from their proximity to the BRF top brass. But Meghan started to think of herself as the top brass. Her ego did not serve her well. It's still her biggest problem.

One of the easiest ways to make Tom's of money, and then in turn become an A+list celeb would have been for Meghan to keep working as an actress and not become a full-time working royal immediately. She was given that option. Or if not she could have fought for that, her independence, before the wedding, and say she would only do the absolute necessary things like Trooping or Commonwealth day and focus on her work the rest of year. Family occasion like Christmas walks, easter, some garden parties etc would have given the required exposure while keeping the shine and royal glamour alive.

It would have also justified keeping her holiwood team, PR firm, a separate non-london based home etc. She didn't even have to actually work, she could have justified not working in shows/movies by saying she is too high profile so it's restricting roles, and then focussed solely on ads, red carpet events, brand deals etc.

But maybe one of the reasons she did not want to do that anymore is because she saw her marriage to a prince as the ultimate prize after all her years of struggle. And couldn't help but hustle because that was second nature to her. And when she realized the reality she wanted to project was much different from how things were behind scenes, her brain couldn't compute the vast divide.

Another major factor is also Harry. She hadn't counted on the fact that Harry would be harbouring his own fantasy and his self importance would get so out of hand. She fed him ideas, he took to heart and flew too close to the sun.

Your ask has made me wonder if Harry was even aware of how different Meghan's life was going to be from Kate's. I don't think he did, because he assumed that everything William got, he would get and everything Kate got, Meghan would get. He made that very clear in Spare and the Oprah interview.

They might've talked about it and Harry might've done the "yeah, yep, mm-hmm" head nods but I don't think he ever actually realized, understood, or fully grasped what exactly it meant because he only ever saw himself as Charles's son (the way William was also Charles's son) before seeing anyone or anything else. His ego wouldn't allow it otherwise and Meghan was probably able to tap into that.

Which is why I suspect the Sandringham Summit was such a rude awakening for Harry. I bet he saw Megxit being just like when William and Kate moved to Norfolk and William worked as an air ambulance pilot doing once-a-month royal engagements. Harry probably expected the negotiation to go the same way (i.e., with everyone's blessing) and it gobsmacked him that it didn't. He probably looks at it as "well how come Willy could do it and I can't," not even seeing that the issue was in the commercialization and monetization of their titles.

[maxphilippa]

Nickel and Balloon's arc and why you may be wrong about it, and why you are wrong about Suitcase and Nickel as well.

Nickel didn't trust Balloon because Balloon was a dick on s1 (something that the fandom forgets so fucking much), and of course he wouldn't trust Balloon being a part of the alliance either since Baseball (Nickel's best friend) and Suitcase (Nickel's ally/Baseball's closest friend) were part of it. "But Nickel didn't care about Suitcase-" he did, Adam himself did say he did care for her, but he strongly lacks emotional intelligence to truly get her. So of course, he didn't want to risk it, even if he does believe that Balloon wants to change, he doesn't want Suitcase to get involved with the guy.

Although Nickel doesn't want Balloon near and is an asshole towards the guy, I think that all of you kind of also forget that at one point on s2, Nickel did say that he thought that Balloon wanting to change was something good, but that he still didn't want to be associated with the guy. Which is, yes, shitty on his behalf, but it makes sense character wise. It's a case of "it's great that you want to be a better person, but i don't want to be near you even so", which is something most people felt at one point of their life.

Adding to this behaviour of his, again, it wasn't just because "Nickel is a dick without excuses", protecting his loved ones (his alliance) is. Kind of his whole thing. You know. He cares about them but sucks at showing it (this includes how he treated Baseball, looking at you all), he has the thought that if he's on control of a situation, no one will get hurt. He sucks at communication. Hell, it's even said on the series, he is afraid of change and also about accountability. ACCOUNTABILITY.

So yes, the way he treated Balloon isn't justified, even Nickel says it himself, but he has his reasons as to why he acted like that. But I think that you guys also need to remember some more important stuff as well. Nickel wasn't like this because he fully wanted to, but his behaviour towards Balloon was also constantly justified by Baseball.

And so here's the main question that troubles everybody so fucking much it's stupid.

"Why did Nickel change his mind on Balloon on s3 like that? It doesn't make sense"

Listen.

The reason as to why Nickel actually gave himself a chance to know Balloon properly is because of two very important factors. So I know that some of you might not be familiar with the official II comics, but the first reason is in one of the comics actually.

Especifically on the Letters Comic.

The plot of the comic is Balloon writing letters to those who he wronged/had a bad relationship with, and this includes pretty much all of the S1 cast (excluding the ones that are still on S2). And guess what, Nickel gets a letter as well.

There isn't a canon outcome as to what Nickel did with the letter. We don't know if he threw it away or took a look at it. But to me, I think that he did took a look at it. I will explain why later on in this post.

The second reason as to why Nickel's behaviour with Balloon changed on S3 was because, Baseball wasn't there to try to justify Nickel's hatred towards Balloon. In fact, what he got instead was Box, and we know that Box is like, Nickel's best friend on s3. What Box does is basically telling Nickel to get his shit together, stop holding onto stupid grudges and do it for the team.

And he does! And mind you, that was on the first episode of season 3! He decided to put away his petty feelings so the team could work, which pretty much already tells you that meanwhile early s3 Nickel has as much snark as S2 Nickel does, he actually recognizes when it's time to play on the game and when it's time to be petty. He's more of an nuisance towards Balloon on the first ep all things considered, but it seems that unlike S2, Balloon has grown a lot of confidence as well, and isn't sad at Nickel's comments, but rather calls him out on them. And even IF Nickel didn't exactly like to side with Balloon, as the eps went by, despite Box was the main reason as to why they were hanging out, Nickel was actually experiencing Balloon's change. He didn't want to be involved on s2 because BB told him that his distaste was justified (and that ended up messing everything for the Grand Alliance), but now he's "forced" to accept and know the guy because Box told him it was the best for the team. On early s3 they tease eachother, yes, but their relationship seems to be better than before.

As well, it wasn't out of nowhere either way, since Balloon does imply that both Nickel and him hanged around just to mess with Yinyang back at the Hotel.

That's my main reason as to why I think that Nickel DID read the letter in fact, but still had very complicated feelings towards Balloon, because in his mind, to him, Balloon was the reason as to why Suitcase, someone who Nickel really got attached to (even if you can't believe it), "betrayed" him. But we know that's not true. But at the end of the day they do end up hanging around well.

"But Max, why did they end up having a fall again? Aren't they supposed to be healthy?"

First of all there is a reason, second of all, oh my god conflict won't fucking kill you. You see. Nickel SUCKS at communication. He can't let out his feelings as much as he would like to do so, because he's scared of getting hurt and such. So yes, Nickel and Balloon were good friends there, but the down fall was necessary for them in order to ACTUALLY be a healthy friendship. The problem is that Nickel doesn't get that he fucked up a lot more than he thought and that he is the problem.

He still thinks that Suitcase left his side because of Balloon and of course that hurts- but he feels so bad about the way he treated Suitcase as well, even if he's not fully aware of why he feels like that. So that's why the conflict HAD to exist. You can't just expect them to be okay like nothing without talking about S2 properly, it doesn't work like that. Yes, they both care about eachother, but they STILL had to talk about it.

Now, on the yet, most controversial scene when it comes to Nickel's arc: Clover's therapy.

Some people say that Nickel didn't have to just be talked like that and that they expected more, but dare I say, that's exactly what he needed. To talk properly about his feelings. It's like you guys didn't catch up on that. Nickel's thing is being overprotective over those he loves, and seeing the things that might harm said loved ones or himself as threats that he needs to get rid off in order to be okay, and that he is afraid of change. Nickel knew he messed things up, but he still kept on thinking that Balloon was the one that made Suitcase betray him, when that's not really true.

He needed the talk to realize that it was truly his fault. Please take note at the way he looks to the side once he realizes it. It wasn't just a recent thought, it was always there, but he was scared of it coming true. Clover's talk made him open up properly about it and Clover also says it, "but don't you want to?" and then he says "mhm, maybe", but he really does want to, which is why he changes so much on Ep 16.

So before you say that Nickel didn't regret what he did and that he only did because of Clover: how can you be so wrong about something.

And, oh.

Oh, episode 16.

It treated them so well.

What Nickel says here is that he was scared of falling in Balloon's tricks, he was scared of being manipulated. Again. It wasn't out of nowhere. The way he treated Balloon WASN'T out of nowhere.

Is it justified? No. Does II or Nickel himself ever say that it is? No. The series as a whole is telling you that it was awful of him, characters do call out Nickel on his shit behaviour (even if you think they don't, they do, calling out isn't always strong words, sometimes calling out acts as feedback. as pointing things out. of course he also gets called out in the other way on the series, but PLEASE don't say that he didn't get called out because of his actions, he quite literally died because of them), Nickel HIMSELF recognizes that he was awful to Balloon and he is okay with the possibility of Balloon not wanting to forgive him either way.

But they ended up talking things out in the end. They ended up okay, because Balloon can genuinely see that Nickel wants to change. The walls he put are gone. He can see how genuine the guy wants to be.

"But Balloon shouldn't forgive Nickel, not after all the pain he caused to him"

Listen. Both of them commited mistakes. Balloon recognizes that he wasn't a good person back then and wanted to change things. Nickel finally got that and Nickel also showed Balloon that he does mean well. People that had complicated relationships CAN work things out, crazy I know, and I'm saying this as someone who had beef with their now best friend over similar stuff. We apologized and now we're close. It happens.

Balloon really cares about Nickel. And Nickel really cares about Balloon.

And Nickel is okay with Balloon winning because that's his friend now. Nickel changed for the good. And it makes sese character wise.

Nickel regrets what he did to Suitcase and Balloon as a whole. And Balloon and him are best friends now.

So, no, Balloon and Nickel aren't a toxic relationship, much less a problematic ship given all of the circumnstances, and saying that they are is missing on the whole arc they went through. They were complicated and they both had their reasons at the end of the day. No, Nickel wasn't purposefully an asshole to Suitcase, he was seeking to protect her, but ruined everything on the process. Yes, Baseball and Nickel needed to be separated in order to grow because they weren't healthy to eachother. Yes, the Nickel and Balloon arc had to go as long as it did in order for it to end properly, and it's not even done yet, Baseball and Suitcase are still waiting. Yes, Nickel meant good with the things he did. No, it doesn't justify any of the things he did. And, finally, the Grand Alliance arc is well executed, just because it's complicated it doesn't mean it's bad.

And those are statements that can coexist.

Thank you for reading. :]

#inanimate insanity #ii #inanimate insanity invitational #ii 2 #ii 3 #ii analysis #inanimate insanity nickel #inanimate insanity balloon #inanimate insanity baseball #inanimate insanity suitcase #inanimate insanity clover #inanimate insanity box #inanimate insanity grand alliance #ii nickel #ii balloon #ii suitcase #ii baseball #ii box #ii clover #ii grand alliance #max overanalyzes characters #max overanalyzes lore #long reads #i did this because i got tired at seeing people calling nickloon a proship EVEN after s3 #but also because of how y'all treat the characters

[sideblogdotjpeg]

ok soo i was trying to figure out how pib's character fit into the thematic web of the neverafter and it made me think of like. pib & aesop acting as foils wrt to the concept of morality in fairytales

i think pib, in a very roguish way, represents moral neutrality/amorality. he will lie, cheat, steal and kill happily and unrepentantly (because lying is SOO much fun) - but he also does it without any real sense of malice or greed. like its important that the core of the original puss in boots story was him lying in order to help tomas. pibs lies are never centred around hurting anyone, but rather to help himself and his friends.

conversely, i think pib also recognises the need to do traditionally "bad things" to survive. like he WILL absolutely give the mule the shit for betraying them, but ultimately also understands that it was what was necessary for him to survive. and he cant fault him for seeking safety and refuge. which is why i think pib could represent a kind of amorality (or at least morals in the fairytale sense). like literally adhering to a universal moral code is simply unimportant to him. not a factor of consideration. he is protecting himself and his friends, and thats what matters (and of course what else should matter to a tricker cat)

this is in contrast to aesop who is like, from his introduction, defined by his strong sense of morality. he is also fundamentally a good person, but he believes that that goodness is manifested through behaviour that adheres to a moral code. his stories are strictly cause and effect. you act good, you are rewarded / you act bad, you are punished. also, beyond that, i also get the sense he thinks his stories are superior for having that stricter morality? (hopefully i didnt misremember this bit, but) he says that the neverafter is more susceptible to corruption BECAUSE of its lack of moral clarity & rigidity. but it seems that he believes the world SHOULD operate within that strict moral system (aka he is a TOTAL SNITCH!!). thus, in contrast to pib's amorality, aesop represents a hypermorality - adherence to a universal moral code that allows for no exceptions no matter what.

- also, side note, from this framework it might also explain why pib & pinocchio team up at the beginning. like pinocchio IS in the transitory stage from the aesop-like fixed moral to the kinder neutrality of "lying cant be bad if it saved my father" -

anyways! idk if this is something that will ever come up or was intended. PROBABLY not! but its an interesting parallel i think!!! ummm neverafter fr makes my brain go brrrrr

#ummmm i hope u like my analysis ! #dimension 20 #neverafter #d20 #pib #pib neverafter #puss in boots #puss in boots neverafter #aesop neverafter #dimension 20 spoilers #neverafter spoilers #brain thoughts

[littledigits]

thoughts on the cut episodes and ppls reactions 'n stuff

Since it was confirmed that a few more episodes of Hilda were written but cut, I do think the reaction of people finding this out is really interesting and not just because its fairly common in the industry and isint a sign of anything bad necessarily. I mean heck, in a weird way being behind the scenes and then seeing how people interpret things, what they take as important, what they think is a thread…all of that is interesting. When your job is basically trying to get people to pick up what you're putting down storywise its kind of a neat topic, because everyone communicates in their own way.

BTW before I keep going this is not a post to say dont crit/vent/complain/whatever about whatever the heck you want in hilda or any media, you do you. I think peoples honest takes are fascinating (said in victoria van gale voice) and even just people speaking their mind shows that they are interested and they care so that matters. Also not one singular post triggered this, its just been on my mind as I surface level read things so no stressies.

When It comes to the cut episodes, I'm seeing some people assume that whatever was cut would have fixed some of the crits they may have had about the season..and who knows, maybe yes? But I'd say ultimately probably not. Not because they dont include things that people want to see, or may have some topics people want expanded on ..but because thats just impossible in the grand scheme of things.

I mean this applies to shows in general, not just hilda. Every person who watches a show has their own idea of what the show represents to them. For some of its more of the surface events or characters where as others connect it with a deeper emotion. A lot of people respond to different tones of the episodes, which there are many. Some people prefer the one off adventures that stand alone as their own stories and others want to see more of a stronger through line. Some may see a new character and expect a new arc and thread, while others wonder why we couldn't've used a previously introduced character. Some may read between the lines more and others may take what is presented as very straight forward and literal …and no one is WRONG, because our big wrinkly brain meats all have their own tastes and ways of imputing information.

Television animation is rife with factors that actually futz with the quality and ability of the team to make a beautiful, amazing product like EVERY DAY. The script process and what goes into production is just one. The team is made up of many creatives all with their own varied experiences and voices just like the audience. In order for people to have their own voices and say, you are going to end up with some things that hit better then others, especially if the team is allowed to grow and experiment and play a little. Hilda has always been a show where we've been able to have a lot of creative say, and i think that sincerity comes through ! but with the sincerity and that humanity, it also means that there are going to be things that arnt going to make sense in the grand scheme of things lol. Even the writers and creators and producers have differing opinions on what to explore and dive into, probably more so then fandoms haha. Having more episodes may scratch some itches but not all, HECK, those episodes being cut could have re-allocated resources to other areas that helped elevate your fav ep of the season ¯\_(ツ)_/¯ who knows! Schrodinger's episodes! (also ngl I was having cold sweats over the scope of some of them as cool as they were. The season may have been shorter but it was intense..it takes a long time to do stuff that looks that clean and crisp)

Imperfect art is very human! Do the best you can at the time with the factors you have. I was given so much trust and freedom on my episodes, and I was just happy to do something fun that allowed me and my team to grow and learn. I was fucking STOKED to get a one off story because it was way less pressure for me to take my next step directing cuz just doing the thing is a feat. Any sincerity you feel cant come through if that means we're afraid that we cant make mistakes, or do a story choice ppl wont vibe with. All you can do is do the best you can, see if people are picking up what you're putting down, and grow from it for next time.

Anyway, just a thought ramble. Its not to say do or dont do this or think this way blah blah. I just love that storytelling is messy and complex and everyones gonna take it a lil differently, especially if you have a team where you allow lots of voices to have input. It is all just a big experiment to see if people leave with a particular experience by putting your resources into the things you have that matter, and try you best to distract from burnt edges or patched up holes that happened throughout the process of making the dang thing lol.

#me as marge simpson holding up a potato of communication #I just think they're NEAT #it is cool to see who vibes with what episodes and why #lil rambley bits #I personally strive for a good 7/10 #maybe a 7.5 if im feeling spicy #everything else is luck

[tubborucho]

Something I think people are missing when they talk about the whole Day 12 thing with Tubbo and Bad is that Tubbo is just like that sometimes, especially with people he’s close to. Depending on how you look at it that's not necessarily better or worse, but I think it’s an important factor because so much of the recent BBH Purgatory discussion is about how he’s singled out and that’s something Tubbo would do to anyone. He’ll get a minor irritation stuck in his head just as hard as a major problem and then refuse to let it go. The amount of ranting he does isn’t always an accurate measure of how important it is to him and “I’m still on this” (or any variation) is practically his catchphrase. I’m not trying to downplay in-character analysis, it’s a trait of both streamer and character, but it’s something you might not realize if you don’t watch Tubbo very often.

Yeah, this is also a part of it. Tubbo is very passionate about things, and sometimes those things are minor grudges that he gets stuck on for no good reason just because it’s fun for him to get annoyed at them and rant. But this is more of a cc! part of things than in character one (tho all of Tubbo’s characters also have this trait more or less).

For me, I really think it’s because Tubbo is very frustrated with the Day 12 itself, and out of everything that went wrong Bad dying is the only concrete moment he can single out. Because Quackity dying doesn’t really count in lore because he wasn’t there really (which is such bullshit btw, this is my Day 12 Roman Empire, Quackity’s death SHOULDN’T have influenced the percentage) and anyone else wasn’t there either to do the quests, for objective irl reason, so q!Tubbo also can’t really be mad at them and also who would he be mad with out of everyone on the team absent? All of them? Choose a specific person?

Meanwhile Bad was there and he died after doing something Tubbo told him not to (note: this is neutral, I am not discussing right now the moment itself and how justified Bad going in was). So it’s a concrete thing that he can blame on the percentage loss without it being meta or ‘why are you mad at me and not the others who did the same’. And it was really hard emotionally day for him, the combination of cc!Tubbo (well, q!Tubbo too but for the sake of the point we will count it as more of a cc! trait) being very competitive and q!Tubbo genuinely believing that Soulfire is cursed and that they absolutely must win this day to tie (I am pretty sure he believed it was the last day that counts? But I might be wrong) or (later) to win the Purgatory and save all the Eggs (which was his one and only goal truly, he was really clear about not straying from it even when it felt that a lot of characters forgot what it’s all for). So he singled Bad out and concentrated on it as the sole reason they lost Day 12, seething.

Now, for cc!Tubbo it’s mostly a bit, even if he acts genuinely ’not over this’, he is just having fun. And q!Tubbo may still have this grudge, but overall it does not outweigh his newfound comradery with Bad and respect for him. But q!Tubbo is also very much a Negative Nancy, he LOVES to just rant about stuff that ‘annoys’ him and get on his friends nerves. Like he find a thing and just keeps pushing it (ex: Bagi’s ‘incest’ tendencies, everything concerning Fitpac, Phil’s age and a lot of other stuff, Foolish and ‘you made it awkward now’, etc) and Day 12 is his thing for Bad along with cursing/inappropriate jokes.

Do I think it’s fair to q!Bad? When /srs – no; when /lh – yes, because it’s funny. Do I think it can count as an example of how people keep blaming Bad for everything about Purgatory? Yes. Do I think it’s actually the same as with other characters? Not at all.

All the other prominent negative after-Purgatory characterizations of Bad are concentrated on him being a bloodthirsty monster that terrorized everyone (only partially true and definitely not unique to his character). Meanwhile Tubbo never really talked about Bad being a ‘monster’ in Purgatory (afterwards) in any negative light as far as I remember, it was always very neutral. Or at least not blaming him for it. His grudge is a completely my teammate did a dumb thing so I will forever remind him it. Which tho still unfair is not hypocritical when what other characters do.

Obviously this is just my take on the situation, everyone can perceive it a bit differently, especially because I am writing this as a Tubbo main, so my view on things is skewed towards him.

#liss writes posts #qsmp #liss answers asks #qsmp badboyhalo #qsmp tubbo #soul sacrificers

[carulenes]

an analysis of wolfwood’s characterization in trigun stampede as well as his connection to vash (+ why i believe he’s likely much older than we think)

okay i’ve been thinking abt this since eps 10 or 11 were released (this show became my special interest the second it dropped if i'm being completely honest) but its been scratching at my brain ever since i read the sakuracon radio interview and since i haven’t seen anyone talking abt this yet i figured i may as well because it’s clear they really did pull very extensively from the manga and i really am loving how they adapted his character. also i occasionally keep seeing the “tristamp wolfwood is a kid/is 14-15” takes which i need to at least try to help put to rest bc they make no sense given his other iterations and would actively make the story worse.

a quick tldr of my main points before i get on my very long winded soapbox:

wolfwood in trigun stampede has been used as an undying, unkillable soldier by the eye of michael for decades.

rollo as a character, as opposed to monev the gale, was designed specifically as a metaphor for wolfwood’s backstory.

wolfwood and vash are written to be literal complements to one another.

I literally don’t think I have the space to talk abt all my thoughts, and ofc these are all my personal thoughts so any and all of what i’m saying could be wrong, but direct analysis of eps 4-7 (as I think they’re the most important) and discussion of his trajectory in general under the cut (obvious spoilers for the show but also the manga as well as tw: discussions of suicide/suicidal ideation as well as the general tw list for the show's graphic content):

Starting first with a side point that Wolfwood was never a child at any point he was with Vash during thecourse of the story, including the manga. He has always been a man in his 20s, with trimax ww having the appearance of being in his 30s or 40s. It is absolutely crucial to his and Vash’s characterizations, as well as their entire dynamic together, that Wolfwood is an adult. Could make an entire separate post about this, but I feel like starting here is important.

Onto the sakuracon japan radio interview. The team gave a LOT of interesting insight into the development of the show, but one specific point stood out to me:

This is important, because I definitely missed it during the show’s initial run, but I think it’s REALLY obvious once you know what you’re looking for, and is a big factor in why I think he’s likely older than we realized.

————

EP 4: These are the very first lines that are said about him in the show, and the very first time we see him, he is absolutely exhausted:

We know that at this point, Wolfwood is likely on his way to Jeneora Rock to meet up with Vash to fulfill his contract...until Vash and co. quite literally slam into him (and his life) unexpectedly, nearly killing him with their van. He probably should’ve died except… he’s on his feet almost instantly, able to walk perfectly fine and being a jackass as though he didn’t get launched halfway across the desert by a moving vehicle. Which is… odd, naturally.

When they try to find help and instead find the dead couple, he specifically mentions that he isn't a priest like he's been in other iterations. He's now an undertaker, someone meant to guide others through their deaths:

His personality is hard to tap down. He's goofy and childish and downright unlikeable, and there's a hint of something lurking deeper, something menacing and potentially dangerous. So much so that Roberto is on edge the entire time their group is together after being swallowed by the Grand Worm, and flat out tells Vash that Wolfwood is untrustworthy and likely an assassin, "a man who can kill with a smile on his face". And Vash’s response is… really fucking weird, given how long the two have known each other:

not to mention he's wearing sunglasses Wolfwood is rightfully very ??? in response because, what the fuck is he talking about, and why is he so genuine about it, they just met???

Fast forward to a bit later, when Wolfwood is like "hey man, you really shouldn't be so trusting. I could've shot you in the back several times now." To which Vash is like "but you didn't, though." And Wolfwood is even more confused because is this guy stupid???

And then it's time for the final act: Wolfwood reveals his Punisher, destroying the Grand Worm while giving the illusion of taking out Zazie as well. Meryl was informed by someone that Wolfwood had been the one to save them all, but when she tries to thank him, he immediately shifts the subject, being annoying and arguably completely unlikeable. Roberto points out that Wolfwood had lied about who he was, trying to get Vash to realize that he still can't be trusted, and again Vash shoots it down: "We're alive because of him."

Wolfwood showed his role as the Punisher without hesitation, and not only was Vash not really phased by it, but he actually seemed to be inspired by him, stopping his self-destructive tendencies and even repeating his own words back to him. And that's the moment we finally learn his name in the show:

But then, almost immediately, we have a complete reversal of his scene with Vash in the Worm. It’s also of note that Zazie always specifically says human lives:

————

EP 5: One of the most important episodes in this discussion, and it starts with the name alone, "Child of Blessing". Here’s a very general summary:

A young boy in a much less than ideal living situation is chosen to be 'a blessing upon the world through his sacrifice', which turns out to secretly be mutilative experimentation on children in search of a subject compatible with a mysterious medicine that can heal any injury. The meds warp him, morph him into something that doesn't even appear to be human. He tries to return home, but his mother, the only family he knows and loves, is terrified of him. She calls him a monster, and the boy finds himself struggling to articulate who he is. Then, he wanders alone alone without purpose in that unchanging altered body, a body that can withstand lethal amounts of damage directly because of the meds, for at least 20 years. All he has is a single name: Vash the Stampede, the person who promised to save him, and the one person who managed to bring back his consciousness in the end, if only for a moment.

The moment Nicholas sees Rollo regenerate is the second the switch flips. He instantly demands to know what the fuck is up with him, and when Vash responds telling him that he was too late to give him the medicine he needed, Wolfwood shuts down, because he recognizes himself. From this moment until the rest of the episode, we are no longer seeing Nicholas D. Wolfwood; we're seeing Nicholas the Punisher.

Vash continues to push Rollo to remember who he is, while Nicholas continuously says that there's no way to save him, that he's already a monster now. In the final moments, Nicholas inevitably feels tasked with Rollo's death like the undertaker he is, and when Vash angrily demands to know why he took the shot, his response is:

When discussing Rollo's killer, Elendira refers to Nicholas by name, but Conrad specifically states that no, he is the Punisher.

In vol 10 of the manga, Vash thinks to himself: “I met a strange man. Just as I thought we had come to an understanding, I found that our core beliefs were opposed to each other. I was used to such situations, but I wonder how he felt.”

————

EP 6: This episode builds directly upon the foundations set by the episode prior. Child of Blessing ended with Rollo being referred to repeatedly as a monster, and this episode begins with Nicholas in the middle of completing a kill. Right before he does, his victim gets one final glance at his assailant, an inhuman looking executioner, and calls him a monster… directly because he will not die. He’s also been shown knocking back meds like tequila shots in tristamp, which we all know was NOT possible in the manga. During the flashback scene, Nicholas is literally called the Child of Blessing.

We see a very similar sequence with Nicholas that we saw with Rollo; the horrific torture, the bodily mutilation (during which Conrad specifically mentions that the drug will heal all damage done the body, as well as rebuild and strengthen the cells), and the attempt to return home:

Something different happens with Nicholas, though. Nicholas can't go home; he’s literally yanked away from his chance at freedom by Legato. Nicholas can’t go home, likely ever again in his mind, because Hopeland Orphanage and the Eye of Michael represent two fundamentally different ideals.

Hopeland (and thus Livio) is exactly like its name for Nicholas: it is is land of hope, the only place in the world where Wolfwood was allowed to exist freely. When Nicholas was taken by EoM, Wolfwood began to die.

The entirety of the EoM is shrouded in imagery of death and rebirth, specifically in regards to humanity. Humanity in this case has a dual meaning: humanity as a species, and humanity as a concept. Their philosophy is that the end justifies the means in that humans in this form will be preserved and would likely live exceedingly longer lives but, as repeatedly mentioned, there are side effects.

Aging and death are integral parts of the human experience, the two aspects of life that we ALL experience regardless of circumstance. Can you be human without humanity?

The message behind these two episodes is to show that the process of becoming part of the EoM is a metaphorical crucifixion symbolizing the death of one’s humanity. And Nicholas is interesting, because he’s almost the perfect specimen in their eyes and is treated as such. Almost. The only thing holding him back are the two strands of humanity he has left, both which are nearly destroyed in the very next episode.

————

EP 7: In the previous episode, during the animated flashback of Nicholas and Livio, we see a few scattered scenes of other people living at the orphanage. Interestingly, while almost all of the children are seen with very sparse detail (or even none really at all), there is one person, the caretaker, whose face we get a pretty clear picture of. At the very beginning of this episode, we have the first and only shot of the inside of the orphanage in the usual style. While none of the children are familiar and actually aren’t incredibly distinguishable from one another, there is one figure in the room with recognizable hair, but looks considerably older than in the flashback:

During the majority of their interactions, you don’t see Nicholas and Livio interacting with any of the other children. They are simply a background, a set piece to the story and a representation of just how other they were forced to become.

This episode features them fighting each other, dealing each other what should be mortal wounds, but somehow remain standing, as though they’re perfectly fine. As if on cue, the soldiers stationed call them both monsters and run away in fear.

But Vash doesn’t run from the danger. He runs towards it.

Nicholas tries to stop him, and all he gets in return is “he’s important to you, isn’t he?” as though that’s enough. But it is enough for Vash. And Nicholas doesn’t know what to do with that.

Nicholas comes dangerously close to giving up, to giving into his role as the Punisher and killing the last bit of Wolfwood to do so, but it’s Vash who stops him. He diverts his shot and, instead of hurting Livio, literally frees Nicholas from Legato and Zazie’s trap. Vash tells him to make him remember, and Nicholas thinks it’s bullshit… until he doesn’t.

And when he finally relents, when he tries to emulate what the silly blonde idiot keeps screaming at him about… It works. For a moment, but Livio does wake up for a moment. Nicholas hadn’t been able to see Rollo, but he did see this. And he really doesn’t know what to do about it.

To drive the point home, Livio drives a bullet into his own head and falls to the ground in a scene very reminiscent of Rollo’s death… but is implied to still be alive. With him saved, now it’s time for Hopeland. And this is when the narrative really turns a focus to the balance between Nicholas and Vash.

The group is half convinced that they’re about to die snd that the town will be destroyed when, all of a sudden, it’s Nicholas who’s yelling that they have to do something. Because despite all the noise Nicholas makes about self-sacrifice and calling Vash a weirdo, he’s directly inspired by his energy, which is proven correct when Vash is the first one to side with him.

Then, somehow despite the odds, the two of them manage to work together to stop the ion cannon. Which should have been impossible. And because of this, Nicholas is finally willing to give Vash the chance to take the lead on things.

When Vash and Wolfwood discuss their plan to save Hopeland, and after they argue about which method is the correct one, the conversation they have is probably the clearest depiction of Nicholas’ inner struggle:

Nicholas: Have it your way. Just for today. I do owe you one… but if the orphanage doesn’t survive this, I’ll hurt you so bad you’ll wish you were dead before I kill you.

Vash: Wolfwood…

Nicholas: Shut up! I’m the Punisher! I’m not like you… I’m Nicholas the Punisher…

He murmurs the last line as though he’s trying to convince himself. He uses his persona as the Punisher almost like a mask, like a cat puffing up and hissing to deter predators. It’s a defense mechanism, and a trauma response. Except.. it still doesn’t work, because the entire time Vash is simply not listening. Regardless of what Nicholas says, Vash does not stop fighting Nicholas on the title that was forced on him by the EoM and, in fact, blatantly rejects it. And the moment Nicholas finishes speaking, when he declares himself to be the Punisher, the episode’s title card finally appears: Wolfwood.

It's a direct representation of this panel of Nicholas' inner monologue from the manga:

——

Nicholas and Vash’s roles as each other’s complements is emphasized very deliberately when the two work to stop the sand steamer from smashing into Hopeland. These screenshots occur one directly after the other:

Another detail the team mentioned often during the interview was attention to use of color. In color theory, blue and orange are complementary colors: hues that are opposite each other on the color wheel but, when used together, come together to create harmony and balance. Additionally, Vash is the character typically associated with warm hues, while Nicholas is paired with colder ones; with the colors flipped, it’s almost as if they are literally mirror images of each other.

The two are in the same position, in the middle of similar actions, both drawing strength from that which makes them “other” in order to work together to protect a common goal. And once again, miraculously, they succeed, able to do together what neither could ever have done together.

This mirror motif is even clearer when comparing these respective scenes from each of their respective backstory episodes:

For Nicholas and Vash, on top of sharing such a crucial common thread in their backstories, often in the show they are seen together, either side by side or back to back. Often they’re shown doing the same thing at the same time, almost as though they’re moving as one. And they consistently save each other over and over again, with Nicholas acting to save Vash physically, and Vash working to protect Nicholas’ psyche. Vash refuses to let anyone continue to see themselves as a monster, as lesser than, in much the same way Nicholas refuses to let anyone else be used as one.

They are a pair, a unit working together to create a force that is stronger than the sum of its parts.

They are both “other”, they are both different, and they both seek to protect the things they love and care about despite the excruciating pain it can put them through.

Nicholas and Vash’s entite dynamic is basically “I don’t understand you, but I recognize you. I recognize myself in you. And somehow, that’s enough for me to trust you.”

————

So with all this in mind, here is how I’ve come to understand Nicholas’ arc throughout tristamp:

When we first meet Nicholas D. Wolfwood we meet a weary man longing for death to save him, longing to be free from the purposelessness of his life but knowing the hope is futile. He works for the Eye of Michael as an assassin against his will and has for God knows how long. Not only is he no longer a priest, but he’s no longer religious at all, having no belief in God at all and a particular disdain for the false promises and hopes of salvation that are portrayed by it. He doesn’t care about the clothes he wears, whether he looks messy, whether it’s suited for the desert, because he literally doesn’t care about anything, really. He has no home, and can never go back to the orphanage— there’s likely no one left there that he knows anyway, and even of there were, they wouldn’t recognize the monster he’s become. Nicholas is tired, he’s angry, he’s potentially depressed. He fights impractically, sometimes leaving himself open to attacks he could probably block with his Punisher, but he just doesn’t care. He’s just here to do his job, which is to escort his piece of shit CEO’s assumedly equally piece of shit brother to him so they can destroy the world together and he can hopefully die off in peace.

Until he actually meets Vash, and he’s… really fucking weird. He’s dumb and naive and acts like he knows Nicholas on some deep level after they’ve just met, but… he’s not a bad guy. Just another crybaby who doesn’t understand the world. He can see the Punisher and not be frightened by it. That means something, means enough that he feels that he can introduce himself now. He still doesn’t know how to handle kindness, so he deflects whenever it’s shown to him, making irreverent jokes and being annoying in order push people away. But then he meets Rollo and has a flashback to himself. He learns that Vash is no stranger to false promises, has sold the same thing to the kid who ended up just like him, and yeah, Vash is no better than the EoM. He talks a big game but doesn’t actually know anything. Nicholas kills Rollo out of mercy because it’s what he wishes could be done to him; every day of living his life is torture.

But then his hometown and childhood best friend are suddenly in danger. He’d completely forgotten what it felt like to have something to lose, to protect. And without planning for it, Vash also becomes something to protect, because even if he doesn’t act like it, Nicholas desperately wants to believe in him. He doesn’t want the EoM to be right. But the feeling of having something to protect is terrifying, because it means you have something to lose. Nicholas gets incredibly stressed out by this, because it’s been so long that he doesn’t even remember what it feels like. But it’s enough to get him, for likely the first time in a very long time, to hope. And it’s Vash who helps him so that he’s able to hang on to that hope for a little while longer.

He still can’t get too excited, because he hasn’t actually finished his job yet. Before he does, though, he sees Vash’s scars (which was a deliberate choice, as in both the manga AND the og anime this scene went to the girls) and wow, if it weren’t for the regenerative properties of the drug, he would likely look the same. He drops Vash off with Knives and knows that Vash will likely be killed, but he’s also expecting to die himself in the fallout, so it doesn’t matter, really. Except for some reason, it does a bit. And then, yet again, Vash miraculously doesn’t die, and in fact changes the game and actually looks like he might stand a chance against Knives, and is clearly willing to die to do it.

And then July is destroyed. But, miraculously, Nicholas isn’t dead. He still finished the contract, but now… now what?

The show began with Nicholas at his lowest, and ends with Vash at his lowest point. And Nicholas owes him one.

————

INCREDIBLY long story short, it really is clear that they weren’t kidding, the team really drew SO MUCH inspiration from the themes trimax it’s unbelievable and I really really think we’re in for something incredible during the second phase. I also think it’s gonna hurt like a bitch.

#trigun stampede #trigun #trigun 2023 #nicholas d. wolfwood #nicholas the punisher #tristamp #tristamp wolfwood #vash the stampede #tristamp vash #this had no reason being this long but fuck it we ball and i was off work and had the time anyway #neurodivergency go brrr ig idk but like i really haven’t seen anyone mention any of this #and like it really is entirely possible someone did but like i Need to discuss it

[galadrieljones]

Daryl's Arrows: Symbolism, Pt. 1 (Green and White)

It has been a while since I've made a TD post. I'm hoping to make a comeback these days, and in my first attempt to do that, I'd like to talk about a topic I've been paying attention to for several years now: the symbolic nature of Daryl's arrows.

Daryl's arrows change color over the course of the series, as I'm sure you've noticed. In the past, we've seen colors and color combinations including red, yellow, green, white, and black. Sometimes they're dirty. Sometimes they're tattered. Sometimes they're pristine. Sometimes they're seen and not used. Colors in TWDU always mean something, and Daryl's arrows are no exception. In this series of posts, I want to look at how Daryl's arrows are used as foils for his psychological state, and how they often reflect his relationship and symbolic proximity to Beth. As one of the most visually compelling characters in the series, Daryl and his vast inventory bear many clues in terms of how he feels and where he's headed. With Daryl, who is a stoic character, what we see is often much more important than what we hear.

First, just for reference, in case you're unfamiliar with the anatomy of an arrow, I'll be referencing two key parts in these posts: the FLETCHING (or feathered "wings" around the back of the arrow), and the NOCK (the, often colored, slotted tip at the end of the arrow, opposite the arrow point, aka the arrow tip, or arrowhead).

The changing color of Daryl's arrows is not confined to just the fletching. His nocks change color as well and are equally important.

The Prison: Green

As is everything with Team Delusional, this analysis originates with Scott Gimple, and like so much else we are still striving to understand, episode 3.12 "Clear."

If you look closely at the shot from above, you'll see Daryl's *new* crossbow, leaning against the gun rack on the righthand side of the screen. Daryl begins the series with a much simpler design. The pictured more advanced compound crossbow is given to him by Michonne and Rick, after they bring it back from Morgan's cache, which is like Gimple's magical well full of hints and symbols. Beginning in the very next episode "Arrow on the Doorpost," Daryl trades his old crossbow for the new one, which he will use *almost* (more on that later) exclusively for the remainder of the series, and which he still uses now (or did up until recently, when he lost it in Portland, ME).

Daryl's *new* crossbow (pictured above) is special, because when it's given to him, it contains arrows with special, alternating green and white fletching, as well as green nocks. It's important that this crossbow and, more specifically, THESE arrows, are gifted to him, as opposed to being choices he made for himself, and I will talk more about choices soon.

"Clear" immediately follows the mini-arc in season 3 in which Daryl leaves the prison with Merle and then returns. The theme of coming "home" is pervasive in TWDU, particularly with Daryl, who, for much of his character arc, has seemingly been without one. Further, the act of making a decision to settle down, to stay in one place, to commit himself has unabashedly occurred to Daryl only two times over the course of the series: 1.) In the episode "Home," when he chooses to return to Rick and the prison, even if it means leaving Merle behind, and 2.) in the episode "Alone," when he chooses to stay and to "make it work" in the funeral home with Beth.

Every other time Daryl has decided to "settle down" or to "stay" somewhere, such as Alexandria, the Commonwealth, and the Nest in France, it's either been because of inertia, coercion, obligation, or some combination of the three.

Perhaps you can see by now that Daryl and decision-making are important factors to this character analysis. The truth is, Daryl is a passive character. He doesn't make many decisions that are driven by a strong internal motivation or code. He makes decisions because they're easy, because they're what he *should* do, or because they're what someone else told him or asked him to do. Very rarely does Daryl make a choice based on his own desires or his own code. He is reactive at times, ie: He makes emotional decisions driven by rage, revenge, annoyance, etc.. But these are not deliberate choices. They are passionate, in the heat of the moment, and he may even come to regret them or to change his mind.

We can see this clearly at the end of Daryl Dixon season 1, in which we really have no idea whether Daryl desires to stay in France or if he desires to go home. We don't know if he's going home simply because he thinks he should, or because he truly wants to, or because he just has some chip on his shoulder about staying. We don't even know if he considers the Commonwealth, or Alexandria for that matter, to be home, because he didn't choose either of those domains for himself. They were chosen for him, and he's just sort of been drifting in and out ever since. If anything, in the first season of DD, we learn that Daryl seems to be a man without a home, and a man without strong motivating factors to make choices, or to act.

We learn in Daryl Dixon that one very important potential motivational factor for Daryl that is entirely missing from his life is that of a family of his own. And no, I don't mean friends, or found brothers and sisters, or nieces and nephews. I mean a wife and children (his OWN children, not Rick's children).

SO what does this have to do with Daryl's new crossbow? Well, first of all, Daryl's crossbow is gifted to him, a bit of "supernatural aid" to help him along on his hero's journey. The arrows, as well, are a gift. In the second half of season 3 and the first half of season 4, we see Daryl display unprecedented feelings of happiness and a focused purpose. He is given this chance, but ONLY once he chooses to stay.

In 3.10 "Home," Daryl makes his first major choice, which is to return to the prison, aka to return home. Once he starts using his new crossbow, he will then use the green and white arrows exclusively for the rest of season 3, all of season 4, and some of season 5 (until the episode "Spend"). The one major common denominator to this run is his proximity to Beth.

The color combination in these arrows is green and white, which parallels clothing and jewelry worn by Beth in the first half of season: Beth's earrings and her outfit in 4.1 "30 Days Without an Accident," and Beth's outfit in 4.2 "Infected."

The "Beth lookalike" dead girl in "Infected" shows an interesting juxtaposition as well.

In 4.4 "Indifference," one of my favorite examples of foreshadowing for Daryl and Beth, in a scene in which Daryl's arrows look very green against the verdant landscape, Daryl finds a rare piece of green jasper on the ground. As he's cleaning it off, Michonne initially responds suggestively, smiling, as if she knows something we don't. She says, "It's a good color. Brings out your eyes."

Daryl responds quickly, correcting her to say that it's for Mrs. Richards, who has become ill. But this surprises Michonne. That's clearly not who she thought it was for.

The piece of green jasper that Daryl finds looks suspiciously like the stone Beth wears in her earrings. Toward the end of the episode, Daryl can be seen studying the jasper pensively in the car while the rest of the team gets ready to go. This moment is rarely discussed, but I believe he is actually thinking about Beth when he holds the jasper that day, ready to return home from a long, hard journey. I also think Michonne might have known that something was going on. Of course, we may never know the truth on that, but Michonne is a romantic character, and if anyone was going to notice Daryl's feelings for Beth, it might just be her.

Remember that green jasper is rare. It was chosen here for a reason. It is viewed as containing powers of protection and healing, as well as relief from obsessive behaviors and compulsions. You can read more about the properties and historical significance of green jasper here.

In any case, the color green is, of course, easily attributable to Beth, whose last name is green. This is specifically true when it's seen around Daryl. When it's seen around Rick, we might alternatively associate green with Hershel. But while Hershel might be Rick's "Greene," Beth is Daryl's "Greene." And when Daryl's arrows "trend" green, that means that her story and her relationship to him is creating psychological friction with his character on screen. It means, not only that she is "with" him, but that he accepts her there, and he is still the man he was trying to be at the time that he first chose the prison, and the time after the prison that he spent with her.

The connection between Daryl's arrows and Beth begins literally, but after "Coda," the connection becomes symbolic. We'll get there soon.

I also do want to point out that though this connection is somewhat subtle in season 3, once we get to season 4, with Gimple at the helm, the connection becomes much clearer and more overt. This supports the hypothesis that Beth and Daryl are Gimple's "pet" creation, something he always wanted to explore but never could, because they and their relationship are not a part of the comics. But via Daryl's arrows, he is able to keep their relationship alive in the background.

After the Prison: White

After the prison, when Daryl and Beth are physically together, and then we transition into Daryl's search for Beth in Atlanta, Daryl's arrows remain the same: alternating green/white; however, some unique shifts occur, in terms of emphasis.

Here's a shot from "Inmates," as Daryl pulls an arrow out of a walker's head near the train tracks.

This shot is from "Alone."

And here's one from "Consumed." This is one of my favorite shots of Daryl in the entire series.

In all of these shots, the arrows, which alternate green AND white for fletching, are specifically arranged in front of the camera so that the fletching looks entirely WHITE. White arrows are angelic in nature, protectors. They accompany Daryl and Beth’s discovery of the deceased innocents from the bus, imploring faith that not all hope is lost, as some of the children lived. They accompany Beth as she shoots Daryl’s crossbow near the cemetery, once again calling on us to "have a little faith," as even though Beth is caught in a trap, she is rescued by Daryl. And as you can see in the shot above from “Consumed,” the two white arrows literally resemble the wings of an angel, balanced delicately on Daryl's shoulder as he gazes out over the city, eventually seeing the Grady van in the distance, a major clue.

Note that per the "Consumed" shot, we see this same arrangement, double-white, from two separate angles, showing its purposeful nature. The first, just Daryl from the side (above), the second, both Carol and Daryl, head-on (below). Though they mirror one another in body language, Carol looks down, unsure of her fate. Daryl looks straight ahead, a man of conviction.

In "Consumed," Daryl is communicated as a hopeful, motivated man, helping Carol through her crisis of faith and disconnection from her purpose and identity as the two of them search Atlanta for signs of Beth. He finds and takes the book about overcoming child abuse, a clue that he is making conscious choices to get better, and he is entering a real path to renewal and self-improvemet, all thanks to his time with Beth. Note, too, that angels do not only flock to Daryl via his arrows. He is also protected in the falling van, by the crucifixes on the back windows, and the holy Mother Mary, watching over him from the dash. In the shot below (right), you can also see, once again, the duality of body language between Daryl and Carol. Daryl is braced, staring straight ahead, ready for anything, while Carol, in her crisis of faith, breathes heavily and cowers in fear.

Carol endures bad injuries from the crash, which are worsened when she is hit by a car. Daryl, however, emerges without a scratch. This theme of protection and indestructibility, for Daryl, will return in the future. In the episode, Carol tells Daryl that he has "become a man" now, and we see him perhaps as driven and committed to any cause as he will ever be. That cause is finding Beth. You can see this once more very clearly in the final shot of the episode, in which even Noah notices, looking at him like “WTF did I just walk into?” For the third time, too, we see Daryl noticeably squared up, facing straight ahead in the shot, showing commitment and determination, while Noah's expression is unsure.

Also, if you look closely at the shot above, you can see, one more time, a single white, angelic arrow, perched just above the dash.

Daryl shoots one more white arrow over the course of the series, but it's not for a very long time. In 6.15, "East," just before the group is ambushed by the Saviors, Daryl, angry about Denise, having had his crossbow stolen by Dwight in 6.6 "Always Accountable," goes out searching for Dwight to take his revenge. In the scene, Daryl wanders a clearing as the bright sun shines down upon him, directly reminiscent of the sun coming through the trees in "Them." So reminiscent, in fact, that it is the same exact shot, just inverted both horizontally and vertically and adjusted with a red filter. Quick aside: Below, you can see the original two shots, the lefthand shot from "East," the righthand shot from "Them."

Now, here are the shots again, with the shot from "East" on the left, inverted once, horizontally and vertically. You can also see the red in how it colors the light filtering through the trees. This communicates that since Beth's death, which he was directly morning underneath the tree in the shot on the right, Daryl's character has been "upside down." He's messed up. What was right is now wrong, and what was wrong is now right, and his descent lies ahead.

Michonne, Rosita, and Glenn come after him, to try and dissuade him. When they do, Daryl shoots an arrow right past Rosita's face and into a tree. That arrow, the last of the green/white arrows we will ever see, appears entirely white in his hand and foretells that in the confrontation to come, Daryl, unlike two of his brethren, will be spared.

In my next post, I'll move on to Daryl's red arrows, focusing on Noah's death, 5.15 "Try" and 5.16 "Conquer," as well as 6.6 "Always Accountable," Denise's death and what this all means. I believe that, over the seasons, Gimple has found small ways in which to show that Daryl has been continuously protected by Beth's presence, but that, in his darkest hours, he is not always eager to accept it. 💫

I'm going to tag some other TDers in these posts, just for reference. If you'd like me to tag you in future posts, please just comment here to let me know, and I will! ❤️

@wdway @twdmusicboxmystery @frangipanilove @angelthefirst1

#the walking dead #team delusional #bethyl #beth greene #beth is alive #beth is coming #Daryl's Arrows

[lizzybeth1986]

Maxwell and Penelope: When You Like Your Side Character So Much, You Gift Her a Shiny New LI

Series - TRR's Alternative LIs: The Romances that Didn't Happen

Previous - Liam and Olivia: When You Prefer the Side Character to the Main

A/N: There won't be a lot of exploration on Maxwell x Penelope, as there is very little the pair gets in canon. I will be largely looking at their individual characterizations and the changes and retcons made there. There will be a lot of exploration on Penelope x Ezekiel.

CW: Mentions of Penelope's actions as part of Constantine's nefarious plot against the MC in TRR1 & 2, mentions of Penelope's social anxiety.

(Screenshots from the Skylia YouTube Channel, Drake playthrough)

Compared to the other three alternative romances, Maxwell x Penelope turned out to be a bit of a one-chapter wonder. It was extremely short-lived, and the only indication that it had ever happened was one conversation between Penelope and the MC in TRR2 Ch 6, after which there is no reference to it, ever again.

In my mind there are two major factors behind this pairing being left behind, which I will get into later in this essay. However, what I find even more interesting is what the narrative and the writing team did with Penelope after they set aside that subplot. What did TRR3 give her in lieu of this alternative romance, and why, and what does it tell us about the narrative that she alone got that?

But before we can get into that, we need to look (separately) at how Maxwell and Penelope were written in TRR1, and how it culminated in the characterizations they got by TRR2.

The Evolution of (White) Side Characters

One thing that fascinates me about TRR1 is the trajectory of some of the characters, when you observe them on rereads. We often go into those rereads with a strong impression of their character type (or stereotype), before we learn to our surprise that the initial writing doesn't always match the image we carried in our heads.

In the case of some side characters, we may find traces and hints of a totally different characterization, before the team zeroed in on a trope or characteristic that may have hit the right chord with the audience. When done right, this could result in a more rounded character. But in the wrong hands, the writer may keep falling back to that one trope that made the character click, and turn them into caricatures instead.

Maxwell and Penelope are representative of different tiers of side characters, at least in TRR1 - which means that what we may expect in terms of treatment will vary as well. Even before TRR2, Maxwell was more LI-tier adjacent; until he got his LI-upgrade in TRR2, he was a frequent presence in the story and the MC's life, enough that his fans started a "Make Maxwell an LI" campaign. Penelope (along with Kiara) was a far less important character with infrequent appearances.

So of course their trajectories wouldn't be the same. It's interesting, nonetheless, to see how the writing changed over the course of the series, what parallels or complementary traits made the team consider Penelope as an alternative for Maxwell by TRR2, and why they ultimately let go of the pair after one chapter.

As we go through these stories, I think I'd like my readers to keep one thing in mind throughout - Penelope is an anomaly as a character. There are very specific things she is given that at least one other character in the same position doesn't get. Why?

I might not be able to give the answer in this specific essay, but I do think it's a question we need to keep asking ourselves as we go through her story.

Maxwell and Penelope - TRR1

A truly interesting thing about Maxwell was that he was initially not even conceptualized as a prominent character in the books! In their promotional interview for TRR2, Kara mentioned this about the creation of his character:

Excerpt from The Royal Romance: Book 2 interview.

Maxwell was initially conceptualized as a fun foil for Bertrand, the MC's tentative guide for the social season - who the writers considered too stiff and boring to stand alone as a character. Owing to his proximity to both Liam (close friend) and the MC (sponsor), it made sense that Maxwell was a part of the group scenes from the jump.

Going by the interviews, clearly Maxwell's 'fun nature' was his main USP for the writers. TRR1 does try to balance this aspect of his personality with scenes where he shows perceptiveness (such as pointing out opportunities to ally with Kiara or Penelope), but as time goes on he is viewed more and more as the 'funny guy' of the group. He also has a side-story connected with his older brother, who isn't very impressed with his work during the social season (tbh, for good reason!). This side story allows us to view him with sympathy and perhaps overlook all his failures as a sponsor (and there are many examples of this throughout TRR1. Most of the opportunities to connect with the main LIs emerge from all the times Maxwell failed to adequately guide her - teaching her the Cordonian Waltz, explaining the significance of the Regatta Race, finding the right tents, telling the MC to get swimwear for a beach party!).

Of course, because TRR2 (where the Beaumonts are her staunch allies from the jump, even before the LIs return and pledge their support shortly after) and the "Make Maxwell an LI" campaign created such a strong impression on the fandom, people remember him most as the "person who was always there for the MC".

Though he doesn't become an LI in TRR1, we do get our first ever hint of the possibility midway through the book:

(Screenshots from the HIMEME YouTube Channel)

Most of the people I know joined the TRR fandom either in the middle of Book 1, or after Books 2 or 3 - therefore, much of what I'm about to say next is down to conjecture. It is possible that either some stans did pop up in the initial chapters, resulting in the hint in Ch 8, OR that the writers tentatively teased this pairing with the dialogue at the Lythikos Ball, and were gratified enough by the response to continue teasing it. By TRR1 Chs 10 and 11, there was already plenty fanfic on Maxwell x MC. The writers were clearly encouraged enough by the response to toss a few more hints (the MC asking Maxwell about taking his shirt off at the beach, the implications of the MC telling Maxwell she is falling for someone else). Before the fandom knew it, Maxwell had already become the beneficiary of two diamond scenes focused on him in TRR1 (a flashback scene that introduced Savannah, and having fun sliding down banisters in the finale).

Penelope's trajectory in Book 1 didn't experience as meteoric a rise in popularity, but there were changes made throughout the series until she did become somewhat popular. Her trajectory could be categorised in three parts:

1. A minor noble who was very poised and proper (snobbish, if you weren't fitting in well enough)

2. Adorable ditz

3. The lady with social anxiety (TRR2)

From their entrance in TRR1 Ch 3, both Penelope and Kiara were written as extremely minor characters compared to the three frontrunners (and one female LI) of the social season. They accept early on that they don't have much of a chance in the competition, and are the first contenders (barring Hana) that the MC can get on her side. They represent the opinions and mindsets of the royal court.

Because of this, Penelope and Kiara initially appeared almost indistinguishable from each other. The only thing that seems to set them apart is perhaps the introduction Olivia gives at the Masquerade, pointing to Penelope's lineage and Kiara's linguistic skills and diplomatic pedigree. She was the titled one, Kiara was the "smart" one.

(Penelope's scenes from my failplay, in order:

1 & 2: Ch 3, while speaking about Olivia's connection to the Prince, and if you ask her and Kiara why they allow Olivia to call them 'harpies'

3 & 4: Ch 4, Penelope's response to the MC saying, "Penelope, hands off my man"

5 & 6: Ch 6, if you don't fall in line behind the Queen and bump against her instead

7: Ch 6, when Olivia is shocked that Liam chose the MC

8: Ch 8, reaction to Olivia kissing Liam)

Penelope's early scenes in TRR1 didn't showcase the traits she is now so well-known for. She wasn't the "adorable ditz" until the Applewood chapters; in fact her scenes in the first half often showed her as poised and very proper. At the Masquerade she calmly points out to the MC that there is no reason to be offended, when Olivia bluntly declares that no one else has a chance with Liam. She expects decorum from the MC when she cuts in during her dance with Liam, and even comments on the inappropriateness of some of Olivia's behaviours and cautions her when she gets a chance. If your MC makes mistakes in public in certain scenes, Penelope doesn't hesitate to laugh at her.

Her allyship scene in Ch 10 hinges on the MC's ability to convince Penelope of the advantages of supporting her, and rescuing the lady from a crab bite. She is extremely rude in certain options, and ends their conversation with the sentence "I'm not nice" if she isn't convinced the MC is worth supporting. In fact, she is allowed to call the MC a commoner wench in a certain dialogue option!

(Screenshots from my failplay. The top half shows a response to one of the MC's dialogues (she is merely sad if you choose the second one). The second is the end of the conversation when the MC asks for her support)

In a failplay especially, she can be very, very mean-spirited, which is truly ironic given her later characterization as someone who is herself uncomfortable in court and makes more than her fair share of silly mistakes. Fortunately for most of the players, the more "positive" version of the scene sounds a bit more like she's scared and uncomfortable and not equipped to handle the rigors of court. Which makes the "adorable ditz" direction that PB takes, post Regatta, a bit more believable.

Once Penelope is no longer a contender, both she and Kiara recede to the background. You don't see much of her in Applewood and Ramsford, but the little you do see primes us to view her as "sweet and silly" with a bit of a poodle obsession. Two very good examples of this is the "cheating scene" at the pie competition (TRR1 Ch12) and the aftermath of the Beaumont Bash (Ch 16). At the pie competition, Olivia and the MC can team up to distract Penelope so they trick the rival team into adding salt in their pie instead of sugar, by getting her to talk more about her poodle obsession. At the end of the Beaumont Bash, she is shown exchanging drunken chatter with a horse. The book also makes her preoccupation with poodles way more obvious, where before it was brought up only once at the Masquerade Ball.

Discrepancies between portrayals in the first book vs the latter ones is par the course for TRR. Every character has those in some way or form. Maxwell's story in TRR1 and 2 at least could make sense with enough headcanons to fill in the gaps (for why he was inefficient in his support of the MC, for why his relationship with Drake was so fraught) and his characterization is a little bit more consistent. But Penelope's, on closer observation, is a complete mess and her story doesn't make any sense when put together.

Maxwell and Penelope - TRR2

Compared to the other three pairings, Maxwell x Penelope doesn't go beyond a single chapter.

(Screenshots from Skylia's YouTube channel)

This solitary hint pops up in TRR2 Ch 6, right after the Big Clue about Penelope's social anxiety. We're given the usual options one gets for alternative LIs - a "matchmaking" one, a gently discouraging one and an insulting one, the last two of which could be read as jealousy from the MC's end. In fact, the MC's third dialogue option in this scene is so mean spirited that Hana is required to soften the blow!

There's something interesting about the matchmaking response for this scene, and I think it says plenty about the writers and the lasting impression of these characters they wanted us to have.

"You're both a bit silly...but in a way that works." It's a reading of Maxwell and Penelope that leans very strongly into their potential as comic relief, that views the two characters as alike. Both "cute", both "silly", both there to give the characters (and readers) the occasional laugh.

Is this completely accurate to their characterizations in TRR1? Probably not. But it's clearly what the writers imagined would work well for those characters.

Interestingly, TRR2 is also where the team seems to experiment more with these two characters, and finds the characterizations they think would land with the audience. Maxwell's changes are related more to the belated buildup the narrative was giving him to be an LI, and most of Penelope's was related to her role in the plot against the MC. Maxwell is given more heroic traits (eg. the Savannah storyline and his involvement in the investigation) to beef up his story a bit, and plenty of hints are scattered specifically to tease a romantic route with the MC for more than half the book. The narrative also leans far more into his position as comic relief than TRR1 does, making it his most identifiable trait.

There are tiny nods to his "perceptiveness" (Liam mentions it twice in TRR2), but he does a lot of things that you wouldn't see a TRR1 Maxwell do, like tossing a bruschetta at a foreign dignitary or playing with food to get the forgiveness of his friend (btw the Drake Maxwell friendship reads very differently from the first book; they're remarkably chilly in their vibes towards each other initially. Of course, one could headcanon what caused a rift, but that's still us doing the work instead of the writers!!).

Because so much time has to be spent bringing Maxwell's romantic route up to speed with the rest, the progress of the relationship is different from the other three and his romantic scenes cost less (until TRR3 Ch 10, his first 30 diamond scene). Much of this is par for the course for an LI who has entered the game late. In addition, the narrative also tries in TRR2 and 3 to balance his role as the MC's sponsor with his new role as LI, and it doesn't always land (eg. his excitement for Liam's proposal to the MC two chapters after becoming an LI, or his weirdly impersonal reaction in the TRR3 Ch 11 Armory diamond scene in his playthrough, in response to Madeleine mocking Liam for the MC favouring Maxwell). In part this is a result of laziness from PB's end, and in part it's because navigating Maxwell's new role itself may have been a tricky business.

Penelope's TRR2 trajectory, in contrast, is the textbook definition for "throw spaghetti against the wall and see what sticks". Hints of her involvement in the plot don't even show up until Ch 6, just one chapter prior to the reveal. The reasoning given for Penelope's actions in TRR1 - social anxiety - also directly contradicts what is shown of her during the timeline when she was supposed to have been involved in the plot. TRR1 Ch 14 and the Coronation at the finale shows her acting calm, collected and enjoying herself. A lot of Penelope's actions in TRR1 and 2 - esp at the Coronation and in Fydelia - cast an extremely poor light on her when you take into account that she knew the MC was innocent, and that she'd played a part in framing her. From the way the reveal of her condition was done, and the way we're expected to brush her wrongdoing aside immediately, it's clear that Penelope's "social anxiety" was more about tossing in a last-minute Hail Mary to excuse her actions, rather than any real interest in exploring the subject.

Given the sloppy execution of this reveal, it is entirely possible that Madeleine could have been the "lady" in initial drafts (the strongest evidence of this is TRR2 Ch 1's "constitutional clause", which is never referenced again once Madeleine is no longer a suspect), and they made a switch in the nth hour.

It is also possible that writers in the team liked Penelope enough that they wanted readers to still like her after she'd betrayed their MCs. She hasn't been referenced or mentioned in any team interviews, but the writing speaks for itself. No matter what she's done, the narrative insists the MC center her, sympathize with her, and coddle her. I will speak more at length on how in the TRR3 section.

Why did Maxwell x Penelope Not Take Off?

(The first three screenshots are from the Abhirio YouTube Channel, and the rest are from the Radiance Guardians YouTube Channel)

Unlike in the case of the other pairings, not a lot was said in the fandom about this pair either way, even among Maxwell stans. You did have the occasional "hands off my man!" post from a Maxwell shipper, but not to a great extent. At this point many of them were still unsure whether a Maxwell route would be finalized, and even kept Liam as a standby in case all that teasing from the team came to nothing.

Again, most of the theories for why this pairing had just one scene are mere conjecture, since there isn't much evidence overall. But looking at the placement of this scene and what happens before and after it, I can think of two possible reasons why it was nipped in the bud:

1. Maxwell being a late-in-the-game LI could have made balancing an actual romance route and interactions with an alternative love interest tricky in the long run. As it is, his writing was subject to gaffes and mistakes in TRR3 even without this added storyline. It's possible they decided to just ensure that they got Maxwell to the point where he could have his own 30-diamond love scene (which happened in TRR3 Ch 9 btw (half a book after Drake and Hana got their first 30-diamond scenes), and not focus on anything else.

2. This teaser scene came up in Ch 6. Ch 7 is when Penelope is revealed to have tricked Tariq into coming to the MC's room, and paid the photographer to take intimate photos of her. Now to be fair, the narrative does insist she be sympathized with rather than judged. But I do think a subplot like that would automatically make her an unpopular candidate for any LI, much less one who hasn't even been clearly established as an LI yet! Having Maxwell fall for a woman who did the MC dirty wouldn't reflect very well on him, social anxiety or no. In fact, in Ch 8, Maxwell's reaction to the news is the strongest - he calls Penelope "a few dogs short of a pack", "downright diabolical" and even suspects she was lying about having poodles.

3. It is just as likely that Maxwell x Penelope was never a serious consideration for the writers in the first place. Possibly, Penelope's scene here was simply another hint in a rising pile that teased a Maxwell romance route. Players often do get an added pleasure from watching their MCs mouth a catty dialogue or two to a romantic rival, so this scene may have been more for the benefit of a Maxwell stan who wanted to "fight for her man" rather than an actual possibility if he wasn't getting picked.

Whatever their reasons, Maxwell and Penelope's chances as a couple ended pretty much in the same chapter that it began. It didn't create much of an impact, and no one really seemed to notice this pairing, or the lack of it. It basically started and finished with a whimper.

TRR3 and Beyond - Penelope and Ezekiel (ft. A Flanderized Maxwell)

Penelope is an anomaly among the side characters (and even among certain mains!) in both series'. She is the only person seriously involved in the plot against the MC, who needs massive coddling to even answer our questions about her betrayal (if not, Hana has to take over for you). She is the only lady-of-the-court who can refuse to attend your wedding. She is the only lady-of-the-court who can choose to travel with the entourage to another duchy, despite not being part of the Unity Tour. She is the only one among the three former ladies-in-waiting who can openly complain about Madeleine's bullying, and expect protection against her from the group. Until TRH2, Penelope was the only side character for whom massive divergences in the narrative would be made as well, to accommodate her comfort and mental health (More on that in this essay).

She is also the only alternative LI to be "rewarded" with a brand new character, crafted specially for her.

Until TRR3 Ch 7, the fandom didn't even know Kiara had an older brother. Even though the person we know best in Castelserraillan is Kiara, we actually spend less than a minute with her, and far more time with Ezekiel Theron. There is an entire diamond scene that's about pampering and complimenting him, making him comfortable around us, getting him to open to us - even though his sister was the one injured at Homecoming Ball. And of course, the entire reason for Penelope to even be present at Kiara's estate is so that she and Zeke can be paired up by default! Even at the Food and Art Festival, Kiara's only real default dialogue apart from winning over her mother (or not), is about moving Penelope and Ezekiel's romance along.

Both Penelope and Ezekiel join the Unity Tour only by option, so the narrative puts in a great deal of effort to get the romance going (by having Penelope only stop at Kiara's estate by default) and allowing the two to still have a fledgling courtship going on if they weren't together at the Unity Tour (Penelope still gets to meet people who inspire her into dog fashion and she and Zeke still show their interest in each other, propelling the parents to discuss their match).

The only thing we know about Ezekiel, and pretty much the only thing that really matters, is that he loves animals. In a court that views Penelope's love for dogs as an oddity, Ezekiel is a character tailormade to romance her. He rarely features in scenes that don't show her (the only exception is the menagerie scene in Ch 14), he rarely has dialogue outside of his scenes with her, he doesn't even have a personality beyond what would best suit Penelope. This character exists only to romance Penelope, which is depressing esp when you consider that she is a white woman, and he is a black man - and she is clearly the only one who even matters in this relationship!

There wasn't any real reason to give Penelope a partner. "Penzekiel" doesn't really do much for the story in general, and not a lot would change if you dropped them. But the narrative deems it essential to give her a "reward", which is ironic considering what she put the MC through and how much we had to coddle her for her to even consider cooperating, either in the investigation or during the Unity Tour. Presumably this "reward" is for her "niceness" and "sweetness", which only works because the narrative completely erases her misdeeds in the social season after TRR2. She never has to remember what she did, nor does anyone in the core group remind her.

With regards to Maxwell, by TRR3 he is a full-fledged LI who gets a wedding with his MC, in certain playthroughs. Much of his playthrough focuses on trying to catch up with the other 3 LIs - you can sleep with them if they're your fiancé/ée, but you have to wait until Ch 10 to sleep with Maxwell. The narrative mentions him taking up "responsibilities" for House Beaumont in lieu of Bertrand, but without any real scenes that show us what he is doing, nor any tangible results (we will not talk about Maxwell's book here!).

He doesn't have any alternative romances. In fact even his romantic playthrough is kinda bare - his only individual scene is the Armoury scene which isn't even about him, and there were glitches that were very noticable particularly in his and Hana's playthroughs. There are no references at all to the alternative romance Maxwell was given in TRR2; it's almost as if that option had never existed.

Penelope being a romantic option for Maxwell doesn't stop the two from having friendly exchanges in TRR3 though. Maxwell was not only allowed - but expected - to treat Penelope with sympathy and respect.

(First set of screenshots is mine, the second is from Skylia's YouTube Channel)

Not only Maxwell, even Drake - who hates most nobles - is shown being extremely protective of Penelope in both TRR3 (promising Penelope to protect her against Madeleine) and TRH3 (showing anger at Guy's blackmail of Penelope and her family). The narrative is very clear that we are expected to make Penelope feel safe, even if she has never made us feel anything but unsafe.

This relationship - and the level of coddling that Penelope has always received from TRR2 onwards - continues into TRH, where she and her beau Ezekiel are shown together, there are occasional updates on their relationship when either one appears in a chapter, and where they eventually marry and start a family. An interesting pattern begins to emerge once we get into TRH.

(Screenshots from Skylia and HIMEME's YouTube Channel)

As the only courtly lady in a relationship in TRH, Penelope gets a nicer, cleaner, more luxurious and more drama-free parallel to the MC's romantic journey. Like the MC, she finds a suitor who falls for her and wants to be with her. Like the LI, he eventually stages a grand proposal for her (TRH2 Ch 18), after they have spent a significant amount of time together. Like the MC, she has a widely publicized wedding (though tbh Penelope's was better customised to her tastes, and as the MC we put even more work into her wedding than we ever did our own!! (we were both her bridesmaid and her officiant, our daughter is the flower girl, we give her the perfect bachelorette, we rescue her from her asshole ex-husband, we help her select lingerie!!!)). And when the MC announces her second pregnancy, Penelope announces to us her first. Penelope's storyline has all the romantic trappings that the MC had with her LI, but without the tension, the conspiracies, the attacks and kidnappings, or the constant fear that someone is out to get her and her family.

Penelope is basically treated like MC-lite. Quite the upgrade for a mere side character who actually did us dirty at one point.

Does Maxwell - her potential LI for all of one chapter - suffer as a result of this upgrade? Apart from the Flanderization, I would say no, he actually didn't.

He doesn't get the lavish Drake treatment, true, but he is centered in the issues that bother him. The MC, by default, has always been expected to defend him to Bertrand from TRR1 onwards, and often argues that Maxwell tried as hard as he could to help her, even when he didn't. Her sympathy towards him whenever Bertrand justifiably berates him for his negligence is by default too. And while he improves in TRR2 and (somewhat) 3, in TRH3 the entire group is thrown into this position again. Even though Maxwell exaggerates events in his friends' lives to an insulting degree in his book and the subsequent movie adaptation, the group often brushes their discomfort aside and supports him instead. And even though his lies in said book about Bertrand (TRH2 Ch 11) indirectly cause the latter to give up his lands to their father (resulting in Bartie Sr's attempt to usurp the throne), the MC spends all of the next book comforting him, involving him in her investigations, and patting his hand sympathetically while he moans about the father who killed the former queen of the country, all while ignoring the son of the woman Bartie Sr. killed, and raging against the elder brother who is secretly supporting them (even after the reveal, the group judges Bertrand heavily and even suspects him of being part of Via Imperii in TRF). Very little is said - either by Maxwell himself or by anyone else - about his role in facilitating this awful takeover.

All in all, Maxwell may have not gotten an alternative LI at the end of the day, and his overall LI path was pretty messy - but there was some thought and consideration put into his writing. The focus on Penelope and her new romance never actually harmed Maxwell.

Fandom

As I've mentioned before, Maxwell wasn't an LI in the beginning, but rose to LI status in Book 2. While the writers did make claims once in their TRF finale livestream that they had planned to make him an LI all along, I find that a bit hard to believe. From the way the hints were dropped it's way more possible that this was a development that came up once enough people in the fandom found him attractive enough to be LI material.

As the Make Maxwell an LI campaign grew in popularity, the fandom often held a rosy view of him, calling him "the only valid white guy", celebrating his queerness (as they should! It was hinted that he was pansexual in TRR2 Ch 18), showered him with sympathy and called Bertrand names for berating him. None of the nitpicking that certain other LIs would get for not supporting her properly, ever touched Maxwell. Nor did the fandom - who did criticize him quite a bit for his trashy book, and protested his Flanderization - ever view him with anything besides sympathy when he struggled to believe his father was evil, after he'd encouraged his brother to make said father the head of Beaumont House. This was the same fandom that didn't hesitate to find the most nonsensical excuses to trash Liam.

The Maxwell-Penelope scene was a fun way for some Maxwell stans to allow their MCs to act a bit possessive of him, and they were very critical of Penelope's betrayal later. But the overall response to Penelope's storyline was overwhelmingly positive. Many related to what she said about suffering from social anxiety, and especially to the lines about her emotional support poodles (ironically in another book, Sloane Washington got scant sympathy or respect despite clear indicators that she suffered from social anxiety too), and were quick to forgive.

(I must confess I was among this portion of the fandom too, but with the belief that she would address it more strongly herself in TRR3)

Fandom didn't mind buying into the canon myths that Penelope was a "sweet, naive" girl, and part of this is understandable because not many got to see what she was like in the failplay. So it was easier to presume that she would still take a little responsibility and wholeheartedly regret her actions, without seeing the failplay scenes where she is shown expecting to be treated like royalty by the woman she screwed over. Penelope and Ezekiel were viewed by most as a cute pair, with some (justifiably) liking this interracial match initially. Many readers who were fond of Penelope even criticized Kiara for being "mean" to her or "joining in Madeleine's bullying of her", when Kiara's behaviour was clearly more protective than harmful.

There was a slight rise in a general negative attitude towards Penelope in TRH3, when she could prioritise her wedding over the looming terror of the MC's child being taken away from her, and only speak up when the MC encouraged her at the altar. But very often people who made these criticisms clubbed her and Kiara together, as if they were a single unit...as if their actions and choices throughout the series were the same. As if Kiara got the same concessions and pampering that Penelope did. In reality, the choices the two women made - and the narrative treatment the two women got - couldn't be any more different.

Individually, Maxwell's and Penelope's stories show us what happens when the writers of a story lean too much towards fandom adulation, and allow it to dictate the way their stories will go. In both cases PB found a beat that the readers liked and stuck with it, never expanding beyond that one trait and causing the two to be caricatures of themselves. In Penelope's case especially, once her anxiety story resonated, the narrative used that to encourage readers to pamper her ad nauseum, and justified her lack of genuine care for anyone but herself through constant reminders of her mental health condition.

I will repeat the question I'd asked at the beginning of this essay - What did TRR3 give her in lieu of this alternative romance, and why, and what does it tell us about the narrative that she alone got that? That's a question I hope you'll keep asking in the next two essays.

Next - Hana and Madeleine: When You Reward Your Favourite Bully with One of Her Victims

#maxwell beaumont #penelope ebrim #the royal romance #the royal heir #the royal finale #essay series: trr's alternative lis