#(she has had >5 minutes of screentime)

[wu-wakfu-undertale]

Re-watching wakfu for the first time in years and s1 Yugo was so silly???

dude discovered he could make portals at will and his first thought after actually acknowledging it is "i can do so many cool pranks with this"

[brennles]

predictable g-lo as spinel fan art, the best stretchy gals. love them!

[caliburn-the-sword]

ngl clarisse's scream from pjo ep2 HAUNTS me. like yeah she's a bully, yeah she doesn't treat percy right, if she were to attack him again with that murderous intent i would be content to see percy destroy that weapon a million times over to protect himself. but also it just gets me how that electric spear is the ONLY thing she likely has of her father, the ONLY token of recognition she has of her worth, the only symbol of pride. dior had exactly 10 minutes of screentime to communicate the absolute depth of clarisse developed over 5 fucking books and she literally changed lives. what a fucking icon

[arowyn-m]

Why Viktor Could Die in S2

“They won’t kill a champion because—“ okay just pause for a second and humor me. I’ve made a lot of arguments in the past about why every Arcane character is fair game but that’s not what I’m arguing here—I’m arguing from a narrative standpoint.

Viktor’s my favorite character in Arcane, but I believe him dying in the series finale is the most likely conclusion to his arc. Here’s why:

Viktor’s whole arc is about life and death as a concept—what really constitutes “living”? (Posed by the scenes with Rio) Why is a human life inherently valuable? (Posed by capitalizing on his aggressive need to leave a legacy) Which is more important—a person’s effect on the world around them or their effect on their loved ones? (Viktor realizing too late that Sky valued him not just for his output but for who he is)

There’s also a ton of foreshadowing to Viktor’s demise coming about by a fault in his technology or by the careless way he relates technology to human life (usually himself but not always), and it’s often disguised as humor (the “of course not” scene) or hidden behind false foreshadowing for death by illness (basically everything to do with the Hexcore in eps 5 and 6)

I’ve theorized about it on here before, but I believe at the end of the series the Hexcore will be destroyed (probably by Jayce, specifically to call back to the promise he made to Viktor), effectively ending the threat of the Void overtaking Piltover. Viktor will be so connected to the Hexcore by the finale that destroying it will kill him. He reaches his Glorious Evolution, yes, but it destroys him in the end.

And yeah there is merit to the “how can you live with yourself” kind of approach to ending a character’s story, but that conclusion has the strongest impact if the character’s arc is about learning to live with your mistakes. Most of the character arcs in this show pose that question, but Viktor’s arc really doesn’t?

As far as we can tell with Viktor so far, there’s very little grappling with that concept up until his last 5 or so minutes of screentime, and even then it’s more of a blip that resolves itself (“In pursuit of great, we failed to do good. We have to make it right.”) If Viktor’s story is about defining the respective values of “life” and “humanity” then the most bittersweet ending to his story would be by letting him die after briefly coming back to his humanity.

At the same time, in Ep 5 of BtR Alex Yee says this when talking through writing the script for S2:

“It’s, like, die or accept some things being imperfect. That would be the way that they could go back to humanity.”

So if we assume he’s talking about Viktor covertly here (he very well could be talking about some other character, but yk “going back to humanity” is a very Viktor-coded issue) we could also speculate that they may try to end Viktor’s arc with him accepting the Glorious Evolution just…doesn’t work. I hope that’s not the case because that kind of kills his whole shtick but anything’s possible lol.

To round off this thought by comparison—there’s no chance Jinx dies by the series finale because her whole character arc will inevitably move from “Am I Powder or am I Jinx?” to “Okay, I’m Jinx. How do I live in that identity with the knowledge of my past mistakes?” Her dying at the end of the series would be an unsatisfying conclusion to that question. Same thing with Vi. Vi’s arc was about trying to “fix” things. She just wanted things to go back to the way they were, and they just can’t. Her arc is probably going to be centered around her grappling with grief over losing Powder AGAIN and learning to accept things will never go back to how they were before. Caitlyn’s arc is going to be her exacting revenge and maybe living with regret and bitterness. None of those character arcs logically conclude with “and though they found the answer to their life’s question, they died.”

Viktor’s probably will.

Also here’s a link to a longer more in-depth theory I had a while ago—kind of a adjacent to this thought (for some reason it won’t work as an embedded link) https://www.tumblr.com/arowyn-m/755893249865039872/jayceviktorhexcore-situation-in-s2?source=share

[worrysomegus]

I am going insane at how bad this park is in jurassic world like there's a ride where the attendees can control their own orb thing through a large amount of actual dinosaurs. and it doesn't have like a taking over the steering thing to bring them all back in in case of, I don't know, a dinosaur escaping?

I can not concieve of a single scenario where letting untrained guests get this close to wild animals with zero veto power could possibly go wrong - the people that created this ride, apparently

they even IN THE MOVIE ride through a goddamn stampede or something, and we see that just the indominous rexes jaws can get through the glass, a triceratops could definitely get through if it tried hard enough, like maybe, perhaps, hypothetically, in some wild scenario, a rich tourist doesn't understand that maybe getting close to a large herbivores young offspring is a bad idea.

and seriously why is there no button that just.. recalls all of the balls

how does this ride even work how do they get through the line when they just tell guests okay bye go roam this grassy wonderland filled with large things that can kill you yet you have no concern for, people have definitely had sex in those things and people have definitely been gone for hours.

also the mosasaurus cage, hm maybe a second draft might be in order. maybe?

okay. cool. sure. fine whatever, it's not like it does this multiple times daily surely there will be no issue here

she is also shown breaching the barrier and getting onto the walkway in the fucking movie

like the mosasaur is IN THIS BODY OF WATER HERE and that is a busy walkway that people are encouraged to sit and eat under, also sidenote that woman you see falling has like 5 minutes of screentime and half of it is an extremely gruesome death, like by far the worst in the movie. this movie has very normal opinions about women.

okay so this one looks different to the other dinky barrier, somehow even more dinky, but still on a presumably busy walkway since this is on the end of a street where their very obvious sponsor pandora had set up shop (and a bunch of dino merch)

and like yeah, shocker, massive powerful sea creature can leap out of the water and break the dinky fence, it could have done this at any time at all it is probably more powerful than the indominous rex which we SEE breaking much stronger barriers than the dinky glass one. also sidenote this screenshot is VERY funny

I could go on for years about how shit this movie is every other moment there is a massive plothole, very sorry about this post I am going insane.

[dearnandor]

a few thoughts after I rewatched episodes 5 and 6:

• at this point I don't really think Nandor's crush is a big deal ?? Like, the Guide is not even THERE, she has a screentime of 3 minutes in 6 episodes, we literally had more time with Marwa and I don't see a plot for the upcoming episodes focused on her like it happened with Gail or Freddie, or even Meg. (i'm still a little afraid tho okay).

• Guillermo must realise at some point he's living a familiar life 2.0 right? That Jordan is literally Nandor replacement, RIGHT? The Promotion episode CAN'T BE really the end of it. RIGHT?

• What will be the deal with Laszlo and Colin's creature???? Because at this point I think this storyline and Guillermo's will cross somehow????

[gotskamstuff]

My honest review of PART 1 (that nobody asked for but I wanna talk about it)

‼️ SPOILER FOR S4 pt.1 (obviously but still a fair warning) ‼️

After watching the entirety of part one I have to admit that I am a bit confused by my own reaction ‘cause there are so many little things that I loved and missed about the show and we finally found back, but at the same time on the overall it kind of disappointed me a little how much time was taken away from the important things and going straight to the point…it was mainly ruined by Topper and Sofia’s storylines, both incredibly boring, repetitive and totally unnecessary.

I gotta say I LOVED episode 1 and episode 5 and half of episode 2, they had me hooked and got me really into the Outer Banks feels from S1 both in terms of adventure and Pogues dynamics, but I feel like half of episode 2 and episodes 3-4 nothing really big happened and there was just a lot of filler scenes, in terms of plot and storyline for the treasure hunt all that happened in 4 episodes is that they found the necklace and lost it, just in episode 5 they actively move forward.

There was so much unnecessary stuff that felt like plot fillers, probably gonna get a good portion of the fandom against this statement ‘cause I know the character got so many fans, but Rafe? The amount of scenes he got with Sofia repeating the same thing over and over was too much in my opinion, it felt like fan service just to get Drew on screen as much as possible. The whole Sofia character and storyline is actually insane to me how much screen time and attention got, no offense but…who cares? It’s kind of crazy that we got scenes of Sofia’s home, family, relationship, insecurities and background BEFORE WE EVEN GOT CLEO’S!

Too much screentime and too much attention to background characters (IMMENSELY background) that the audience could not care less about, especially when it came to the expenses of the main characters story and depth. This goes for Sofia just like Topper and quite frankly also Terrance.

Sofia is a character that we barely saw one season ago for a total of probably 2-3 minutes, now she’s taking up minutes upon minutes and various scenes IN EACH EPISODE and to repeat the same thing over and over again…I feel like one scene would have been enough to understand she doesn’t fit in with the Kooks and therefore she turns on Rafe, also there hasn’t been no built ups whatsoever neither over her or her relationship with Rafe. As i said we barely ever saw this character, why or how is the audience supposed to care or empathize with her? Why is the audience supposed to care all of a sudden about Rafe and Sofia’s relationship? It went from 0 to 100 out of nowhere, from the most irrelevant thing last season to now apparently being the entire storyline for Rafe. There would have been so many more interesting things to see about Rafe’s behavior after his father’s death, how he lost it, how he’s reacting and clearly trying to become the man Ward was, but no it was just “gotta invest and be good for me and Sofia”…none of the things he cared for (and literally went psycho for) were explored with any depth: his family, the gold, the family’s property at Tanny Hill he wanted to keep, how he said he’d seek revenge if anything happened to Ward etc.

Topper as well…did they not get the memo last season of how tired the audience is of his repetitive storyline? He comes, insults the Pogues, digs at John B about Sarah and blablabla, still WHO CARES? And who cares he got a girlfriend or that he has something to prove to her? Who cares that he hosts parties and who cares he was there surfing and causing problems with the Pogues? Who cares about this Ruth girl suddenly beefing with Kie? This has been done and over for 4 seasons now, we could’ve just seen him talk to Rafe once and impress his girlfriend about the investments on the land which is the only relevant thing for the plot.

And I’m probably gonna sound like a bitch here but Terrance as well, was it necessary? I mean, the only good thing about it is that we FINALLY got a tiny little minuscule bit of backstory for Cleo but even that was sooooo superficial. Once again they wanted the audience to empathize with something that was portrayed so minimally. Terrance reappeared out of nowhere without any explanation, told Cleo to comply and died…damn we could’ve at least seen a little more of that bond he and Cleo had, have him be there a little more for a couple of episodes, see him look out for Cleo and save her to empathize a bit more with his death and even find out more about Cleo’s upbringing since it’s something related to one of the main characters, but no.

Sofia, Topper, Ruth, Terrance and I’m sorry but I’m gonna include even Rafe in this list, are all characters that have no relevance anymore for the show and might as well not be there at all, they don’t add anything valuable to this story and just take away time from the plot with irrelevant and marginal scenes that no one cares about.

I guess my overall disappointment is that a lot of the Pogue’s storyline got put too much on the side and brushed off way too quickly for the sake of irrelevant characters who got way more screentime than needed to the point it started getting boring/irritating.

Barely saw Sarah and John B mourning their fathers, not even slightly explored the evident fear of John B turning into his dad that was just blurted out of nowhere by Pope, Pope’s family that’s been a constant in this series is nowhere to be seen, Kiara’s family dynamic and storyline is brushed off ENTIRELY with a 3 seconds flashbacks and with her parents suddenly being at the ceremony without a clue on what happened in between, Cleo’s backstory that was promised to us was just a quick show up in one episode of an old character and one line “he raised me since I was 13”…and can we talk about JJ’s reunion with Luke?

It was probably the most anticipated plot and one of the things the audience cared the most about and it felt so anticlimactic, same thing for the discovery of JJ’s parents. A MASSIVE PLOT TWIST in the main storyline of a main character blurted out like that so casually? Solved in one episode in a handful of minutes of screentime? I was actually getting really excited about the build up towards JJ’s past ‘cause I feel like they were doing a pretty good job with the hints and the subtle way it was getting anticipated that JJ’s mom was the woman who died and then Luke comes back without any type of suspense and in two minutes of screentime “I gotta tell you I am not your father and that wasn’t your mother” just like that, as if the Maybanks storyline isn’t what defined the entirety of JJ’s character and personality. There was so much more depth that could’ve gone into their reunion with mixed emotions and there could’ve been waaaay more pathos about JJ discovering his true identity. It was just thrown out there after 3 minutes on screen with his dad.

Even all the couples and ships, we saw more of Rafe and Sofia’s relationship than we saw JJ and Kiara (perhaps the most anticipated ship) or Pope and Cleo.

I feel like even the whole treasure hunt was moving so slowly and got put in the background, the only real high was in half of episode 2 with the scuba diving portion and in episode 5 when they actually go do something and they are in the catacombs, I’d include Cleo’s kidnapping but once again it got done and solved so minimally and once again interrupted by scenes with Rafe, Sofia and Topper when we could’ve been on the suspense for Cleo.

Personally I think that what people really missed about S1 ans S2 was the Pogues dynamic (which I ADORED so far in part one and this is something that to me made the whole season dear to me, finally they’re back with their essence) but also how action packed the show was EVERY EPISODE, back then it was almost as if each episode was its own mission for every discovery and every adventure they went on, it was a constant “onto the next move” and so high on adrenaline and action around the treasure hunt and I don’t know, it overall felt so slow this time and like they did so little discovery except the necklace and the crown (which was just mentioned).

And I gotta be real here, the reason why I say episode 1 and 5 (and half of 2) were my favorite was indeed because it was PACKED with the Pogues, the catch up to their story, their dynamic, moves being made in the plot with the treasure…and MOSTLY because they had the least interruption from all that Sofia and Topper boring stuffs that just kept breaking the flow of the story with irrelevant scenes.

I know that at this point I’m sounding so negative and believe me, the first person saddened about this is me. I was so excited for this season AND I STILL AM but I gotta admit, I really loved a lot of things (and I’ll probably show my excitement during the wait for part 2 with a lot of things I want to rewatch, theorize about and obsess over) but also I couldn’t get past my annoyance over the superficiality the main characters personal storylines suffered from compared to the excessive importance it was given to background characters.

And once again I’m sure my excitement over the episodes I just watched will probably build up in the wait for part 2 but it’s because I’ll be able to control where to direct my interest and attention concentrating more on the things I liked and found interesting, but I gotta say that my gut reaction on first impact while watching for the first time is that something kept breaking the flow of the storytelling so far (what I just explained about the excessive irrelevant subplots).

Get more screentime and more depth to our Pogues feelings and personal stories…WE DON’T CARE ABOUT SOFIA AND TOPPER!!

[iam93percentstardust]

one of the things that really bothers me about modern franchises, and in particular over the last 5 years or so, is their refusal to commit. what i mean here when i say this is that it's not uncommon for a major franchise to make a decision, whether about the plot or the characters, that should have had huge, world-changing consequences... and then just never address that again or worse, immediately go back and undo it. and i'm gonna pick on star wars and the mcu here because those are the two big franchises i'm into at the moment (and i think they're kind of the worst at this), but i don't want you to walk away from this thinking that this is solely a disney thing. i've seen this happen with game of thrones and supernatural and plenty of other non-disney franchises. spoilers ahead, you've been warned:

in ant-man & the wasp quantumania, scott and hope make the life-altering decision to stay behind in the quantum realm and defeat kang instead of going through the portal to return to their world. this should have been a huge meta decision for the mcu, and when i first saw it in theaters, my immediate thought was wow, what is this going to mean for the mcu going forward? are we going to get a movie/miniseries about scott and hope helping to rebuild the quantum realm? how are cassie, janet, and hank going to react to the losses of their loved ones (in some cases, for the second time)? is cassie going to become the "first" young avenger because she has to take her father's place among the team lineup (and i only say first because as of this moment, none of the other young avengers introduced to the franchise are official avengers yet)? except nope, because less than 2 minutes later, cassie had fixed the portal that had broken way back at the beginning of the movie and brought scott and hope back.

and it felt like such a cheat. i was so disappointed in that theater, not as someone who was invested in these characters on a personal level (because yay, cassie gets her dad back!), but as someone who has spent years investing themselves in the story of the mcu. what was the point of wasting screentime on scott and hope accepting their new lives in the quantum realm if it was just going to immediately be undone? the entire scene could have been cut to scott and hope making it back bare seconds before the portal closed and it would have had the same emotional impact. there was nothing added by making scott and hope (and us) think that there was no way back only to rip the rug out from under us and go "gotcha! you really thought we were gonna give this movie a sad ending? haha! you're so dumb!"

and this isn't the first time the mcu has done this. one of the biggest complaints about endgame was the decision to set it five years in the future with no consideration for how that would actually change the setting of the mcu. characters were brought back to the exact place they disappeared from with no consideration for how things might have changed in the interim five years (like planes that weren't in the air anymore, buildings no longer standing, even just something as simple as a chair being unoccupied). and then the mcu didn't even really have the courage to address how this would have shaped the world other than a few jokes and making the bad guys in the falcon and the winter soldier people who cared about how the world had screwed them over during the blip.

and things like this happen over and over and over again. the accords are put into place in civil war, but by the time we get to she-hulk, they're gone with no explanation because, as best as i can tell, the writers didn't want to have to deal with the worldbuilding that went into the accords. gamora is killed in infinity war, but heaven forbid quill not have an emotional investment in a film he appears for maybe 10 minutes in so now she's back in endgame. steve got to go live in the past with his ex-girlfriend (which is in itself a refusal to commit after the mcu both gave her a different husband and had the woman herself tell him to move on) but we need to establish that messing with timelines is bad because that's what the entire next phase hinges on so actually his ending was predestined and it's only everyone else who can't change time. whoever took this entire town and also wanda hostage and forced them to live out a sitcom fantasy is bad and needs to be stopped but wait, it's actually wanda and she can't be the bad guy yet, we need her for doctor strange 2, so actually everyone's going to defend her now and say that no one else could ever possibly understand her grief. thor has decided to accept responsibility as king of asgard, but we can't use him for any more movies if he's stuck in asgard, so actually he's decided to pass it on to someone whose entire leadership capability is developed offscreen. i could list more examples but this is making me angry, so let's move on to star wars instead.

with star wars, i look at first the oft-quoted meme, "somehow palpatine has returned." yeah, i shouldn't really need to go into detail on how that counts as a refusal to commit but. the last jedi was a study in how johnson refused to commit to anything that abrams had laid down in the force awakens, but rise of skywalker was almost like abrams had looked at the franchise and said "screw you for taking it away from me, i'm going to come up with the most bullshit stuff just to spite you for doing that in the first place. and i'm going to start by undoing the most important plot point of the first trilogy: the emperor dies." and yeah, disney's kind of tried to salvage this by dropping hints into the bad batch and the mandalorian about cloning, but that only really works if you're watching the franchise chronologically and not considering that both of those series came out after rise of skywalker.

and then there's the mandalorian, my sweet summer child, who is, in my opinion, the worst at backtracking their plot points. i'm not entirely convinced that any of the higher ups for this show really knew what they were doing when they started working on it and i'm not convinced that they know what they're doing now. yeah, there's the tie-in to the last season of clone wars, but the mandalorian has managed to walk back pretty much every single major plot point it's had. din is this legendary warrior who can't be beat, but no one will watch this show if he defeats everyone too early, so he's constantly getting beat up (tbf, sometimes some of the fights he loses makes sense like the krayt dragon and the mudhorn, but a lot of them don't. at all). moff gideon is dead, no wait no he's not, now he's imprisoned, no wait no he's not, now he's definitely dead, you can totally believe us this time guys. grogu can use the force and must be placed with the jedi, but wait, the only person still actively teaching the way of the jedi is luke and all of his students will be brutally murdered ten years from now, and we can't have that, everyone will be mad at us for killing off such a cute character and no one will buy baby yoda dolls (and also we have to set up luke's character degradation from hopeful, believes-in-love cinnamon roll to "i'm going to kill my nephew") so in between seasons let's have grogu decide to go back to din (and don't even get me started on how frustrating it is that a casual mandalorian watcher also had to watch book of boba fett to understand why grogu is back). din has the darksaber now which makes him king of mandalore, that's totally going to be important and what the entire series has been building up to, right? wrong! he might have spent the first two seasons making connections, learning about the world outside his sheltered upbringing, and demonstrating the various qualities that would make for a good leader, but the entire third season will be about din realizing that actually he's super unworthy and the darksaber should actually go to someone who... saw an animal in the water.

and it's really, really frustrating as a viewer! because how am i supposed to get invested in any of these plot decisions when they almost always get reversed? why should i care that mj and ned have forgotten peter when ant-man 3 has shown me that they'll remember him the next time they're all on screen together? why should i care that tech is dead when half of the last season of clone wars was about how echo was actually alive? if none of these decisions have any permanence, then where are the emotional stakes? why should i watch your movie if all you're going to tell me is that nothing matters?

[sleepynoons]

shoko x f!reader, sfw

cw: mentioned gojo x geto, smoking

notes: first time writing for a female character! though it's an ambiguous relationship... (the crowd boos) in my defense, i love tragic yuri. potentially a projection of my own struggles + confusion with my queer identity. i guess we'll never know! :D anyway, gege akutami, i can confidently say, you FUMBLED THE FUCKING BAG with ieiri shoko. give my hot doctor queen some screentime - you have 5 chapters to do something. Do something about it.

SHOKO WATCHES as ash falls from the butt of her cigarette, which she taps with quick raps of her pointer finger. she’s surprised she’s remembered to put it out at all. you made a big fuss about it when you came home later than she had one evening and caught her smoking indoors. she rolls her eyes and takes one last puff, thinking back to when the two of you had just become roommates.

you used to be the primary doctor over at kyoto jujutsu high but had quit after a short two-year run because you were overworked and exhausted. the two of you met up for drinks right after you quit (you literally called her and utahime up twelve hours after submitting your letter of resignation), and she mentioned briefly that her home was always a mess. you suggested the idea of living together, and she didn’t have a reason to reject your offer. 

anyway, you’ve become a bigger pain in the ass than she had anticipated. yes, you’re a big help when it comes to chores, but you’re also so insistent when it comes to her lifestyle. not that she bothers to listen to you, but you frequently nag about her smoking, drinking, lack of eating, so on and so forth. 

in fact, you’ve taken it upon yourself to take care of her, as if she’s a dying house plant that you’re nurturing back to life. you pack her two bentos every work day, one for lunch and the other for dinner, the meals never identical. you replenished her bare wardrobe with new turtlenecks and work pants because she’s “not steve jobs,” and it’s not like she has an excuse to wear the same thing every day now that you’re doing the laundry and ironing. this is all to say that you’re too involved, too knowledgeable about her mode of operations, for her liking. 

throwing the cigarette onto the floor, she extinguishes it with her foot and heads into your shared apartment. 

not even two steps into the foyer, she hears you call from the couch, “the bath’s ready!”

shoko shrugs her shoulder bag onto the floor next to her heels and pads over to you. “why are you still up?” she asks.

you peel your eyes away from your phone to smile at her. “i was waiting for you,” you reply, a smirk tugging at your lips. 

she heads to the bathroom and says, “go to bed.” you just giggle in response.

in the bathroom, shoko shimmies out of her clothes, brushes her teeth while avoiding her reflection in the mirror, and grabs a towel. when she sinks into the bath, she realizes you’ve added a few drops of jasmine and ylang ylang to the water to help her decompress. somehow, you’ve even managed to figure out her favorite aromatics.

your relationship is peculiar, to say the least. roommates but more. not lovers, of course.

shoko’s long distanced herself from such relationships. she barely has an interest in making friends, let alone find a lifelong partner. yet, upon some introspection, she finds her own behavior and attitude towards you… odd. you bother her, but she hasn’t put a stop to it like she normally does with others. she’s not tired or bored of long conversations with you. even though she’d like it if you gave her some more space and privacy, she doesn’t prevent you from learning more about her.

it’s not that she’s unguarded; she has deliberately lowered her guard around you.

she sinks deeper into the bath, blowing bubbles in the water as she thinks.

she doesn’t love you. (what does being in love even feel like?)

she does like having you around.

ten more minutes of half-conscious musing later, she gets out of the bath and prepares for bed. when she exits from the bathroom, she finds you still sitting on the couch, doom scrolling and humming an inane tune. but this time, she also smells the familiar scent of smoke and bitterness.

she glances at the living room table and spots a small dish. you’re smoking, she realizes.

“i thought you didn’t approve of smoking indoors,” she says.

you look over your shoulder and chuckle. “i’m trying to see what all the hype is. smoking really isn’t all that, you know, shoko?”

your roommate walks over to sit beside you. “you’ve never smoked before?” she asks.

you shrug. “no, i have, when we were much younger. but i remember choking on my first time, so i never bothered to try again.”

“so what made you try this time?”

“you.” you say it so effortlessly. then, you beam at her before scrolling to another video on your phone.

shoko is unsure how to react, so she just leans her head on your shoulder. does she have that much of an influence on you? probably not. it’s common for people to pick up on mannerisms and habits of those around them.

she recalls her high school days with gojo and geto. those two were undeniably close, and they frequently behaved like one another. when she caught wind of the nature of their relationship, it all seemed to make sense – they looked and acted exactly like a couple should.

she wonders if the two of you are anything like her classmates. do you share the same sense of humor? do you have your own language – your own catchphrases and inside jokes and syntax? do you enjoy being around her? does she know you the way you know her?

does she want to know you?

she’s feeling a slight pinch in her temple. she’s not in a rush to figure things out.

shoko reaches across you to take the cigarette from your grasp, acutely aware that she’s taking a breath from where your lips were just moments ago.

“i want something savory tomorrow,” she says.

you nod your head. “i know.”

of course you already know she hates sweet things. she puts out the cigarette.

[aidemint]

To Break A Habit | Routine Doesn’t Get You Kisses Like These

Summary: You kinda-actually find out he wasn’t joking about the spider stuff. Okay. But you’re totally cool about it. Totally.

Word Count: 5.1k

Pairing: Hobie Brown/GN!Reader

Notes: 5 minutes of screentime and i’ve already wrote more about this guy in a week than i usually write about anything in three months jesus christ

Masterpost | AO3 |  Part 1 | Part 3

“40081’s got this hoodoo shit goin’ on.” Hobie sighs as he makes his way down the main hall of Spider-HQ, recounting his mission discoveries from days prior. “Some sort of bad luck spell that’s making the world lose its plot.”

Gwen paces beside him, listening intently. “Sinister Six behind it?” she asks with a frown. “Or do you think it’s something else?”

“Not certain,” Hobie responds with a shrug. “But I’m close to catching the anomaly. Things should reset once it’s out of the fabric.”

“Hope it gets resolved soon.” Gwen sucks in a breath from between her teeth. “Miguel’s not looking too happy these days.”

Oddly enough, the mission so far had been almost deceptively easy—three days into the operation Hobie had already located and shut down a multitude of energy pockets emanating from certain parts of the city. A variant of Mysterio or Osborn was bound to show up soon, as the sites were likely siphoning vitality from the dimension. Now he just needed to gather intel about the effects of the magic while playing the waiting game. Luckily for him, he has a direct source.

“Relax Gwendy, it’ll be fine. I even got in touch with one of the locals for—” Hobie starts assuredly, turning to address his drummer, but pauses and swivels around when she’s noticeably no longer keeping up with his stride.

“You what?” Gwen stands frozen in the middle of the walkway, eyes blown as large as dinner plates with her mouth slightly ajar. She readjusts herself with a shake of her head, though her hands and shoulders remain raised and stiff. “Hobie, please tell me you’re not getting to know a civilian. ”

“Then I won’t tell you that I’m ‘getting to know’ a civilian.” A roll of his shoulder and he’s back walking, half-lidded eyes peering at Gwen when she inevitably joins again, bobbing and weaving through a downcurrent flow of Peter Parkers. “And I won’t tell you that it’s strictly for information about the mission.” A coy smile tugs the edges of Hobie’s lips upward. “Probably.”

Gwen looks just about ready to explode at the last quip. “You just told me— Oh my God, you know that, out of everything, is against protocol. Very against protocol,” she hisses, her voice lowering as her lip curls and she leans further into the privacy of only each others’ company. “What will you do when Miguel finds out?”

“You gotta live freely past the propaganda, Gwendy,” Hobie replies nonchalantly, patting a palm on her shoulder as a point of reassurance. “Just think about it.”

The best Gwen can offer him is a wary glance and a moment of hesitation, but he takes it with a grin anyhow. He’s certain she’ll eventually come around—the extent of their friendship isn’t something so miniscule that a few words of indoctrination would ever be enough to turn her.

It’s a nice notion to have, but he unfortunately doesn’t get much time to dwell on it—suddenly, his watch buzzes with an alert.

Hobie checks the device. “Someone’s ringing me, gotta bounce.” A few taps of an orange screen and a twist of a dial, then a portal opens up just shy of his left arm. “Been fun, Gwendy. Don’t blame me if I come back late.”

No matter how hard she rolls her eyes, Gwen can’t help but give into the smile that creeps onto her lips. “Stay safe, loser,” she responds, bumping her fist against his.

“Safe is practically my middle name.” With that, Hobie ducks into the gateway, and disappears.

How the fuck do you accuse someone of having spider powers without sounding like you’ve gone insane? Since morning you’ve been stuck in a cycle of decision-making for a seemingly hopeless situation. You thought the hard part was over after seeing the guy in the costume swing away on white silly string, but the mostly sleepless night and brainstorming the resolution to be had was another beast altogether. What doesn’t help much either is the fact your favorite pair of jeans are now stained to shit because an idiot thought it would be a good idea to trickshot a half-full Starbucks drink into a trashcan you were standing right next to.

Oh, New York, how it surprises you each day. You swear you’ve never had bad luck like this in your life—and now you’re twenty minutes late, punching in your timecard and hurrying to tie on an apron.

Even through your shift the anxiety doesn’t go away, despite how you try to ignore it. Nervous energy bleeds into your work, shaking hands spilling and dropping drinks; your preoccupied mind is nowhere near as focused as you need to be for the rush—you remake a drink three times in a row before being on the receiving end of a tired lecture from an angry customer.

“Something on your mind?” one of your coworkers ends up asking after most of the crowd has dissipated. “Or just tired?”

You’re on the verge of bursting into tears actually, but you manage to stifle it with a deep breath in. “A lot of both,” you mumble in response. You can’t tell her about Hobie, and it’d be too winding to describe the entirety of everything. She’s pretty good at giving looks of pity and she’s already shot you one following the complaining customer. Honestly another one is the last thing you want to deal with right now. “Maybe I should’ve just skipped work today.”

“Don’t worry, we all have bad days,” she offers with a consoling pat on the arm. “How about you just calm down for a bit and take your break? I’ll make you your favorite drink and get a bowl started for you.”

The gesture does ease your nerves, even if only by a little. You sigh, shoulders slumping, and give your coworker a grateful smile. Parting ways then, she returns to her station to honor her word and you make your way to the back to punch in the start of your break.

Exhaustion starts to seep in when you catch yourself staring blankly at the time card machine, watching the hands of the clock tick away second by second. There hasn’t been significant progress in terms of settling the whole “Hobie Brown is a superhero” dilemma, you realize, just a lot of pain and aching on your part. Maybe it’s time to put the matter to rest just for a brief half an hour—you’ll pick it up later. There isn’t even a guarantee Hobie will show up to the shop anyhow.

Yeah, you have time.

The chunk sound of the punch machine brings you back to your senses and you put away your slip before making your way back to the front of the house.

“Drink’s ready and bowl’s on the way. You can enjoy that while you wait,” your coworker chirps, sliding a cup to you when you emerge from the back. You’re just about to voice your thanks before she cuts in again, gesturing to a spot just beyond the counter. “Oh, and someone asked for you. He’s right over there.”

Your eye is already twitching before you even look. But you suppose you hate yourself and the world at this point, because you slowly turn to where her hand points regardless and find the one man you just made a pact with yourself to not think about.

Hobie greets you by name and gives you a friendly wave. Out of courtesy, you force yourself to return in, lips pressed together in a tight smile with the short extension of your hand.

“Heard it was your break,” he says, approaching the glass panel between the two of you. “Mind if I intrude?”

Yes! you scream internally. Yes I do mind very much!

“No, it’s alright,” you end up saying to him, staving off a growing impulse to whack yourself upside the head.

“Sick,” is all Hobie replies with before he retreats to a nearby table. “I’ll be waiting here—don’t rush yourself.”

It’s right about now that you’re wishing he wasn’t so nice and you didn’t like him so much so that this process of confrontation would go about smoother. Your gaze lingers on him and you bite in the inside of your cheek as you think about the validity of what you witnessed yesterday.

The option to not tell him and maintain your chances of still potentially becoming friends like normal exists. Dodging the awry reputation that comes with the manic conspiracy theorist persona is always good. You’ll get over it one day, right? Leave the suspicions behind and assume that the image was just a hallucination brought about by stress; convince yourself that Hobie Brown is just your average British punk-rocker.

But you can’t fight the feeling in your gut, how it burns, and suddenly you’re leaning over the counter, over the glass.

This is a bad idea. “Hobie,” you call in his direction.

He looks up. “Yeah?”

Shit, this is a bad idea. “I have something to tell you.”

“Wah’gawn?”

“It’s… I think it’s a matter best told in just our own company.” You look around apprehensively, a slight crease in your brow. “Mind going somewhere more private?”

Trying your best to ignore the suggestive look your coworker shoots at you from your peripheral, you beckon Hobie to come into the back. Walking through the kitchen, you usher him into the storage pantry and shut the door behind you when you join him.

“I’m guessing we’re not just here to kotch?” Hobie teases with the sideways tilt of his head.

“Unfortunately.” Your gaze lowers to the ground at the admission, fingers finding one another and squeezing. “Been thinking about something for a while.”

Hobie lets the change in the air stew until it thickens before responding. “Ready when you are.” His voice is softer, malleable, lost of all its previous playfulness and replaced with a certain kind of sincerity.

The slightest incline of your chin brings your stare back to him. You wish it served the simple purpose of just admiring the slopes and angles of his face, but your lips part and your curled hand trembles, and it all reminds you of the gnawing insecurity.

“I need you to tell me the truth.” You say it slowly, sincerely, keeping your voice as steady as you can despite the way your heart rate thunders. “Please.”

In your supplication, you aren’t certain how to appraise the extent of your desperation, but Hobie’s gaze does not leave yours. He nods wordlessly, a glint of something in his eye and it looks a lot like deference.

You take it as permission to continue. “When you brought up Parker”—you swallow thickly—“you were talking about something real, weren’t you?”

A beat of silence. There isn’t any external reaction from Hobie, standing as still as he had the moment he stopped in front of you, face lax and hands tucked away in his pockets.

“Ain’t got a Scooby-Doo what you’re talking about,” he says plainly, unfaltering in every word. Even then he doesn’t move, fortress-like in his disposition.

Perhaps he truly doesn’t know what you mean, you think. The chance is present, albeit slim, though present nonetheless—and how tightly you clutch this sliver of hope. But for a moment, in your hesitancy and under Hobie’s untelling stare, doubt creeps in—your palms grow clammy against the material of your pants, sweat assisting the glide of your fingers against one another. Your eyes search those of the man in front of you, wishing his look could change so you could find the courage to ground yourself.

What if you’re wrong? What if it’s all a fallacy, some trick of the light? New York is no stranger to oddities but even this seems too extreme. Coincidental talk of Spider-People leading to an impossible accusation. Fucking Spider-People don’t—shouldn’t—exist. The idea grows more absurd the longer you question it. Peter Parker got the short end of the stick, if there was even a long end in the first place, so what the hell are you doing?

But what if you’re right?

A breath rattles through you. “Hobie.” With a new waver in your voice and a tremble to your hands, you stand unsure of how your conviction bleeds through what you say but you try anyhow. “I know you’re gonna think I’m crazy, but I saw a masked man walking on the side of a building yesterday.” The admission comes quickly, riddled with cracks, but you’re entirely too focused on the followup to care. “After the conversation we had about Spider-People, after the whole thing about superheroes, tell me that it wasn’t you up there. Because I saw your— your fucking pins and I’ve never— God, I don’t even know! I’ve never seen something like this.”

Your fists clench, fingers digging crescent-shaped craters into the flesh of your palms. The marks bite, angry red and stinging—perhaps aching even more the absence of Hobie’s response, the seconds you give him to reply.

“Who are you?” Dry—your throat is so dry. Your voice can’t be anything above a whisper with how hoarse the question comes, flaking away with every shallow breath you take.

Silence blankets the both of you then, soundless space a limbo between comfort and unease. Unsure of what to do with it, what to make of the situation you stand in now, you let it hang listlessly, drawing upon an empty room and an even emptier conversation.

It takes a handful of moments for Hobie to even look like he’s processed all that you’ve said. Under your scrutiny, the smallest movement of his eye is the only discernible change to the testament. Whatever goes on inside his head is a complete mystery to you for the few minutes that elapse before he speaks.

Finally, he shifts in his stance. “You want me to just come out with it, yeah?” he asks, not sounding terribly happy, but not as nonplussed as you expected. He sighs when you nod slowly. “Alright. I’ll start from the top, then.”

He tells you his name is still in fact Hobie Brown, and he was bitten by a radioactive spider three years ago. Formerly a runway model, though not a role model, he’s been protecting the streets of his hometown against the PM. When he’s not playing shows, antagonizing fascists, or staging unpermitted political “action-slash-performance art pieces,” he’s out partying with his friends.

“And don’t call me a hero,” he ends with a frown. “Hate the label. Calling yourself a hero makes you a self-mythologizing, narcissistic autocrat.”

When he stops, you have both hands to your temples, pressing down hard. You can deal with his anti-authority spiel just fine—some part of you even agrees with the sentiment—but there is so much to unpack prior to the statement.

“So you— you have actual spider powers? Oh my God?” you sputter, eyes blown wide in an expression of surprise you’re sure looks exaggeratedly dreadful. “What even— that’s— what even are spider powers?”

“Dunno really.” Hobie gives a shrug. “Enhanced hearing, speed, vision, and sticking to walls are the main perks. Also links up to my—”

“Can you shoot webs out of your butt?” you blurt in a sudden horrible realization.

There’s a few seconds of tense silence before Hobie bursts into laughter, arms crossed around his torso to hold himself, shoulders bunched to his ears. The ring of his joy through the air lifts a weight from it and suddenly the atmosphere doesn’t feel as crushing as before.

Witnessing his state, it doesn’t take long for unease to fade away and for you to start softly chuckling with him.

“You’re so jokes,” Hobie cackles, a hand over his eyes as he leans back. A long, shuddering breath tears through him in his attempt to calm down. “But to answer your question, no I can’t shoot webs out of my arse.”

“Thank God,” you breathe, clutching your heart. “Wouldn’t have looked at you the same if you said you could.”

“I don’t think I can look at you the same after you just asked that.”

“Hey, in my defense it was just to get to know you better.”

“I’m sure that’s all it was.” Hobie gives you a pointed look, but is quick to smile after. “Speaking of which, I came in to ask you something as well.”

“Oh?” You blink. The sudden shift in conversation is unprecedented, taking you slightly by surprise, but suspicion is quick to replace your wonderment when you notice a change in Hobie’s features. A squint narrows your eyes. “What are you plotting?”

“Nothing, it’s just I have an excuse now that you know me better.” He pauses briefly, staring at you for a moment. “I wanted to ask if I could know you a little better.”

Your lips purse in confusion at the phrase, forehead pinching. “But you already know me?” you ask, brow raised. “Don’t tell me you forgot everything already.”

“I didn’t,” Hobie reassures gently. “I was just thinking instead of talking over a counter we could do it over dinner? Maybe a movie, if you have the time?”

A beat passes and suddenly realization sets in, drawing all the air out of you. The smallest groan escapes you as you bury your face in your palms, the skin of your neck and cheeks burning hot. Every inch of you seems more sensitive in your mortification—were you always this close to Hobie, and was his cologne always that strong?

“I’m an idiot,” you whisper from between the gap in your hands. “God, I’m such an idiot.”

Hobie supplies a soft chuckle to ease your embarrassment. “You’re not. It came out pretty corny anyways.”

“I can’t believe I’m getting asked out by a guy with spider powers.”

“Is that a yes or a no?”

You groan again, a tight breath pressed against your fingers. “You are so lucky you’re cute, Hobie Brown.”

It is as endearing as it is exasperating that you can practically hear how big his smile is. “You free tomorrow?”

“Anytime past five,” you reply softly, slowly inching your hands away from your face to peer at him. “Where should I meet you?”

Hobie’s grin tilts sideways at the query, a new sparkle of mischief brightening his eye. “I’ll come pick you up.”

Dates aren’t exactly a new concept to you—you’ve been on a handful, and they all go about the same. The first time, someone shows up with flowers or a small gift to start the evening right, then you’re whisked away for three hours to some place to hang around and have fun. It’s conventional, it’s safe—sometimes you enjoy the company more than the actual activity, leading to a second or third outing, but there’s nothing too special about the dance you do with routine.

Along this line of reasoning, Hobie crash-landing on your balcony with one of the most ridiculous offers of transportation isn’t exactly the way you imagined your date would start.

“You are not web-swinging me to Manhattan,” you tell him, still inside your apartment, arms crossed and shaking your head vigorously. “I don’t care what you have set up, I’m not gonna risk going splat on the damn concrete.”

“Come on, it’ll be fun,” Hobie pushes playfully. “Promise I won’t drop you.”

You frown, brows furrowing and lips pursing as you glare at him. He returns the look as calm as ever, a slight smile edging the corners of his mouth and stance open in invitation. The way he holds himself has uncertainty creeping to you, forcing out your fervent disagreement in favor of consideration in a rather slick way of persuasion.

Perhaps you should’ve known you wouldn’t win, with the sheer difference in your demeanors. Your staredown continues for a couple of minutes before you sigh, breaking eye contact with a reluctant drop of your chin and a gentle moan of diffidence.

“Can I at least close my eyes?” you mumble, walking out and shutting the balcony door behind you.

“You can do whatever you want,” Hobie replies, sliding on his mask and gloves. “Just hold on tight.”

Stifling a breath when his arm wraps around the small of your back and under your thighs, you cling to his shoulders as he lifts you up and climbs on the railing.

“You ready?” His chest rumbles under your touch when he speaks, and you can only give a small nod in your position, heart pounding against your ribs and face buried deep in the nape of his neck.

Hobie laughs—a deep, warm sound—and then launches off your balcony.

There are no words to truly describe the feeling that swallows you while in freefall. Wind blasts past your ears in violent howls, gravity pulls your figure down but your insides up, and the only thing you have to ground yourself is the feel of Hobie as you clutch him with every bit of strength you possess. Adrenaline thrums through every vein, lighting your nerves on fire and prickling your skin with gooseflesh; even your energy to scream depletes into fueling the rush that floods your senses.

Upon the first pull up, Hobie’s web catching a surface to swing from, your gut lurches and a serrated gasp shudders through you. Your arms pull you impossibly closer to him, fingers clawing to dig deeper into the back of his vest.

“Easy now,” he chuckles, sounding miles away with how loud your heart beats in your ears. “I promised I wasn’t gonna drop you, didn’t I?”

“D-Doesn’t make it better,” you gasp, shivering now that the breeze whips against your back.

“Try to relax—we’ll be there soon.” Though he says it like it’s the easiest thing in the world, it proves contrary to the way his grip tightens around you with the next swing.

Despite how comforting the gesture is, you find that you can’t relax much while still flying through New York a hundred feet in the air.

After what seems like days of travel, Hobie finally lands on solid ground, giving you a moment to catch your breath before setting you down gently. His arms are threaded underneath yours as you try to balance on shaky legs, knees bent and feeling all too much like jelly for your own comfort.

“I feel like a newborn deer,” you sigh, voice trembling from the withdrawal of adrenaline. Jitters quiver your fingers, lightly chatter your teeth, and shake the thin chamber of your chest. “My God, how do you even get used to this?”

“Gotta learn to trust yourself,” Hobie hums smoothly. “First time’s always a tad tricky.”

You only nod, gaze now pinned to the ground as he gradually guides you forward, step by step, until you’re stable enough to slowly walk on your own. From there, the slightest incline of your head brings your attention to a small spread of food and flowers laid out nicely on a patterned blanket. A warmth comes to settle in your core at the sight, softening your eyes and easing the tenseness in your limbs—contentment reaches you and the stress gained from the ride here begins to fade, if only by a little.

“Hobie, this is so sweet,” you coo, pleasure lightening the tone of your voice.

His rings just as sweetly through the evening air. “Good to hear—would’ve been gutted if you didn’t like it.”

You laugh at the response, casting an affectionate glance at him that just grows fonder upon meeting his charming reciprocation. The bend of his brow, the part and curve of his lips, the crinkle of his eye—all of it has you transfixed for a generous moment, barely able to notice the way your navel aches with longing in your stupor.

The feeling persists throughout the evening, present in every winding conversation and instance of quiet shared between the two of you. It’s rather freeing to be unconstrained by the formalities usually held by the label of a first date and to sense such endearment for the whole of it. There is no talking to only talk—every sentiment has meaning, every word punctuated by some semblance of tenderness; there is no awkward atmosphere brought about by nervous tension—you rest comfortably, leaning back on your hands, as does Hobie, elbows on crossed legs, positioned towards you.

Hours pass by easily in the space, kissing the sky with hues of orange and gold and violet as they bid a teary farewell, trails of light following in the wake of their departure. Yawning clouds push to the east, unlined shapes dissipating with the fleeting luster. Soon, the New York city skyline is only a bleak, black horizon that cradles a half-yolked sun just shy of its surface.

Golden rays grace your skin, full and temperate and real. You’re just about to gush to Hobie about how this is your favorite time of the day when you’re stopped by the shallow movement of his arm.

He shifts to pick the carnation laid closest to your hand, snaps off the longer part of its stem, then tucks it delicately behind your ear. Wordlessly, he adjusts the petals, and grins when they seem to his liking.

You’re practically bursting at the seams when he retracts his hand, fingers ghosting the curve of your cheek on their path back. Heat rushes to your neck, white-hot on a quick shot up to heat every inch of your face. The sensation catches your breath, widens your eye, tucks the tip of your bottom lip between your teeth, and all you can do is sit and watch Hobie as he admires you.

There’s a look in his eye that you hope is reflected in yours, how beautiful he is. The warm vermillion hue of the sun hits his complexion and it’s like there’s nothing else in the world to behold but him.

Suddenly you find yourself reaching for the flowers on the blanket, clasping multiple in one hand and halving the stems with the other.

Leaning forward, palms stained with sap, you place the carnations in each of Hobie’s wicks, uncaring of the smell of chlorophyll or the tremble of your fingers. You only return to your seat and wipe your hands when you finish, the expanse of his head dotted in small blooms, all that’s left of the original bouquet messily cut stems and loose leaves.

A breathy laugh escapes you at the sight, light and happy and bright. “You are so pretty, Hobie,” you whisper, your heart swelling with adoration. “And I wanna kiss you so bad right now.”

He smiles. “I’m not going to stop you,” he says, then wraps his arms around you when you crush your lips to his.

You feel you must be drunk on something, but are entirely too far gone to care the slightest bit. Hobie is every bit as soft and warm as you imagined, his hold homely, his scent familiar. Breathing him in, bergamot, plum, and sandalwood filling your lungs, a dreamy sigh stutters out of your nose before you start to move.

The kiss takes on a steady rhythm then, perhaps the easiest thing you’ve had to follow. Each press of your lips against his finds just the right amount of resistance, the feel of his piercing snug as it nudges you in every shift. Your hands find purchase in cupping his face, fingertips smoothing the silver studs that line his ears and thumbs stroking his cheeks.

Hobie’s touch rests just shy of your waist, the bend of his elbows against your ribs, palms flat against your scapula. His chest rises and falls with every breath, a slight hitch in the motion when you crawl to his lap, sitting in the space between his legs.

The two of you share your own pocket of heaven for a minute longer, then with one last kiss, you part. As your eyes flutter open, Hobie slides a hand off your back to thumb your lip, swiping a finger across your bottom one.

You make a questioning noise but remain unmoving as he works, sliding his digit across sensitive skin.

“My lipstick got on you,” he explains when he finishes, showing you black makeup smeared on his thumb. “I liked the look of it, but didn’t know if you did.”

A gentle laugh spouts from you at his kindness. “I’m all for you giving me a makeover next time,” you say with a grin.

Hobie gives a small chuckle back, delight sparkling in his eye. “Good.”

The afterbuzz of the date still tingles the back of Hobie’s neck even hours later. It’s ten o’clock, the moon at highrise and not a single star in sight in the muddy violet pool that overhangs New York. He’s in the middle of a stakeout, monitoring an energy station reopened as bait for whatever, whoever, might come out in response. The task of fully focusing proves rather hard in the wake of remembering the warmth of you as you held him, the brush of your lips against his, and your small gasps of breath, but he tries anyhow.

Hobie’s just finished shaking off the image of your face in the light of dusk when his watch buzzes. He looks down with a frown, noting the peculiarity of receiving a call this late.

“Gwendy,” he greets, an orange hologram of Stacy appearing with the twist of a dial. “What are you ringing me for?”

“Hey Hobie,” she returns flatly, not providing much else before quickly casting her gaze askance.

From her projection, Hobie can gather that something seems off—Gwen’s stance is completely closed, arms crossed and feet together. What looks like nervousness twists her features, pinches her forehead, pulls her lips tight together. She’s never been good at hiding her emotions, but even this seems exaggerated.

Sobriety seeps into Hobie then, the high of hours ago eroding. “Something wrong?” he asks, voice dropping low.

Gwen pauses, hesitating. “Miguel wants you back at HQ,” is what comes from her after a few seconds. “Now.”

“What about the mission?”

“He just says to leave. There’s been some new intel. That’s all I know.” Gwen swallows thickly, her eyes flickering back to Hobie. “See you soon.”

“Alright, see ya.” The hologram blinks twice, then disappears. Hobie taps on his watch to open a portal back to Earth-928, dubiety sinking its teeth into his thoughts. Miguel was ever the autocrat, so he was never quite fond of the guy, but the way Gwen had come to him—with a fresh feeling that extended beyond terror etched in her expression—that doesn’t sit well. He doesn’t need a spider-sense to recognize that something is amiss.

Somehow, he can’t elude the feeling of dread that creeps to him when he’s swallowed by the vortex.

[miss-musings]

How badly was Tech's Death handled in The Bad Batch S3?

I'm planning to do a full season review for The Bad Batch Season 3, and while prepping, I started thinking back about how Tech's death was handled.

I wonder if The Bad Batch never really mourned Tech on-screen because they all blamed themselves for his death:

Hunter bc he's the leader (even Hemlock noted this)

Wrecker bc he was trying to hold the rail car

Crosshair bc they were trying to save him from Tantiss

And Omega had never really lost anyone before, so she probably didn't know how to cope.

The time jump didn't help either.

Arguably it'd be in-character that their "mourning" style is just avoiding the topic. They hardly brought up Crosshair in S1 after he was mind-controlled.

Hunter shuts down the group's conversation about Crosshair in 1.03 partly bc he feels guilty about leaving Crosshair behind (even tho they didn't really have a choice). Consequently, the group doesn't really mention Crosshair except in passing after 1.03.

Look, I ultimately think the writers *should* have let the characters mourn Tech in a meaningful way. It'd allow them and us to have some closure. But they didn't, and that's partly why so many people expected him to come back (namely as CX-2).

Tech also just had such a suspicious "death":

No body on screen

He fell with all or most of his gear on him, and Hunter survived a 500+ foot fall on Daro without much issue

Hemlock as an unreliable death certificate

A character running around in S3 who was conditioned by Hemlock (who supposedly found Tech's body) and who moves & talks like Tech, and has significant interactions w/ Crosshair and Omega plus a weird scene w/ Phee

It didn't help that CX-2 survived *everything* - multiple explosions, falls, etc. Plus, we never saw him without his mask, unlike CX-0 in S2 and CX-1 in 3.06.

If the TBB creators wanted to avoid any theorizing that CX-2 was Tech or anyone else we knew, all they had to do was show him without his helmet at the end of 3.07. Boom, problem solved!

I really expected a CX-Tech reveal up until 3.14 "Flash Strike." But by then, we'd run out of time to bring him back properly. It really feels like the writers baited us, or something was changed last-minute during S3 production.

Even if we'd gotten a scene in, let's say, 3.05 "The Return" where the Bad Batch finally and properly mourned Tech once they were all together, I'm sure people still would've theorized CX-2 was Tech. But, I do think there would've been fewer.

As it stands, neither the characters nor the audience ever had a proper send-off for such a prominent character.

And CX-2 had all that screentime & build-up to justify cutting off Crosshair's hand???

TBB S3 was great in many respects, but how it handled Tech's death was a major flaw.

But, I just wanted to play Devil's Advocate for a bit. Maybe it wasn't as bad as we thought, and arguably was in-character for Tech's brothers to hardly ever mention him.

He's mentioned 7 times in S3:

Wrecker has an indirect mention in 3.02

Omega in 3.03

Echo in 3.05

Phee in 3.08

Crosshair in 3.09

Phee in 3.12

Crosshair in 3.15

And we know that last one is the most heartbreaking one of them all.

Phee and Echo seemingly have made some peace with losing Tech after 5-6 months. But it's clear Hunter & co still haven't. They all compartmentalized his death and never addressed it. Crosshair's little "Plan 99" speech in 3.15 proves that, I think.

Anyway, just throwing this out there. I'm planning to do a S3 review soon and go over the three best and three worst things about the season. SPOILERS: Tech's death and the CX-2 baiting was definitely one of the worst!

[formyloveoflove]

Characters I Would've Liked to See More than the Faks in S3

I learned too fak'ing much about that family in S3. I loved the Faks in S2. Their increased screentime felt like an over-compensation. Much of the comedy that I loved in S1 came from the staff interactions. The feeling of an ensemble was truly missed for me.

But without further ado and in no particular order-

1. Marcus

Marcus Brooks, I am so sorry that the writers didn't give your story the necessary space it truly needed. You were the only child of a single mother, and you watched her die. I wish we could've seen more of your grief. The little glimpses we saw - your eulogy speech, the way you were inspired to make a dish to honor her, and your thinking about legacy - were so beautiful, but it felt like it had no place to breathe.

The glossing over this tragic loss, the fumbling of showcasing Black Catholic influences (sidenote: did you know that Chicago is home to the biggest African American Catholic population), and the diminishing of his grief were some lows of the season. I would've loved to see more of Marcus dealing with the loss of a parent because no matter how "prepared" you are, that shit will knock you off your feet.

2. Sweeps

If we needed a break from the melancholy of the main plot, I would've loved to see Mr. Gary “Sweeps” Woods go to wine school. It could've been in clips, similar to Tina going to culinary school in S2. Some comedic slip-ups, or maybe somebody else recognized him from his baseball days, or maybe he messed around and got too drunk. Better yet: he and some fellow sommelier get drunk. We've seen this character for three seasons, and we barely see him.

I did enjoy his monologue in Legacy and thought it was very fitting.

3. Manny and Angel

I remember seeing them for a split second in the 30-minute montage S3 E3 "Doors." They are truly the unsung heroes, and it would be good to see them for some comic relief. Maybe they're pranksters? Maybe they could've been the reason the teaspoons and forks were missing. Or maybe they could've been tasked with counting how many come through.

What's their dynamic? What are their personalities? Three seasons, and they feel like cameos.

4. Thee Adamus

One of the things that I wanted from S3 was some more Sydney's mom, and while I was delighted to see she has her mom as her lock screen, I wanted more. I love Syd's dynamic with her Dad whose unyielding support can come off a little worrisome to his baby girl. But Dreamer! Daughter x Practical! Father hits close to home for me. And the Adamus have a healthier relationship with loss and grief, and I want to know more about that process.

When I say more of the Adamus, I mean I want to see why and how Sydney became Sydney. I wanted to see their family dynamics. Why does Syd like to cook? Why is Syd avoidant?

Plus, this was a season about mothers, goshdarnit. More mother content, please.

5. Ebra

Ebra is so funny to me. Like I'm begging on my knees for more Ebra content. He's so cryptic and genuine in a way that only older Black men sharing snapshots of their trauma are. In S1, he's very attentive when it comes to the younger staff members, like when he was sensitive to Marcus gaining confidence in his skills and when he read Sydney's review for the whole kitchen to see.

One of my critiques of S2 was that they just let Ebra fall by the waistside. They didn't fully commit to his journey to accepting change as an older professional. This season, we barely got him at all. I would've had him at least show up to Syd's party. Maybe even via Facetime with the camera all up his nose because he doesn't understand the mechanics just yet.

[reyreadersblog]

TGG SPOILERS!

I read so many reviews of TGG...

And i have a few opinions to say:

(Keep in mind, that they are MY opinions and don't hate pls🙏🏻)

Not proof read.

1. Gigi was the best player, idc. I hate Brady for what he did and the way Gigi handled the situation was rlly good, i love her even more in this book. The cliffhanger had me screaming😭😭

2. Apperantley, everyone loved Odette..and mabye i'm just being a hater but i didn't find anything interesting about her character😭. For me she was just "there", sure she helped a lot, but what was the point?? The only reason i kind of liked her character was because she gave us so many Lyrason moments. I kind of felt bad for her towards the end tho. She gave Grayson and Lyra hints, she solved some of the mysteries...but her character was lacking something. I did like her tho and i wanted her to be in the for a while.

3.grayson was best version of himself,i KNOW he was thinking with his dick the whole book but it was actually hilarious, and the character growth he had??? Amazing, truly. He was finally healed. Also the rizz he had...?

4.i liked Lyra's chapters the most, prolly because her father's whole case had me so invested.

5. I loved all the Savannah x Rohan moments we got. The tension AHHHH.

But there were some moments where i felt like i was reading TIG and TFG all over again, simply cus they're dynamic reminded me so much of Averyjameson back in the days. I'm not saying they're exacly the same, it just felt a bit..forced and similar, which i didn't like, i'm being very honest.

6. First half of the book i LOVED savannah but near the end she pissed me off so bad broo😭😭🙏🏻. I know it's all Eve's doing, but Sav isn't blameless too for trusting her. The whole "i'm going to get my revange on Hawthornes for killing my father" UGHHH. GIRL if there is anyone who has right to get revange for her father and messing up her mental health is Lyra. You don't get to say anything cuz..💀

7. Slater might get his redemption arc but idc i'm never going to like him.

8. Lyrason. That it. That's my opinion.

9. Puzzles were overdone. I understand that it's "the grandest game" so obvi there is going to be tons of puzzles and secrets but THERE WERE TOO MUCH.

10. I want Lyra to win and at the same time i want Rohan to win lmaoo😭😭.

11. Avery slayed that 2 minutes of "screentime" she had. Queen.

12. Savy and British had me cringing so bad i'm sorry😭😭

[artist-issues]

Screentime For the Prince

You know how in the original Snow White and the Seven Dwarfs, each character's true nature is revealed by what they choose to treasure?

You know, Grumpy treasures safety because his true nature is vulnerable, the Queen treasures beauty because her true nature is ugly, and Snow White is the only one who's treasure is as true as her nature: pure love?

And how the Prince only gets around 5 minutes of screentime, and in those 5 minutes, proves that he A) treasures Snow White's true nature of pure love and B) keeps his promises?

Well, I was thinking. In the new Live Action, they're basically writing in a different male character in place of the Prince and not focusing on any kind of love story. So it's not actually "Snow White." But what would a good, faithful, beautiful adaptation of Snow White look like? (You know, one that actually does adaptations correctly--like Cinderella 2015?)

What should they be doing with the Prince?

I have a general idea below.

I mean, they can't introduce him in the same way they did in the classic animation. Obviously modern people aren't used to so much nuance in their big-screen fairy tales anymore; 5 minutes of screentime isn't enough, we prefer Mr. Darcy & Lizzie Bennet-levels of couple-building interactions, at least. And that's okay.

But it means we have to fill in a lot of the blanks about where this Prince comes from and why he values Snow White's "pure love nature" so strongly.

So I figure, in my head, it might look something like:

The Prince (let's call him Walther, German for "Walt," since basically everybody who worked on the original movie agrees that it was Walt's big brain child, and the popularized "Ferdinand" is not only fan-made but makes me think of a kindhearted bull) is the heir to a neighboring kingdom's throne.

Prince Walther isn't King yet, not because his parents are still King and Queen (they're dead,) but because tradition states he can only take the throne once he's come of age. Prince Walther's like 17, turning 18. So instead, his kingdom is essentially run by this council of busybodies, with one Regent holding the throne until he's old enough to take it. Something like that.

(the picture is of Dean Stockwell who's the son of the original voice actor for the Prince, I think someone who looks like him ought to be cast.) Prince Walther experienced pure love from his parents, who treated him like a normal boy and didn't place much emphasis on courtly manners or politics when raising him. But then they died tragically, leaving their honest and innocent son to be raised by a bunch of old people who put way TOO much emphasis on those things.

Because everyone in Prince Walther's court has had to handle being next-door neighbors to the Wicked Queen's country. They're all super political, and afraid of appearing weak, and therefore, very insincere. That's what I'm saying.

Everyone he interacts with on a daily basis never comes out and says what they really want. Nobody is genuine. He lives a life of hearing words like, "good morning Your Majesty, I hope you slept well. The Grand Duke could certainly stand to sleep better; the poor fellow looked run down at breakfast." but learning that what they actually mean is, "The Duke is getting old and ineffective and when your birthday passes you should decree that he give his land and resources away to me."

And he misses the genuine love the court used to feel from his parents' kind, simple way of ruling. No political games, no complex feuds. Plus, he misses the personal love they shared as a family, genuine, uncomplicated. He missed the days when people just say what they really want, unafraid, so that their rulers can take care of their needs.

Then there's the problem of why Prince Walther's in the Wicked Queen's realm in the original movie--that's not his territory, if he has his own kingdom.

So I think it would be neat and interesting if the Queen wants Walther's land. Maybe she invited his parents, way back when, to a kind of audience to negotiate an alliance. Then she got jealous of his mother's beauty, maybe even tried to seduce Prince Walther's father, and assassinated them both when he rebuffed her. Oo, maybe even the Huntsman (her FAITHFUL Huntsman) helped her do it all those years ago.

But she didn't realize they had a young son, so she couldn't just raise her hand and say, "Hey Neighboring Kingdom, it's too bad your monarchs both mysteriously died--don't worry, I'll be your new leader" because Prince Walther's council suspected foul play (they always do, they're suspicious people) and were preemptively like "NO NO WE HAVE A PRINCE, WE HAVE A PRINCE! We're fine, we don't need help, everything's fine."

So she sort of had to stew on that. Maybe she even tried a couple more halfhearted attempts to get their throne, and they just never worked out--then eventually her attention was occupied by how much older her stepdaughter was getting, and how much prettier.

Anyway, Prince Walther asks for an audience with the Wicked Queen; he's about to become King, and he knows that the council fears their neighbor, and he sort of wants to go over and size the next-door ruler up for himself. So he rides over with a little delegation of the members of the Court he can actually tolerate the best, and is visiting.

It's not fun. They're only there for a day, but the Wicked Queen is definitely scary. For one thing, she's unnaturally beautiful and everyone he brought with him is either stupefied in her presence or terrified. He himself is very confused by her; he's an open-hearted guy, with a touch of naïveté even though he was raised with good intuition and doesn't trust the Queen. All audiences with her are full of all the formal, double-and-triple meaning conversations that he hates back home; except worse, because she makes everything seem more sinister.

So after a particularly weird conversation with the Queen where he can't decide if she was flirting with him or threatening his kingdom, he goes for a ride around the courtyard to clear his head. And what should he hear, like a breath of the freshest air since his parents died?

A pure, beautiful voice. A young girl singing--and not just singing about anything, but singing about what she really wants. Genuinely. Her heart's fondest desire--and it's not power, or land, or even freedom. Just love. She's singing loudly, like she doesn't care who might hear such a vulnerable longing.

And he climbs over the wall and sees this scullery maid. She's absolutely beautiful, even though she's dressed all in rags, and he loves the picture of her: sharing her heart with doves, who feel completely safe with her, and not having to worry about what anyone thinks of her.

He sort of eavesdrops on her for a little bit, and in this part of the movie, maybe we learn how impulsive he is. He just jumps over and tries to join in. Maybe it's even a little funny. And we can stretch out the feelings behind the part where Snow White runs from him--that feeling of her being unsure of a stranger, not because she worries about what he thinks, but because it's so surprising that anyone is taking notice of her so abruptly at all. And she doesn't know him.

Maybe he asks to extend his stay at the Queen's palace and keep negotiating or whatever, but he really just wants to get to know the scullery maid better.

Then the romance is sort of still fast, but built in a way that the audience can sink their teeth into. The Prince and Snow White have a few more mutually-agreed-upon meetings, not necessarily hiding them, but just in breaks between courtly audiences with the wicked Queen. They're both enamored with each other: she's never been treated so kindly by anyone and his whole faith in pure, innocent love and uncomplicated, genuine people is being restored just by talking to her. They bond chiefly over missing their parents.

Eventually he learns that she is the Queen's daughter--maybe from the Huntsman, maybe from Snow herself in an innocent way. He's stunned that she's treated so poorly, but the second he learns it, he confesses that he loves her and he wants to take her away from there. Plus, this solves the whole "will my kingdom go to war with the Wicked Queen or be allies even though we can't trust her" diplomacy thing--Snow White is her heir, so it would be a beautiful twist of Providence that the girl he has fallen in love with can also be the alliance of peace for the kingdoms through marriage.

Snow White accepts his proposal, but she's afraid for a moment that her stepmother won't allow it. The Prince urges her not to be afraid: he'll take her to his castle and they'll be happy no matter what: he promises it, he gives her his word, he encourages her not to worry because he won't let anything stop him. It's lovely. She finally has someone she can gift her superpower of pure love to, and someone who can treasure her like she deserves.

Problem is, the Queen overhears this last conversation, right after learning that Snow White is the new "Fairest of All" from her mirror, just like in the original film.

So while the Prince is convincing his council that he's proposed to Snow White, the Queen's largely-unknown secret stepdaughter, and is going to reveal the fact to the Queen tomorrow, the Huntsman and the Queen herself are plotting the assassination attempt that eventually leads to Snow running for her life and living with the Dwarfs before she ever gets the chance to see her betrothed again.

Then the movie unfolds largely the same way it did, but with more dialogue and nuance strengthening the original's main themes: Snow White is pure love in nature, and that's everything the Prince has been missing, and he fulfills his promise which she has total faith in. And along the way, the Dwarfs learn to care more about protecting an innocent girl than they care about protecting themselves, and treasuring a person over jewels. Grumpy in particular. And the Queen dies because she's a jealous witch who's self-love has twisted her into something ugly.

Basically, what I'm saying is, there's a way to make the Prince compelling for audiences who are now used to more fleshed-out interactions in movie couples. Just give him a background that is longing for pure, uncomplicated, innocent love. Then when he runs into Snow White, who's never been treasured and valued since her parents died, they give each other everything they've been longing for--and then they have faith in one another when circumstances, both funny and sinister, force them apart.

It's like the Notebook (just in story structure)--you build up romance in the first act through a few poignant scenes, but then the rest of the movie is about waiting for that romance to be fulfilled.

Anyway. I guess I could've said all this more succinctly, but I was kind of making it up as I went. 🤷‍♀️

[mahuhumaling]

JATP Season 2 Wishlist

that i wrote in my notes app back in:

and realized i never posted it here? tbf i'm rarely on tumblr. but because i really miss them rn i want to share my ✨ brainrot ✨ that i had back when i thought they were getting a renewal.

Carrie Wilson

she was my biggest flaw in Season 1. I wish her "redemption arc" is fleshed out more in Season 2; give her either more context & backstory to validate her reason for unnecessarily antagonizing Julie, or screentime to properly address how she's just projecting an emotion completely different into bitterness and anger into Julie's recovery

show particularly her earlier dynamic w/ Flynn and Julie? Maybe as Flynn calls her out, we'd get flashback glimpses prior to Rose's death (maybe even Double Trouble temporarily being Triple Threat 👉🏽👈🏽)

for some reason i'm picturing a scene where she's in her dance studio (she has one in their mansion, of course) practicing some of her Dirty Candy routine when she keeps messing up and not in the right mindset to keep dancing. i feel like the best (maybe easiest but whatever) way to guide the audience into her artist mind is to make her be a perfectionist. in frustration, she blows up for a minute before slumping onto the ground and reminisces her fun times with Julie & Flynn

also when you have her develop, please don't make her lose her femininity and the bubblegum pop music, it's great

Old Songs Resurfacing

it'll prove how detailed & thorough you are as a screenwriter if you pay off the songs mentioned in Season 1 in passing to be actual songs in Season 2

Unreleased: Get Lost, Long Weekend, Crooked Teeth, My Name is Luke, and if that riff from the scene in EP. 5 that spurred on the Bobby reveal isn't from one of these songs, add that too

Demo Album: Late Last Night, Lakeside Reflection, In Your Starlight

Willex

imagine your queer couple gets to have their first kiss first than your het main couple, not only will that settle Madi & Charlie's statements about being uncomfortable in doing a kissing scene and maintaining the priority of Juke's emotional over physical relationship, it would also make an powerful statement

Reggie's Character Arc

i know that he initially had an arc that involved a romance with Flynn but because of the ages of who they casted, they scrapped it and didn't have time to rewrite the scripts for him as filming neared, so they have time to adapt to how jeremy portrayed him for season 2: a lovable dork who craves familial love

since there's a possibility that lifers can now see the boys, maybe some found family trope for Reggie and Ray Molina?

he has pretty much formed a parasocial relationship with him at this point

so why not instead of a love interest, Reggie can have his character arc develop & we see his family before thru flashbacks and paralleling those in the current times because he sees Ray as a father figure

picture this: it's raining, Bobby opens the garage door to the sound of knocking, the boys find Reggie soaking wet and out of breath when he tries to say he doesn't know where else to go then the boys immediately figure out another fight in the Peters household happened. Reggie tries to talk again when Alex (because even though they're the airhead-sarcastic duo, they know they love each other) runs up to hug him and tells the other he doesn't have to say anything

cut to a freshly showered Reggie, quietly watching tv with Bobby, Luke, and Alex in the garage, eating whatever

also a solo acoustic country song, pls. just to make him happy

The Aftermath of the Deaths

for both the boys and Rose

we get parallels about how Bobby dealt with trauma and grief to Julie

like, the reason why the clothes are still in there (are to have costume changes for the boys) is because Bobby immediately moved out of the house (therefore also the garage) and left the clothes there because he couldn't bear to burn it, or visit the boys' houses to break the news to their families and return the clothes, or donate it somewhere so he just...left it. it would make for a more solid reason (for costume changes) and an emotional context as to how Bobby really tried to forget them because it was "easier."

it would also make sense why Carrie and Julie ended up friends. Rose probably was there for Bobby when they discovered what happened at the alleyway, so they stayed friends over the years and had their respective families but still kept in touch, (bonus points if absolutely nothing romantic happened between them! yay to normalizing platonic male-female relationships) and why Rose would immediately think of Bobby's three late bandmates to send for Julie when she was on her deathbed

Bobby never really "moved on" (because grief is a really complex thing). it's showed that he has a therapist and everything, and this could definitely have some aftereffects on his daughter. Carrie growing up seeing her father be this amazing rockstar but a negligent father and only showing love in ways she doesn't need (like riches and fame and connections to the music industry) because he's actually a really lonely man on the inside and no one can see that except for Bobby's spouse and Carrie. it'd explain why Carrie is spoiled, and other negative character traits that Carrie has on the surface

it's even why Bobby changed his name to Trevor: 1) Bobby is so closely associated to Sunset Curve and it's an absolute pain to be reminded of that every day, 2) it's a stage name and artists really do get that

More Worldbuilding

they already had some pretty creative concepts/ideas in the first season, so why not expand/expound on them a bit more

the instruments are attached to their souls that's why the boys at first can only touch them, like how Willie's skateboard and helmet are attached to him

which is why when they attach themselves to the world of the present, they gather up energy and focus on touching tangible things like the picture frame

this may follow the logic toward the end where they are finally able to touch Julie because she has become attached to their souls. emotionally.

More Creative Collaboration

i believe in the principle that when a story is finally released/published/told to the world, the world shares it. this is also visible in film/tv where when the scripts are finished and actors receive them, the story becomes part of theirs to work on. which means that they have some sort of autonomy over their characters' motivations, a chance to be heard of their ideas and pitches, and why some certain scenes wouldn't work, etc etc. it doesn't just become the director's story nor the screenwriters'.

the actors' ideas such as Perfect Harmony and their solos from Nothing to Lose are great because they let them in. they took risks, and it paid off incredibly well. more of that please. have them be a part of the writing process, (also the story), but never forget what made the music production great in the first place. be coherent and don't be like others that let too many hands work on one piece—it will lose its sound, its identity.

Julie Knowing

that Nick is possessed by Caleb. ohmygOD. hear me out.

the same S1 ending will play somewhere in 2x01, but it will be revealed that Julie was watching through the window the entire time and when she opens the door to receive the flowers, that last look she gives him is actually her scheming.

determined to get Nick back, imagine The Promised Neverland's level of mindgames Julie could play with Caleb because we already know our girl's smart

Free Willie Willie's Freedom

since the boys feel indebted to Willie's help, they insist on helping him too with getting rid of Caleb's stamp

maybe through his connection with Alex? or maybe Willie's family or friends who are still lifers (which is unlikely but either way). he needs to be saved !!

Song Sequences Ideas

juke counter melody duet like Rini's "Even When/The Best Part," Shane & Mitchie's "Wouldn't Change a Thing," or dodie & Jon Cozart's "a love song/a non love song"

emotional carrie ballad paired with lyrical hiphop choreo

willex song - i absolutely have no idea where this could go directionally but maybe alex on an acoustic guitar with a really soft sweet tune

reprises of S1 songs but in the complete opposite of their original style (the fandom's lonelier All Eyes on Me version, i see u)

nick guitar solo - just because Sacha actually plays, idk how it'd fit in to the plot yet but hey

Nothing to Lose (Reprise) - back in the '90s, a producer manipulates Bobby to sign a record deal to become a star but on one condition: disassociate himself with Sunset Curve, to which he first declines until he slowly gets persuaded. (sort of like Todrick Hall's So Lucky to Be You meets Lyn Lapid's Producer Man)

"So how about it, Bobby Shaw? Do we have a deal?"

"Trevor."

"I'm sorry?"

"Call me Trevor Wilson."

i'm pretty sure someone made an animatic with this idea too but i cannot for the life of me find it !!

7. Season 2 starts the same way as Season 1 does before the opening song plays

Black screen that reads a text "Hollywood 1995"

a pan down to the Orpheum's overhead sign that reads "SUNSET CURVE SOLD OUT"

cut to the interior with Rose finishing up her cleaning when a stage manager calls out: "Sunset Curve!" to which Bobby abruptly stops his pacing back and forth to look up. he and Rose look at each other. music swells until...

cut to him running onto the alleyway, "are they still not finished eating? those gluttons are dead to me i swear—" he cuts off his own words when he sees the boys getting dragged onto stretchers. but we, the audience, don't see it. just a close up of bobby as the ambulance lights reflects his face. rose comes up behind him, still clutching their t-shirt.

[i honestly have no idea if Bobby should get on stage because it just proves Luke's theory of The Orpheum's opening bands eventually becoming big & successful so it'll explain the Trevor Wilson fame even though at first he only did it for the boys, or if he shouldn't because according to the article Julie googled he ran away immediately after they were pronounced in the scene] but either way, this is how the opening starts.

then it progresses to Rose and Bobby respectively having children so they could parallel each other blah blah

8. Julie plays a simple song on the piano while the guys watch her in awe

Storytelling through Props

let's dive deep into Rose's luggage/suitcase and use the props to head for Julie's emotional attachment with them

they already did it with the wardrobe: Rose wears the black leather vest in the pilot while Julie wears the same thing in EP 6

add depth to the characters' relationships like us finding out Julie's multilayered necklace is actually a gift from Carrie or something

SOYON ANN YOU'RE A GIFT FROM GOD. Bobby's necklace is present in both young and old!him

**Rose in flashback scenes should be wearing clothes we've already seen Julie in Season 1 just for greater effect.

The Bobby Conflict

definitely needs to be brought up again by Season 2; they only discarded somewhere in the middle because more pressing matters like the boys' existence blipping away was pushed to the forefront of the story

however, The Bobby Conflict changes. it'll be cleared up that he was offered a record deal as a solo artist by a manipulative producer. and given that the poor boy is only 17 (too, maybe), he agrees. what he doesn't know is the contract's fine print: giving up Sunset Curve's royalties

that information clears it up to the audience and the band, so the conflict becomes this: Bobby's Survivor's Guilt. god wouldn't that be so good tackling that in a kids'/family show.

[oodlyenough]

arcane s2 act 2

so my main criticism of act 1 was that everything felt rushed. that has not gotten better lol

i knew going in that two seasons -- of nine episodes, and short 40 minute episodes at that -- was probably going to be too little. and it is. well. what can you do, i guess. i'm glad this isn't my number 1 fandom interest the way it was in 2022 because if it were i'd be much more bothered lol. many of the beats we're hitting are beats i like on paper but we are blitzing through them so fast they have no time to breathe or sink in before we're onto the next one.

also i respect the huge amount of effort that goes into creating an animated series that looks the way this looks, but these episodes are so short. the runtime is 40 minutes and five of that is credits and another five of that is our obligatory stylized music video. it's just too little time to dedicate to a large ensemble cast and a complex plot. it sucks to be watching the final season of a show and realize you haven't seen [Major Character] for entire episodes, or entire acts (!). outside of jinx and ambessa, it feels like everyone's fave is getting shortchanged on screentime, some more than others. with only three episodes left it's hard to imagine they'll manage to resolve everyone's arc and all the outstanding mysteries and bring everything to a satisfying conclusion. fans freaked out when they first accidentally let slip that after s2 they were moving away from these characters and fans were right. womp womp

more detailed spoiler stuff:

sevika. the hair. why :(

"jinx is a symbol of resistance" is one of those things that i didn't feel they entirely set up. sure, she has pushed back on piltover -- but every time she has, piltover has cracked down even harder on zaun. there's really no zaunites who resent her for that? hm

isha is a character i struggle with because i thought everything about her was too on the nose in act 1 and then we had open act 2 with jinx stating the thesis aloud to the camera. "gee you remind me of my old self powder. i wonder if this is how silco felt about me, powder." lol

i was DARING the show to have vi flashback to punching powder after she hit isha lmaooo. impressed they resisted

whatever tho i did enjoy the jinx-sevika-isha unit while it lasted

vander's werewolf self going back to the hideout he used to share with silco... their jackets hung together... bro...

i have to say i'm actually not sure i like the felicia stuff that much. i don't know. arcane isn't subtle ever and this felt like another sledgehammer. i think i also ... actually derive a bit less meaning from vander taking them in/silco raising jinx if actually vander and silco were besties with their mom and knew them growing up, too. not that it stopped silco from wanting to murk vi lmao so i guess it's no guarantee of his affection for jinx, but... yeah. idk. subtle as a brick: that's arcane

also was this telling me that vander saw felicia die during a rebellion they all incited, flipped out and blamed silco and tried to DROWN HIM ... like... jesus man that's pretty harsh lmao i'd start villain monologuing too

mel in the torture labyrinth was interesting, and i loved getting to meet a version of her sexy brother kino. as soon as [man's voice] appeared i was like omg is it her sexy brother... and it was! sort of! i'm assuming his look and personality and voice match real kino even if he was some kind of trick monster thing. i like the medarda family lore and i liked getting to see mel and kino interact, if briefly

on the other hand, mel being trapped in the torture labyrinth meaning that's her only 5 minutes of screentime for all of act 2 and the reveal is that she has magic powers which we already surmised from the s1 cliffhanger... i don't know... and an illegitimate baby plot? like... we have so many plots. please.

also she's totally pregnant and i hate that. lol.

i started this season ambessa's number 1 fan and i have enjoyed her but also there is a lot of her, when other major characters from s1 get little screentime. i had hoped seeing more ambessa would mean seeing more of ambessa and mel, bc their relationship with each other is very interesting, but... nope??? i mean, sure there's act 3, but we've had six episodes so far of little.

caitlyn's arc was such a disappointment to me. the end of act 1 with her was such a strong stark scene and by the time we pick up with her in act 2 we've already montaged past all her war crimes and into the part where she feels bad about them and is ready to turn a new leaf. like. come on man.

her reunion with vi was way too smooth. i would love vi to be angry with her for her bullshit. maybe they'll fight again next act, they fight all the time, but like... ugh. 2.1 was such a big falling out and then vi just shrugs it off and we're back to "cupcake". poor vi the writers dgaf about her

viktor's cult was not what i expected at all, i expected something more outwardly sinister lol. people on twitter are arguing back and forth about how obviously evil it was but i am not sure that's the case -- or like -- i mean i think as an audience member aware you're watching a tv show, it's easy to be like "this is clearly evil and will be revealed as such later", but just in terms of what the show is putting down in act 2 i think it's presented as this bastion of hope which is then destroyed. in act 3 we will find out why it was destroyed, i assume, and can retroactively decide if that was a good decision or not.

sky. sis. i wish they like. made you a person in s1. i have no frame of reference for if this feels like the real sky whose consciousness is now in the void (like viktor's seems to be?) or if she's like the hexcore's avatar for getting what it wants (which is what i feel act 1 implied), because they did not spend time in s1 to establish her

i joked in s1 a lot about salo getting a front row seat to jayce and viktor's weird gay thing over the years so it's nice he got to participate in their last conversation flkhghgl. but this was another scene where i felt the pacing was nerfing things -- i like the general exchange on paper, that there's been this time apart and viktor wants to show jayce what he's working on and jayce is all fucked up and bitter or whatever, but in real time their reunion, split, and then this scene happen in such a condensed time ... we haven't really seen either of them apart, we didn't see jayce's time growing bitter or whatever and even if we see it in act 3 it's belated?

i also thought it was odd how viktor was like "i was clouded by emotion" when honestly their breakup was the most emotionless he'd ever been to that point lol

it is very funny to think that jayce came out of s1 and the hell void and the lesson he learned was he should continue shooting first and asking questions never

i can think of several possible explanations for jayce's behaviour, ranging from "something i'd be super into" all the way to "i don't want to type it out in fear of invoking it into the universe". so i'm trying not to speculate all that much tbh, lest i grow attached to the former and get the latter

"peacock princes... an old family joke" and "you once told me every system has limits" are two great examples of stuff feeling rushed. these so clearly feel like they should be callbacks to scenes we actually *saw* but they just aren't. because we never got flashback kino, and viktor and sky never held a conversation until she died.

ekko and heimerdinger died on the way to their home planet...

this all sounds exceedingly negative listed out, when in reality i was mostly having a good time. it's just... the cracks are starting to show as the the show strains under the pressure of accomplishing all its goals in a measly 18 episodes. that crunch means any time someone's watching a scene about a plot or characters they like less they're going to start feeling impatient, any time a musical number doesn't hit (and i have to be honest, s2 is more misses than hits for me so far) they're going to feel impatient... i don't know. i find it difficult to see how they'll pull all of this off without leaving the audience thinking "jeeze that needed another season", or "why did they waste time on X when i wanted to see Y".