#all of this is interviews/press from around s2 for the most part

[userkuromi]

in the source link or by clicking here, you'll find 184 268x151 gifs of jacob anderson in various recent interviews. all gifs were made by me from scratch. my rules can be found here but tl;dr: just don't claim them as your own or repost them in gif hunts. a like or reblog is appreciated if you use these gifs but not mandatory. enjoy!

content warning(s): n/a

[nextstopwonderland]

Masterlist of Taika/Rhys content I’ve posted on tumblr

Because I do so love archiving things.

(If putting anything on Twitter, especially photo edits/vid compilations please give proper credit)

Videos

Compilations (do not repost without credit)

Us Against the World: Interview compilation part 1

We’re in this Together: Interview compilation part 2

We were there for each other: Interview compilation part 3

We have similar souls: Interview compilation part 4

A Taika gushes over ofmd & Rhys 15 min supercut

Rhys + “the managerial role”

Rhys + “the managerial role” - the WWDITS edition

Rhys & Taika + working together

Taika + Rhys + “perfect”

Taika + Rhys + “great(est)”

Yet another casting related compilation

“Taika and I get each other’s vibe” -Wilderpeople bts compilation

“Do i ever make you laugh that hard?”

“It’s one of my favorite scenes in the film, because of him” - What we do in the shadows directory commentary compilation

Taika + the most fun being with Rhys

“You weren’t acting there, were you?” - in which the FYC q&a is like an established relationship romcom

Clips

“I never want those moments to end”

Rhys and the blackbeard bar & grill scene

“I was doing an erotic dance for my friends” vibes

“It was always the most exciting - for me- when it was just me a Rhys”

“We’re gonna work together forever. I know that.” 

“Having Taika there made it easier to do. Because we’re in this together.”

“Put your Kraken arms around me... and take me... and squeeze me”

“This is all perfect” | full version 

“The parallel between fiction and fact and life and creativity was so close”

Rhys discussing 2002 Fringe Fest and Taika

“We met on the comedy circuit in New Zealand”

“To trust each other”

“I spoke to you bro!! 🥺”

“He invites me into his special tent” (private 🔒)

Rhys discusses OFMD beginning of filming (private 🔒)

Rhys discusses adjusting to the filming schedule & guest stars (private 🔒)

Compilation of Rhys’s OFMD talk on The Cryptid Factor (private 🔒 )

“When’s the werewolf question coming up?”

“I only come here for the ring toss!”

Wilderpeople Sundance compilation

“One of the reasons he probably said yes is because he was opposite me”

Rhys discusses being cast in ofmd

“Finish each other’s sentences”

“I DO take direction well!”

“We had a each other to lean on”

“There’s just this synchronicity between our brains and the way that we act or improvise where we always seem in tune”

Rhys discussing scenes with Taika and next goal wins

Taika discussing Rhys during Wilderpeople DVD commentary

the FYC private foot tap

“See you in there, babe” - S2 spoilers (BTS footage)

“When I direct him, it’s easy. And when we act together, it’s even better.” - bts interviews, S2 spoilers

“See you in there, babe” - the Samba edition (edit, S2 spoilers)

Other Collabs

Rhys’s part of 2015 Taika directed charity vid

Rhys in Crazy Domains commercials directed by Taika

Audio

“I love how he makes movies, he’s fucking fantastic”

“I always knew i’d end up working with Rhys. I always do.”

Rhys talks being directed by Taika

“We really dig a lot deeper in this show to get into the psyche of these two characters” (Takes place right after the above audio)

“Thanks, Taiks!”

“I love him”

Taika on being able to have fun acting, fanart, and s2

David and Taika discuss the romance aesthetic and the end of episode 1

Rhys discussing his ghost experience at 2002 Fringe fest

Rhys discussing early comedy days with Taika and next goal wins from 2020

WWDITS Australian promo tour compilation

“He’s an amazing artist and I’ve seen everything he’s done”

“We haven’t changed who we are.”

Picspams

Taika and Rhys through the years

Taika and Rhys + Space Waltz (includes link)

Unicorn floats

No thoughts just these photos

WWDITS promotion 

Gifs from vids

Find someone who looks at you...

Find someone who… part 2

Taika agrees with the above find someone’s apparently

More press promo tours

Another pic compilation

Taika photographing Rhys for FOTC

Taika + Rhys + hands

Taika + Rhys + beatboxing + heartseyes

FYC q&a stills

Next Goal Wins premiere

Quotes

“It was a pleasure romancing with you, Ed”

Quote compilation part 1 (in which i originally say they met at Fringe in 2002 because Rhys confused me, but in actuality they knew each other before that. Post has since been edited 🤣)

Quote compilation part 2

Pics + Quotes Compilations

“We’re good for each other, so it just works”

“Let’s just have some fun”

“Just Breathe, Rhysie”

Yet another photo + quote compilation 

1996 vs. 2002

Rhys once again discussing their chemistry, love, and “magic”

“Rhys is inherently loveable. You can not help but love him.”

Ed + Stede + romance tropes

“I still see within Taika the same alternative comic from the 90s.”

“Taika has obvious sex appeal and I never have.”

“We’ve kind of been taking on the world together”

“I always play the nice guy and he’s always a prick”

“So, all of Rhys’s lines.”

_________________________________

Graphics

Mixes with cover art (Blackbonnet)

Without the one you love

The reason I hold on

The part of me I can’t let go

[chainofclovers]

Nate the Great

Hello, I am here because I cannot stop thinking about Nathan Shelley and the many things that are Happening with him. Spoiler-cut for spoilers through Ted Lasso 2x8 and speculation based on conversations w/@bristler, other people in the fandom, a really great interview with Nick Mohammed, and the endless barrage of thoughts in my head!

In 1x7, when Nate gets his chance to roast the players before their match in Liverpool, I both delighted and cringed at the moment. Nate's big moment gets the intended results--he riles up the players by hitting them where it hurts, and that energy nets Ted and the team a much-needed win. But I've always felt that part of why Nate is allowed to deliver his speech in such an uncensored way has a lot to do with Ted's shame that he got drunk and snapped at Nate the night before. It took vulnerability for Nate to decide to slip his thoughts about the team underneath Ted's door, and Ted wasn't in a position to recognize that act for what it was; Ted makes Nate feel weak, and that's got to be crushing coming from someone who's become a mentor and friend. At the same time, Ted is starting to evolve into a person who understands winning is important, so he makes the call that's going to help the team win...and ends up unwittingly rewarding the crueler parts of Nate in the process.

Fast forward to season 2, and Nate still hasn't learned the difference between vulnerability and weakness. The people in his life who understand the difference haven't fully comprehended how much Nate needs to learn it, and they haven't taught him, and Nate's own feelings of self-worth are so bound up in external factors that he's not able to pick it up by osmosis, either.

So now I can't stop thinking about the moment in 2x8 when Higgins and the coaches huddle before the big match and Ted tells everyone he's been having panic attacks. Everyone goes around and spontaneously shares something they've been keeping to themselves, and each person's admission feels like an act of solidarity. Vulnerability. But Nate sees weakness, and his own admission is actually about his ability to be calculating--his ability to make an idea feel spontaneous.

I keep imagining a moment when fame- and power-hungry Nate gets an opportunity to be in the spotlight, and I imagine another moment like the locker room scene in 1x7. A moment with spontaneous-feeling energy that's actually totally calculated. And this time, instead of a cringe-y moment easily forgotten because it brought victory, this moment could be devastating and profoundly regrettable.

Because what if Nate tells the press his own version of the vulnerable stories his friends and colleagues shared in confidence. The weak versions of their vulnerability.

In my imagined version of Nate's words to the press, Ted isn't a man seeking treatment for his panic disorder; he's unfit to coach due to untreated mental illness. Roy isn't an impatient person who doesn't bother to read the coaching reports Ted, Beard, and Nate put together; he's a star whose ego allows him to coast on fame without having to bother with the details of the team. Higgins isn't a harried, office-less professional who messed up a timezone; he's inept and in over his head and sabotaged the roster of the team. Beard isn't a normally-perceptive coach who made a mistake with the mushroom tea because he's being abused by his girlfriend and lacks his usual support system; he's a drug user who lets his personal relationships get in the way of his professional responsibilities.

There's a grain of truth to everything Nate says, but he's lacking the spirit of why he has this information, the context of vulnerability, the preciousness of this one oasis of connection between coaches who are currently disjointed.

I know there's a lot of talk about the relationship between Sam and Rebecca and the Dubai Air and Bantr sponsorships and how those could be a big issue in the press. I definitely think that's a big possibility, but everyone involved in that subplot has a support system. They have a place to land no matter how bad things get, and the show already does a great job depicting how incredibly cruel and unfair the British press can be about personal matters.

This stuff with Nate, though...while the coaches do have a support system and people they can trust, all those connections seem so much more tenuous. And Nate isn't able to trust anyone right now, least of all himself. So the more abusive he gets, he could really fuck a lot of people over, and he might be the one who gets the most hurt in the end.

There's a lot to appreciate about the interview with Nick Mohammed linked above, but I want to particularly call out the fact that he points out that in s1, when he's angry with Rebecca, he calls her a "shrew." I knew that wasn't just a throwaway line, a moment of casual misogyny overlooked, somehow, by the multi-gender writers' room. It was absolutely intentional, absolutely a sign of how far he can go even on a dime when he's upset. He also points out the importance of Rebecca telling him early in s2 that he deserves what he wants. Imagine the irony of that coming back to haunt her if Nate betrays the team (and Rebecca by extension), or if he hurts Rebecca again more personally. I also appreciate that Mohammed lets us know that he's not going to die in season 2 and that he has a storyline in season 3.

I just think there's going to be a lot of pain on the way there.

(This show is so good. Even if it goes nothing like what I'm predicting here, I have every confidence that the betrayal arc is going to be intense and earned.)

[nikadoesanart]

Why I think Bones animated the light novels in the order they have so far

Before I start, I will preface this by directly quoting Asagiri as he did say himself:

“...each of the plots in [novel] Volumes 1 through 4 are independent with their own timelines that follow different protagonists, meaning you can start them in any order.” (55 Minutes, Afterword, Yen Press translation)

This was of course written at the time of 55 Minutes being written (which was first released in October of 2016), but this has so far held true for all of the following light novels except for Storm Bringer. So officially speaking, you don’t necessarily have to read the bsd light novels in numerical/release order or chronological to the story order either, though you’d probably want to have read or watched 15 Years Old before Storm Bringer. Also, considering that 55 Minutes and Dead Apple are the only ones that take place during the main story, you may want to have at least finished season 2 or read up to the end of ch 37 in the manga so that you’re familiar with the characters (because these two take place shortly after where s2 left off).

Now that that’s out of the way, let’s get to why I personally think that Bones has decided to adapt the light novels that have been animated so far in the order that they have. Seeing as Dead Apple was pretty much requested by Bones for Asagiri to write (according to his afterword in the novel), I won’t really be going over it.

Anyway, my theory is that they chose to adapt Entrance Exam>Dark Era>15 YO because in that order the light novels are most relevant to which part of Dazai’s past and mental state are tied to the current main story arc being animated. This doesn’t make Dazai the protagonist in the main story, in fact he never has been as of yet, but this is how the audience is able to slowly uncover Dazai’s past and try to learn about how his mind works. Keep in mind that even the novels with Dazai’s name in the title and even what few scenes there are focused on Dazai and his POV in them, they are not actually from his POV and we are given the absolute minimal clues as to what he may be thinking.

In s1 we don’t know much about his past yet but Entrance Exam/Azure Messenger helps to highlight his eccentricities while also showing his cunning, but also addresses the question of how Dazai and Kunikida are able to work together. Atsushi himself starts the arc off by questioning how two people with seemingly such incompatible work ethics and personalities are able to work together and even became work partners in the first place.

This was cut out from the anime but the novel also shows how Dazai can act sketchy at times and acts on his own behind people’s backs. There were also a lot of overall changes from the Entrance Exam novel to the point that I find it more fitting to refer to the novel as Entrance Exam and the animated arc as the Azure Messenger arc due to how much was cut and changed, but that’s not the point here.

Next, Dark Era shows not only that Dazai used to work in the Port Mafia, but also some of his closest connections within it and why he left, which becomes relevant during the Guild arc. It also introduces us to the Lupin bar, which Dazai is later shown holding a match box from there as a relic of Oda, who he always thinks about/remembers in difficult situations. Dark Era is also where we’re introduced to Ango and what led to Dazai pretty much despising and refusing to forgive Ango.

15 Years Old mainly shows us the relationship between Dazai and Chuuya. This includes how they first met, the earliest instance we know of when Dazai can act his age, but also touches on the topic of Mori’s leadership. It takes place shortly after when Mori became leader, so the choices Mori makes during this time are crucial to both him and the PM. The importance of Mori’s leadership is later mentioned again during the Cannibalism arc, and we see Chuuya respecting Mori as a fellow leader at the end of 15 YO. We also see in 15 some of Dazai’s mentality as a strategist and leader when directly under Mori’s influence, and it is Mori’s teaching that got Dazai to a point that the only reason Fyodor was able to be found in s3 was because Dazai claimed that it’s how he would act in that situation. This is shown in some of Dazai’s unnecessary cruelty and use of excessive force during the arc (ie. continuing to shoot a dead body). 15 also shows not only how Dazai and Chuuya first met but also how they are both able to act their age around each other. Their constant bickering shows that they can both act like the teens or young adults that they are (depending on when we’re looking at) but also that they already have at least some respect and trust for each of them being their own person and each having their own strengths. They’re both being used as very important and powerful tools by their respective groups during 15, but they still realize that the other can each make their own decisions. Dazai is the one that tells the Sheep that Chuuya is his own person and Chuuya assures Shirase and Yuan of the captured members safety and he later realizes the extent of Dazai’s foresight after asking him to spare the kids, which Dazai mentions was part of his original plan anyway.

What’s interesting to me is how during the Rimbaud fight, Dazai claims that he’s started to become interested in living again yet only 1 year later in Storm Bringer, he is at his absolute worst in terms of what we’ve seen so far of his mental health. In regards to everything that went into Dazai’s mental health plummeting between 15 and SB and then improving again between SB and the Dragon Head Conflict, for now we can only hope to one day learn more about the DHC, how Dazai and Oda first met and what happened to Dazai during Chuuya’s first year in the PM. Also do keep in mind that 15 Years Old was originally written at Bones’ request (you can read the full afterword here).

In my opinion, when you think of these as some of the reasons for the order of the light novel adaptations so far, it makes sense to me. I do still question why we got Dead Apple instead of getting 55 Minutes animated, as they take place at around the same time on the timeline. However, if Dead Apple and even the Walking Alone OVA have proved anything, it’s that Chuuya’s mere presence alone brings in the money. Entrance Exam and Dark Era are respectively light novels 1 & 2 but #3 is Untold Origins of the Agency, which has a short story about Atsushi’s entrance exam being planned (A Day at the Agency) followed by the story of how Ranpo and Fukuzawa met and how this led to the need for the ADA to be founded. Personally, I don’t think Untold Origins is too necessary to the main story until Bones gets to animating chapter 71 onwards. In fact, if you want to look at the order of the Japanese release dates for the novels, Gaiden (January 2016) came out between Untold Origins (May 2015) and 55 Minutes (October 2016), yet with the official translations for the novels it’s been skipped over. But at the end of the day, the order Bones has chosen so far is by no means wrong or right. I’m not sure if the information regarding who chose which novel to adapt when is available to the public (if it’s in an interview or one of the guidebooks, hopefully there are translations available so please lmk if you know anything!), but hopefully Asagiri was involved in that part of the decision making as bsd is originally his story.

If you want to see my more in depth predictions for when the remaining light novel anime adaptations would take place (as in which order they’d be animated) and my estimated screen time for each, you can check it out here.

Also last minute thought/realization but they probably could’ve animated A Day at the Agency instead of Entrance Exam and achieved almost the same goal? I think I’ll revisit this idea later after rereading the novels eventually.

[melismaticmadness]

INTERVIEW

Request: “Something in the lines of reader playing reggies gf on the shows s2 and she becomes bffs with charlie but people keep shipping them. Something in like interview style or so....”

Description: FLUFF

1811 Words

Warnings: one curse word!

Charlie x Reader, Featuring Jeremy

Hope you like it!!

Press was always an exciting time as an actor, but even more so with this cast because of what happened before press events for season one. Their virtual press was great, but you can tell how excited they all were to experience it together this time around. Julie and the Phantoms was the best job I had gotten since moving out to LA. Honestly, it could be my big break. I was playing opposite Jeremy as his love interest, but our off-screen relationship was strictly platonic. Obviously, he and Carolynn are married and she is the sweetest. Jeremy is more of a mentor to me.

I sat in between Charlie and Jeremy for our first interview of the day when a production assistant came in and prepped us for the topics for this interview. Each interview has a slightly different focus, so it’s helpful that we know before we get started. The soft-spoken man raddled off some talking points: Charlie’s sleeves, Jeremy’s new character arc, my relationships/experience joining the cast, and then all of us would have time to add in stories of our choice if there was time. Easy. This cast makes it really easy to connect and bond. They are a family and I am so lucky to be a member of it now.

What I didn’t expect was to get so close to Charlie during rehearsals and filming in Vancouver. The two of us were instantly inseparable. He came to watch my film on set, I came to watch him. We rehearsed our lines together almost every night after long days, and Owen even considered me his other roommate because of all the nights I was asleep on their couch. Hanging out with Charlie felt like we had known each other our entire lives, but it had only been about a year.

Interviewer: “So, y/n, you seem really well connected to this cast, even though you’re sort of the new kid in the group. Would you mind telling me how you felt about joining this project?”

Y/N: “Oh I definitely felt welcomed right into the group. I remember my first night in Vancouver, Charlie came to check out my apartment, Owen came too, and I remember Charlie and I trying to prank Owen when he fell asleep on the couch but it was an epic fail. We had water and shaving cream all over the floor and ourselves, oh my god it was a mess, but that’s kinda the proof of how fast I became part of the group. Night one and they were already including me in their fun. The same goes with the girls, Jadah, Madi, Sav, Tori- we immediately were meeting for breakfast before filming together and having movie nights. It was the best welcome I could have imagined, knowing how close they all were from last season.”

Interviewer: “Jeremy, what was it like having this new energy come in, especially to shake things up for your character Reggie, who really was much of the comedic relief last season, but now has this mutually flirty relationship with y/n’s character?”

Jeremy: “Well, it was great having y/n come in and it allowed us all to explore Reggie outside of his quirky one-liners. It’s not that hard acting opposite, y/n, the talent they bring in was insane and we got along really well so it made it a lot of fun exploring Reggie as somewhat of a ‘ladies man’.”

Interviewer: “Yes it was fun getting to see more of who Reggie is, or was? Spoiler alert if you haven’t seen season one, Reggie is dead. All the boys are dead. Anyway, speaking of seeing more of something- Charlie, I noticed the sleeves on all your shirts this season were barely there. Is this a Charlie characteristic that just carried over to show off or was this specifically written for Luke?”

Charlie: “Oh gosh, haha. I think it’s a little bit of both. I definitely bring a lot of myself to Luke, but even in season one, Soyon, our amazing costume and wardrobe supervisor, was cutting the sleeves off Luke’s shirts. I think it played into his 1995 bad boy persona, and now it’s just him.”

Y/N: “and you just like showing off...hahaha!”

Charlie: “If you got it, flaunt it!” With that, all three of us and the interviewer were cracking up laughing and Charlie was flexing which kept us going a minute longer.

Interviewer: “AH,” they sighed, “Y/N, the internet is freaking out about you, truly, because of some photos of you with Mr. Gillespie over here. Let me read some things for you - ‘my heart is broken because I can’t have Charlie, but at least y/n can. I ship it,’ under an Instagram photo of you two the caption reads ‘ship it so hard it’s like the Titanic,’ which is my favorite. It’s too funny. So my question is, what is going on here? Is there a secret showmance that you’re hiding behind Reggie?”

Charlie and I are now laughing hysterically again. I don’t think the interviewer realizes how nervous our laughing sounds compared to before, but hopefully, it’s not noticeable to fans or the rest of the cast. I wasn’t expecting to get questions about Charlie and my relationship when I was supposed to be talking about my character, the whole experience, and all my scenes with Jeremy.

Y/N: “Oh no, no, no. We are friends! Nothing is going on,” I looked over at Charlie who had his eyes locked on me most admiringly. He was going to let me handle this however I wanted. “Charlie and I just happened to click right away during rehearsals and now I feel like he’s the older brother I never had!”

Charlie looked a little hurt at that ‘brother’ comment, but he jumped in to echo what I had said.

Charlie: “Ya know, the fans are so great. They love to keep up with our lives and find little hidden clues in the show about the backstory, and I think that’s just what happened with our friendship. We’re best friends, we have so many inside jokes, we hang out a LOT. But, Nah, nothing is going on here. It’s cute though that they ship us! Look out, Jere! I’m stealing your girl!.”

Interviewer: “You heard it here first everyone, Mr. Gillespie isn’t off the market! Thank you all for your time today. Everyone make sure to check out season two of Julie and the Phantoms, now on Netflix!”

*****************************

After a long first day of press, I was finally walking back into my hotel room in New York when my phone went off.

I tossed my stuff on the couch and plopped down to see what I had missed all day. Charlie had just texted me asking to meet him on the roof.

“The roof?!” I grunted, “How did he even get on the roof?” Back out the door, I followed signs to the roof. Swinging the door open once I got up there, my breath was taken away. New York City right at dusk, with the cool breeze hitting me, was so beautiful.

“Gillespie, are we allowed to be up here?”

“Kenny said we’re less likely to be followed or have our picture taken together if we were up here and came up separately. So, if we get in trouble, it’s on Kenny...”

“The view is amazing. Not surprised Kenny knew about it.” I said as I went to look out over the glass barrier at the edge of the building. We looked out in silence for a minute or so when I heard Charlie exhale.

“Y/n, what was that today?” he said running his hands through his hair.

“What was what today?”

“That whole ‘Charlie is my brother’ thing,” he made his voice go up in pitch to mimic my voice when he said it and I could tell it was bugging him, but I didn’t know why.

“I was caught off guard...I mean we’re friends.. but I figured no one would believe that if I didn’t squash the rumors right there. Sorry if it was like, emasculating, or made it seem like you don’t have any game, lol.” I playfully hip bumped him to get him to laugh a little and it worked but there was still something on his mind.

“Char, is your manager upset with what I said? I can fix it tomorrow, I’ll figure something out-” I said tilting my head in front of his so he was looking at me instead of the view.

“No, y/n, no, it’s okay..” he hesitated, “but is that really what’s going on?”

It felt like the wind was knocked out of me at that moment and all I could do was slide my back down the glass and sit on the roof. My head was in my hands and I didn’t want to say the wrong thing next.

“Hey, hey, I’m sorry if I caught you off guard,” Charlie said squatting down to my level. “I just thought..maybe you felt something, anything, telling you this was more than a friend to friend relationship..” Now he was rubbing my back. Damn, this boy is my best friend.

“Charlie, I- I don’t want to lose my job. I love working with you and with everyone,” I took a deep breath, “but I can’t say I never thought about it. I have definitely thought about it.”

“Okay, so what are you thinking in that head of yours?”

“I’m thinking that I care about you and that I have for a while but didn’t want to admit it to myself until now,” looking up at Charlie I could tell he was fighting to hold back a smile.

“Kenny, won’t fire you. I talked to him in LA before we went up to Vancouver because I didn’t want him to be disappointed in me because of how I felt.”

“You told him in LA?! He’s probably been watching us and laughing at us for MONTHS. Oh my god.”

“No, it’s cool. He just warned me to make sure I wanted to be more than friends because he didn’t want to lose you.”

“Wow. Okay.” The weight I didn’t even know I was holding, had been lifted off my shoulders. “The fans really do know us better than we know ourselves.”

We both laughed and Charlie finally settled down right next to me.

“Look, I’m not saying we rush into anything. I knew I had to say something before the opportunity was gone. Now that the show’s out, you’re going to have guys banging down your door for a date.”

“I guess it’s a good thing the only guy I am looking for is you then, hmm?”

“Thank god for that interview…” Charlie said under his breath.

[smhalltheurlsaretaken]

If we take George Lucas at his word that the Jedi Order was drafted into the Clone Wars (even though I don't think it's ever been mentioned in the films or TCW), does that mean that no Jedi could leave the Order in protest of the war? Because they'd probably be considered draft dodgers by the Senate, so I wonder if they could even get proper documentations/jobs in the Republic with that on their record. IRL people can be jailed for draft evasion. I wonder if that applies to the GFFA.

No, it’s not stated in the movies or TCW (although it’s still very present in the subtext, because that’s what Lucas had in mind - like when we get even nice Senators like Riyo Chuchi bossing Obi-Wan and Anakin around, or simply the Jedi saying time and time again they shouldn’t be fighting a war and wish they weren’t). Lucas said the draft part in this interview.

Now, that’s an extremely good question, and I’m gonna get this out of the way immediately: everything that follows here is purely my interpretation and can easily be questioned. The thing is: we just have no definitive canon answer to this, and so most answers are valid. We don’t know what the Republic’s laws are, we don’t know the extent of the Senate’s power, we don’t know how much Palpatine cared about individual Jedi leaving or how he’d have spinned the situation to his advantage had it arisen, and we don’t know how exactly that whole drafting thing worked.

I personally think the Order got drafted, not the individual Jedi themselves. I’m saying this because the Council are still the one deciding where and when they send people, and they sometimes pull Jedi from the field for their wellbeing without consulting anyone else (see s2 ep1, when they ground Ahsoka for a while) - and they are the ones with list of Force-sensitive children, not the Senate, leading me to believe they are the only ones who manage their own numbers and know exactly who even is in the Order. I also think the Senate wouldn’t have time to care about a few Jedi leaving, nor would they even be notified - see the numerous times the Council decides not to inform the Senate about internal Jedi affairs. If they really pressed the issue, the Council would probably get to say “this Knight left because they were unsuited to the Jedi life, blah blah blah/they were expelled so they’re not in the military anymore/whatever” and nobody would really give a kriff.

Now a lot of Jedi leaving - not that I think they would, because of how dedicated to each other and their duty they are - would probably warrant the Senate’s attention, and it would definitely create outcry from what we’ve seen of the petulant jerks - to say nothing of the civilians.

In Legends, we had Jedi leaving because of the war (see the Altisian Jedi and Sora Bulq’s followers) and they were free to do so, but I’m taking all of it with a giant pile of salt because the Altisians were created (or rather expanded upon when they used to just be a throwaway reference) by Karen Traviss herself, queen of “actually the Jedi were wrong about everything and should have chosen not to fight and then they wouldn’t have gotten slaughtered, which, by the way, they long deserved” and other such pleasant views. Ugh.

With how easily the Jedi let Ahsoka go, I’m convinced they wouldn’t try to keep people from leaving if any Knight wished to. In the current continuity, Eeth Koth left and got married - and while in the 2017 Darth Vader comics he tells Vader he was more or less kicked out, I think that’s what you’d say to the asshole hellbent on killing any living Jedi and currently about to kidnap your infant daughter - just like Rex tries to pull out the “not technically a Jedi” card to protect Ahsoka. 

Anyway, I don’t think a few individual Jedi leaving would have been a big deal, nor that they’d have gotten trouble for it - but the Order itself taking a stand against the war would have probably gotten them immediately labelled as traitors by Palpatine. 

[that-thing-that-feeling]

1- I don’t think it’s necessarily that he doesn’t like press. I mean I’m sure he doesn’t love doing it– most celebs don’t– but most times he seems like he doesn’t mind, as long as he isn’t being ignored or being asked too-personal questions. And it’s kind of his job to do press- that’s part of how you stay relevant. Natalia always looks miserable doing press, unless she’s with Charlie or a friend, but she still does it when needed. I think in the past, Charlie wasn’t involved with a lot of ST press because he didn’t live in America like everyone else. Plus he doesn’t have the best luck with premieres. He obviously couldn’t really do press when S2 came out, and his nana passed away just a few days before S3 premiered, so he must’ve opted out of doing additional press to spend time with his fam.

Obviously, press goes both ways: you need a celebrity’s publicist to accept interview/photoshoot/ etc requests, but you also need those requests to be, well, requested, in the first place. NF is a small indie that screened exactly once, has less than 15 reviews, has no public distributor or release date, and has directors/producers/cast who seem reluctant to promote the film, outside of one interview and one Deadline article. Catherine is the biggest name involved with the movie, and she still has yet to mention it, she didn’t even go to the premiere (I think she was filming something else at the time, but then again so was Charlie). I think NF missed out on a lot of opportunities, whether that be because the market is too competitive rn, or because the film’s agents fell behind, or something else. It could be very possible that because of this lack of marketing, there weren’t many opportunities extended to Charlie to do anyway. So I wouldn’t blame Charlie or his team for this, it should not be his responsibility to promote this movie by himself. As for Soulmates, who knows what happened there. Malin did do lots of press, but she also had many other projects coming out around that time, so most of her interviews were not actually about the show. Bill Skarsgård didn’t do any press, and all Sarah Snook did was the Television Critics panel.

2-Also, Charlie as we all know is not very ‘social media savvy’. Most celebrities today are pretty involved on social media and would be able to easily make posts about their projects without any prompting from their publicist. But Charlie is not like that, his Instagram is basically just a work account. It’s the publicist’s job to maintain their client’s profile and keep them relevant, which does include social media, so ultimately it would be his publicist’s responsibility to make sure he posts about what he needs to post about, and uses his base to promote himself and his projects efficiently.

I think it’s maybe some combo of his team not being good and him not taking the initiative. He used to do a lot more things (events in uk and us), and posting projects and shoots, so feel like he knows how to do it! And yes NF also didn’t use their own IG to post the premiere which is p ridiculous, and I really don’t get NF not doing basic things that could help it get distribution esp in such a tough market (why not do some smaller fests too?). But imo his team needs to do more to promote him and help him get cast in things but idk hopefully he realizes all those things are impt for his career. Like hopefully he’d actively try to get a uk agent, for instance? He prob doesn’t notice he’s left out of blurbs for NYFF, or who knows if he notices his IMDb foto lol, but hopefully he communicates with his team? Also like if your team isn’t doing something for you, maybe it’s a good idea to change part of it.

[katyatalks]

Animestyle 2019/12 - MP100 Interview Translation

The December 2019 issue of animestyle contains ~50 pages of interviews, and I was lucky enough to be sent every page to read through. Interviewees include Tachikawa Yuzuru (director) & Kameda Yoshimichi (character designer). Contains a bunch of information regarding characters & topics like season 3, so please enjoy!

[Note that this Tumblr compilation misses out quite a few things from the original Twitter thread. If you’re curious, that thread is here.]

TACHIKAWA YUZURU (Director)

Wanted to go for a darker colour scheme for the characters and settings to fit the more dramatic themes in MP100, but Kameda disagreed, wanting to go for something more colourful

Considers S2 more ‘focused on humanity’ than S1

S1 was made without expectation of S2

When cutting bits of the manga from the anime adaptation, a “the viewer will still understand the point of the scene without these lines” approach was used

Considers S2 as having two parts; the character focused part, and claw arc. The decision was made to squeeze claw arc into 4 episodes as Tachikawa hated the idea of sacrificing content from the earlier part for a half-half split

He's well aware of how loved Reigen is; fans tell him so at mob events all the time

Considers the “who exactly am I” question that many of the characters deal with; finds it most impactful with Reigen, as he simply pretends to have powers, whereas Ritsu Mob Teru etc. actually have them

He holds Reigen arc dear to himself, in particular the “be a good person that’s all” conversation that gets put into the anime more than once

He considers Reigen’s growth one of the core themes of S2, alongside Mob’s own

Episode 8 was not in the original plan - S2 was meant to be 12 episodes much like S1.

The omake in which Tsubomi comes to the office was actually drawn for the purpose of giving the team something to put into ep 8 of the anime - team was struggling to find something from the manga to put in (“S&S team doing something for Mob”) so ONE created it

The reason why all the characters in Mob Psycho are so lovely is likely because ONE is a genuinely lovely person so it’s a reflection thing

In response to Reigen’s rant at Mob in ep 6 that causes their rift, Tachikawa says; “we’ve all had moments in which we know saying anything else would be the worst thing to do but we haven’t been able to stop ourselves”. It’s why the scene leaves an impression

In the manga you don’t get to see Reigen’s face after Mob tells him he’s a good person. They added it into the anime, and Tachikawa states that Kameda had a lot of trouble trying to figure out exactly what expression they should give Reigen

Discusses American highschooler Weilin Zhang (of ~17 years old), who drew up around 1800 frames for the purpose of S2E5

Reigen’s website was designed with the brief of it having to look cheap and shoddy

Considers Mob Psycho 100 as having the message “its okay for you to do the things you’d like to” at heart

Mention of not only Japanese fans but international fans increasing with S2

Describes Serizawa as becoming handsome after his haircut in the final episode of S2

On the topic of animating what’s left of the manga, says he’d like to give it a go

KAMEDA YOSHIMICHI (Character Design)

Slightly more time pressure on S2 than S1, which meant there was a bit of detail lost with the drawings for S2

Describes Shinra as a charming character

Goes on to say that he SUPER loves Shinra and really likes drawing him. Discusses how people tend to love attractive characters in anime and as a results there’s not many chubby characters, so he latched onto Shinra

Found the thoughts & feelings of characters a lot easier to read in S2 compared to S1, which made drawing their expressions easier. The more he worked on mob the more he found he understood the characters

Small discussion of Reigen’s behavioural shift from Ep3,4,5 to 6 & complexity of his character. Makes him hard to understand. But he understood Reigen’s feelings of regret in Ep7

Reigen shirt scene segment in Ep6 intended as fanservice

ONE has described Reigen & Mob’s relationship as being similar to that of the main character and the kid from the film “About A Boy” (Will and Marcus)

Compares Reigen to Sakai Masato’s character from “Legal High” (リーガル・ハイ), in that they both do bad things but aren’t ‘bad’

Regarding the choices they made with character shading (blurry on skin, but sharp-edged on hair & clothing), this was inspired by Disney (Aladdin, specifically). Originally they went for blurry-edge on clothes too but decided against it ultimately

Describes how each mob character is pretty distinct and it’s easy to recognise who is who; ie. if they have bobbed hair + no eyebrows, mob; a standoffish countenance, Ritsu; blond hair, Reigen

Describes how in contrast to the simplistic character designs, the atmosphere they’re surrounded by is complex

Amount of young animators working on mob psycho increased from S1

Final manuscripts for S2 were compiled in 2017

States that when he read the manga, Reigen Arc really touched him and it’s the main reason he decided to work on MP100. he was very upset that S1 ended without reaching Reigen arc, and he’s glad they got to tackle it in S2

He considers the growth that Reigen & Mob go through from S2E3 - E8 a principle part of what mp100 is all about

When asked about parts of the manga that haven’t been animated yet, Kameda says there’s a LOT he’d love to bring to the screen. He wants to finish off the anime as “we’ve gotten this far already”

Regarding a potential S3, Kameda is asked if there's really enough material left in the mp100 manga to fit 12 episodes... he agrees that there's probably not, so they could go for 10 episodes much like Attack on Titan S3 Part 2, or a movie. (This is not the first time Kameda has implied S3 could be a film instead.)

If/when they proceed with animating mp100 is dependent on director Tachikawa's schedule, as it's looking a little busy right now

TSUCHIGAMI ITSUKI (S2E11 storyboard, production)

Lead animators for MP100 tended to be young; mostly in their 20s, 2-3 people in their 30s, no one in their 40s

Never felt like he was in an atmosphere where he was under hellish time pressure to get things done

On being asked his thoughts on mp100 S2 as a whole, Tsuchigami says he enjoyed it but felt like it could've been longer. He was happy w the pace of E1-3, but felt dissatisfied with E4-5. Was happy with E6-8, but then with E9 onwards felt a bit dissatisfied

Felt like the story-related elements had to be cut down in order to fit the length of the season they were given; this is where his dissatisfaction stems from. Regardless, he very much enjoyed S2

OGASAWARA SHIN (Animation director, animator)

The staff working on MP100 were allowed a lot of creative freedom

Animation director for S2E3, and animated for E3 (from Reigen repeatedly pressing the doorbell of the stalker to Reigen saying let's go out for soba) and E11 (around the Justifiable Self-Defence Rush)

Reigen's Justifiable Self-Defence Rush was animated with the intention of giving it a manga-panel-like feel

S2 was completed without any huge blunder happening

UCHIDA NAOTO (Animation director, animator)

Originally did work for S1, but felt like nothing but a hindrance and wanted to crawl into a hole. But the workplace atmosphere was great and everyone was very kind, so it ended up being a good experience

Animation director for S2E4, and was split animation director with Nakamura Hayate for S2E10. Did animation for the opening, E1,4,5,10. E1 animation: around when Emi + pals are with Mob at the embankment. E4: from 'Nakamura's flashy explosion' ((Reigen cut by glass scene?)) to when the espers are being kicked around. E5: when Reigen and Dimple are having their back-and-forth. E10: layout of the awakening lab.

Found season 2 very enjoyable. Being an animation director was excellent. Character design? Godlike. Felt incredibly lucky that he got to take part

NAKAMURA HAYATE (Animation director, animator)

As stated above Uchida & Nakamura worked on S2E10 as animation directors. Uchida covered the first part of the episode, and Nakamura the latter half

Nakamura animated for S2E4 + E10. E4: around when Mob attacks Minori attempting to exorcise Mogami from her, E10: Suzuki + co's entrance, when Mob possessed by Dimple & Shibata exit the building, Telepathy Club scene, and from Mob + Body Improvement Club's parting to the final scene

Felt like he could've done a little better for S2. And on a personal level wishes he got to draw more action scenes

ETC.

We've had confirmation from ONE already that REIGEN is complete with a single volume, but we've got that confirmation again here too with the way the sales description is written

Thanks for reading!

[aliathewriter]

Magnum PI Season 3

So I saw the posts on instgram today of the first day of shooting and the blessing. Mostly it made me sad and pissed off to see. I really enjoyed this show and it has so much potential but I can’t see me watching it as it stands.

Ending with obvious fraud to get around immigration laws to give a foreign privileged white woman with a history of being a bit off and on with treating at least two employees pretty crappy sometimes a multi-million dollar estate to see to it she’s not subject to the same laws as others. And with the estate being a heritage estate with a cultural centre ON SITE owned by that same privileged foreign white woman who also has a history of mocking the cultural beliefs of the curator of the estate and its cultural centre.

AND, with in the S2 DVD extras the remaining exec producer making a comment about the fun of changing the dynamic at the end of the season so Higgins would be Magnum’s boss... When based on what they’ve established - Robin Masters having that estate in part BECAUSE of Magnum (maybe he was rich before, but they established he wrote the first White Knight book on the estate and that’s why he bought it after the books because so successful so if they didn’t make all the money needed to buy it, they are the reason he bought it) so arguably Magnum is only there because Robin owes him.

They’ve already established that not only is the character based on Magnum, it’s based on Robin having his file and extensive interviews with him (Knight lasts forever). So Robin fucking OWES HIM. So even if Magnum asked him to help, for him to just say hey, you know that place I gave you to stay and the car to drive? Yeah, I just gave them to the woman who likes to sic dogs on you for fun and insult you in about 90% of your interactions then be friendly the rest just to keep you guessing. Yeah, you work for her now - KTHXBAI

(and I have a head canon that he accepts living there even with “working” for him as security consultant because it allows him to take cases that let him help those most in need and be “of service” like he says is all he wants to do in that video from a press conference after they escaped that they had in the episode with the dead guy sending him money to find his own killer. By living there he doesn’t have to take so many cases based on just needing the money)

And now I’m really pissed off again.

I don’t get into many shows and this one grabbed me for a bit. There are some episodes that are damn near perfect (Blood Brothers, Ties that Bind, Bad day to be a Hero to name a few), and others that are just piles of shit, and still others that have moments of glory interspersed with piles of shit.

If this show fails they’ll say it’s because of losing Lenkhov but really it’ll fail because they stick with this colonial white privilege and misogyny disguised as “she’s a bad ass that’s why she’s so nasty to him” BS.

And now I’m even more pissed.

Rewatching Mondays are for Murder and loving when at least one of the guys was at all in the same story line as Magnum and even though Rick was mostly with Higgins, he was telling her that lying to Thomas wasn’t a good move - partly because he’d find out anyway - which he did.

[ambitionsource]

AMBITION Season 2 ♫ “Final Run” [ 2.12 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows) || S2 Tag || Official Page

CURTAIN CALL – The complications surrounding Lucas’s presence at Adams reach a climactic pitch. Jack makes one last desperate maneuver. Riley and Isadora orchestrate an opposition, but true help comes from an unlikely ally. Someone says goodbye to AAA.

72 Minutes (21K words) || No content warnings apply.

[ ← We’ll Be the Stars ] [ S2 Synopsis ] [ The Sun Will Rise → ]

( Follow along with the music on Spotify here! )

EXT. NEW YORK STREETS - DAY

The bustling streets of Manhattan, familiar as we’ve come to know them over the last two seasons. It’s the calm tranquility of Central Park; the humble exterior of Chubbie’s diner. The streets surrounding Adams Academy for the Arts, less traffic than usual on a Monday morning.

It’s home, for all intents and purposes. It’s the place we’ve come to know as familiar, as safe, a place to curl up and stay for a while. Yet there’s an uncertainty in the air, a tension that can’t be named but that permeates every formerly comfortable atmosphere. The sounds of the city are muted, feeling distant and far away.

It’s home, but it’s no longer safe. There’s a threat, imminent, and the way things are as we know them might be destined to come crashing down.

Jack, loudly: This is wrong!

INT. SCHOOL BOARD OFFICE - DAY

JACK HUNTER is pacing the office of EVELYN RAND, in a heated debate with another school board member. This is JEFFERSON DAVIS GRAHAM, an older, old-fashioned type who plays by a dated playbook. He seems unmoved as Jack goes head-to-head with him, remaining neutral in a way that demonstrates poise but also lack of compassion. It’s easy to be level-headed, because he simply doesn’t care about the details.

They’re arguing fiercely about the Bradford case, now a school board issue since it’s gone public. Evelyn listens carefully to both sides, seated at her desk and processing the arguments. It’s hard to tell what way she’s leaning -- one of her great strengths as head school board member.

As far as Graham sees it, this issue is a mess for no reason with a simple solution -- remove the problematic entity, give the paying student the spot. What issues could possibly arise from more money being poured into a school? Besides, if it gets rid of a troublemaker, then even better.

But Jack fires back that it’s not about money. It’s the principle of the thing. What they do in this situation will set a precedent for the rest of Adam’s existence as a private institution.

Graham thinks Jack is being ridiculous, which is odd considering he’s always admired his level head and authoritarian approach. This whole thing is particularly ironic, given the student who ended up at the center of this case.

Jack: Ironic? I fail to see what’s so --

Graham: You used to hate this boy, Jackson! You think I don’t recall how often you’d come into this building seeking advice or just looking for a place to lament how you were saddled with this Lucas James Friar?

Jack grimaces, looking away. Graham continues on, making his point.

Graham: When you allowed this delinquent into your school in the first place --

Jack: He is not a delinquent --

Graham: It was only after much debate and counsel from the people in this directorate, including yours truly. And do you remember what I told you then, Jackson?

Jack, quietly: That’s not what this is about.

Graham: I told you don’t bother. So he’s a sob story -- there are ten kids just like him on every block in this city. You take him in, you take on that burden, then you’ll have to deal with it. And boy, did you. The way you used to complain --

Jack: That’s not what this is about!

Graham: So guess what, this should be good news! You’ve been given a golden opportunity to turn back the clock, to take the advice of your elders and make the smart decision. Let them take the problem off your hands, take the money, and move on!

Jack snaps that it’s not about what choices he made three years ago. This is an issue of integrity, and it’s about the students above all else. What does it say if a wannabe student with a huge paycheck can just oust another student? That’s not how Jack wants his school to be run, regardless of how much money it brings into their pockets.

Evelyn finally speaks, cutting both gentlemen off. She claims they’ll have plenty of time to debate this on the counsel floor -- she’s taking the decision out of Jack’s hands. Considering the matter has gone egregiously public and is causing more trouble than it should, the school board will vote on the issue instead.

Jack does not seem pleased by this development. Graham agrees, nodding curtly and allowing himself out. Evelyn grows a bit more sympathetic, expressing to Jack that he still has the chance to make his case. He just needs to make sure it’s good enough to get the right amount of people on his side.

Jack, determined: I will.

Song Cue ♫ ♪ “Love Runs Out” as performed by OneRepublic || Performed by Jack Hunter

The heavy instrumental opening settles upon us, accenting Jack’s exit from the office. Evelyn watches him go, expression still difficult to discern.

EXT. SCHOOL BOARD BUILDING - DAY

Jack emerges from the building, taking a deep breath. Then he launches into the opening verse, jogging his way down the steps. He’s walking with purpose, not wasting a second as the clock ticks down on Lucas’s fate at AAA -- and the fate of the school itself.

EXT. NEW YORK STREETS - MONTAGE - DAY

Then Jack is truly on the move. A montage of transitions shows him making his way all around town, doing small press interviews and meeting with school board members for lunch or coffee. He’s putting in favors wherever he can, making his case, shaking hands and running up and down the island to gain favor.

Any bit of traction he can, every little bit helps.

On the bridge, Jack comes to a slow stop outside one of the buildings in the financial district. He tries to catch his breath, distracted by the newspapers on display at a local stand.

The Bradford case is still there, front page news. The Bradfords themselves have now taken up a bulk of the page space, but that school portrait of Lucas is still tucked amidst the story. It seems to stare at Jack, reminding him of everything he’s fighting for. The integrity of it all, yes -- but the personal reasons, too.

So Jack takes off again. Another whirlwind of meetings, of sleepless nights, running and running himself into the ground.

He’s going to take this case down, if it’s the last thing he does. He’s going to keep Lucas at AAA -- or else die trying.

Cue title sequence.

INT. AAA - BLACK BOX THEATER - DAY

Class is assembled for the final week, all of the A class except Lucas present. HARPER BURGESS and SHAWN HUNTER have taken front and center, leading a discussion about what this final week is going to look like.

First things first -- the elephant in the room. Most of them have read the Friar-Bradford story for themselves now, and Harper and Shawn give them all the information they have at present. This includes the development about the school board getting involved -- more or less, they will be holding a “trial” at the end of the week to determine whether Lucas will be asked to leave the school in the midst of this “scandal.”

The class is not happy to hear this news. RILEY MATTHEWS is stunned, unable to believe it. The techies are downright livid, considering one of their own is on the chopping block -- and their leader at that.

Nate: This is bullshit!

Shawn: I’m not going to argue with you on that.

Dave, dumbstruck: They can’t just take Lucas away.

Most of the performers agree this whole thing is stupid, and Maya acutely points out the grander question that permeates this case.

Maya: So, what? Can anybody just take our spot if they bid enough and dig up enough dirt? What does this mean for us?

A bit of a selfish perspective, but valid. Harper states it’s a bit more complicated than that, but how all of this will affect how AAA operates remains to be seen. One thing is certain, though -- whatever happens will set a true precedent for years to come.

That aside, Shawn explains that all of this is part of the reason they’re opting to do solo, private performances for final projects this year. They know there’s a lot going on, and a one-on-one, low-stress environment for a final performance feels like the appropriate move. They can sign up on the sheet on Harper’s desk.

INT. AAA - HALLWAY - DAY

ISADORA DE LA CRUZ is marching through the halls, teeth grit and eyes blazing. She tries her best to ignore the chatter of other students as she goes, overhearing bits and pieces of their commentary on the Lucas situation.

No one has seen him since the trial element broke, and many of them figure he just won’t ever come back. He hates it here anyway, and the case the opposition can build against him is so easy to make. A few students even say good riddance, not caring about the implications either way.

Isadora forces herself not to engage, continuing her journey across the school.

INT. AAA - ERIC’S OFFICE - DAY

She arrives in the office, demanding that ERIC MATTHEWS help her. She wants to know what she can do in regards to the case against Lucas. Anything. She’ll do anything.

Unfortunately -- and it truly seems to pain Eric to say it, although he hardly seemed surprised when Isadora spoke -- there’s not much they can do.

Isadora: See, you’re always saying that. Why are you always saying that?

Eric: Isa, believe me, I understand where you’re coming from. Do you think that if I knew a way to fix this situation, I would be sitting here twiddling my thumbs? If it could help Lucas, and Jack --

He cuts himself off, shaking his head. He pulls it back together, Isadora backing off a bit in terms of her intensity. This isn’t Eric’s fault, and she knows that. The last thing they need is to start turning on one another.

For now, this is something they just have to let the adults handle, and Eric can vouch that Jack is trying his damnedest. But as Isadora points out…

Isadora: No offense, but when have adults in power ever done anything right?

Fair… fair. Eric shrugs, wishing he could say something more constructive. But for now…

Isadora huffs, storming out.

INT. AAA - AUDITORIUM - DAY

ASHER GARCIA and DYLAN ORLANDO are also on the move, racing their way through the auditorium. They’re calling for Lucas as they go, refusing to sit idly by and wait for him to show up and searching wildly for him instead.

They sprint their way up the stairs to the booth when they don’t find him anywhere else, Dylan taking the steps two at a time.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Dylan launches himself into the space first.

Dylan: Lucas? [ jogging further in ] Lucas!

Asher rushes in after him, allowing him to look deeper in the space. But there’s not much to investigate, and it’s more than clear Lucas isn’t present. Asher takes to searching the drawers and storage spaces instead, looking not for Lucas himself but rather his belongings.

He grows more worried the more he digs around. All of Lucas’s usual things are gone -- his snacks aren’t in the drawers, his supplies aren’t on the shelves.

Dylan: He’s not here. [ nervously ] Ash, he’s not here.

Asher: None of his stuff is here either.

Asher slams the drawer shut, getting to his feet and running a hand through his hair. Dylan looks at him sadly, dread washing over them.

Dylan: Do you… I mean, do you think he already -- ?

What? No. No. Lucas wouldn’t go without saying goodbye… but the expression on Asher’s face is just uncertain enough to convey real concern. The possibility hangs in the room, dominating their reality for a heavy moment.

Lucas, off-screen: What are you guys doing in here?

Dylan’s eyes widen, looking towards the door. Asher whips around to find LUCAS JAMES FRIAR, standing there with his backpack and eyeing them as if they’re the odd ones in this situation. Like nothing is out of the ordinary.

But it is. It is, and Dylan sprints past Asher to barrel Lucas with a hug. He’s surprised by the sense of urgency, awkwardly patting Dylan on the back until he lets him go.

Asher: Are you okay? Harper told us about the school board thing in class.

Lucas: Oh. Glad that’s spreading like the plague.

Dylan: What do you want us to do? What’s the game plan?

Lucas, plainly: Nothing. There is no game plan.

For what it’s worth, Lucas is acting very calm about this whole ordeal. He idly finishes collecting the sole remainder of his things, putting them in his backpack. Only that fact doesn’t feel comforting -- in fact, it adds a sense of uneasiness.

Dylan and Asher exchange worried looks, then Asher asks what’s going on. They need to brainstorm, they need to discuss. If they put their heads together --

Lucas: There’s nothing to discuss. [ matter-of-factly ] I’m leaving Triple A.

Just like that. No fanfare, no fight. Lucas has already accepted it, assuming it’s the new reality.

Dylan and Asher stare at him, dumbfounded. They stay frozen as Lucas scoots past them without another word.  Their fearless head technician, scrappy and proud and always willing to fight when it truly matters, has put up the white flag.

He’s surrendered, no more fight left to give.

INT. AAA - JACK’S OFFICE - DAY

Riley storms into Jack’s office. She doesn’t wait for an invitation, all composure and demure persona shot to hell. She fiercely claims there is no way they can remove Lucas from Adams.

Riley: It goes against just about every ethical principle, for one -- and what makes this Bradford girl so damn special that she can just swoop in and take someone else’s spot? And why? Just because she can throw money at it?

Jack: I know.

Riley: This place wouldn’t run without Lucas. We all know it. He is the backbone of the techies, and he contributes more tangible things to this school than probably the entire performer class combined.

Jack: Riley, I know that.

Riley, hysterical: He belongs here just as much as any of the rest of us. This is his home! He doesn’t deserve to -- he matters!

Jack agrees with her -- obviously, he does. And he’s doing absolutely everything he can, but that’s not enough to placate Riley. Not when the stakes are so high, and they’ve proven time and time again that adults can’t be trusted to do anything.

Riley: Oh, you’re going to handle it? The same way you handled the AAAC? Or the Into the Woods vandal, or the blatant abuse --

Riley’s voice cracks, on the edge of tears. She forces herself to keep it together, gripping the back of the chair across from Jack’s desk and dipping her head down. Jack takes the hits, unable to argue back and honestly not sure he wants to. Riley is right, after all. All of her concerns are his concerns, too -- that he’s not going to be able to fix it.

That he’s going to fail again, in a moment when it really matters.

She takes a deep breath, searching for an alternative where there are none. Grasping at straws, offering everything she has.

Riley, fragile: I’ll leave.

Jack: What?

Riley: Take my spot instead. I’ll go upstate and live with my mom, and Missy can take my spot. Then he can stay. [ tearful ] Right? I’ll go, and he -- he can stay. Take me instead.

Jack frowns, and that’s enough to signal that it’s not an option. A tear slips down Riley’s cheek, which she wipes at hastily. He explains that unfortunately, the board is going to take advantage of this public spotlight to set a precedent either way -- and that narrative has come to include Lucas, willingly or not. It’s not as simple as a spot anymore.

She’s just a student. There’s not much she can do.

Riley shakes her head, fumbling back and escaping from the room before she embarrasses herself by crying in front of him. Jack rises from his seat and considers going after her… but figures it’s better to leave her alone. He doesn’t know what else he could do anyway.

INT. AAA - ATRIUM - DAY

Riley pushes out of the main office and into the atrium, grateful that classes are in session and no one else is roaming the halls. Her eyes are still glassy, and it’s not going to take much to tip the scales.

In fact, all it really takes is a glance towards the main staircase. The same place she first locked eyes with Lucas what feels like forever ago -- when things felt so different. Before she really knew who he was, before anything made sense.

With Lucas, things make sense. And soon enough, these halls might very well exist without him. She can’t imagine a version of her world where he’s no longer in it.

Song Cue ♫ ♪ “My Man” as performed by Glee Cast || Performed by Riley Matthews

Riley delicately starts the powerful ballad, encompassing the entirety of her emotional journey with Lucas in a few simple lines.

What’s the difference if I say “I’ll go away?” When I know I’ll come back on my knees someday

She cautiously starts making her way through the halls towards the auditorium, growing more emotional and passionate the deeper in she gets.

For whatever my man is, I am his Forever more.

INT. AAA - AUDITORIUM - DAY

Riley takes the soliloquy to the stage, nothing but her and a spotlight to accent the performance. It’s reminiscent of so many of her former power ballads (“Rose’s Turn,” “On My Own,” “She Used to Be Mine”), only this one hits with the rawness of pure certainty. There’s no more wondering what exactly she feels about Lucas James Friar, and there’s no point in trying to reason with it.

And the flashbacks interspersed throughout do a good job of supplementing her case. The rest of the performance up to the last 30 seconds is laced with memories, driving the point home just how deeply the two of them have come to not only know one another, but care about each other. Walking through the Christmas tree farm with the snow; Riley’s first dance lesson during culture swap week; playing basketball; their moment in the teacher’s lounge; handholds in 112 and 208; sitting together in the courtyard to escape everything else; finding refuge in the booth.

When she sings “when he takes me in his arms, the world is bright, alright” at the swell, of course focus shifts to the Jacobs gala kiss.

It’s all of it -- it’s everything. They’re not perfect, far from it, but Riley can’t fathom the possibility of letting it all go. She came to Adams specifically because she was looking for a place to belong, and she found it… just not in the school.

The last flashback is Lucas looking up at her after telling her who she is when she sings sounds like the real her, someone truly worth knowing, which then finds back to Riley belting out the last rendition of the chorus. The lyrics “for whatever my man is, I am his” are searing with conviction, Riley totally committed to their truth.

Eyes shimmering with tears, she rounds out the performance with a level of gusto the divas could only dream of. She’s out of breath when she finishes, almost collapsing back into tears.

Thankfully, something snaps her out of it. Applause.

Riley lifts her head, startled. Stunned that someone was listening -- terrified for a moment that it’s the same person who pulled this move almost two years ago.

But it’s not Lucas. Isadora finishes her claps as she makes her way down the aisle from the house entrance, telling Riley it was a nice performance. Definitely emotive, there’s no doubt about that.

Riley lets out a resounding sigh, dropping down to a sitting position on the edge of the stage. She wipes at her eyes, Isadora reaching the front of the auditorium. They share in silence for a moment, Isadora propping her elbows on the stage.

Isadora: It’s true, then? [ looking at her ] You really love him.

What a strange thing, to hear it stated so casually. Riley takes a deep breath, keeping her eyes glued to the seats. Then she nods, releasing it.

Riley: Yes. [ softly ] Can’t remember when I didn’t.

Isadora nods, absorbing this. Another pause.

Isadora: I wasn’t sure what to think. After the whole Confessions thing. I mean, I always thought you two were… I didn’t know what to make of it at the time, but I knew it was there. I’m not an idiot. [ a beat ] Then all of that happened, and all this doubt got thrown in the mix. I’m not good with doubt.

Riley closes her eyes, trying to stop the tears. She takes another calming breath. Isadora doesn’t interrupt her, continuing to speak and giving her the time she needs.

Isadora: But it still just seemed… I know Lucas thought it was true, because I think he wanted it to be. He gets so defensive, you know, has all these barriers up. These hoops he jumps through just to keep expectations low, to keep people a safe distance away. You broke through that, and then when things got complicated and doubt got involved he just… believed it. Because it was safer that way. If you never make yourself vulnerable, then you can never get hurt. I know that better than anybody. So I trusted his judgment, but… I don’t know. It didn’t seem right.

Isadora shakes her head, thoughtful.

Isadora: Now, I’m pretty convinced. [ with a dry laugh ] It sounds ridiculous, and I hate this school for making me this way, but it was in the vocals. You can’t sing about someone like that and not mean it.

True enough, especially on this show. The truth of the sentiment settles over them for a long moment. Riley huffs, shaking her head.

Riley: We can’t let them do this, Dora. We can’t let them… we have to do something.

Isadora locks eyes with her, matching her intensity. A whole new storm of potential brewing between them… perhaps this fight isn’t as hapless as it seems…

INT. AAA - LIBRARY - DAY

CHARLIE GARDNER is at a table in the corner, reading through the latest article on the case. He chews his thumbnail as he scrolls through it on his phone, obviously disturbed by it.

Farkle: You catch my cameo?

Charlie lifts his head, FARKLE MINKUS sliding into the seat across from him. He taps the phone, propping his feet up on another chair.

Farkle: I think it’s like eight paragraphs in or so. They mention current Adams junior Farkle Minkus, recently returned to the school after a stint in rehabilitation for attempted suicide. In their eyes, it’s just more proof of how the students at Adams aren’t cut out to handle it.

Charlie, disgusted: That’s sick.

Farkle: Maybe. But if I’m being honest with myself, sounds like exactly the kind of arguments I would’ve made only a year or so ago. Entitlement is one hell of a drug.

Charlie: You weren’t this bad. You weren’t like this.

Farkle: You’re so sweet, Chuck. But flattery will get us nowhere. At least in this situation.

Charlie frowns, putting his phone down. He chews his lip, wondering aloud what the hell they’re supposed to do about this. Everyone tells them they have no power, that it’s out of their hands, but that doesn’t seem right. There has to be something they can do.

Farkle considers, then shrugs. Far as he sees it, the fact that they care at all is the first step. Most people don’t even make it that far. After that... 

Farkle: My brother Ezekiel is really big on studying activism. His stance on it is pretty clear. Lots of people can claim they care, can claim they’re an activist, but few people actually do anything when they have the ability to do so -- even things as simple as speaking up. Now, I don’t know how much activism my brother really does, so he could just be the pot calling the kettle black. But I think his perspective makes sense. The most important thing anyone can do is to make the active choice to help someone else. Even when it might impact them adversely to do so -- especially then.

Food for thought. Not a solution to the issue at hand, but maybe it could be. They just have to find the way in which they can do something.

INT. AUDITION HALL - DAY

ZAY BABINEAUX is backstage, gearing up for his callback for the off-Broadway production. It’s of West Side Story, although with some fresh twists on it as to be expected for something small-scale and new.

Maya is there with him, hyping him up before he goes out on stage. She gives him a pep talk, although some of her points aren’t exactly helpful.

Maya: And if it doesn’t pan out, don’t think about the fact that we could also potentially all be kicked out of Triple A at the drop of a hat. Put that out of your mind.

Zay: … it wasn’t in my mind until now!

Oh. Well, whoops. Maya gives him one pat and a swift break a leg, zipping from backstage to go back in the audience. Zay grounds himself, taking a deep breath and squaring his shoulders.

He marches onto the stage just as Maya returns to the house, sliding into a seat next to Isadora. Both of them give him encouraging smiles, the casting panel eyeing him interestedly.

Zay introduces himself, and explains that he’ll be auditioning with a routine to the Act II dance display, “Cool.” Once they’ve taken their notes, the creative team signals for him to begin whenever he’s ready.

He takes a deep breath, centering himself.

Song Cue ♫ ♪ “Cool” as performed by West Side Story Original Cast Recording || Performed by Zay Babineaux & Dylan Orlando (feat. AAA Junior Techies)

When he opens his eyes again, he’s completely in character, taking on a harsher edge. The lights shift on the stage, reflecting the intensity of the number.

Zay: You wanna live in this lousy world?

Abruptly, the scene flips --

INT. AAA - AUDITORIUM - DAY

To the AAA auditorium, where the techies are assembled. They’re brooding, the stage dark and stylistically lit. It feels like darkness around them for miles, reflecting their current state. The crew of them are bristling with energy, angry and frustrated and ready for action.

That is, except for Dylan. He’s upset too, certainly, but he knows that doing something reckless isn’t going to get them anywhere. He’s learned that the hard way -- and in the absence of their leader, he has to step up to keep everyone else from making a rash decision.

Dylan: Just play it cool.

Nate: I wanna get even!

Dylan: Get cool!

Dave: I wanna bust!

Dylan: Bust cool!

Asher: I wanna go --

Dylan holds a hand out, taking his boyfriend by the shoulder. Holding him back from going scrappy, as he so often does. They lock eyes, Dylan’s gaze urging him to stay calm.

Dylan: Go cool!

The number stays split between the techies and Zay’s audition, transitioning effortlessly back and forth. While Zay’s dancing is of course a highlight, the most impressive aspect is the techie crew’s range. They’re truly channeling the same energy of the original number, a gang of some sorts fuming after the loss of their de facto leader and scrambling to reorganize.

In the section after the first minute, Dylan is going around keeping everyone from losing their cool. He tells Nate to cool it first when he kicks at one of the set pieces on display, then has to talk Dave down when he starts to grow too angry (“Cool it, Davie, cool it, cool it…”). Dave laughs it off, as if it’s nothing… and then he kicks over the stack of acting blocks, descending into delirious, heartbroken laughter (“Pow!”). Jade rushes over to pull him back from doing any more damage, basically having to restrain him.

As the song escalates into the dance break it’s famous for, the number becomes more evenly split between the two sets. It’s easy to forget how competent and talented the techies are as a group -- but they are. This performance is “Thnks Fr Th Mmrs” but turned up to eleven, with far more stylization and actual raw anger as the motivator. Their choreography isn’t nearly as difficult or seamless as Zay’s, but that’s all part of the fun contrast -- they’re messier, more erratic, but just as sharp and energetic.

Dylan, as the unexpected second-in-command, is particularly compelling. Considering how happy-go-lucky he usually is and the energy the techies usually have, the whole rendition… feels chilling. A manifestation of grief, above all else.

INT. AUDITION HALL - DAY

Zay gets the last chorus, about 4 minutes in. He finishes up his audition, giving a curt little bow.

INT. AAA - AUDITORIUM - DAY

The rest of the techies have dispersed, Dylan left on stage seemingly alone. He saunters his way back into the shadows… although his own cool facade is coming apart. He bites back his own frustration and anger over the situation, letting it out in the smallest of symbolic ways with the final “pow” of the number.

He holds up a fist as he does so, as if he might do something -- but Asher is there. He catches his hand and meets his gaze, pulling him back down to Earth. A heavy moment passes between them… and then Dylan drops his hand.

Asher keeps a hold on it as he drifts back into the darkness, slowly pulling Dylan along with him until the stage is empty.

INT. AAA - JACK’S OFFICE - DAY

Lucas is back in the chair across from Jack, although the mood is a way it’s never been before. It’s not easygoing and comfortable, but it’s not tense and antagonistic either. Something about it is deflated, all of their usual fire as they volley back and forth burnt down to cinders.

That’s not for lack of trying, however. Jack is fully invested as he describes what the trial process is going to be like, explaining that he’ll be with Lucas the whole time and will be doing most of the talking. All Lucas has to do is show up and present himself appropriately, and he’ll do his best to handle the rest.

It’s Lucas who is bringing down the energy. Not that he's doing anything, exactly, but that’s the problem. He’s complacent, nodding along to what Jack has to say but not really engaging with it. Already convinced it’s a lost cause, and appearing surprisingly okay with it. Not thrilled, but resigned. Braced for the inevitable.

It’s so not Lucas, and this frustrates Jack. He tries to get him to talk with him about it, for them to brainstorm and see what else they can come up with, but Lucas isn’t budging. He plaintively states that Jack has wasted enough time stressing over him in the last three years.

Jack: … I’m not giving up. We’re going to fight this, Lucas. It’s not over yet.

Lucas: It’s not worth the energy.

Jack: Of course it is. Any student’s well-being is worth the effort --

Lucas, pointedly: But I’m not worth your career.

It’s the way he says it that really hits. Firmly, but softly, with this… ghost of a smile. Like he recognizes Jack’s persistence, appreciates it for what it is… but already knows it’s futile. And certainly not worth tanking his own well-being to combat.

Jack stares at him, lost for words. Wanting there to be an easy solution, a checkmate move he can make to prove this whole thing isn’t pointless.

Asher, pre-lap: He’s completely given up.

INT. AAA - AUDITORIUM - DAY

The techies are occupying the stage, in the midst of another brainstorm session. The whiteboard is out, but it’s completely blank. The mood in here has deflated as well, all of that anger in their imaginary grieving process having simmered down to inertia.

Their figurehead is gone, and so it seems is their spirit.

Dylan: It was just wrong. For him to look at us and just tell us… for him to just surrender. It’s like it wasn’t even Lucas.

Jade: He’s really not even trying? He’s just going to let it happen.

[ Asher nods. The entire mood deflates even further. Nate shakes his head in disgust. ]

Nate: And there’s nothing we can fucking do about it.

Riley, off-screen: Maybe not.

All of them perk up, looking towards the dressing room hall. Riley enters with Isadora, the two of them marching over to join the techie circle. Lucas may think the situation is fruitless, but then, he’s never been the optimist. If they follow his example, then they will fail. That’s guaranteed.

Isadora: Lucas has never been about fighting for himself. He’d do it for any one of us, but never for himself.

Riley: But that doesn’t mean we have to give up too. And we may not have any direct power in our hands, but there is one thing that not even the Bradfords can buy off of us.

Dave: Our vital organs?

Isadora: Close, Dave. Very close.

Riley: Our voice.

Nate scoffs, but they’re not finished. The way they see it, the only thing they can do in this situation is speak up, and loudly, that none of them are okay with it. This isn’t just about Lucas, after all -- if he goes down, then every one of them are at risk of being the next domino to fall. They’re aware the school has never been about camaraderie, but now more than ever is the time to band together as a united front.

So they’re going to protest it, boldly and publicly. Riley has already started brainstorming logistics, and Isadora has some thoughts on how they can get the media involved so it actually has some heft. But they’re going to need help, a lot of help… including Lucas’s most loyal crew.

Dylan is already on board, ready for a scrap and a riot or two. The rest seem eager as well, but Nate does make one solid point.

Nate: Okay, so say we do this. Great. That’s what… ten people standing outside Adams shouting about how unfair everything is? That’ll be real compelling. Especially since we’re his friends.

Asher: Unfortunately, Nate is right.

Nate: Thanks.

Asher: This is a good plan, but it needs numbers. And we definitely don’t have pull with the rest of the student body.

Jeff: We could maybe get some of the underclassmen techies in on it, but...

Riley: That’s great. You all focus on that, and Isadora will delegate the rest of the preparation tasks. [ a beat ] Leave the rest to me.

Vague, but promising. The room is suddenly buzzing with energy again -- the invigorating sense that all hope is not lost. The techies exchange determined glances, then look to Riley. All in, whatever happens next.

INT. AAA - HALLWAY - DAY

Charlie opens his locker, checking his phone and surprised to find a missed call and voicemail waiting. He lifts it to his ear to listen, shock taking over his features. It’s Principal Jackson of Haverford Prep, calling to explain that they’ve reviewed his application and are happy to offer him admission to their elite senior class.

In all of the insanity, Charlie had completely forgotten about the audition. He honestly didn’t think he would even get in. Now that the possibility has been laid down in front of him, he doesn’t know how to process it.

HALEY FISHER and CLARISSA CRUZ come to join him, immediately asking if everything is okay based on his expression. He covers, clearing his throat and claiming he’s just… thinking about his final performance. Trying to figure out what it should be.

They don’t question him, launching into brainstorming ideas. Charlie lets the moment pass, shutting his locker and following them down the hall.

INT. AAA - ERIC’S OFFICE - DAY

Riley and Isadora confront Eric, pitching him their strategy for a student opposition to the school board trial. They’re methodical, meticulous, and clearly prepared. He can’t possibly say they haven’t thought things through, and any action is better than inaction.

So he’s on board. He agrees to be their faculty sponsor, allowing them to congregate on school grounds and do whatever processes they so please within a reasonable limit. But he emphasizes that this will really have to be on them -- he’ll be busy playing emotional support the day of the trial so he won’t be able to help them much.

Isadora: Don’t worry about it. We can handle it.

She says it confidently, exchanging a resolute look with Riley. They know exactly what they’re getting into, and they’re doing it no matter what.

INT. AAA - BLACK BOX THEATER - DAY

Which is the energy Riley takes to the A class, rallying with them during class. Harper gives her full control of the front of the room and doesn’t fight for attention, more than happy to let this fight take precedence.

And damn, does Riley make a compelling case. She highlights all the reasons they should be willing to help drum up support, starting with a compassion-based approach before swerving into more tactful psychology. She reiterates what Maya basically said when they heard the news -- if this goes through, it will set a precedent that endangers all of them.

Sarah: And why should I care what happens to Lucas? All he’s done is cause trouble.

Asher: Maybe because you wouldn’t have had a successful production for the last three years if he weren’t here, Carlson. Not that anyone would’ve missed your forgettable background vocals.

Ooooh. Asher is not here to play around this week, and the class derives the limited amusement they can from it. Sarah doesn’t argue further, but Riley elects to actually acknowledge her point.

Riley: Lucas is the current target, yes, but the point is that it could’ve been -- and could be -- any one of us. If you can’t bring yourself to care about him, think about how it would feel if it were you next. Or your best friend. The person you cannot imagine Triple A without.

Heaviness settles over the room. Maya and Farkle exchange a look -- they know that fear all too well. Haley looks to Clarissa, the latter giving her a soft smile and taking her hand. Dylan squeezes Asher’s knee.

Riley: Best friend or not, we are all students at this school. For whatever reason, we were admitted, and we’ve earned our place here. And we cannot be bought. That’s something all of us should be able to get behind, details irrelevant.

There’s a long pause. Then YINDRA AMINO nods from her seat on top of one of the desks.

Yindra: Friar has never been my favorite person, but Riley is right. In this case, if it’s one of us, then it’s all of us. [ a beat ] I’m in.

Nigel: Ditto.

Slowly, the junior A class comes together. Maybe to save their own hides… or maybe because amidst the chaos, they’re some weird version of a family.

Riley, raising her hand symbolically: All in?

Dylan and Asher don’t hesitate. Zay’s hand goes up. Isadora’s. Maya, with a sharp smirk in Riley’s direction. Even Farkle. The only one who doesn’t seem one hundred percent sold is Charlie, his trained aversion to avoid trouble strong as ever. But his hand goes up all the same.

Riley looks at all of them, shining with pride and a little emotional. This, she can work with. This battle is far from over -- it’s only just beginning.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Yesterday - Anthology 2 Version” as performed by Paul McCartney || Performed by Lucas James Friar

Meanwhile, Lucas is gearing up to give his last performance at AAA (ironically, also one of his first). He’s casually seated on the edge of the stage with his guitar, actually taking the final assignment seriously. Might as well, if it’s the last one he ever has.

The Anthology 2 version specifically captures the unpolished, offhand quality of the performance, Lucas going through the motions of figuring out what key he’s going to be playing in and explaining it to Shawn and Eric. Then Harper cues him whenever he’s ready, and he launches into the song.

It’s unrehearsed, and full of mistakes -- including the bit where Lucas mixes up the wrong lyrics and kind of laughs at himself -- but there’s something really charming about it too. For the first time, Lucas seems weirdly at peace as he performs, knowing that none of it matters anymore. He can just sing, and it doesn’t mean anything more than that.

The faculty are not so at ease with the circumstances. Harper and Eric are both respectfully listening, doing well at keeping their own emotion in check. Shawn is not so skilled, doing his best to stem whatever tears might possibly be coming by clearing his throat and half-hiding behind his hand.

Jack is a couple rows behind them, watching the performance with a stony expression. Hating that it’s come to this, that he can’t even enjoy the rendition from the student he never thought he’d see willingly perform. Hating that he’s decided this is the final run without consulting him.

Lucas wraps up the performance, silence settling over the auditorium for a long moment. Harper manages a smile, nodding.

Harper: Thank you, Lucas.

Lucas returns the nod.

INT. MINKUS HOME - HOME OFFICE - NIGHT

Farkle pokes his head into STUART MINKUS’s office, asking if he has a moment. Although the past would suggest otherwise, Stuart assures him he always has time to spare for him.

After bringing up the subject of the Bradford case, which Stuart has naturally read up on, Farkle questions if they would be able to donate to Riley’s and the A class protest efforts. Not a chunk of change, just enough to pay for the supplies and such that they’ll need to make their materials. He doesn’t want Riley to have to pay out of pocket, and Stuart is always saying they should contribute to worthy causes.

Hard to argue with that. Stuart agrees, happily stating that Farkle can charge it to the family card. Still, he has to wonder…

Stuart: Isn’t this Friar boy the one who used to chase you around the auditorium and terrorize you every day?

Farkle: Yes, well, therapy has illuminated my own faux pas in that situation. And the past is the past, so.

So it is. Farkle thanks his father again, starting to head out when he hesitates. He turns to ask one more question, asking Stuart if he would’ve done the same thing. Like, if Farkle were Missy, wanting so badly to get in this elite school and they could pay through the nose to make it happen, would he go so far as to push another student out to do it?

Stuart seriously contemplates the question, intending to give Farkle a worthy answer. He admits that while it would be tempting, as one of the greatest joys as a parent is giving your children everything they could possibly want… he likes to think no, he wouldn’t. He’d try his best, but he wouldn’t want to give Farkle an advantage at the expense of someone else.

Fair enough. Farkle seems satisfied with that, nodding and offering a smile and good night as he heads back into the hall.

INT. LUCAS’S APARTMENT - NIGHT

Lucas joins GRACE FRIAR on the couch, the two of them enjoying a humble snack before bed. Lucas apologizes for all of the chaos this whole story has caused, especially if any of it has blown back on her. She brushes it off, but admits that it’s for the best that his father is out of town right now. Hopefully it will all blow over by the time he returns.

Ah, yes, his father… slowly, some of Lucas’s resigned demeanor begins to crack. Although he tries to come off aloof, he asks what’s going to happen if he does end up removed from AAA. Is he going to have to drop out? Or worse, is he going to go back to Quincy?

Grace looks at him, mustering a weak smile and patting his knee.

Grace: We’ll figure out a plan. It’ll be fine.

But it’s clear from how timid her voice is and the expression on her face that she has no plan. They have no alternatives, and saying it’ll be fine doesn’t erase the fear from her features.

Lucas mirrors the half-hearted smile, nodding in agreement. It only crumbles when he looks away, staring at the floor and clenching his jaw to keep his expression neutral.

For all his perceived quietude, he might be pretty scared too.

Charlie, pre-lap: I just wish there was more I could do.

INT. GARDNER HOME - KITCHEN - NIGHT

Charlie is seated at the kitchen table, ELEANOR GARDNER listening as he tells her all about what’s going on with their school right now. Riley’s plan is about the only active opposition they’ve got, but he’s still not sure if he should go through with it or not. He wants to, because he really wants to help take a stand… but he’s nervous, too. If things go south, it definitely won’t look good on his records.

Although Eleanor is sympathetic to Lucas’s plight, she claims Charlie is right to be cautious. It’s his future on the line as well, and he shouldn’t be giving that up just because his classmate already fumbled theirs. In fact, since Lucas sort of got himself into this situation, she thinks it might be wise for Charlie to mind his own business and let it be.

He was on the same page with her there for most of it… but putting the blame on Lucas bumps him. He questions what she’s talking about, and she points out that if you do the crime, then you do the time. Lucas has far from a clean record, and if this is the cosmic punishment the Lord has laid down for him then far be it for them to try and fight it.

Charlie: Isn’t it our job to help people who have fallen though? I thought the whole point of faith was to uplift, and extend forgiveness --

Eleanor: It is. Honey, it is, I’m not saying otherwise. But mistakes have consequences, and punishment must be served.

Charlie: So you’re saying I should do nothing. Even though I clearly have something that I could do, even as small as showing up.

Eleanor: I think you should do whatever you feel in your heart is right. Just remember… there are some people in this world who cannot be saved. You’ll have to decide whether this classmate of yours is worth it or not.

Suddenly we’re putting worth on a teenager again. Charlie frowns, not sure what to make of the conversation.

Then Eleanor takes it a step further, shifting her attention to him. She makes a face and affectionately adjusts his hair, clicking her tongue.

Eleanor: This is getting quite long, isn’t it? We should make you an appointment to get it cut. [ innocently ] Don’t want to give people the wrong impression, hm?

Wrong impression of what? The comment is meant to be protective and loving, but it rubs Charlie the wrong way. He continues to frown as his mother walks away and heads for bed, slowly shifting into a scowl.

He pushes from his seat, heading towards the stairs.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

Charlie is already dialing his phone before he even shuts the door, pacing impatiently while he waits for a response. When they pick up, his gaze is intent.

Charlie: Riley? What’s the plan? [ resolute ] Tell me what I can do to help.

As the rocking guitar rolls in…

INT. AAA - BLACK BOX THEATER - DAY

Song Cue ♫ ♪ “I Predict A Riot” as performed by Kaiser Chiefs || Performed by AAA Juniors

School is no longer for education but for strategizing, the classroom having been transformed into a headquarters for Riley’s protest mission. They’re working under a tight timeline with the school set to be their battleground in just a couple days, so everyone is hard at work.

Throughout the montage, A class students jog up and edit items on the massive whiteboard. Cross off action items, add new ones, adjust the countdown they have in the top right. The vocals float over the scenery, not a performance but more so a battle cry.

Asher and Dylan are in charge of poster design, leading groups of students in creating them with expert efficiency. They hold up a few here and there for Riley to approve, some humorous while others hit the nail right on the head.

Jade is leading a crop of workers in making custom tee shirts for the event, Clarissa keeping track of all the new “orders” they get for a shirt on a spreadsheet. NICK YOGI floats around with his A/V club camera, capturing the whole process for historical posterity.

Isadora makes her grand move, getting media pull by using the De La Cruz card. She negotiates on the phone with them one-by-one, claiming she’ll give them exclusive details on how the mother-daughter dynamic is developing… if they pay her one back and cover this story as well.

After another successful call, she jots it down in her notebook before shifting her focus. She pulls up her text chain with Valerie, letting her know what’s going on and keeping her updated on all the details. It’s clear that she let her know about it yesterday and Valerie responded telling her to keep her posted, but she’s yet to respond since then.

Riley is drawing up agendas and maps for the day, from where they’ll start to where they’ll end. Farkle and Charlie are brainstorming with her, offering suggestions or walking through the plot step-by-step. Maya and Zay are keeping a working copy of the “performance” schedule, including speeches, chants, and renditions planned throughout the afternoon.

INT. AAA - HALLWAY - DAY

Sarah and DARBY WINTERS run through the halls, putting their notorious gossip skills to good use and spreading the word. More and more students from all grades make their way towards the black box, looking to contribute in whatever way they can.

INT. AAA - BLACK BOX THEATER - DAY

Riley is in the midst of a discussion about where the march should start when her phone rings, distracting her. She claims she has to take it and tells her crew she’ll be right back, darting into the hall.

Farkle: I’m just saying, I don’t see how having everyone blockade the streets around Triple A with their vehicles is such an unfeasible idea. I could contribute the Minkus helicopter if we’re really short on bulk.

Zay: Please tell me you realize how ridiculous you sound. If not, I’m not sure I have the heart to burst your bubble.

INT. AAA - HALLWAY - DAY

Riley picks up the phone, TOPANGA LAWRENCE on the other end of the line. Riley warns her that this isn’t really a good time, as there’s a lot going on at the moment.

Topanga asks when isn’t there, but she cheerfully assures her she’ll be quick. She just wanted to check in about whether Riley had given any more thought to the upstate move. If they do want to consider the art schools up there, after all, they really need to get a move on…

Riley holds her breath, confronted with the decision unexpectedly. But glancing over her shoulder towards the black box, where her entire class is so hard at work with her leading the charge… suddenly the answer becomes crystal clear.

Riley: I can’t.

Topanga: What’s that, dear? You have to speak up, you know I’m always telling you that.

Riley, firmly: I want to stay in Manhattan, mom. I want to stay at Triple A.

Silence. Riley fidgets under the cold reception, but she doesn’t back down. She opens her mouth to speak again but Topanga beats her to it.

Topanga: Are you sure?

Riley: Yes. I really appreciate it, the offer, and everything you think you’re doing for me. Really, I do. But this is where I need to be right now. It’s where I want to be. I can’t leave everything I have here. [ a beat ] Especially not now.

More silence. It feels like it might go on forever… when Topanga states it’s fine. She doesn’t sound pleased, but she will respect Riley’s choice as she said she would. She just hopes this doesn’t mean they’ll never see one another again.

Riley: Of course not --

Topanga, passive-aggressively: I just hope you’re making the right choice.

Once upon a time, that tactic may have worked on Riley. But she’s learned a lot since then. She’s learned to stand up for herself, to raise her own voice -- when she does, that’s when she’s really worth knowing.

Riley: I am. Trust me.

Well, nothing left to say, then. Topanga says she’ll call later, but Riley knows that might be a while so she can lick her wounds. They say goodbye and Riley leans against the wall, letting out a breath she didn’t know she was holding.

She looks back towards the classroom, alive with action and purpose. A movement she created.

Then she jumps back into the fray, ready to really make a difference.

EXT. AAA - DAY

A fancy town car pulls up outside Adams. A glossy pair of shoes step out from the backseat, and MISSY BRADFORD emerges as the driver helps her out of the car. She exchanges a proud smile with her father CARSON BRADFORD, the two of them making their way up the steps towards the entrance. Already, board members in suits are milling about the building.

Trial day has arrived, and with it the future of AAA.

INT. AAA - LECTURE HALL - DAY

Jack is finishing setting up the lecture hall for the proceedings, directing faculty to finish the arrangements. It’s decorated quite similarly to a courtroom, a long string of tables at one end of the room set up for the board members. Opposite that, a table is set up for the Bradfords and their legal team, and a few feet away are seats for Jack and Lucas at their own table.

Up in front of the projector screen in the corner, a podium stands, typically reserved for the lecturers who use the space. Today, it’s a witness stand.

Evelyn Rand greets Jack as she enters, one of the first board members to arrive. She commends him on being willing to use their space, and for organizing such an efficient set up. That being said, she does hope the proceedings won’t create too much of a disturbance for the students.

Oh, don’t you worry about the students, Miss Rand…

EXT. NEW YORK STREETS - DAY

The students are creating a disturbance all their own.

Song Cue ♫ ♪ “Come Together” as performed by The Beatles || Performed by AAA Juniors (feat. AAA Students)

Riley kicks off the eerie call-to-arms, walking towards us down the street from the march starting point. Soon enough Dylan and Asher fall into line behind her on either side, harmonizing with her. On the first “come together,” Isadora and Zay arrive, and they sing the chorus right to the camera.

So the march continues, picking up more and more students along the way until there’s a full-fledged rally making their way towards the school. Thanks to Isadora’s media influence, reporters and other passersby join in on the crowd as well. By the time they arrive at Adams, a crowd of at least 200 people has gathered to protest.

INT. AAA - LECTURE HALL - DAY

Missy is just in the midst of explaining to the school board that her lawyer should be here any minute -- just as ANNE MARIE WINTHROP walks through the door. She apologizes for the delay, as there were lots of unexpected traffic jams on the way over.

Jack: Oh, hell no --

Before Jack can make a move either way on this brand new reveal -- a dirty move on the Bradfords part, hiring his ex-girlfriend -- Eric swoops in and grabs his arm. His eyes are wide.

Eric: You’ve got to see this.

INT. AAA - ATRIUM - DAY

Jack and Eric make their way to the doors, stunned by the scene that has formed on the steps of the school. The other school board members are getting a good look too, the stunt definitely having gotten their attention.

EXT. AAA - DAY

Outside, as the Beatles tune shifts into the guitar solo, Riley takes to the section of the steps they’ve designated the “stage” and takes the megaphone from Maya. She begins her opening speech to her fellow students about why they’re there today -- because they’re the true heart of AAA, and they refuse to be bought.

Riley: Who are we?

AAA Students: The people!

Riley: Do we matter?

AAA Students: Yes!

Dave: Hell yeah!

Riley: And what matters more -- the people, or a profit?

AAA Students: The people!

Riley: No matter who you are?

AAA Students: Yeah!

Riley: No matter what?

AAA Students: No matter what!

Damn right! More media is arriving to cover the surprise protest, surprising the likes of Jefferson Graham as he arrives for the trial. He seems disdainful as he pushes his way through students and avoids reporters, heading for the stairs.

Lucas also arrives in the midst of the spectacle, dressed as best as he can manage in dark jeans and a slightly wrinkled button down. He even managed to comb his hair after an entire year of dissing the notion. He’s stunned by the crowd and the rally and the sheer presence of such a fuss, absolutely baffled.

Lucas, under his breath: What the fuck --

As if on cue, reporters zero on him. There he is! The infamous Lucas James Friar! They start to swarm him, asking a million questions that he has no idea how to handle or answer.

Luckily, Eric comes to his rescue. He appears in the crowd, reaching out and taking his arm.

Eric: Hey, I got you. Come on, come on!

Lucas follows Eric, letting him push their way through the assembly and towards the school. When they get to the entrance and he can finally see the view from above it all, Lucas scans the chaotic scene and finds Riley standing at the core of it all.

They lock eyes, only for a moment, across the steps. Then Riley takes a deep breath, turning back to the people and leading their war cry.

Riley: People over profit! We won’t be bought!

AAA Students: People over profit! People over profit!

The crowd is downright uproarious. Eric guides the dumbstruck Lucas through the doors and into the school, leaving the movement to Riley.

INT. AAA - ATRIUM - DAY

The sound of the protest lowers to a quiet din as they step into the school, but it’s impossible to ignore. Lucas and Eric meet with Jack, discussing what the hell is going on outside. Sure, it’s a lot, but it definitely can’t hurt their case.

Jack: Trust me, I don’t think the Bradfords are planning to play nice.

Eric claims it doesn’t matter -- they have their case, and they know they’re on the right side of AAA history. Now, it’s just time to convince everyone else.

Jack gives Lucas a bracing pat on the shoulder, asking if he’s ready. He nods, and the three of them make their way to the lecture hall.

INT. AAA - LECTURE HALL - DAY

From inside the hall, all of the uproar from just outside the school is silent. Attention is rapt as Evelyn thanks everyone for taking the time to be in attendance, explaining the process for how the proceedings will operate. They will be going mainly off of character witnesses and discussing the logistics of the enrollment process at Adams, all to determine whether junior student Lucas James Friar can keep his coveted spot -- or if someone, such as Missy Bradford, has the right to demand it for herself.

There are about nine school board members present, including Rand and Graham. It’s near impossible for there to be a tie or hung jury in this situation, so this should wrap by the end of the day. One key board member who gets focus is HARRISON YANCY, another older gentleman who is eyeing Lucas with cautious distaste.

Still, they only need to convince five. If five people can see the grander implications of this situation, then Lucas won’t be going anywhere.

Evelyn requests that each of the cases make their main argument as opening statements. Anne Marie rises first, laying down the perspective of the Bradford prosecution. As she starts to speak, highlighting the favoritism and unprofessionalism that permeates Jack Hunter’s enrollment procedures and running of AAA, Lucas frowns and leans over to whisper to Jack.

Lucas: Isn’t that your --

Yes, Lucas. Yes, it is. Jack merely shakes his head at him. Not now. Anne Marie maintains her professionalism, delivering the opposition with cool authority and seemingly no personal bias attached. Lucas does not deserve his spot at Adams, and there are plenty of well-intentioned and talented individuals -- such as Miss Bradford -- who deserve their chance at his spot. Especially since they can afford to pay for it.

Jack rises to give their case, explaining that this is an issue that should have never escalated to this sort of ordeal. They have their enrollment procedures, which have never been an issue for the over 50 years that AAA has existed. Lucas is not a mastermind but a strawman, a scapegoat the Bradfords are using to get their way by digging into the personal life of an 18-year-old student who has put his time and effort into the community here -- just not in such obviously visible ways as some of his peers. Missy glances at Lucas from her spot at the table, eyeing him with mild interest.

Then Jack emphasizes the precedent this decision will set, the much larger implications and overarching impact removing Lucas to suit the needs of a demanding pocketbook might have.

Certainly much to think about on both sides. It’s time to hear from the masses.

The sequence passes in a montage, different characters taking the podium as Anne Marie and Jack call them to speak on Lucas’s time at Adams. One is HARLEY KEINER, called in by the Bradfords to discuss the time Lucas spent living in the technician’s booth -- a misuse of school property. Harley admits that’s true, and he took the steps necessary to stop it, as did Jack.

But then when Jack gets the chance to question him, Harley points out that Lucas never purposefully misused or damaged any equipment. He was always quite respectful of the more serious items in their shared spaces, and while yes, a desk or house seat here and there might have suffered vandalism, Lucas isn’t the only student who has messed with school property.

When CORY MATTHEWS is called to speak on Lucas’s academics, he admits to the Bradford’s points that Lucas does have an iffy attendance record. However, his grades are still sharp, some of the best in the junior class. Better than half of the performing students, as it were. This seems to be a good point for the defense… until Anne Marie points out that if his grades are so good, then he’d presumably be fine at any school -- least of all a school for the arts when he doesn’t care about the arts.

Additionally, Anne Marie manages to twist Cory’s words. She gets him confused or contradicting himself, effectively making his somewhat helpful testimony rather useless by the end. Jack shakes his head, frustrated.

However, it’s not a complete loss. They manage to come back when Yindra takes the stand, acting as the character witness for the Junior A Class. While Anne Marie expects it to be a pretty easy win -- they definitely have the impression that the performers are not fond of Lucas -- Yindra throws a curveball by actually carrying the opinion that Lucas should stay.

Yindra: Don’t get me wrong, Friar is obnoxious. And yeah, most of us spent the first two years of our time here wondering what he was even doing here. But he’s great at what he does, and he’s a major part of the reason anything gets done around here. When he shows up, he shows up, and our productions are good enough evidence of that. I don’t know if he got his place here in the same way the rest of us did, but he’s certainly earned it since that time.

That’s a good point. The board takes careful note, and as they’re transitioning for their next witness Jack tells Lucas that things are looking good. There have been some unexpected turns, but they’re not out of the running by a long shot.

That is, until Anne Marie calls her next testimony. WYATT LIVINGSTON enters from the hall, back after a year to finally get his revenge on Lucas James Friar. We don’t even have to see the testimony to know it’s not going to be good.

Lucas gives Jack a wide-eyed look as Wyatt takes to the podium. What are they going to do about that? Anne Marie asks if Wyatt will be honest in his account, and give an accurate portrayal of Lucas during their time at AAA together. When he agrees, she tees him up, wondering if he has anecdotes he could share with the school board about Mister Friar.

Wyatt looks right at Lucas, a smug smile ghosting over his lips.

Wyatt: Plenty.

INT. AAA - HALLWAY - DAY

Following a couple more witnesses, the trial breaks for lunch. Lucas is pacing outside the lecture hall, almost bumping into Missy as she emerges to depart for a quick lunch.

The two of them size each other up for the first time, Lucas obviously not taking kindly to the entitled bitch gunning to take his spot. Missy, on the other hand, doesn’t seem at all disappointed to meet him. In fact, from the way she’s looking him over as she thinly apologizes for all the fuss this has caused, saying she has interest in him might just be the tip of the iceberg.

Missy: I’ll admit, I don’t think photos do you justice. And I didn’t expect things to get so very complicated. All the things everyone is saying about you, all the conflicting accounts… fascinating. Isn’t it? Things might have gone differently, had I known our chosen subject was so… provocative.

Lucas is not impressed. He remains stone-faced as Missy’s father beckons her, off for their relaxing, carefree meal.

Jack and Eric emerge from the lecture hall, joining Lucas in the midst of their conversation. They agree that in opposition to the surprise of Wyatt, they’re going to need an equally compelling testimony to throw them off. Eric claims he’s already on it, brewing with an idea.

Wyatt exits from the lecture hall, sauntering his way through the halls of the school that so easily dropped him like a king. He nods to Lucas with a smirk, cocky with long-awaited victory.

Wyatt: See you out there when they dump you on your ass too, Friar.

Lucas scowls, nearly lunging on instinct. But Jack pulls him back, restraining him and firmly stating that’s exactly what Wyatt wants him to do. The last thing they need is to give the opposition any more fodder to play with in their court.

EXT. AAA - DAY

Meanwhile, the student protests are well on their way. People have guitars, are waving their home-made signs proudly, listening to the speeches and performances while lounging around on the steps and on the lawn of the school. It’s somewhere between a social march and like… Woodstock. It’s a snapshot of the 60s youth movements, only 60 years later.

Nearby, Isadora is fielding questions from reporters. She’s doing an excellent job considering her usual aversion to the spotlight -- Valerie would be proud!

A couple of seniors are at the megaphone at the moment, giving Riley a chance to regroup. But she’s far from relaxed, unable to take her eyes off the school as she sips water. Dylan and Asher wander over to join her, commending her for staying hydrated and wondering how she thinks everything is going.

Outside? Fine. Inside… she has no idea, and that’s clearly what they all actually care about. It’s a minimal relief when Yindra steps out from the atrium, jogging down the steps to come and join them after her testimony. Riley asks how it’s going in there, and she informs them that they brought Wyatt back as a character witness.

Riley, Asher, and Dylan: Wyatt?

Riley: How is that an unbiased opinion?

Asher: Oh, so he really wants to get punched again?

Dylan, softly: [ taking Asher’s shoulders and rubbing them soothingly ] Easy there, bird bones.

Yindra: Believe me, it’s ridiculous and we all know it. But the school board doesn’t, although hopefully some of them are aware of Wyatt’s own history at Triple A.

Otherwise, it’s hard to say how the tides are shifting. But the stuff they’re doing out here is good regardless. She heard some of the board discussing it while she was on her way out. They’re making a point, if nothing else.

Across the lawn, some of the performers are discussing the importance of the protest despite their apparent nonchalance as they recline in the shade. Maya is laying with her head in Farkle’s lap, boldly declaring that although Lucas is the worst ninety percent of the time, she might actually miss him if they decide to oust him unfairly.

Before Farkle can respond, Eric comes over to join them. He asks if he can borrow Farkle for a moment, Maya offhandedly complaining that he’ll be taking her pillow, but letting him go. He gets to his feet, walking slowly back towards the steps as Eric engages him in conversation.

He gets right to the point, pitching that Farkle consider being their last character witness for the trial. It’s a big favor to ask, and Farkle seems confused by the request. Partially because it’s a lot of responsibility to take on, but also…

Farkle: How could that possibly be a good idea? Lucas and I have hated each other since we met.

Eric: I know. They know that too, so you getting up there at the podium and stating that he deserves to stay?

Could be a checkmate. A risky gambit, that’s for sure, but maybe exactly the counterpoint they need. If Farkle, who was tormented by Lucas in their bewildering hate war of three years, can testify that he still deserves his place here…

INT. AAA - ATRIUM - DAY

Still, it’s a lot to ask. Eric is aware of that, especially if Farkle doesn’t really believe it. He would try to sell him on the other aspects to the case he obviously agrees with, like the precedent thing, but more so Eric understands that it might be too much to ask. He’s not going to try and bribe him into it.

Eric: I don’t want you to feel pressured to do so. I know how complicated your dynamic is, and you certainly don’t owe him anything. I wouldn’t want you to get up there and say something you don’t mean.

Farkle: Do you think it’ll make a difference? Like, for real?

Eric, honest: I don’t know. But it’s basically the only idea I’ve got left. [ patting his shoulder ] Do whatever you’re comfortable with. I just knew that if I didn’t ask, I’d regret it. I appreciate you considering it, either way.

Eric backs off, leaving him to ruminate on it. Farkle stands frozen in the hall, slowly succumbing to contemplation as the world around him begins to dim and fade away.

In some ways, it feels like his entire rebirth act has been leading to something like this. Does he want to play it safe, staying comfortably in the background of the cause -- or does he put himself right in the line of fire? Does he pay forward an act of kindness to someone who has given him nothing but grief -- or does he take the opportunity to get final cosmic payback? Or, in an effort to truly look out for himself as he’s always known, does he do absolutely nothing?

The time has come to decide if he’s truly going to repent, or if he’s going to run yet again.

Song Cue ♫ ♪ “Monster” as performed by Frozen Original Broadway Cast || Performed by Farkle Minkus

If there’s a song where lyrics hit pointedly this episode, this would be it. Farkle grapples with all of the uncertainty and confliction he’s felt about his own sense of self since the end of last season -- is he doomed to be a monster, acting selfishly and reactively as everyone casted him? And if he is nothing but a monster… does he kill it?

All this pain, all this fear began because of me Is the thing they see, the thing I have to be?

INT. AAA - HALLWAY - DAY

As the march bit starts, we throw between the protests going on outside with their chants and Jack reconvening with key board members. The “no harm comes to him” belongs to Jack, obviously speaking on behalf of Lucas.

Farkle is the focus again on the second verse, dramatically making his way through the halls as he tears himself up over the two parts of his identity.

Was I a monster from the start? How did I end up with this frozen heart? Bringing destruction to the stage Caught in a war that I never meant to wage

He bursts through the doors to the dressing room hall --

INT. AAA - AUDITORIUM - DAY

And ends up on the stage, nothing but a spotlight illuminating him as he settles into the softer bridge. When he speaks to his father, Stuart appears on his right and watches him wisely. There for Farkle to seek wisdom from… but not able to give him the answer.

Father, you know what's best for me If I die, will they be free?

Then he turns to his left, where JENNIFER MINKUS is watching him with love and pride. He seeks counsel from her too, wondering whether his silence will be just as destructive as his active mistakes of the past.

Mother, what if after I'm gone The cold gets colder and the storm rages on?

Suddenly, the truth seems to hit him.

No! I’ve got to stay alive, to fix what I’ve done --

Farkle whips around and marches back through the wings, determination taking over his features. He travels through the darkness…

INT. AAA - HALLWAY - DAY

And pushes back out into the hallway for the final verse, reaching his decision. Maybe he’s a monster -- maybe he’s always destined to be broken, selfish, a little bit off and a little bit wrong. But when opportunities are presented to him to make a difference, he can choose to make a difference. He can choose to speak out, even when it’s complicated. Even when it’s not in his own self-interest.

As he sings the final resounding note, we cut between him stomping his way towards the lecture hall and belting in the spotlight center stage. It’s powerful in the same way his performance of “Santa Fe” was, only this time it’s not defeat provoking the emotion.

Farkle looks to the school board members standing outside the lecture hall, everyone reconvening for final testimonies. Then he pushes through the doors and marches inside, disappearing behind them.

Jack is rushing back to the lecture hall, nearly bumping into Anne Marie. They both apologize until they realize who they’ve bumped into, growing colder. Jack claims this is a low move, and a bit hypocritical considering how she’s always talking about professionalism. Anne Marie scoffs, rolling her eyes.

Anne Marie: It’s just a job, Jack. They presented a case that I happen to agree with, and paid me a fair amount of money for my services.

Jack: Oh, I’m sure they did.

Anne Marie: It’s not personal, Principal Hunter. [ shortly ] Unlike you’re so convinced everything is.

She pushes through the doors, leaving him behind. Jack forces himself to take a deep breath, cooling his temper and stepping in after her.

EXT. AAA - DAY

While the war rages on, Zay is distracted by a call on his phone. He waits for a voicemail, although he recognizes the number as the same one who gave him the information about his callback. More likely than not, this is whether or not he actually got the part.

He moves away from the crowd, taking refuge down by the bottom steps. Releasing a sigh, he holds his breath when the voicemail comes through and raises the phone to his ear to listen.

After a long moment, a huge grin spreads across his face. He almost falls over, reaching out for the banister by the stairs for support.

Zay: Holy shit. Holy shit!

Charlie notices his outburst, jogging down the steps and asking him what’s going on. He stammers out half an explanation that makes absolutely zero sense before Zay manages to find the words, telling him that he got the part. He got the role in the Off-Broadway production.

Charlie’s jaw drops. He takes Zay’s shoulders.

Charlie: Oh my God. [ happier ] Oh my God!

In the excitement, they embrace, and it’s not the end of the world. In that moment, it’s just a moment of pure joy, shared between two good friends. When they pull apart, Charlie has a million questions.

Charlie: Well, what’s the role? What’s the schedule like? When are performances going to be?

Zay: I -- [ breathless ] I don’t know! I still have to accept the role.

Charlie: … okay? Okay, well, do it! Call them right now!

Although he’s clearly thrilled, Zay claims he can’t just do that. When Charlie asks why not, Zay sort of shrugs and states that he just needs to think about it. You know, gotta consider all the factors before making a decision like this. Charlie stares at him like he’s crazy, wondering when the hell Zay Babineaux suddenly became hesitant.

Then realization washes over him. He did that. Zay was never an overthinker… until they got together. When Charlie became a priority, and dragged along all his baggage and conditions and trained hesitancy with him.

Zay isn’t paying attention to his change in demeanor, still smiling as he glances down at his phone. He’ll probably accept it, of course, but… it’s just an honor to have gotten an offer. Crazy, how quickly things can change like this. Isn’t it?

Charlie, blankly: … crazy.

INT. AAA - LECTURE HALL - DAY

Farkle has taken to the podium, Lucas looking less than thrilled at his presence. How he could possibly help his case, he has no idea, and from how flatly Farkle is answering Anne Marie and Jack’s questions it doesn’t seem like he’s all that intent on selling Lucas’s good merits.

Anne Marie isn’t going easy on him either. To her, this sudden additional testimony is a fumble on the defense, and she’s going to milk Lucas and Farkle’s problematic dynamic for everything it’s worth. Although Farkle gives his point about how he was responsible for half of their tangles and certainly acted as a provocateur, Anne Marie still uses it to craft a more unfavorable impression of Lucas.

However, after a certain point, Farkle has had enough. That’s when the tables really start to turn, just when Anne Marie and the Bradfords think his presence is a home run for them.

Farkle: Miss Winthrop -- ladies and gentlemen of the school board -- I’m going to be fully honest. It’s a creed I picked up after my failed suicide attempt, which I know you’re aware of since you elected to feature it in one of your articles.

Lucas, under his breath: Oh, God.

Anne Marie: Certainly. By all means, Mister Minkus.

Farkle: Here’s the read. Lucas James Friar sucks. I think you’ve proven that well enough this afternoon, and I wasn’t even here. It’s not hard to prove -- he sucks. There’s a reason I spent three years calling him “Jackass.”

Anne Marie: Yes, I think we’ve made that quite clear. Thank you --

Farkle: But I suck, too.

Anne Marie: … I’m sorry?

The tension in the room shifts somewhat. Jack raises his eyebrows -- Lucas stares at Farkle, not sure what to expect.

Farkle: I suck just as much as he does. I mean, I’m a fucking monster. [ pausing ] Sorry, is cursing allowed? If not, you can strike that from the record.

Evelyn: Go on, Mister Minkus.

Farkle: Point is, I’m a menace. We all hated Lucas, but everyone hated me too. And my best friend, Maya Hart, she’s an absolute maniac. Cut-throat, calculating, could and would throw me off the catwalk if it would help her career. But damn, is she talented. So am I, in theory. And so is Lucas, just not in the same way. It pains me, I mean, truly pains me to say this, but we would not have pulled off half the things we did in the three years we’ve been here if it weren’t for him and the way he leads the student technicians.

Well. This is taking an unexpected turn. The school board sits up straighter in their seats, leaning forward with interest. Anne Marie glances at them, then back at Farkle, trying to anticipate where this is going and develop a counterpoint. The Bradfords seem just as unsettled as Lucas and Jack -- there’s really no way to determine where this will end up.

Farkle: So yes. Lucas sucks. It’s not hard to prove that. But so do I. So does Maya. So does most of the student body. The way I see it, I think you need to reevaluate what this whole trial is even trying to determine. What credentials are you measuring Lucas against? Because if it’s like… merit or being a good person, then that’s not unique to Lucas James Friar. If you’re deciding whether someone should be allowed to stay because they’re a good person, then the school should just shut down. No one here is perfect, and you could put any one of us in that seat and debate for hours whether we deserve the right to be here.

The board takes this in, murmuring amongst themselves. Evelyn eyes Farkle with keen interest, obviously intrigued by what he has to say.

Farkle: And if you remove that element, well… [ plainly ] Then I’m not sure you’ve got a case at all.  

Okay, now there’s a strong statement. Missy narrows her eyes, not all that fond of this Farkle Minkus kid. He remains impressively calm though, not at all smug as he harpoons half of their case against Lucas.

But Anne Marie is a skilled lawyer, and she’s not going to let this knock her off her game. She waves him off, turning to the board.

Anne Marie: Thought-provoking perspective. [ with a shrug ] But hardly relevant.

Jack: Are you kidding me?

Lucas jumps, surprised by Jack’s outburst. He rises to his feet, leveling his glare with Anne Marie’s.

Jack: This entire debate has been matters of opinion! You can’t just dismiss one important testimony because it doesn’t align with your case.

Anne Marie: Well, I think then perhaps we should at least consider the suspiciously late addition to the schedule Mister Minkus demonstrated. One has to wonder what sort of last minute desperate maneuver… in a school full of actors, a favor or a bribe --

Jack, scoffing: Bribe? The Bradford prosecution is going to lecture the board about bribery?

Well, that escalated quickly. Evelyn regains control of the room before anything more can be said, hurting either of their cases. She urges them to maintain their professionalism, but it’s clear people are heated on all sides. Lucas looks like he’s going to be sick.

Evelyn declares that they will take a ten minute recess, and then come back together for closing statements. She personally feels they won’t need much else after all the other discussion they’ve heard today.

INT. AAA - JACK’S OFFICE - DAY

Jack and Lucas have regrouped in his office, Jack pacing and lamenting the tactics that the Bradfords and Anne Marie have stooped to in this process. This isn’t a fair process, this is a circus, that much is certain.

Lucas isn’t contributing to the vent session. He’s not fired up like Jack, but he’s no longer mutedly resigned either -- the reality of the situation is finally starting to hit him, and that resignation is bubbling into panic.

Lucas: I’m leaving Triple A.

Jack: It’s not over yet.

Lucas is pacing now too, but it’s not strident like Jack’s. He’s fretful, hands shaking, like an animal trapped in a cage. He’s been cornered, and he can’t hold back the fear no matter how badly he tries.

Jack: Lucas, breathe --

Lucas, shaky: They’re going to send me back to Quincy. [ choking on it ] I can’t go back. I can’t --

Jack: Lucas -- hey. Hey!

Jack crosses the room to meet him, taking his shoulders and forcing him to stop. He gets him to look at him.

Jack, fiercely: Listen to me! I am not going to let anything happen to you. Do you understand? Anything!

Lucas stares at him, still trembling.

INT. AAA - HALLWAY - DAY

Eric is rushing through the halls, Charlie running in from the entrance. He tries to catch up to him, claiming he needs to talk to him. Eric states that things are a bit high pressure at the moment, and almost dismisses him, but Charlie pleads his case.

Charlie: Please, Mister Matthews! It’s important.

Eric hesitates, looking at him and contemplating. Then he nods, gesturing for him to walk with him. Charlie jogs to catch up.

EXT. AAA - DAY

Farkle has rejoined the performers, recounting his testimony and how the place basically exploded before he left. Isadora asks if he thinks that’s a good thing or bad, and he honestly has no clue. It’s all so arbitrary anyway, it’s just going to come down to how people decide to vote.

Maya admits that she’s surprised Farkle testified in favor of Lucas. Like, she does get it, but truthfully she’s not even sure she would’ve done the same. Farkle admits he wasn’t either at first, but he knows how much he’s changed in the course of a year. Maybe this time last year, he would’ve made a different choice… but that’s not who he is anymore. And he’d hate to be judged solely on the mistakes he’s made -- he doesn’t think Lucas deserves it either.

Zay nods in respect, giving him a solid low-five. Maya smiles and wraps her arms around Farkle’s, resting her chin against his shoulder in that way that’s starting to become an affectionate habit.

INT. AAA - LECTURE HALL - DAY

Back in the proceedings, Anne Marie is wrapping up the closing statement for the Bradford case. It’s obvious that Lucas does not deserve his place at Adams, and someone like her client has a fair argument against the way Mister Hunter runs the school. And Missy Bradford can pay to attend it, so why should she be barred opportunities due to an arbitrary rule? If the counsel views the situation objectively, then there’s a clear sense of right and wrong in this scenario.

Well, no arguing with that last statement. The board finishes taking their notes, Evelyn turning the tables to Jack. He glances to Lucas, who is staring at the table and avoiding eye contact with everyone in the room.

Then he rises, walking around the table and thanking the board for the opportunity to make their case this afternoon. He starts by pointing out this whole situation is inane, considering he did make a decision in this regard that the Bradfords elected to ignore. He believes changing his stance on a rule for a few dollar signs would set a dangerous precedent, especially when it’s at the expense of another student -- regardless of the student. But hopefully, the board can identify that much for themselves.

Jack hesitates, contemplating for a moment. Speaking with confidence, he rounds out his statement.

Jack: Miss Winthrop is correct that there is a clear sense of right and wrong here. One that I feel strongly about, that I know will define my career regardless of the outcome this afternoon. So allow me to make that stance crystal clear. [ clasping his hands together ] Should you decide to remove Mister Friar from Adams Academy of the Arts for something as twisted as this, then I hope you’re prepared to find a new head administrator. Because I would resign and step down from my position, effective as soon as that decision is reached.

A ripple of shock runs through the room. Lucas lifts his head, horrified. The board is stunned by the stunt, not sure how to react -- although it seems as though Evelyn Rand might be holding back a chuckle. Anne Marie and the Bradfords are particularly incensed, identifying the emotional power play for what it is. Not logic, that’s for sure.

But Jack isn’t trying to act like it is. He maintains his professional demeanor.

Jack: That’s all. I’m sure you have plenty to consider moving forward.

Jack returns to his seat next to Lucas, not allowing his facade to crack even a bit. Lucas is still in shock, staring at him with dread. Unable to believe that he would go down on this sinking ship with him.

EXT. AAA - DAY

Isadora finds Riley in the crowd, claiming that the proceedings have wrapped and now they’re just awaiting final verdict. If Riley is going to address the press -- and Isadora clearly thinks she should -- now is the time.

She nods, returning to the spotlight section and taking the microphone from Nigel. Once she’s sure she’s gotten the attention of the media, Riley launches into her final speech of the protest. She reiterates all of the points that they and Jack have been making all afternoon, with that special spark only Riley Matthew can deliver.

Then she claims she wants to address the board, and the Bradfords, directly. She states that they can make whatever decision they choose, that’s obviously out of their control. But if they think they can remove one of their own and this will just go away, then they’re dead wrong.

Riley: This school is built on the power of our voices, and we will never stop using them. [ impassioned ] If you choose profit over the people, then mark my words, you will never stop hearing from the people.

It’s a compelling moment, and the passion with which Riley delivers it makes the threat damn believable. A modern day mockingjay…

Riley is done, but her classmates pick up the slack. The chant arises in the crowd again: People over profit! People over profit. People --

INT. AAA - AUDITORIUM - DAY

In contrast to the riot just outside, the auditorium is hauntingly quiet. All the energy that usually commands it day-by-day is being expended elsewhere, leaving it empty and hushed.

Which is precisely why Lucas is there. He’s seated on the floor in front of the center back section of the house where the techies usually congregate, arms wrapped around his knees. Absorbing the temporary peace and the strange belonging he’s always felt in the auditorium, regardless of how many highs and lows have occurred inside of it.

A door opens from behind him, and Isadora appears at his side a few seconds later. She doesn’t say anything, dropping down next to him and tilting her head back against the section panel.

After a moment, she reaches out and places her hand on his knee. She doesn’t offer anything more than that, but the message is loud and clear.

Asher: Mind if we join you?

Lucas and Isadora look up, Asher and Dylan walking hand-in-hand in their direction. Lucas nods and they settle down across from him, sharing in the silent support. Wanting to be with him in these last moments, regardless of where he goes from here.

Lucas, to Dylan: Heard you were a pretty good captain in my absence.

Dylan shrugs humbly. Asher smiles at him, but someone beats him to a confirmation.

Jade: He was.

Lucas looks to his left, and there they are. Jade, Nate, Jeff, and Dave, also having found their way to him. They join the sit-in without another word, completing the circle. All of them together in solidarity, a complete set for the first time in months.

They sit in the silence for a long time. Then Dave breaks it, releasing a sigh.

Dave: Fucking capitalism, man.

The declaration hangs in the air for a long moment. Then Lucas lets out a laugh -- exhausted, but acknowledging how ridiculous this whole thing is. Taking comfort in Dave’s unique brand of eccentricity, as he always has.

And when it starts, the laughter is contagious. Before long the entire techie crew is laughing, sharing a moment of levity in spite of how heavy the situation feels. Finding reprieve in one another, as they have for the last three years.

Isadora jostles Lucas’s knee, shaking her head as she chuckles. Asher leans into Dylan’s shoulder. Jade hugs Dave’s side affectionately, playfully nudging Nate’s foot away as he attempts to kick at Jeff and Dave across the circle.

Charlie, pre-lap: Say what you want about Triple A, but the best thing about it is the people. Even when they’re the worst.

INT. AAA - ERIC’S OFFICE - DAY

Charlie is seated across from Eric, speaking with more certainty than he ever has in his office. This time it’s his choice to be there, talking through everything he’s been tossing around in his head for months. He’s in the midst of trying to provide full context for what he needs help with.

Charlie: I know that better than anybody, and that’s part of what made applying somewhere else so hard. Like, why would I leave Adams? Everything I care about is here. Everyone I love is here. [ a beat ] I mean, I know why. I applied because I was scared. At the time, I fucked up, and made choices that hurt someone I love. And I thought the only way to deal with that was to run from it -- because I’ve been doing that my entire life, for as long as I can remember. Running, rather than facing the truth.

Eric listens patiently, giving Charlie all the time he needs to process.

Charlie: The more I think about it, the more I think love in it of itself is inherently selfish. And that’s weird, because love is supposed to be the ultimate virtue, you know? But it’s so dangerous, when you let it get out of control. It’s… it’s looking at something or someone and saying I like that thing so much, I want it all to myself. I want it always, I want it to be mine. And that’s selfish. [ shakily ] And for a person who tries really damn hard to be good, and virtuous, it’s amazing how much of a contradiction I can be. Perfect and polished on the outside, but one crack from breaking to pieces on the inside. Acting like I care about Christian values, about helping others, when it took me way longer than anybody else to determine that even showing up for someone else could be the right choice if it put me in any sort of jeopardy. Being so consumed by this thing that’s supposed to be the most powerful good there is, consumed by love, but somehow twisting it into a selfish thing. Loving but with conditions attached, keeping it secret, holding that love so tightly in my grip that they can’t even remember how to move freely anymore. All because I’m selfish, and I’m a coward. I’m so scared of the truth -- of who I am, the selfishness and… and being gay --

The moment passes without consequence, but Eric doesn’t overlook the importance of the statement. It’s the first time Charlie has openly stated his sexuality, and the first time he’s shared it with someone by his own choice.

Charlie: -- that I’m constantly running, only now I realize I’ve been dragging everyone else along behind me while I do it. I’m running, and running, and they’re the ones getting the bruises and the scuffs and the dirt while I get to maintain my squeaky clean, inoffensive persona. [ a deep breath ] And I don’t want to be that way. I’m done being that way... but I don’t know what I’m supposed to do next.

Eric thanks Charlie for sharing all of that with him, and delicately states that he has to admit he thinks he is being too hard on himself. Everything Charlie is experiencing is a pretty universal human sensation, at one point or another. It’s definitely good to recognize you have faults, but to flip the script and make yourself the inevitable villain at every turn won’t help anyone either.

Eric: You’re not a saint, Charlie. You’re human, and part of being human is being imperfect. Making mistakes, hurting others, making the same mistakes again.

Charlie wipes at his eyes, not even realizing he’s crying until the tears are on his cheeks.

Eric: Acknowledging those mistakes is the first step -- and it seems like you’ve mastered that. What matters most is what you do to repair those mistakes, and that just comes down to a whole other series of choices.

Active choices. Choosing to be good, to care about others and help whenever you can. Charlie absorbs this, accepting the tissue Eric hands him with an embarrassed laugh.

All of that aside… Eric curiously asks what Charlie thinks about the Haverford offer. He went out for the opportunity at first because he was scared -- a mistake, it seems, in his eyes. But all that matters is what he does next… so what is he thinking about that?

Charlie lists all the pros and cons he’s been weighing in the last couple months. The chance to start new, to prove himself capable, to try something new and grow in a different way -- versus the home and family he’s built at AAA. The bananas chaos he’s grown fond of, and the people he doesn’t want to leave. Especially that...

Charlie: I started this whole thing because I messed up with the person I love the most, and I wanted to escape the consequences. [ a beat ] But now… I’m still being selfish. Because I thought I was setting him free, letting him go, but somehow I’m still holding him back. It’s like… as long as I’m here, and we’re together, I’m never going to let go of that leash. I don’t want it to be that way. I don’t want to leave, but… I don’t want to let this keep going.

Eric processes this. It’s a tricky situation, that’s for sure, especially while Charlie is in such a harsh emotional place.

Then, a lightbulb seems to go off in Eric’s head. He’s hesitant to speak on it, but Charlie can sense the change in his expression.

Charlie: You have an idea. [ expectant ] What are you thinking?

Eric pauses, still hesitant. Having this conversation with another student seems like a lot to ask… but all Charlie wants is to accomplish something exactly like this. Despite being torn, Eric forces himself to speak up.

Eric: I’m just thinking… no solution will be perfect. I can tell you that with certainty. But if you’re willing to consider it… I think we might be able to solve more than one problem if we work together. Are you good with that?

Silence hangs over them as Charlie contemplates, running through all of the possibilities in his head as he’s so well-trained to do. Then, something in his expression hardens.

Active choices. Helping others, even when it’s inconvenient for yourself. Especially then.

Charlie, with a nod: Tell me what I can do.

INT. AAA - LECTURE HALL - DAY

The board has reassembled, Evelyn rising to address the room. It’s so quiet, you could hear a pin drop. Missy and her father seem relaxed, prepared for victory -- Lucas and Jack are experts at restraint, expressions neutral and braced for the worst.

Evelyn gives a short speech about how odd and unique this whole experience has been in the long history of her career as a school board member. She’s honestly had an opinion of her own basically since this story first dropped, but as top member of the board she places a deep value in letting each of her fellow delegates get the chance to speak their mind. It’s a principle she highly regards, a precedent she intends to set in stone.

That being said, both cases raised important and interesting points. There’s a lot of subjects raised during discussion today that might warrant more conversation in the future, and because of that it’s no surprise to her that the vote was so closely split.

Lucas grits his teeth, clenching his fist on his knee. Jack gently reaches over and touches his wrist, getting him to unclench his grip.

Evelyn: So, let’s allow this to set a precedent as well. In a 5-4 vote… the school board has voted in favor of Adams and Principal Jackson Hunter.

A wave of surprise crashes through the room. Lucas and Jack are both surprised, watching Evelyn with wide eyes.

Evelyn: A decision was made, and to allow Miss Bradford into the school by the means presented today would set an example the school board ultimately does not wish to support. Lucas James Friar, enjoy your senior year at Adams Academy for the Arts. [ nonchalantly ] This meeting is adjourned.

Anne Marie is disgusted, obviously miffed that emotion was the winning maneuver. Missy looks about ready to throw a hissy fit, and Carson is already placating her.

Lucas and Jack both get to their feet, and for a moment, it seems as though they might do something insane like hug. But Jack settles for a bracing shoulder pat instead, the smile on his face wholly genuine.

Jack: Looking forward to one more year.

Lucas scoffs out a laugh, still stuck in disbelief. He blankly states that he has to go tell the others -- he’s got to tell Dora and Asher and Dylan. Jack nods him onward and lets him go, Lucas disappearing through the doors.

EXT. AAA - DAY

The crowd has grown restless, awaiting any sort of news. Zay has his arm around Riley, comforting her as her nerves start to overcome her resolve.

Dave pushes through the doors, all attention to turning to him. He pauses for a long second, and then pumps his fist in victory when he claims they won. Lucas isn’t going anywhere -- and the people prevailed!

It’s instant revelry. The assembled crowd erupts into cheers, transitioning right into celebration. Zay and Riley hug, the former picking her up and spinning her. The A class performers embrace and jump around. Maya lets out a theatrical war cry.

Farkle and Isadora embrace, only realizing that’s weird until they’re a few seconds into it. Farkle pulls back and clears his throat, Isadora stating she should text her mom the good news. He nods, agreeing that she should do that. She steps away, shifting her focus to her phone.

The last response she got from Valerie was a couple days ago, encouraging her to fight the good fight and to let her know everything that happens. Isadora has given her updates since then, but she sends this update with an excited flourish.

INT. AAA - LECTURE HALL - DAY

Evelyn approaches, congratulating Jack on a fight well fought. She had little doubt he would pull through, of course, and she’s always greatly admired his strong belief system... it’s a wonder who that deciding vote came down to…

Still, even in the midst of the celebration, Evelyn has to deliver a caution. She drops her voice down to a murmur, warning Jack that the stunt he pulled today isn’t going to just evaporate. The other school board members who voted against him are not pleased, and there will be consequences for the way he handled it.

Pointedly, Jefferson Graham and Harrison Yancy send a pointed glare in his direction as they discuss amongst themselves. Jack swallows, disappointed but not surprised.

Evelyn: Questions have risen as to how Adams is run, Jackson. [ empathetically ] You need to prepare for a whole lot of change.

Well, that’s pleasant and not ominous at all. Off of Jack’s bittersweet expression…

EXT. AAA - DAY

For how all-consuming the Bradford debacle was the day before, it’s impressive how quickly life returns to a state of equilibrium. The formerly crowded and riotous scene of student protest is calm and clean come Friday morning, the school year scheduled to wrap up as normal in the last couple of days next week. As if nothing happened, like life has proceeded as normal this entire time.

But it did happen. History was made at AAA, and no one is likely to forget it any time soon. As for what happens next…

INT. AAA - HALLWAY - DAY

Farkle is at his locker, getting the chance to clean it out this year. He takes delicate care to put his photos of his friends safely away in the front pocket of his backpack. As Nigel and Yogi pass him in the hall, they offer him friendly pats on the back and the promise to catch him in class. Still a couple performances and classes left to round out the year.

And boy, what a year it has been. Farkle takes in the halls around him, remembering how for a while there, there was a real chance he was never going to come back into these halls. Grateful, it seems, that he’s still there.

Isadora approaches, leaning against the locker next to him. She states how weird it is that so much can happen one day, and then school can just proceed as normal the next.

Farkle: Well, only a couple more days of that. For now.

Isadora: It’s just strange. How quickly things change. Instantaneous, really.

No doubt about that. After a moment, Isadora shifts topics and thanks Farkle for his testimony. She figures it probably wasn’t easy for him to come to that decision, given their history. Obviously, there’s no way to know if it really made a difference… but it was something. He spoke up, in a moment where it might’ve really mattered. Farkle shrugs, thoughtful.

Farkle: You know, this time last year, everything fell apart because I made a selfish move. I was thinking of me, just me, and I sure paid the consequences for that. [ a beat ] A lot has changed since then, but it’s easy to say things have changed rather than prove it. A theory needs evidence to be proven, after all.

Isadora: Naturally.

Farkle: Can’t know for sure without repeated trials, but… I figure choosing to make the choice that wasn’t directly beneficial to me is probably a good sample of evidence. My hypothesis is that things held together because we held together. [ certain ] And I’ll take that conclusion over last year’s any day.

Isadora examines him, a smile that might be described as fond creeping onto her face. Farkle closes his locker, raising his eyebrows at her before leading the way down the hall.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Delicate” as performed by Damien Rice || Performed by Asher Garcia (feat. Dylan Orlando)

Yes, classes are still in session for a few more days, and there are still some lingering final performances to wrap up. Asher performs the ballad as his final project, bending the rules just slightly so that Dylan can be up there with him to back him up. No one tries to argue him on it -- Dylan and Asher are undeniably better together, after all.

Dylan sits behind him on a stool, playing the acoustic guitar. Asher’s vocals are soft, imbued with a sense of peace it feels like we haven’t felt all season. As the other orchestration comes into play, Haley, Clarissa, and Nigel are backing him on the strings instruments for the full effect.

The performance also doubles as the score for the next scene, setting the mood aptly...

INT. AAA - TEACHER’S LOUNGE - DAY

Riley is fighting with the protest signs, attempting to put them in the large closet in the teacher’s lounge for safe-keeping. But they’re hard to handle all on her own, and there’s a lot of them, and only so much closet space. The unglamorous part of an impassioned protest -- the clean-up.

Lucas pokes his head into the doorway, grateful to have found her. He asks what she’s doing and she jumps, just looking at him for a moment. Soaking up the fact that he’s still there -- that he gets to still be there, for at least a while longer. Then she clears her throat, explaining her battle with the posters and signs.

Riley: Eric said we should keep them, for posterity and all that, and also because you never know when you’ll have another student protest. Reduce, reuse, recycle.

Lucas: Sure.

Riley: And I was in total agreement, but now that I’m here actually trying to get them all to stay put…

Lucas: Do you want some help?

Riley blinks. Surprised by the offer, even though she doesn’t know why. She shouldn’t be, not from him.

Riley: Sure. Sure, that would be great.

Lucas comes over to join her, rolling up his sleeves and helping tackle the stubborn protest memorabilia. They manage to complete the task as a team, stuffing it all into the closet and shutting the door firmly to seal it inside.

Riley: Wouldn’t want to be the teacher who opens that at the start of next term.

Lucas laughs, earning a bashful smile from Riley. There’s a lingering moment between them, and then Lucas asks why Riley went to so much effort in the first place.

Lucas: You really didn’t have to do all that.

Riley: I know. I don’t have to do anything. [ off his eye roll ] But of course I did. I wasn’t going to just do nothing.

Fair enough, but not exactly an explanation. When Lucas eyes her expectantly, she sighs, crossing her arms and shrugging. Knowing he can tell there’s more to it, but not sure there’s a way to articulate it.

Riley: It just wasn’t right. Everything they were doing. Putting you on blast to gain something for themselves, exploiting your personal difficulties for themselves --

Lucas: Well, hard to say I didn’t get myself into that.

Riley: But you didn’t deserve it, Lucas. No one deserves to be treated that way, even you. [ a beat, then softer ] Especially you.

That’s certainly a new take. Lucas absorbs the sentiment, holding her gaze. Trying to believe, for the first time, that maybe she’s right.

She looks away first, overwhelmed by the moment. She shrugs her shoulders again, still searching for what to say. The longer she rambles, the softer Lucas’s expression grows.

Riley: And I mean, they were just going to kick you out. And for what? Again, no one should have to worry about something like that, but… I mean, it’s you. And this is your home. [ a beat ] This is your home, and I wasn’t just going to let them take it from you.

Lucas, thoughtful: … I don’t think home is a place.

Riley lifts her gaze, meeting his eyes. Lucas lingers in looking at her for a moment longer, really looking at her… and then he closes the distance between them, pulling her into a kiss.

It takes a moment for Riley to catch up with what’s happening, almost in disbelief. But that only lasts a second, and she initiates the next kiss with double the enthusiasm and zero hesitation.

It’s about damn time.

They get lost in it, Riley wrapping her arms around his shoulders. They stumble a bit and back into the closet door, taking a moment to ground themselves. Still close together, foreheads touching, breathing shallow as they catch their breath.

Riley opens her eyes, taking him in while he’s so close and right there in front of her. Finally in her grasp, after the longest wait in the world.

Then, she laughs. Quiet, relieved, genuinely happy.

Lucas mirrors her smile, looking away shyly. Riley tilts his head back towards her to give him another slow kiss, which he happily accepts.

INT. AAA - AUDITORIUM - DAY

Dylan finishes out the last few riffs of the song, Asher watching him fondly with his chin propped on the microphone. He plays the last chord, then lifts his head to lock eyes with him. Dylan gives him a loving smile, pride shining in his eyes.

As it should be.

INT. AAA - JACK’S OFFICE - DAY

Jack finishes throwing out the last of the Bradford materials, settling down in his desk chair. He takes a moment to look around at his office… and then releases a sigh. Finally getting to breathe, after holding his breath for what feels like months.

Eric knocks lightly on his door, leaning against the doorframe and congratulating him.

Eric: I didn’t know you were a lawyer.

Jack: Ha ha ha… so very funny…

Eric can’t help but grin. Jack thanks him for all of his help -- he would not have been able to get through it without him.

Eric: Well, don’t give me too much credit. I’m not exactly a legal expert --

Jack: I’m not just talking about that, Eric.

Oh. Well… oh. If that doesn’t sum up how joined their work is, how this place really only runs because of one another… Eric nods bashfully, accepting the compliment. A moment lingers between them, but it’s not heavy. It’s something light, refreshing… something new between them, even if they don’t quite know how to define it yet.

Even still, Jack claims the show must go on. He highly doubts Missy Bradford is just going to let this thing die out -- considering all the trouble she went to this time around, he doesn’t see her giving up the crusade so easily. What baby wants, baby gets…

As it turns out, that’s something Eric wanted to talk to Jack about. He actually may have discovered a different compromise while Jack was going to court… not ideal, by any stretch of the imagination, but… Jack straightens up, curious and concerned.

INT. AAA - BLACK BOX THEATER - DAY

The A class is assembled, and it’s pointed just how different the energy in the room feels compared to the start of the year. There’s a real sense of camaraderie amongst them that was never there before, and the mood is light as they all chat before they’re dismissed.

That spirit only brightens when Riley and Lucas come through the door… holding hands. For a second everyone simply absorbs the sight… then Dylan gets to his feet, starting a slow clap. Dave joins in and before long the entire class is sarcastically applauding, Yogi wolf-whistling. Riley shakes her head and bites back a smile as she leads the way to their seats, Lucas flipping the techie crew off as they go.

Harper and Shawn take the stage, genuinely congratulating the class for getting through this hell year. It was tough -- for all of them, as the look Shawn and Harper exchange indicates -- but they survived it. They stretched themselves, they learned some hard lessons, and they grew stronger for it. They raised their voices, and it made a difference. The class breaks into applause again, Zay leaning forward to jostle Riley on the shoulder.

And with that, there’s not much more to say… except it’s a total mystery what the hell senior year will dish for them. There’s one more announcement they need to give… only it’s not their announcement to make. Harper passes the focus to Charlie, gesturing him forward as she and Shawn give him the floor.

Maya: [ under her breath, to Isadora ] I’m still trying to figure out when we gave him speaking privileges...?

The class is obviously at a loss for what Charlie could possibly be about to say. He’s never been one for grand gestures, but he’s up there now, addressing the full room of them. He starts by once again shouting out Riley and Isadora for the effort they put into the protest, and he mentions how inspiring it was to be a part of it and see what it really means to be selfless. To give so much of your time and energy to something you care about, not because it benefits you, but because it’s the right thing to do.

He’s also really happy that Lucas will get to stay at Adams.

Charlie: You’re a big part of the reason this class is as good as it is -- I mean, you all are. And God… is it a good class. Best thing I’ve ever been a part of by far. It’s no wonder Missy Bradford wanted in so badly.

From his tone, people are starting to get concerned. Haley and Clarissa are watching him curiously, wondering what’s going on. Riley frowns.

Riley: Charlie?

Charlie: Missy wanted to get into Triple A, and she wasn’t going to just stop at Lucas. I think we all know that. But the good news is, she’s not going to be coming after anyone else. [ a beat ] Missy isn’t going to come for anyone else’s spot in the senior class, because she’s taking mine. I’ll be transferring to Haverford Prep, starting in the fall.

The reaction from the A class is stunned, then uproarious. All of them protest, ranging from shocked outbursts to outright denials. Charlie tries to get them to calm down, trying to keep everything from derailing.

Dave: This rich bitch is begging to get egged.

Charlie shouts over them, getting them to pull it back together. He speaks with all the confidence he can muster, trying to be strong.

Charlie: It’s good, okay? It’s gonna be good. I think… I think the change will be good for me. And this way, no one else has to deal with the Bradfords --

Nate: Until we have to deal with her every day.

Clarissa: Yeah, Charlie, this isn’t fair. You’re part of the A class. You belong here.

Maybe so, Clarissa. Maybe so. Charlie’s facade cracks for the first time, hesitating when he tries to figure out how to respond.

Charlie, quietly: Sometimes the right thing isn’t always fair. But I want to do this. I’m making the choice… even if it’s not ideal for me.

It’s clear there will be no arguing this. He’s made up his mind, making the most selfless choice he thinks he possibly could by letting them go.

Charlie: But I asked Miss Burgess if it would be okay for me to do my final performance for you guys, even though it’s supposed to be one-on-one. If it was going to be my last one, I… I wanted to share it with you.

Song Cue ♫ ♪ “Take Care of Yourself” as performed by Glee Cast || Performed by Charlie Gardner

And what a final AAA performance he gives. Charlie effectively uses his swan song as a goodbye, his gentle and unassuming tenor creating the exact right feeling like a comforting hug. Even though all of them are stunned and some of his classmates are in tears -- as is he, by the end of the rendition -- he gives the distinct feeling that everything is going to be okay. It won’t be the same, but it will be okay. And that has to be enough.

He shares small moments with each of his major classmates -- Yindra, and Nigel. He accepts a tight hug from Clarissa. He shakes his head fondly at Haley as he sings the lyrics “no more tears to cry, I’m out of goodbyes,” wiping some of the tears from her cheeks.

She’s not the only one in tears. When he gets to Riley it gets harder to get through the performance, his voice cracking on the falsetto a bit as he takes her hand. She squeezes it tightly, mouthing an I love you before he pulls away. She shifts and hides her head in Lucas’s shoulder, who is still in complete disbelief.

By the time he gets back to the front and swivels to face them all again, there’s only one person left to address.

Zay has been silent the entire time, totally out of words. He’s just staring at Charlie, tears slipping down his cheeks even though it’s like he doesn’t know they’re there. He can’t process it. He can’t believe it’s actually happening.

But Charlie looks right at him as he sings the last set of lines, the eye contact deliberate and full of meaning.

Take care of yourself, I love you.

INT. CHUBBIE’S DINER - DAY

In spite of the emotional whammy, there’s still plenty to celebrate. Another year around the bend, the fact that Lucas isn’t going to have to return to Quincy. No one is going to be absolutely decimated by Bradford money, so the junior A class has gathered at the local diner to celebrate the victory.

The techies share in a group toast, cheering the fact that the original odd octet are going into senior year still a united front. Dylan and Asher make a special toast to Lucas, eternally grateful that their fearless leader wasn’t brutally taken from them by the claws of capitalism.

Dave: A-fucking-men.

Jade also adds an addition to the toast, signaling out Isadora for all the effort she put into the protest effort. It definitely didn’t go unnoticed, and while things aren’t completely all right and in order between her and the techie crew, it seems as though they’ll be able to repair things in the end.

She’s pulled from the moment by her phone ringing, recognizing Valerie’s number and eagerly going to take the call. She tells Lucas she’ll be right back, going into the back to answer.

They’ve made a great victory… but a victory they really only have because Charlie took the fall. Zay says as much, not nearly in the same high spirits as he sits across from Riley. She’s torn, caught between the elation of Lucas not having to leave and the reality of her good friend volunteering to sacrifice his spot instead. Charlie, pointedly, is not in attendance.

She questions if Zay really had no idea, if Charlie really didn’t say anything. He shakes his head, obviously embittered. Nothing about Haverford, nothing about the possibility, and definitely nothing about actually making the decision.

Zay: No. No, he didn’t. And now he’s not even here to face it. [ sharply ] He’s just… gone.

Oof. Riley reaches across the table and takes his hand, offering whatever comfort she can.

Still, celebration. Lots of things to celebrate! Maya makes her way over to Lucas, pithily congratulating him on still somehow managing to evade cosmic consequence for his overall general existence.

Maya: It seems you and I get to enjoy one more glorious year of barely tolerating one another.

Lucas: Oh, just what I was looking forward to the very most.

Maya: It’ll be even better now, considering you’ll be swapping spit with my roommate whenever possible. [ off his disturbed expression ] Yeah, speaking of, it would be peachy if you two could not do that in our shared bedroom. Just, you know, common courtesy.

Maya lecturing anyone about courtesy is a laugh riot, but Lucas just wants this conversation to end. As he points out, maybe they’ll get to avoid it anyway, right? If all goes as planned, she’ll be moving in with Isadora, and they’ll never have to cross paths outside of the AAA auditorium. Ever. And they should never speak of this again.

Speaking of, Maya asks where Isadora wandered off to. Lucas nods towards the back room, claiming she said she’d be back after she talked to her mom.

Well, it’s been a hot minute since she left to do that. Sure, there’s a lot to fill her in on, but Maya is nothing if not nosy. Besides, she’s not going to pass up the chance to jump in on a conversation with Valerie De La Cruz. Maya makes her way towards the back to look for her.

INT. CHUBBIE’S DINER - BACK ROOM - NIGHT

Maya pokes her head in to the back area, peering around for Isadora. She manages to find her sitting on an overturned bucket in the corner of the room, no longer on the phone. She questions what she’s still doing back here when the party is out there -- and did she miss the call with Val?

Isadora doesn’t respond. She’s staring into space, expression totally blank. Maya grows concerned when she realizes her phone is at her feet, screen shattered after hitting the concrete flooring.

Maya: Izzy?

She comes over to kneel in front of her, asking what’s wrong. Isadora still doesn’t speak, almost like she’s frozen. Maya gently touches her knee.

Maya: Izzy, what’s wrong? You’re scaring me.

For another long moment, silence. Then she manages to speak, the words coming out numb.

Isadora: My mom is dead.

The words hit like a freight train. Maya stares at her, stunned, the revelation slowly sinking in.

END OF EPISODE.

[papermoonloveslucy]

HUMILIATED & UNHAPPY

July 16, 1960

TV Guide ~ July 16-22, 1960 (Vol.8, No.29 & Issue #381) Cover photo by Sherm Weisberg, Fashions by Sacks Fifth Avenue

This was Lucille Ball’s tenth (of 39) TV Guide covers. 

“A VISIT WITH LUCILLE BALL” by Dan Jenkins

On January 19, 1953, Desi Arnaz rushed exultantly into the Hollywood Brown Derby, grinning that wide, idiotic grin common to new fathers for the past several eons. Striding down a side isle, he threw his arms excitedly in the air and shouted, "Now we got everythin'!" By "everythin'," Arnaz was encompassing quite a bit of territory - an eight-pound son born that morning, the birth of the Ricardo son on ‘I Love Lucy’ that same night and a gold-plated peak of popularity for a television series which, in all probability, will never again be approached. On May 4, 1960, just seven years later, Desi Arnaz and Lucille Ball, quite possibly the most widely known couple in show-business history, were divorced. She had sued for divorce once before (she didn't complete the proceedings), but that was back in 1944 when Desi was a corporal in the Army, Lucy was a star at MGM and World War II was getting all the headlines. By 1960, the Lucy-Desi combine had made so many headlines that no one even bothered to look at the press-clipping scrapbooks any more, or the countless awards that had rolled in on them from all over the country. On an overcast spring afternoon, just 10 days after the divorce, Lucille Ball was sitting in her small but tastefully decorated dressing room on the Desilu lot. That morning, during a short drive over to the neighboring Paramount lot to confer with the producers of her upcoming picture with Bob Hope, she had stuck her head out the window of her chauffeur-driven car and shouted to a friend, "Hi! Remember me? I used to work at Desilu." The remark was not only typical of Lucy Ball but an unwitting reflection of her character and a classic off-the-cuff example of the laugh-clown-laugh tradition. Like most true clowns, Lucy is not a jovial, outgoing person. Her devastating sense of humor, often with a cutting edge, is reserved for her friends. In her dealings with the press she is precise, truthful - and sparing with words. A newsman asked her recently if she had plans to marry again. Lucy stared at him for a few seconds and said simply, "No." (1) The newsman felt that Lucy had missed her calling and should be rushed into the negotiations with Khrushchev forthwith. Relaxing (which is to say, at least sitting down for a few minutes) with an old friend in her dressing room that spring afternoon, Lucy alternated between abrupt sentences and spilled-over paragraphs. On the subject of her immediate plans, she talked almost as though by rote. "I start rehearsals this week for a picture with Bob Hope. It's called 'The Facts of Life.' [She did not wince at the title.] I liked it the minute I read the script and said I'd do it if Bob would. It's written and produced by Norman Panama and Melvin Frank. We have a 10-week shooting schedule. "Then I go to New York with the two children, my mother and two maids. We have a seven-room apartment on 69th Street at Lexington. I'll start rehearsals right away for a Broadway show, 'Wildcat.' It's a comedy with music, not a musical comedy, but the music is important. I play a girl wildcatter in the Southwestern oil fields around the turn of the century. It was written by N. Richard Nash, who wrote 'The Rainmaker.' He is co-producer with Michael Kidd, the director. We're still looking for a leading man. I want an unknown. He has to be big, husky, around 40. He has to be able to throw me around, and I'm a pretty big girl. He has to be able to sing, at least a little. (2) I have to sing, too. It's pretty bad. When I practice, I hold my hands over my ears. We open out of town - I don't know where - and come to New York in December. [Ed. Note: ‘Wildcat’ is now scheduled to make its debut in Philadelphia in November.] (3) "I'm terrified. I've never been on the stage before, except in 'Dream Girl' years ago. But we always filmed ‘I Love Lucy’ before a live audience. I knew a long time ago that I was eventually going to go to Broadway and that's one reason why we shot Lucy that way. But I'm still terrified. The contract for the play runs 18 months. Maybe it will last that long. Maybe longer. And maybe it will last three days." (4) The phone rang. A man's voice, the resonant kind which a telephone seems to make louder, wanted to know if Lucy would like to go out that night. Lucy's expression indicated that the whole idea was a bore but the man prattled on. He apparently had a commitment to attend a young night-club singer's act. "I've seen him twice already," Lucy said into the phone, "and his press agent is now saying I've been there eight times. If I go again the kid will be saying I'm in love with him. He's 2-feet-6 and nine years old. I don't want any part of it." The voice on the phone turned to a tone of urgent pleading. Lucy held the phone away from her at arms length and looked to the ceiling for advice and guidance. She finally hung up. "I go out because people ask me to," she said. "I have no love for night clubs, unless there's an act I especially want to see. And I don't especially want to see this kid's again." She lit another cigarette. "Nervous habit," she said. "I don't inhale, never did. Just nerves.” "I get tired too easily. The reaction is beginning to set in. I've had pneumonia twice in a year. That's not good." There was a long silence. Even for old friends, Lucy is not an easy person to talk to. "I filed for the divorce the day after I finished my last piece of film under the Westinghouse contract," she said suddenly. "I should have done it long ago." Would there ever be any more Lucy-Desi specials like those Westinghouse had sponsored? (5) She stared. "No," she said abruptly. She paused. "Even if everything were alright, we'd never work together again. We had six years of a pretty successful series and two years of specials. Why try to top it? That would be foolish. We always knew that when the time came to quit, we'd quit. We were lucky. We quit while we were still ahead." Was she happy?

Another stare. "Am I happy? No. Not yet. I will be. I've been humiliated. That's not easy for a woman." She started to talk about the recent years with Desi. She talked in a quiet, factual monotone, a voice that had been all through bitterness and was now beyond it. She talked with an implicit faith that what she was saying was off the record. It was. Some day, it was suggested to her, somebody was going to write the story. She stared. "Who would want to?" (6) She looked over at the framed picture of Desi that stood on a small table. "Look at him," she said. "That's the way he looked 10 years ago. He doesn't look like that now. He'll never look like that again." The door was opened and a spring breeze began drawing some of the heavy cigarette smoke out of the room. Lucy smiled a little and turned to her desk. "Try to write," she said finally, "more than I said but not as much as I said." 

FOOTNOTES

(1) Lucille Ball did indeed marry again - to Gary Morton (born Morton Goldaper) on November 21, 1961.  They remained married until her death. 

(2) Gordon MacRae, Jock Mahoney, and Gene Barry were considered before Lucille selected Keith Andes to play the role of Joe Dynamite. He was indeed 40 years old at the time of casting. He committed suicide in 2005. 

(3) 'Wildcat’s’ Philadelphia tryout opened on October 29, 1960. The Broadway opening had to be postponed when trucks hauling the sets and costumes to New York were stranded on the New Jersey Turnpike by a major blizzard. After two previews, the show opened on December 16th at Broadway’s Alvin (now Neil Simon) Theatre.

(4) ‘Wildcat’ ran for 171 regular performances. The show was on hiatus from February 5, 1961 through February 9, 1961 during Lucille Ball's illness. The production was to take a 9-week hiatus after June 3rd, 1961 and re-open August 7, 1961, to complete Ball’s contract, but the show closed and did not return due to Ball’s physical exhaustion. 

(5) Jenkins is referring to the 13 “The Lucy-Desi Comedy Hours” which were part of the “Westinghouse-Desilu Playhouse” which continued the adventures of the Ricardos and the Mertzes, including guest stars, musical numbers, and travel-themed episodes. 

(6) Lucy and Desi’s tempestuous marriage has been the subject of several books, two television movies, an award-winning documentary, and at least one stage musical! 

TV Guide columnist Dan Jenkins had his name used by “I Love Lucy” in “Redecorating” (ILL S2;E8) in 1952 for the used furniture salesman played by Hans Conried.  His name was also mentioned in “Lucy and Ethel Buy The Same Dress” (S3;E3) as a possible emcee for their television show.  His qualifications? He plays tissue paper and comb! 

In 1953, when Lucille Ball was accused of being a Communist, the real Dan Jenkins stood up at a press conference and said “Well, I think we all owe Lucy a vote of thanks, and I think a lot of us owe her an apology.” Lucy and Desi walked over to where Jenkins was standing and gave him a huge hug. Jenkins later said, “From that time on, we were very good friends.”  His last interview with Lucy was in 1986 during “Life with Lucy.” 

OTHER ARTICLES

“Shari Lewis and her Puppets” - Lewis was a ventriloquist who’s main character was the sock puppet Lambchop.  In 1960, after years of guest-starring on television, Lewis got her own show, which lasted three years on NBC. 

“Ty Hardin’s Whirlwind Career” - Ty Hardin and his western show “Bronco” (1958-63) was ABC TV’s answer to Clint Walker’s “Cheyenne”.  

“From the Mouth’s of Babes Comes Happy’s Gimmick” - “Happy” (1960-61) was the nickname of a baby, who’s thoughts could be heard by the viewers in this one-season sitcom.  It was filmed at Desilu Studios. 

“The Untouchables - Fact and Fiction: Part 2″ - “The Untouchables” (1959-63) was a series that began on “The Westinghouse-Desilu Playhouse” and turned into a hit weekly show by Desilu. 

PHOTO FEATURES

“Linkletter’s Packing Tips” - Art Linkletter was one of television’s most popular hosts and presenters. Lucille Ball appeared on his show “House Party” in 1965 as well as a 1966 episode of “The Lucy Show” and a 1970 episode of “Here’s Lucy,” both times playing himself. 

“Connie Stevens’ Calorie Counter” - Connie Stevens was a singer and actress then playing Cricket Blake on “Hawaiian Eye” (1959-63). 

REVIEW

“Mystery Show” - was a mystery anthology series broadcast on NBC from May 1960 to September 1960 as a summer replacement for “The Dinah Shore Chevy Show” with Walter Slezak as host, except for the last three episodes, which had Vincent Price as host.

At the time Evelyn Bigsby was the Associate Managing Editor for Women’s Features at TV Guide’s Hollywood Bureau. Her name was given to the new mother (played by Mary Jane Croft) who sits next to Lucy on the plane in “Return Home From Europe” (ILL S5;E26) in 1956. 

Depending on the time zone, “I Love Lucy” was re-run every morning at 10 or 11am. Here it competed with “The Price Is Right” which was broadcast in color!  NBC (RCA) was the leader in color television and staked its claim far soon than CBS. “The Lucy Show” didn’t air in color until the fall of 1965. 

In another market, “I Love Lucy” ran weekdays at 10am. This edition (same cover and feature articles, different listings) included “Lucy” episode descriptions, while others did not. Notice that an hour earlier the same channel re-ran Desilu’s series “December Bride”. On Monday, July 18, 1960, the re-run was “Second Honeymoon” (ILL S5;E14).  From this we can logically assume that this week, in this particular TV market, channel 2 and 8 presented:

TUESDAY, JULY 19, 1960 - “Lucy Meets the Queen (ILL S5;E15)

WEDNESDAY, JULY 20, 1960 - “The Fox Hunt” (ILL S5;E16)

THURSDAY, JULY 21, 1960 -  “Lucy Goes To Scotland” (ILL S5;E17)

FRIDAY, JULY 22, 1960 - “Paris at Last” (ILL S5;E18)

On Tuesday, July 19, 1960, at 8:30pm, CBS aired the unsold pilot for "Head of the Family". The pilot had Carl Reiner as TV writer Rob Petrie, Barbara Britton as Rob's wife Laura, Sylvia Miles as Sally Rogers, and Morty Gunty as Buddy Sorrell. In 1961, CBS would score a hit with a new name and a new cast of Dick Van Dyke, Mary Tyler Moore, Rose Marie, and Morey Amsterdam, filmed at Desilu Studios. 

For American TV viewers, this was the week between the Democratic National Convention (July 11-15) and the Republican National Convention (July 25-28).  Both parties affirmed their November presidential candidates: John F. Kennedy (D) and Richard M. Nixon (R). Kennedy would prove the victor on Election Day. 

Eight years earlier, in July 1952, an estimated 70 million voters watched the broadcasts, which ended with the nominations of Adlai Stevenson II and Dwight D. Eisenhower.  Although the conventions were also televised in 1948, few Americans owned a TV set to watch them. There was a popular myth that Stevenson lost the election because of backlash from interrupting airings of “I Love Lucy” with hour-long campaign ads. Another story has Stevenson receiving a telegram from a Lucy fan that read: “I love Lucy, but I hate you.”  The situation was paralleled on “I Love Lucy” in “The Club Election” (ILL S2;E19).  By 1956, the conventions were less a novelty on television, and drew smaller ratings and less attention. In the summer of 1956, Lucy and Desi were preparing their sixth and final season of “I Love Lucy” and storylines had to revolve around big name guest stars (Orson Welles and Bob Hope) and the move to Connecticut. 

Lucille Ball’s last appearance as Lucy Ricardo was on April 1, 1960, just four and a half months before this issue of TV Guide hit the stands. She wouldn’t return to series television until September 1962, by which time Lucille will be back on the cover of TV Guide once again.  She remained a yearly fixture on the Guide cover until 1974 and then made only one more original appearance to mark her return with “Life With Lucy.” 

After this article comes out, the next time TV viewers see Lucille Ball on their home screens is to promote her film with Bob Hope, The Facts of Life, on “The Garry Moore Show” on September 27, 1960. The film opened in November 1960. 

For more about TV Guide and “I Love Lucy” click here!  

[gumnut-logic]

Fischler vs. Tracy

Title: Fischler vs. Tracy

Sequel to ‘Sleeping Wounded’

Author: Gumnut

2 – 8 Jan 2019

Fandom: Thunderbirds Are Go 2015/ Thunderbirds TOS

Rating: Teen

Summary: Scott Tracy punched Langstrom Fischler. Scott thought he deserved it, but apparently Fischler didn’t agree, and he filed assault charges.

Word count: 10,670

Spoilers & warnings: Possible spoilers up to end S2. Virgil is not healthy for most of this.

Timeline: Sequel to ‘Sleeping Wounded’.

Author’s note: This was supposed to be a short fic. It didn’t stay that way. In fact, the entire inspirational scene for the whole thing didn’t actually end up happening. It kinda did what it felt like and ended up huge. It has its moments, and I hope you enjoy them. Many thanks to @i-am-chidorixblossom for the initial prompt that sprouted all this and for her wonderful help when I nearly went crazy staring at this. And also to @scribbles97 for the reality check at crazy o’clock. You guys are wonderful and I couldn’t do this without you.

Disclaimer: Mine? You’ve got to be kidding. Money? Don’t have any, don’t bother.

-o-o-o-

The press were having a field day.

Dressed head to toe in a sleek grey suit, blue tie and his hair so soaked in product, the wind didn’t have a chance, Scott was the point of an arrowhead of Tracys. Virgil walked on his right, John on his left, and Gordon and Alan behind them respectively.

None of them had a smile on their faces, and all were similarly dressed, broad shoulders and expensive fabrics. One of the rare occasions that shouted the power they wielded and the money they owned.

Kayo strode ahead of them, similarly attired, but that didn’t stop her from asserting her security muscle as needed to move the press out of their path.

Unfortunately, they were unable to move very fast as one, as Virgil was still hampered by his injuries. It was tactical on their lawyers’ part. Show the judge exactly what injuries Fischler had been responsible for. Scott still sported his wrist brace, but had otherwise recovered. Virgil’s face still bore the yellows and greens of bruising, the damage to his forehead blatant and painful to look at, and, of course, his arm was still in a cast, but it was his ribs that were slowing them down. Movement still hurt and this was going to be a tiring day for his brother.

Not to mention having his injuries plastered all over the world’s holoprojectors.

It set Scott’s blood boiling.

“Scott Tracy! Do you have a response to Langstrom Fischler’s accusations that International Rescue are out to ruin him?” Holocams buzzed around like bees as they reached the entrance to Wellington’s District Court, and the press moved in on them.

Scott instinctively stepped in front of Virgil and out the corner of his eye he saw Gordon step up to his brother’s side.

“No comment.”

Scott was well known to the world’s media as a very private individual. The only reporter who had ever managed a decent interview was Kat Cavanaugh, and popular opinion believed she had had to break both her legs to get it.

Secretly he enjoyed the mystique that surrounded his public figure. It gave him a modicum of power and respect, and considering some of the people he had to interact with out in the field, he needed all the respect he could muster.

Kayo made her presence known and a path opened before them. Scott nudged Virgil behind him and led his brothers through the gauntlet. He registered John dropping to the back of the line, bracketing the youngest between them.

Virgil muttered something incomprehensible to himself.

And as one they entered the building.

-o-o-o-

The holographic files were beginning to blur. Scott shunted one across the desk and binned it.

Two seconds later, he realised that it was the most important report on his desk, and hurriedly dug it out again.

God, he was tired. With the trial, the lawyers, and the attack, all on top of day to day International Rescue there was nothing left.

Damn Fischler to hell.

A hand landed on his shoulder. “Time for bed.”

He didn’t even bother to look up at his brother. “No can do. Need to file these for the lawyers.”

A brown gaze lasered across the desktop. “Anything I can do?”

“No, and besides...” His brain finally caught up. “You should be resting.” The day had been hard and Virgil had suffered for it. He looked up to find his brother still pale. “Go to bed.”

“You first.”

“Can’t.”

“Okay.” And the hand vanished. Scott rubbed his eyes.

But was not surprised to hear the opening strains of one of Virgil’s piano compositions dance across the air from behind him.

“Virgil.” The man was attempting to play with a broken arm, for crying out loud.

“What?”

Scott winced as a key was missed. He didn’t need to look over his shoulder to know it was accompanied by a grimace.

“What are you doing?”

“Practising.”

Another key stumbled and this time it was Scott who grimaced. He turned to face his brother. The man was hunched over the keys, stubbornly fingering out the tune despite the fact his cast prevented him from even the mildest of finger stretches.

An off key twanged through the air once again.

“Virgil.”

“Yes, Scott?”

“Go to bed.”

“You first.” And that was a solid wince from his stubborn brother.

Scott sighed and stood up. “Fine. Move your ass.”

The music continued for just a moment before Virgil awkwardly riffed it to a close and shut the lid. Hugging his broken arm to his belly, he shuffled sideways off the piano stool and stood with a painful grunt.

“You are such an idiot.”

Tired brown eyes smirked at him. “Pot meet kettle.” He waved Scott towards the elevator. “Bedtime.”

Scott glared at him for a moment before turning towards the exit. Perhaps he could get his brother to bed and return later.

“And don’t even think about coming back in here before five am. I’ve asked Eos to alert me of your whereabouts should you stray.”

“What?”

“It’s past midnight. Bed.”

“Yes, Mom.” He rolled his eyes, but made his way to the elevator.

Virgil shuffled slowly after him.

-o-o-o-

They almost weren’t allowed into the court.

The moment Scott stepped between the detectors, alarms started screeching. Several guards jumped out of the woodwork and Scott froze, his hands up and open.

Oh, the suits weren’t normal suits. Brains had gotten his hands on them, just like he did with all their clothing. Fortunately for Scott the circuitry was finely woven into the material, virtually invisible and although the alarms complained, eventually they had to let him through or strip him naked.

Considering the case under scrutiny and the reputation of the man involved, they only stripped him of two layers of clothing and wanding him within an inch of his life before capitulating.

Then Virgil set off the alarms, and they had to go through the process all over again.

Except Virgil was injured.

The first wince set Scott on edge, by the third he was ready to punch someone.

“For crying out loud, we aren’t carrying any weaponry.”

“It is procedure, sir.”

Virgil was biting his lip as he shouldered off his jacket. They wouldn’t find anything more on Virgil than they had found on Scott, this was ridiculous.

Not to mention the press filming the entire procedure from the entrance.

Turning away he thumbed the communicator in his collar. “Eos, could you please put me in contact with Colonel Casey.”

“Yes, Scott. Putting you through now.”

Five minutes later, they resumed their stride towards the courtroom to the sound of various apologies.

Scott rested his hand gently on Virgil’s shoulder.

-o-o-o-

Virgil marched him to his bedroom and glared at him until he changed his clothes and slipped into bed.

Somehow this was all backwards.

“Shut up and go to sleep.” His brother stood just inside Scott’s bedroom door, arms wrapped around his chest, putting all his energy into his eyebrows, deploying his frown like a weapon.

Scott threw himself into bed just to shut him up. “Fine. I’m in bed, now will you go to bed?”

“Lights out.”

Scott thumbed the switch, the room falling into darkness, the starlight from the windows only slowly appearing as his eyes adjusted.

Soft. “Goodnight, Scott.”

“Goodnight, Virgil.”

A slither of hallway light and his brother was gone. Scott frowned.

What the hell was that all about?

-o-o-o-

Scott took his seat in the defendant’s position and, to his surprise, Virgil sat next to him.

“What are you doing here?”

Virgil grunted as he got as comfortable as he could in the chair. “If you think you’re going through this by yourself, dream on.” His brother straightened up and stared towards where the judge would eventually appear. “John has Gordon and Alan. I have you.”

Scott blinked and twisted in his chair. Directly behind were his three remaining brothers, lined up in the public gallery, Kayo beside them. Gordon grinned at him.

“Where is he? I know he will be here.” The whiny voice and in waltzed Fischler, a dramatic bandage across his nose. He was followed by an elegantly dressed woman, a dark-haired man with a distracted expression, and a flock of lawyers. Fischler’s half aware eyes roamed over the courtroom until they landed on Scott. They frowned and then skipped to his right and narrowed on Virgil.

Scott frowned. He couldn’t possibly...

“There he is! That’s the guy who flies the green thing. He’s the one who shot down your collectors, Perce.” The man standing next to Fischler latched his eyes onto Virgil as well. Scott had the urge to step in front of his brother yet again. Perce’s lips thinned.

Both men suddenly had their arms grabbed by the woman as their lawyers shuffled past. She dragged the both of them into the public gallery, muttering something Scott couldn’t hear. They planted themselves at the far end of the seating well away from anyone sporting the name ‘Tracy’. Kayo eyed them with a death glare.

Virgil, unable to twist around, didn’t pay them any attention. Scott forced himself to turn around and face the front.

They all stood as the judge walked in.

Scott sighed as he stuck out his arm to help his brother to his feet.

This was going to be a long day.

-o-o-o-

He was thrown out of a deep sleep by the sound of shattering glass.

The clock claimed it was just past three in the morning. Scott blinked the fog out of his brain and hurried out of bed.

The hallway outside his room was only lit by moonlight, but it was enough light for his eyes to sketch out a hunched figure leaning against the wall. A flick of the light switch revealed Virgil huddled almost in two, his face screwed up in pain. Blue glass, the remains of one of Grandma’s vases that had been sitting on the sideboard, was scattered all over the floor.

“Virgil?” The only answer was a muffled groan. Scott grabbed his slippers, threw them on, and stepped lightly over the glass. Cautiously he reached out and touched his brother’s shoulder. “Virgil?”

The man slowly unfolded, a gasping breath pushed out between his teeth. “Uh, s-sorry. Didn’t mean to wake you.” He leant his back against the wall, moving ever so slowly and hesitant. He was dressed only in his pyjama bottoms, leaving the strapping of his ribs and the green and yellow fading bruises all over his torso available to see. “Juss needed s’m medication.” He sighed and began slipping down the wall.

Scott caught him as gently as he could, but Virgil still cried out as he took his weight.

His head dropped onto Scott’s shoulder. Panting, and then an exhausted, “Ow.”

“C’mon. Let’s get you horizontal.”

It wasn’t without protest from his idiot brother, but eventually Scott managed to drag him into his own rooms, choosing the shorter distance and higher likelihood of being able to keep an eye on the man. Virgil obviously hadn’t been taking his pain medication correctly and this was the result.

By the time Scott manhandled the larger man into his bed, Virgil was as white as the bed sheets.

Just in case, Scott checked him over, but his vitals only told him the same story his eyes did. “God, you’re an idiot.”

“Had no choice.”

“That is debatable.” Scott pressed his lips together. “I’ll get your medication. Stay put.” His fingers brushed across the back of his brother’s hand.

He came back quickly, but not with the medication Virgil had expected. “Aww, c’mon, S-Scott. You know what that does to me.”

“You need rest. And you’re not going to get it while you are in pain. This will send you to sleep.”

“It will send me stupid.”

“You can’t get much more stupid than you are now. Why the hell did you skip your meds?”

“Didn’t.”

“Well, you’re obviously not suffering from pain relief. What the hell did you do?”

“Minimum dose.”

“Why?”

“Couldn’t be dopey.”

Scott’s lips thinned yet again. He fought off yet another urge to bash Fischler’s face in. Instead he held up the hypodermic. “Well, now you get to make up for it.”

-o-o-o-

Scott Tracy was guilty. He knew he was. It was on the advice of his lawyers that he pleaded the opposite. It was a matter of sentencing. If he was simply guilty, he could go to jail. That was something to be avoided at all costs. International Rescue could operate without him, but the scandal would be seriously damaging. His lawyer had frowned at him so hard, Scott was surprised he hadn’t blown a blood vessel. There was more than just Scott’s record on the line. That single moment of release, of self-imposed justice as his fist hit Fischler’s face, had put International Rescue in the spotlight and not in a good way.

So, a plea of not guilty was entered and a trial forced. The aim to expose Fischler for what he was and reduce the sentencing for Scott. Whether or not it would work remained to be seen.

By the time Fischler had finished his rambling accusation on the stand, Scott was quite ready to change his plea to guilty, just to shut him up. Either that or take another swing at him. When the man started raving about how Virgil had shot down his solar collectors yet again, a large hand landed softly on his arm and squeezed.

Fortunately, the judge drew his tirade to a halt and their defence had the opportunity to cross examine and open the case up to the events leading up the assault.

“Mr Fischler, what was the purpose of your solar collectors?” Their lawyer, Jack Dunning, was a dumpy little man, plump and somewhat balding, but it was all part of his image.

“What do you think? Are you stupid? They collect solar energy. They are called solar collectors after all.”

Dunning ignored the insult. “Then why were the devices mobbing aircraft?”

“There was a slight hitch in their collaborative programming.”

“That slight hitch in their program disabled at least two aircraft.”

“A bit of an accident, that. No one was injured.”

“Much in thanks to International Rescue, I believe.”

“International Rescue was not invited to the testing! They took it upon themselves to turn up and start destroying all my hard work. That man there!” And yes, he stood up and pointed a bony finger at Virgil. “That man took it upon himself to shoot every single collector out of the sky.”

Dunning looked bored. “Have you considered why he would do such a thing?”

“How would I know what he was thinking? There were millions of dollars at stake and he blew it all out of the sky. This could seriously damage Fischler Industries, and it is not the first time he and International Rescue have interfered. Did you know they blew up my comet? I had plans for that, too, you know.”

Scott just stared. Did the man have anything between his ears? The hand on his arm tightened its grip.

Dunning turned to the judge. “Judge, to expedite this trial I would like to request special dispensation to call an extra witness to the stand.”

The judge looked tired. “Who and why?”

“I would like to call Virgil Tracy, the pilot of Thunderbird Two, one of the planes disabled by Mr Fischler’s collectors.”

“This is an assault case, Mr Dunning. We have yet to hear from the assailant. This is not the place to discuss why these experimental devices were shot down.”

“Sir, I believe this is important evidence that will reveal the perspective and the possible reasoning behind the alleged attack.”

The judge had intelligent eyes and Scott found himself holding his breath, both wanting a positive answer and a firm denial. He didn’t want his brother up there under such scrutiny, especially in his condition and with the press foaming at the mouth in the media gallery, but at the same time, it was likely Virgil’s testimony could sway the judge.

Those eyes drifted to Fischler who was still sitting in the witness box with his arms crossed across his chest looking more like a pouting child than a professional scientist.

Scott could see the moment the decision was made. “Permission granted. Mr Fischler, you are dismissed.”

“What?”

“Please step down from the witness box, Mr Fischler.”

“Very well. The sooner this is over the better. My time is expensive, you know.” The man stood and, muttering, stalked back to his seat.

“The court calls Virgil Tracy to the stand.”

-o-o-o-

Scott took a moment to clean up the mess of glass in the corridor after administering Virgil’s medication and give his brother a chance to drop off to sleep without a witness.

He knew why Virgil had done it. He had suspected it during the day, but hadn’t had the chance to corner him and, in part, understood the necessity. But it still hurt to see his brother hurting.

His ribs were healing, but they were tender and movement remained the biggest challenge. The strain of the day and the emotional pressure on taxed resources couldn’t have helped.

All because Scott had let sense be overtaken by emotion.

He sighed as he poured glass into the rubbish.

It wasn’t the first time Virgil had had to pay for his rashness either.

Another sigh and he resisted the urge to kick the trash can.

When he returned to his room, entering quietly, Virgil was exactly where he had left him, hunched under the covers, forehead wrinkled with pain.

He crept around the bed, and gently sat down on the other side.

“I hate you.” It was quiet, muffled and slurred a little.

Scott shucked off his slippers and climbed on top of the covers, laying down beside his brother. “Somehow I doubt that.”

“These damn drugs suck.”

“Yes, Virgil.”

“Everything is wonky.”

“Yes, Virgil.”

“Your bed covers smell like you.”

“Yes, Virgil.”

“You smell like a pineapple.”

“A pineapple?”

“Yes, Scott.”

“Go to sleep, Virgil.”

“Can’t.”

“Yes, you can.”

“Hurts.”

Scott sighed, wondering if there were any studies that linked medication sensitivity with age regression.

“Give the medication time to do its job.”

“Don’t want medication. Need to be there for you.”

“You were there, Virg. It is over now. You can sleep.”

“Don’t want to sleep.”

“Why?”

“Need to be there for you.”

“You need to sleep.”

“Sleep means dreams.”

Scott’s eyes shot open and he involuntarily turned towards his brother. “What sort of dreams?”

Virgil didn’t answer.

“Virgil? What kind of dreams?”

“Don’t want to talk about it.”

Scott bit his lip. Technically this could be considered as taking advantage of Virgil’s drugged state. “Virgil?”

“Gotta be there for you.”

“You are.”

“Good.” Virgil shifted slightly and groaned through his teeth. “Can’t lose you.”

“You didn’t. I’m here.”

But the medication had taken hold properly, his brother’s voice dropping to little more than a chanted whisper. “Can’t lose you. Can’t.”

“Virgil-”

“Would rather die.”

-o-o-o-

“Mr Tracy, could you please tell us of the events that led to your arrival at the scene of the rescue.”

Virgil shifted in his seat, obviously not as comfortable as he could be, but his back was straight and he met the lawyer’s eye.

“Yes, sir. A distress call was received from Air Terranean Flight 4586 over Brazil en route to Los Angeles. They reported unidentified objects hounding their flight path. One had disabled an engine and the plane was losing height. They feared another of the objects would damage the plane further.” A pause as his brother swallowed. “As per our protocol for such an incident, both Thunderbirds One and Two were deployed. I pilot Two, while my brother Scott, pilots One. When we arrived-“

The lawyer held up a hand. “Mr Tracy, you said as per protocol. What is the protocol in this situation? Why were both ships needed?”

Virgil’s eyes skipped to Scott for a split second. None of them liked talking about operational procedures in public. “In air rescues involving a plane that has the potential to crash, if possible, at least two craft attend to maximise the chances of saving it. There have been previous situations that have proven this to be the case.”

“But why are two Thunderbirds needed?”

“One craft may need to intercept the cause of the plane’s distress to enable the other to save lives. In this case, Fischler’s devices were the cause, and I am very grateful we did deploy both craft, despite the result.”

“So, one Thunderbird is needed to defend the other?”

“Not always, but yes, it has happened before.” Again, Virgil’s eyes flickered to Scott’s. “Also, air rescue is difficult on the best of occasions. It helps to have back up.”

“What happened on this occasion?”

“When Thunderbird One arrived on the scene AT 4586 had been completely disabled and was on a glide trajectory to crash. TB1 immediately provided flight support.”

He had hit the danger zone at high speed, the yells of the falling plane becoming more and more frantic. Scott had immediately deployed his grapple, securing it to the ship’s fuselage and lifting the craft into a more stable glide, TB1’s thrusters replacing those the plane had lost.

It was at that point John had alerted him to incoming projectiles, and he had had to disengage momentarily to avoid the mob of experimental collectors attracted to his thrusters. It had taken all his skill to dive and dodge the hoard.

“When I arrived on the scene, Thunderbird One was caught between providing assistance to the passenger plane and dodging a mob of small robotic projectiles.”

“Did you know what the projectiles were?”

“By this time, Thunderbird Five had located the cause and identified Fischler.”

“Did his identification have any effect on your reaction to the situation?”

Virgil paused. “Mr Dunning, International Rescue has a long history with Fischler. The man has endangered so many lives, yet he is somehow still operating. He mentioned a comet earlier? That comet had the potential to wipe out the majority of life on Earth, and it did almost do exactly that. So, no, I can’t say it didn’t affect my reaction to the situation.”

There was muttering from the back of the room, but a stern glare from the judge silenced it.

“What did you do upon arrival?”

“Protocol dictated that Thunderbird Two should have taken the weight of the aircraft, reducing Thunderbird One to support, however the moment I entered detection range, the collectors targeted Two’s systems, abandoning One. Scott immediately resumed the rescue and I found myself in some difficulty.” His brother stopped talking a moment and shifted in his seat, the bruises on his face standing out stark against his pale skin.

“Are you okay, Mr Tracy?”

“Fine.” It was short and sharp and obviously a lie. Apparently, Virgil’s oath of truth didn’t extend to his health.

No one in the court commented.

“Why did the collectors target Thunderbird Two?”

“We are unsure.” Brains suspected it was the difference in fuel mix, but had been unable to confirm it as yet.

“What did they do?”

“They were attracted to her thrusters. I had some difficulty avoiding them.”

“Thunderbird One managed.”

“Thunderbird One is not Thunderbird Two.” It was said quite vehemently and Scott couldn’t help but smile just a little. Don’t dis his brother’s ‘bird. But, yes, in this case, TB2 had been at a greater disadvantage. The ship was built for strength, not manoeuvrability, and it had been a major problem. It had only been Virgil’s masterful flying that had prevented Thunderbird Two from being taken down immediately.

“What did you do next?”

“Leaving the danger zone was not an option. That would have left One and the failing plane vulnerable to attack once again. The only options left were to continue to provide the distraction or to remove the threat.” Virgil looked over at Fischler. “And as Fischler has mentioned on several occasions, I chose to remove the threat.”

Scott had to admit, it had been awesome to witness. Two’s laser cutter was not designed as a weapon, but his brother had played it like he played his piano. While Scott concentrated on pulling the ailing plane out of the sky and lowering it to the nearest airfield, Two had darted off into the distance over the sea of trees, her red laser striking out with precision, chunks of burnt and sliced up collector falling from the sky like rain.

“That was millions of dollars of technology you destroyed!” Fischler was standing up in the public gallery shaking his fist at Virgil.

“Mr Fischler, you will sit down and be quiet or you will be charged with contempt.” The judge’s voice cut across the courtroom like a knife.

Fischler looked to say more, but a female hand reached up from behind him and shoved him back down into his seat.

Virgil straightened in his chair and flinched. “Lives were at stake. Cost was irrelevant.”

“What do you think would have happened if you hadn’t destroyed the collectors?”

His brother turned his attention directly to their lawyer. “They would have taken out my ‘bird, my brother’s ‘bird and then moved onto whatever aircraft they could have found. People would have died.”

“So you made the decision to save lives?”

“That is what we do.”

“But you weren’t entirely successful in destroying them all.”

Virgil’s shoulders dropped. “No, one managed to reach Two’s starboard rear thruster and exploded. The thruster was damaged, taking a good percentage of flight control with it.”

“You found yourself in danger of crashing?”

His brother looked up. “Both rear thrusters and VTOL were disabled. Yes, we were going down.”

Virgil had sworn a blue streak across comms. Scott, still caught up in rescuing the airliner had been unable to respond. He had watched as his brother’s ‘bird began her plummet to Earth.

A swallow, another shift in his seat and Virgil’s face paled even further.

“Mr Tracy, if you are unwell, the trial can be postponed.”

“No, I’m fine.”

“You did just survive a plane crash.”

“I’m fine.” It was growled. Stubborn bastard. Scott raised his hand to draw the attention of Dunning, but his brother’s eyes swung around and pinned him to his seat.

Scott lowered his hand.

“I-I did everything I could to prevent my ‘bird from going down, but the explosion had taken out most of her systems. Scott flew over to assist. He took the controls - “

“Your brother boarded a crashing plane.”

Virgil faltered. “Uh, yes, I-I asked him, too.”

“What of the airliner?”

“Thunderbird Five took control of Thunderbird One.”

“Why didn’t he take control of Two?”

“Auto-relay systems were shorted. I was on manual only.”

“So, Scott boarded your plane at the risk of his own life?”

Virgil’s mouth was open, nothing was coming out.

“Mr Tracy?”

A cleared throat. “Yes, I asked him to risk his life.”

“Scott!” It was a hissed whisper from behind. John. “Sit down!” And yes, he was halfway to his feet. His butt hit the cushion and shook his teeth.

“Mr Tracy, it is the nature of your work that your lives may be risked at any time, is it not?”

“Y-Yes, sir.”

“How many times have they been risked because of idiocy?”

“Objection!” The other lawyer bounced to his feet.

The judge eyed the man a moment before sighing. “Sustained. Please, Mr Dunning, restrict yourself to the specified events.”

“Very well.” He turned back to Virgil. “Scott boarded Thunderbird Two...”

His brother blinked and straightened again. “Yes, he was able to take control of the flight while I attempted to repair ship systems to halt our descent.”

“You were not successful?”

“Unfortunately, no, though I did manage to mitigate damages by restoring two of her VTOL thrusters. They slowed us enough to stabilise the landing somewhat.”

“But there were still injuries?”

“Thunderbird Two is out of commission for the foreseeable future, Scott sustained a major concussion, and I, well...” He shrugged and winced. “...have seen better days.”

“In fact, you have a fractured skull, six broken ribs and a broken arm, do you not?”

“And assorted bruises, yes.” Virgil glared at the man, not a fan of having his vulnerabilities paraded. Scott rolled his eyes.

“All because of Fischler.”

“Objection! My client is not on trial here!”

Dunning turned around and glared. “I beg to differ. These men risk their lives to save others on a daily basis and your client continues to endanger more and more lives. This is a proven fact.”

“Nothing has been proven...”

“The comet that nearly collided with not only a space station but the planet as well was proof enough. Did you know that three of these brothers, including Virgil sitting right here, nearly died in that incident, too?”

“That is not relevant-“

“I never asked them to interfere!” And Fischler was on his feet again.

A gavel hit wood hard. “Gentlemen!”

The sudden silence in the room was only broken by a mutter from Fischler as he was once again dragged back onto his seat by the woman behind him.

“Mr Dunning, I repeat, please restrict your comments to the current incident.” The judge’s glare targeted the back of the room. “Mr Fischler, keep quiet or you will be expelled.”

Scott only had eyes for his brother. Virgil was literally sagging in his seat. Apparently, the judge had noticed. “Mr Tracy, thank you for your testimony. We will take a fifteen-minute recess. Please take a moment to rest. There is a room down the hall.” The judge waved a court officer over.

Scott was on his feet without thinking, his own court officer trailing him. “Virgil!”

Brown eyes caught his, but the hand of the court came down on his arm and he was held back.

They led Virgil away.

-o-o-o-

“Would rather die.”

The words were barely there, whispered, slurred into the pillow, but they leapt up and tore at Scott’s heart.

“Virgil, no.” He levered himself up onto his elbow, wishing his brother wasn’t turned away from him, wasn’t hidden by the darkness.

Damnit! He sat up, reached over and flicked the light switch, flooding the room with its yellow glow.

“Aah, what the hell, Scott?” His brother lifted up his wrapped arm and rolled onto his back, wincing. “Whatcha do tha’ for?” He blinked repeatedly, tired eyes in a tired, bruised face.

“You can’t mean that.”

“Mean what?” The blinking had slowed, the eyes bleary.

“That you would rather die.”

“Die? Everybody dies.”

Scott closed his eyes. What was he thinking? Virgil was off his face, this was not the time for a serious discussion.

“Everybody dies.” It was an echo, a repeat of the words he had said a moment before. “Mom. Dad. You.”

A frown. “I’m not dead, Virgil.”

“Yes, you are.”

A chill crawled up his spine. “Virgil, what do you mean?”

But his brother’s eyes were closed, his brow wrinkled. “Can’t.”

“Can’t what?”

“Would rather die.” And his brother was drifting off to sleep.

He couldn’t help himself. He knew Virgil would deny everything come the light of day. He had to know. He reached out and touched his brother’s cheek. “Virgil, why? Why would you rather die?”

Brown eyes blearily opened and stared at him. “Can’t lose you. You’re the only one left.”

Scott blinked, attempting to decipher what Virgil meant. The only one what? “Virgil?”

“Please don’t leave me, Scott. I can’t-“ And there was an edge of panic in Virgil’s voice, his injured arm reaching out to grab him.

What the hell? “Virg, it’s okay. I’m not leaving.” Was this a direct line to his brother’s insecurities? “I’m here.”  

His brother’s fingers desperately attempted to get a grip on Scott’s pyjamas, but the cast wouldn’t let him make a proper fist. “Scott, please.”

He grabbed Virgil’s hand and held it tight, reaching over to run his fingers through the man’s hair. It took a moment, but finally Virgil sagged into the bed, a shaky breath escaping between his teeth.

Scott bit his lip, but continued to comb his brother’s hair, long enough for the man to eventually slip into an uneasy sleep.

His heart was thudding hard against the inside of his chest.

When Scott turned off the light, he lay in the dark staring up at the ceiling.

Sleep would not come.

-o-o-o-

“I am Cyril Packham, Mr Tracy, the attorney for the prosecution.”

Virgil nodded. Scott resisted the urge to snort. They knew the man’s name, his history, the fact he had two children, a wife, a girlfriend and some interesting commitments in Indonesia. Penelope was quite thorough.

Gordon sat behind his older brother this time as witness support. John had sent him to Virgil during the break to check on him and the aquanaut appeared to have chained himself to the man. The glare that was emanating off Gordon in the direction of the prosecutor was enough to light Packham’s hair on fire. Scott hoped he didn’t end up having to bail his second littlest brother out of jail today.

“Your attorney appears to believe that these events have pertinence to the assault that occurred the next day at the hospital. So, let’s review those events.”

Virgil didn’t react.

Gordon upped his temperature just slightly.

“Did you at any time during these events contact Mr Fischler and advise him of the situation.”

“No, I did not.”

“Then how could you possibly blame him for a situation he was not aware of?”

“I didn’t contact him. That wasn’t my place. Thunderbird Five, my brother, John Tracy, spoke to him repeatedly. He asked him to withdraw the collectors. He asked him to turn them off. He gave him a video feed of exactly what was happening above. The man could see what was happening from where he was standing! And he didn’t do a thing!”

“I did too!”

“Mr Fischler!”

“I told them to get the hell out of my sky. They were interfering. It was their fault the collectors did what they did, and then they destroyed them! It was their fault!”

“Mr Fischler, you are in contempt!”

“Yes, I am. In contempt of these self-righteous idiots. Everyone thinks they are so wonderful. Yet how many times have they screwed up an honest man’s work? How many times-“ But a hand landed on his shoulder and he shut up suddenly, the burly court official forcing him to sit down and handcuffing him to the railing in front of him.

The judge was glaring. “You will stay there and stay silent, Mr Fischler, for the remainder of these proceedings. Another word out of you and you will be escorted to a holding cell.”

Fischler opened his mouth.

The judge raised his gavel.

Fischler closed his mouth.

Maybe he did have some kind of sense in there after all. Scott rolled his shoulders attempting to relieve the tension.

“Mr Tracy, perhaps you can clarify your decision to destroy the collectors.”

“Yes?”

“Why didn’t you just lead them away?”

“Where? Wherever I led them, they would cause havoc and endanger lives.”

“Couldn’t you have drawn them away from the airliner?”

Virgil stared at him as if he was an idiot. “I did, and, despite everything, they crippled Thunderbird Two. Do you have any concept of exactly how hard that is to do?”

“No. Please explain.”

Scott bit his lip and Virgil clammed up. “No, that is not necessary.”

“Perhaps your crash had nothing to do with the collectors, perhaps your ship malfunctioned.”

Oh, shit.

And fire lit up amongst the bruises on his brother’s face. “Are you aware of my qualifications, Mr Peckem?”

“It’s Packham. And yes, you are a graduate of Denver College of Advanced Technology, are you not?”

“I am a fully qualified engineer, pilot and the mechanic of Thunderbird Two. I know EXACTLY what my ship is capable of. I know her inside and out. I know her very soul. She did not malfunction.”

“Then why did she crash?”

The arm with the cast wrapped around it shot out, pointing in the direction of Fischler. Scott didn’t miss his brother’s flinch at the movement, but he was obviously too angry to care. “Because that man had the audacity to combine energy collecting ware, a poorly designed AI matrix with no safety overrides or shutdown codes, and explosive massive-storage. It tore off one of her rear thrusters and disabled the other, sending electrical feedback through her system that took out VTOL along with other vital systems. If she had been any other ship, she could have exploded mid-air killing me and anyone in a several hundred meter radius.”

“How do you know so much about the solar collectors?”

Virgil froze. “What?!”

“The solar collectors are proprietary designs and their specifics are not available for public information.”

“Uh...”

“Are you trying to steal information from Fischler Industries, Mr Tracy?”

Virgil stared at him for a moment, wide eyed. Then he burst out laughing. “Ow, ow, oh god.” And he was clutching his rib cage, leaning against the edge of the witness box. “Please, please don’t make me laugh. It hurts so bad.”

“It wasn’t a joke, Mr Tracy.”

“Yes, it was.” His head came up and caught the man’s eyes. “What possible reason could I have to want to steal Fischler’s inventions? They are poorly designed and, in most cases, downright dangerous.”

“But how do you know so much detail about them, Mr Tracy?”

“Because I need to know what the hell is trying to kill me. The first time we encountered Fischler, he crippled Thunderbird Two above a hurricane. It was only luck and the skill of my brother, Gordon, that saved me that time. I don’t need to be taught twice. I’ve been as prepared as possible since.”

“But how do you obtain this information?”

“Objection!” Dunning shot to his feet. “Mr Tracy is not on trial here and this is not relevant to the case.”

‘I beg to differ. Mr Tracy is on trial here and the trustworthiness of International Rescue is key to this case.”

“A petty play on words, Packham.”

“Gentlemen.” The two lawyers continued to glare at each other. “Objection overruled.” The judge turned to Virgil. “Please answer the question, Mr Tracy.”

Scott swallowed. This could get them into some serious shit.

Virgil looked up, his face calm, his tone firm. “I will do what is necessary to save a life, Mr Peckem.”

“Including breaking the law.”

“Only if necessary.”

“Is that what you did with Mr Fischler’s technology?”

“That remains to be seen.”

“What do you mean?”

“Is it within the law to launch two hundred bombs into a flight zone?”

“Excuse me?”

“You don’t really think a flying solar panel could take down a 400 tonne Thunderbird all by itself, do you? Each of those collectors had the storage capacity of a small nuclear bomb. Fortunately, when we encountered the flock, they were only partially charged, but still able to deliver a considerable payload upon ignition. They were attracted to specific types of energy sources, other than the sun. In fact, rather than an ecological energy solution, I would consider them to be more in the line of weapons development. You asked me earlier why I didn’t lead them away. Would you like me to lead them into your backyard?”

“Mr Tracy-“

“I learn what I need to know to save lives, Mr Peckem. That is all that you need to know.”

Virgil was covering for John. He was wording everything precisely, taking any and all credit or blame onto his shoulders while skimming between fact and fiction. It was a dangerous game. Scott bit his lip.

“So you refuse to answer the question.”

“I have answered as truthfully as I can.” A sharp indrawn breath.

“You look pale, Mr Tracy.”

“I have six broken ribs, Mr Peckem, would you like to count them?”

Dunning stood up. “Sir, Mr Packham is wasting time and gaining no further information, I ask that we move onto our next witness.”

The judge sat quietly for a moment, his eyes on Virgil, who by this point looked about ready to faint. For a moment, they skipped to Scott who was on the edge of his seat, then darted back to the two lawyers who remained glaring at each other.

“The witness is excused.”

Virgil sagged where he sat, Gordon hurried in to help as he struggled to his feet. To Scott’s surprise, Virgil actually leant on Gordon. Damn, the man must be hurting bad.

By the time the two of them reached Scott, Virgil was visibly trembling.

“Mr Tracy.” Five heads bobbed up. The judge didn’t quite roll his eyes. “Mr Virgil Tracy, you are excused if you need to leave the court.”

Standing beside Scott, half leaning on Gordon, his brother straightened as much as he could. “I-I need to stay, sir. I have some medication. I will be fine.”

The judge assessed him for a moment. “Very well. Proceed.”

Virgil lowered himself ever so slowly into the chair beside Scott. “Please, Virgil, you’ve done enough, go back to the hotel.” Gordon hovered until a court official directed him back to his seat in the public gallery.

“No, I’m staying here.” Virgil drew out a bottle of pills from his suit pocket. “This is more important.”

“Damnit, Virgil!”

“The court calls Scott Tracy to the stand.”

-o-o-o-

Virgil was fortunately still asleep when Scott finally cracked and climbed quietly out of bed at just after five in the morning. Grabbing his jogging gear, he took a moment to check on his brother. In the dim light he was breathing softly, once again lying on his less injured side, broken arm wrapped around his waist on top of the covers.

His hair was flopping into his eyes.

Scott sighed to himself, turned, grabbed his running shoes and slipped out of the room into the predawn. He got dressed in one of the bathrooms, and after a drink of water in the kitchen, set out on his morning run.

The sun was just beyond the horizon, reflected light the only light in the sky. He lost himself in the beat of his soles on the gravel of the path.

Thud, thud, thud.

A seabird screeched far above him.

A cool sea breeze caressed his heating skin, playing with his hair.

He tried not to think.

Tried not to think of the smug look on Fischler’s mug. The snarl of fury from Fischler’s brother. The frustration on Dunning’s face.

The pain on Virgil’s.

An exhausted huff of breath out of pace with his tread.

All because he let himself go for one moment and hit that stupid bastard.

How was it fair? He did so much for the world. Couldn’t it have forgiven him for this one mistake?

Apparently not.

It wasn’t the trial. It was what it put his brother through. And the stupid, stubborn bastard wouldn’t back down.

It was love, he knew that. He, in turn, would do anything for Virgil, or any of his brothers, but watching him push the limits...

Picking him off the floor of the corridor at three in the morning.

Damnit!

He stopped in the middle of the path overwhelmed by the urge to hit or kick something.

But then that is what had started all this.

He forced his legs to start moving again as the sun finally peeked over the horizon, catching his face in its warm embrace.

-o-o-o-

“Mr Tracy, could you please tell us what happened leading up to the incident in question.”

Scott shifted in the witness chair, now understanding why his brother had moved so often in the seat despite his injuries. “I was admitted to hospital due to my concussion-“

Mr Dunning interrupted him. “This was the concussion sustained while attempting to save your brother’s life?”

Scott’s gaze flicked to Virgil for a split second before he answered. “Yes, I received it in the crash.”

“You were knocked unconscious?”

“Yes.”

“But when your brothers found you, you and Virgil were quite a distance away from the craft weren’t you?”

Huh? How was this relevant? But Dunning’s eyes were boring into him, directing him to answer.

“Uh, Virgil pulled me out.”

“Your brother, Virgil, the one with the broken arm, broken ribs and skull fracture? Here sitting in this room?”

“Yes.”

“Objection! How is this relevant to the case?”

Dunning turned around to face Packham. “It is very relevant for us to consider the personalities involved in this case. Mr Scott Tracy was dragged from the downed plane by Mr Virgil Tracy. He was barely conscious, but despite Mr Virgil Tracy’s injuries, he still managed to drag his brother two hundred metres into the jungle.”

“I still don’t see the relevance.”

“That is obvious. These men are heroes, Packham. They make life and death decisions on a daily basis. What I am trying to demonstrate is the thought processes involved.”

“Virgil Tracy isn’t on trial here.”

The judge spoke up again. “Gentlemen, I believe the court has been very patient with these demonstrations, so please make your point Mr Dunning.”

“Yes, sir.”

“Sit down, Mr Packham.”

The lawyer returned to his assigned position, but not without a mutter.

“Mr Tracy, what happened at the hospital?”

“I was there for about twenty-four hours before I was well enough to get out of bed. Virgil and I were in separate rooms, so as soon as I could, I went to see him. I ran into Fischler in the hallway outside of Virgil’s room. He asked after my brother and made it very clear that he blamed him for the destruction of his collectors, and that he wanted to give Virgil ‘a piece of his mind’. Virgil was badly injured and it was the last thing he needed.” He swallowed. Here came the hard part. “So I stood in his way.”

“How did Mr Fischler react to you protecting your brother?”

“Not well. He became insulting.”

“How did that make you feel?”

“Not good. I was worried about my brother, and quite frustrated by the man’s attitude. After all, we had just saved his life for the fourth time.” He frowned. Or was it the fifth? “We don’t expect gratitude as operatives of International Rescue, but a little respect wouldn’t hurt.”

“Respect?! I deserve respect, you charlatan!”

“Mr Fischler!” The judge roared at the man and he shrunk back into his seat.

Dunning ignored the byplay. “You saved Mr Fischler’s life as well?”

“That airliner was projected to land on top of the man if we hadn’t intervened.”

“Did Mr Fischler reach your brother?”

Scott looked down, knowing his brother was staring at him wide-eyed. “No, he did not.”

“Why?”

“I stopped him.”

“How?”

“I hit him.”

The room fell to silence.

“Mr Tracy.” The judges’ face was grave. “Did you want to change your plea?”

Mr Dunning held up his hand. “Before he answers, sir, I would like to ask one more question.”

The judge frowned at him, but with a sigh, nodded.

“Scott, do you know why Mr Fischler was in the hospital in the first place?”

Scott blinked. It hadn’t occurred to him. “I don’t know.” But as he thought about it, his suspicions grew and his eyes widened. “He wanted to see Virgil. He was there for the sole purpose of seeing Virgil.” His eyes swung to the man at the back of the room. “What did you want with my brother?”

The man actually snarled. “I wanted him to pay for what he did.”

-o-o-o-

Virgil was gone from Scott’s rooms when he returned, his bed tidily made.

Scott sighed and threw himself into the shower, washing more than the sweat from his body. He stood in front of the bathroom mirror and wiped fog from the glass. The man who peered back at him felt older than he looked, blue eyes worried and not a little stained with guilt.

Man, he needed to talk with his brother.

He scrubbed his face with a towel.

Breakfast was Virgil-less, but that was nothing unusual, the man slept in if he could. Gordon eyed Scott as he toasted a bagel, questions in those eyes so similar to his brother’s. Scott didn’t answer any of them.

Grandma wandered past at one point, dropping her hand onto his shoulder. “Is he okay?”

“As best he can be, I guess.”

She kissed his hair. “Let me know if he needs anything.”

Scott raised an eyebrow. Grandma was never one to stand back when any of her boys needed anything, particularly Virgil. Scott wasn’t above admitting that his Grandma had a soft spot for his artistic brother, knowing that it didn’t make her care any less for her other grandsons...and it got him out of the shopping on many an occasion. Virg and his grandmother were well suited to each other and got on very well.

Why was she caring for him via Scott?

“And don’t worry about the vase. I didn’t like it anyway.”

He blinked. “Okay.”

“What vase?” Alan waltzed into the room. “Bagels again? Aww, John’s not even dirtside.”

Most of the day passed without a peep from Virgil. Scott went through the papers he needed and filed what he had to with the lawyers. Dunning’s hologram still sported a frown, this time topped off by a glare. “Hey, this time it wasn’t my fault.”

“Sure, Scott.” And the lawyer had the audacity to sign off without saying goodbye.

The commander rolled his eyes and with a flick of a finger threw the man a sizeable bonus. The note scrawled beside it said, ‘For the grey hairs, Scott’.

A note came back immediately. ‘Kind of you, but really just keep you and your brothers safe, Jack’.

Scott sighed. I’m trying, Jack, really.

And then Scott discovered the report that had come with the note.

At about five o’clock in the afternoon, a stiff and half-dressed Virgil staggered into the comms room, heading towards the kitchen.

“Hey, Virg, how you feeling?” Gordon never was one to read the warning signs. Or he did and just chose to ignore them.

Scott looked up from the desk. Virgil didn’t really acknowledge either of them, just grunted and kept moving step by step. Obviously, he hadn’t taken his morning dose yet, coffee or heavy painkillers.

The trip down the stairs must have been fun.

“Virgil, for goodness sake, sit down. I’ll go get your coffee and your pills.” Gordon said it before Scott could open his mouth.

His brother’s shoulders sagged and he let the nearest wall take his weight. Gordon was up and beside him in a flash, such a contrast to the injured man. “C’mon, Virg, no need to be the hero today. Sit down and put your feet up.”

The glare Virgil sent his younger brother was half-hearted and almost fond. He looked down at the hand on his arm and capitulated. He was surprisingly docile as Gordon led him over to the sofa. The stairs down into the sunken lounge were conquered and Virgil lowered himself slowly onto the nearest couch.

“Now was that black with six sugars or white with seven?”

“Gordon.”

“Okay, okay, just going for that smile. I guess I should know better to attempt it before your twenty-sugar coffee.”

Virgil rolled his eyes. “Gords, please.”

“I’m going, I’m going.” And he went.

Leaving Virgil staring up at Scott.

The eldest brother lifted his chin a little. “Hey.”

“Hey, yourself. I still hate you.”

“Again with the hate, Virg, really?”

“So, did you enjoy listening to me waffle about fairies and pixies? Or did I sing the entirety of Gilbert and Sullivan this time?”

“None of the above.” Scott sighed. He was doing that a lot lately. “Do you really think I care what you do when under the influence of necessary medication, Virgil? You were in pain. something you put yourself through for me, incidentally. Do you really think I would find it funny?”

Virgil looked away. “Gordon would.”

“No, he wouldn’t, and you know it.” Scott stood up and walked around the desk, stepping down into the sunken lounge to take a seat opposite his brother. “You have no reason to be embarrassed at all.”

“Easy for you to say, all you ever do is fall asleep.”

“Virgil.”

“What?”

Gordon bounded up the stairs, coffee in one hand and a bottle of pills in the other. He had a water bottle under one arm. “Here you go, oh great wounded hero.”

“Shut up, Gordon.” The coffee floated into the man’s hand like magic and was immediately being poured into his face, no doubt as black and as sugarless as it could be. “Oh, god, thank you.” The moan was almost obscene. But then Virgil’s relationship with coffee was more powerful than anything lust could provide. “Perfect.” His eyes were closed and there was an actual half-smile on the man’s face. Scott rolled his eyes towards Gordon who was sporting a goofy grin.

“Don’t forget your pills.”

“Coffee first.”

“The two of you may need to get a room.” A smirk. “And I’m not referring to Scott in this relationship.”

“Thank you, Gordon. Now leave me and my coffee in peace.”

“Yesssh, massster.”

“Oh, god.”

“I’m leaving, I’m leaving.” He eyed Scott, and for just a moment all humour vanished from his expression. He frowned, his eyes darting in Virgil’s direction. Scott acknowledged him with a twist of his lips. His brother turned and yelled towards the stairs. “Hey, Alan, I’m hungry, wanna come with me and Grandma to the mainland for some Italian?”

There was a resounding ‘yes!’ from the lower floor as Gordon waltzed out.

Virgil didn’t appear to have noticed, still worshipping his coffee.

“Aren’t you going to go with them?” Those brown eyes were questioning him. Obviously, Virgil was more aware than he appeared.

“No, they’ll bring back takeaway. Brains is still in his lab and needs to surface sometime.”

“And?”

“And what?”

“What did you want to talk about without the others around?”

Scott stared at him. “Take your medication, Virgil.”

The coffee cup was lowered to the side table quietly.

The pills were ignored.

“What’s going on, Scott?”

-o-o-o-

“Mr Tracy, you have changed your plea to guilty.”

Scott stood up and faced the judge. “Yes, sir.”

“Do you believe that you are guilty of assaulting Mr Langstrom Fischler?” The same Fischler who was now holed up in the building’s lock up.

“Yes, sir.”

“Do you believe you deserve punishment?”

In the corner of his eye, Jack Dunning shot to his feet, but he was unable to say anything procedurally.

Scott swallowed, but held his perfect military stance. “No, sir.”

“Why?”

He drew in a breath. “What I did was wrong, sir. It was a moment of emotional release that I should not have allowed myself. However, no punishment you could give me would equate to what punishment today has been.”

“Explain.”

He couldn’t help but glance in Virgil’s direction. His brother’s eyes were wide. “I have had to watch my brother suffer through his injuries today to support me. I wish no more than to protect him and never have I failed so badly. Honestly, sir, you could not do worse.”

The judge stared at him.

“I could take that as a dare, young man.” Scott’s future hung in the balance. “But I agree.” His stomach dropped. “It was a stressful situation, you were injured and little damage was done, and, I say to this court, the world was possibly improved.” There was a gasp from the back of the room.

“Mr Scott Tracy, you are ordered to pay any medical bills associated with Mr Fischler’s nose bleed and his court costs.”

There was silence.

“This case is closed.” The gavel dropped.

-o-o-o-

“They have discovered that Fischler was indeed building weapons. The GDF have moved in on several depots and seized various weapons. Langstrom and Perce are imprisoned, however his sister is missing. Apparently, she was the mastermind of it all.” Scott shrugged. “Which is not hard to believe considering the lack of mind in the rest of the family.”

“Missing? You’re kidding.”

“No, I’m afraid not. I’m sorry.” He stood and hurried over to sit beside Virgil. “You don’t need to worry. Kayo is out there already. Penny’s on it. They will find her.”

Virgil rubbed his face. “I’m not worried, Scott. I’m just tired.”

Scott sat back a little. “Understandable. Take your medication.”

“Yes, Mom.” But Virgil didn’t move. “This doesn’t affect our operations, you know.”

Scott straightened. “It should.”

“It doesn’t.”

“Virgil-“

“Scott, no one is going to die because of those bastards, you hear me?” And Virgil was in his face.

“No-one.”

-o-o-o-

The Tracys left the courthouse amongst another flock of holocams and rude questions. There was no arrowhead this time, simply a huddle of brothers around Virgil hunched in the middle. A car was ordered to the front door and Kayo stormed through the press wielding her hostile expression like a weapon.

Scott helped Virgil into the car, wincing himself at the man’s pained gasps. He set him up between himself and Gordon. John, Alan and Kayo sat opposite. By the time the car started moving, Virgil was already falling against Scott’s shoulder, taking the pressure off his injured right side.

With Scott free to go, it was decided that they would pick up their belongings and head home immediately. Scott stayed in the car with Virgil while John supervised their rooms and luggage. Fifteen to twenty minutes after arriving at the hotel, they were packed and heading to the airport and Tracy Two.

Virgil was asleep on Scott’s shoulder.

Three blocks out from the airport, a car ran a red light and barrelled into the front fender of the limo, throwing it into oncoming traffic.

-o-o-o-

“Get out of the car.”

Scott blinked, momentarily confused. What?

“I said get out of the car!”

And the screaming registered. There were people screaming. His head kicked into gear.

Emergency. Respond.

A gun was stuck through the window pointing at him. He frowned. No, pointing at Virgil.

“I said, get out of the damned car!”

His brother was moving slowly, looking as dazed as Scott felt. Scott stepped in front of him, pushing the door open and climbing out first. He shut it behind him and blocked its access, preventing his brother from emerging. The limo lay in a mess of stalled traffic, its front end mangled by a sedan.

The man holding the gun was Perce Fischler, Langstrom Fischler’s brother.

“What do you want?”

“I want your brother.” It was snarled and spat.

“Why?”

“Because of what he has done.”

“What has he done?”

“He has ruined everything.” The man shot crazed eyes at Scott. “You’ve ruined everything.” The gun rose.

And was suddenly airborne, a blur of blue grey IR uniform in its place. There was a yelp and Kayo had him on the ground, her knee in his back. She whispered in his ear. “You think my brothers caused trouble, you have no idea what I could do to you.” A couple of cable ties disabled the man and Kayo stood over him, obviously restraining herself from physically injuring him further.

Brothers? And Scott was flinging open the car door. Virgil collapsed into his arms yelling at him. John was clambering over the hood of the car, Gordon was yelling for assistance for the driver, and suddenly Alan was beside Kayo asking her if she was alright.

“Scott, are you okay?” Virgil was struggling to stand up.

“I think I hit my head again.”

“Damn. C’mere.” And Virgil was reaching for him. There were sirens, more yelling, more questions. He was so damned tired of all of it.

Virgil was yelling at someone.

He just wanted to go home.

Things became clearer as time passed. By the time Alan took the controls of Tracy Two, apparently after Virgil had yelled at enough people, reality was beginning to reassert itself.

“Is everyone okay?”

“Oh, the dazed prince awakes.”

“Shut up, Gordon.” Virgil reached over and touched his arm. “Everyone is fine. You were the only injury, bar a few bruises for the driver. How are you feeling?”

Scott blinked. “Better. Things were a little fuzzy for a bit there.”

“It’s only a mild concussion. I figured you would want to make it home tonight.”

“You figured correctly.” The plane turned and began its descent.

“Tracy Airways asks you to fasten your seatbelts for landing.” Alan’s voice was full of forced cheerfulness.

-o-o-o-

There was silence in the room for several moments.

“Are you going to take your medication?”

“Are you going to stop nagging me?”

“Only if you take your medication.”

“Fine.” Virgil poured a couple of pills into his palm and threw them into his mouth, downing them with a gulp of water. “There, done. Happy?”

“I’ll be happy when you can move without flinching.”

Virgil sighed. “I’m okay, Scott.”

“No, you’re not. Take your damned medication and keep me sane, please.”

His brother didn’t respond, but there was a touch of guilt in his eyes.

Scott’s shoulders slumped. “Hell of a day yesterday.”

Brown eyes caught his. “Yeah.”

“I’m sorry you had to go through that.”

“It was necessary.”

“No, it was stupid. If I hadn’t hit the idiot, you could have stayed in bed for the day.”

“If you hadn’t hit the idiot, he wouldn’t have gotten what was coming to him.”

Scott shrugged. “It’s just that you had to pay the price.” He looked up and caught Virgil’s eyes. “I am so sorry.”

His brother looked away a moment. “I’d do far more if necessary, Scott, you know that. What you said to the judge...I do appreciate it.” He paused. “Just one thing. Perhaps think before you act a little more in the future?” Quietly. “This isn’t the first time.”

Scott swallowed. “I know.”

Silence fell again.

“Virgil.”

His brother looked up at him in query, his brow furrowing. “Yes?”

“You said some things last night.”

“Oh, goddamnit! I knew it! Did I propose? Disclose my deepest fears? What the hell did I say this time?”

Scott swallowed. “More the second of the two.”

A blink. “I what?”

“You appeared to be afraid of losing me.”

“Oh.”

“I’m not going anywhere, you know.”

Virgil didn’t answer.

“And if I did, you would make a brilliant commander of International Rescue.”

His brother stood up with a groan and turned away. “Not going to happen.”

“What?”

“I don’t want to talk about it.”

“Virg-“

“No, Scott. I know the drugs give all and sundry access to both my soul and my stupidity, but that doesn’t mean I have to bare it willingly.” He slowly made his way up the steps out of the lounge.

Scott shot to his feet and followed, placing his hand on his brother’s uninjured arm. “Please, Virgil, if not to me, talk to someone.”

The injured man turned awkwardly to face him. “What the hell did I say to you?” He frowned. “You’re scared.”

“I’m worried.”

Virgil took a step towards him. “No, you’re scared, Scott. I can see it in your eyes.”

“I’m worried about you. Promise me you will talk to someone.”

“I will. You know I do.” And he did know. Virgil treated his mental health seriously, just like he did the rest of his body. Perhaps yesterday was just the result of circumstances.

Regardless, Scott gently wrapped his arms around his brother and embraced him. “Look after yourself.” He tightened his arms just slightly. “And thank you so much for being my brother.”

Virgil returned the hug awkwardly. “Scott, are you okay?”

Scott dropped his forehead onto Virgil’s shoulder, “Couldn’t be better.”

-o-o-o-

FIN.

[multimetaverse]

is marty coming back?

Probably. But he arrived in Utah on Friday and left today. Garren posted on instagram on Friday that he was in Utah and had a surprise for us and Peyton, Emily, and Luke commented on the post and Michelle Manning liked it. Josh also answered two asks about Marty possibly returning a few days ago and gave coy answers instead of his usual Marty is gone. And fwiw Sofia posted a picture of Buffy and Marty from 2a on instagram and before she deleted it, Garren commented that he ships Muffy and she liked the comment. And on Saturday night Garren had a live and when asked if he’s on Andi Mack he replied that he plays Marty from the party, in present tense. It certainly suggests that he came back to film a scene with Buffy, probably a dramatic cliffhanger, for what could be either eps 8-9 or 10-11 depending on if this Saturday counts for the ep 10 and 11 block they film this upcoming week and next week. 

I discussed what Marty’s return might mean here. They’re shooting basetball scenes for Buffy’s new team on Tuesday and Wednesday so I don’t think he’ll show up there unless they filmed a quick scene between Buffy and Marty at the school on Saturday. We don’t know for sure how many episodes Marty will be in and there is a possibility that it’s just a one ep arc. But, I think that’s highly unlikely; it might have made some sense if he pops up in the series finale as a kind of final farewell but he’ll reappear around 15 eps before the finale and they likely aren’t even at the mid season finale yet. By the time Marty returns he’ll have been gone for 29 or 30 episodes, I can’t think of any recurring character on a kids show that is gone for that long only to be brought back for one episode (if anyone does know any examples please chime in). 

And why bring him back for just an episode or even two? To sink Muffy a 4th time? Is Marty gonna tell Buffy that he still has a girlfriend? And if Buffy has a boyfriend why bring back her old flame? And why is there even space in Buffy’s arc to slot Marty back in? Why go to the trouble and expense of bringing Marty back? The show would have needed Garren to be willing to come back, Disney to sign off on it, and ABC to let him take some time off General Hospital, why gamble on it all coming together?  Imo the show is bringing back Marty because there is a pressing need to have him fill a role that no other character can and that role can only be Buffy’s endgame love interest.

I talked here about why the show didn’t recast Marty and when they might have known that he wouldn’t be back for S2. It seems from the writing of ep 21 and Garren’s comments on his lives that they would have known by December at the latest that he wasn’t coming back in S2. This coincides with the first hints of the extremely messy Buffy’s crush story line being written. I don’t think Garren was lying back in December when he said he wouldn’t be back only to trick his fans until he could return 8 months later for a show that hadn’t even been renewed yet at that point.  

This is an exercise in Kremlinology but we can also use Josh’s tumblr as a rough guide. Shortly before Head over Heels aired he answered an ask talking about how different Garren seemed from Marty and Josh said that Garren had changed a lot since he had last been on set which sounded ominous and clued people in to the fact that Marty’s story line wasn’t going to end well. He liked a review of Head over Heels that speculated that Garren had been let go and he’s shaded Garren numerous times on tumblr and twitter, most notably when he made a post and said nice things about all his co-workers but all he said about Garren was that he had nice clothes. To me it doesn’t sound like Josh thought that he’d be working with Garren again.

And up until just a few days ago when people asked him what happened to Marty he would usually say that Marty partied to hard and needed to go to the General Hospital and when someone suggested shipping Marty and Cyrus he said that Marty is gone. There’s also his infamous dead ships of Andi Mack post which included Ciris, Muffy, and J*rus. I think at the time he wrote that he didn’t know Marty would be returning as we know that Ciris and J*rus are definitely dead. There’s also the poll of Buffy’s crush that he reblogged then swiftly deleted after adding that very few people were right but S3 is coming, the only options with few votes were Jonah and Walker. Again when he reblogged that I think he didn’t know that Marty would be coming back. And of course he mentioned that the endgame ships had changed before which most likely was a reference to Muffy.

Lilan mentioned in a recent interview that they only get the scripts a week in advance and it’s very likely that Marty’s return was confirmed only days before Garren flew to Utah. While they may retcon some of the Buffy’s crush story line to suggest that she did in fact have feelings for Marty it seems likely that Walker will be her crush for part of 3a. Maybe they go on a date or two but Buffy doesn’t feel a spark? Or much less likely she could have a crush on Jonah and not act on it and later realize that she only liked Jonah because he reminded her of Marty. Walker must reappear in S3 for a reason but I’ll be interested to see when he shows up on set again and if there’s any overlap with Garren.

The main argument I had against Wuffy is that there was no drama, angst, or stakes involved. And the main argument I had for Juffy was that Jonah was the next best thing to Marty. But if Marty returns we’ll get Muffy back which had the best chemistry of the het ships and automatic drama and angst and stakes. I don’t think it would take more than 4 or 5 eps to set up endgame Muffy if, and this is a big if, the writers are able to write good scenes for them. 1 ep for Marty’s shocking return, 1 ep to deal with the bad terms they parted on and reconcile, and 2 or 3 eps to let them have cute moments and spend more time together as their feelings grow before Buffy decides that she really does like Marty as more than a friend and they attend the Bexie wedding together.

Again this is all speculative and maybe they just wanted Marty back for 30 seconds to just sink Muffy one last time or the cast was just trolling us and he wasn’t even there for Andi Mack but I think it’s for something more substantive than that. As Garren’s return seems like a Hail Mary on the show’s part I suspect we’ll see signs of Buffy’s story lines stalling or beginning to fall apart sometime later on in 3a before Marty returns. With the kind of luck Terri apparently has she could clean out Vegas. It’s funny in a way that Garren’s departure did a lot of damage to the show and his possible return would likely do a lot of good for it. To borrow from The Simpsons, Garren is the cause of and solution to all of the show’s problems. 

[quintisiscanon]

This is a post on the parallels of S2, S3 and my guesses for S4. (Includes my guess on the expansion of Happy and Toby’s family, and some small mentions of Walter and Paige; because they are needed to paint the picture on the parallels.) 

Some stuff that I have to say first:

I am still catching up on the stuff that are released in the last few days because I wasn’t on. I saw the press release for S4E3 and I finally had the motivation to do this post. But I might miss out some other news that will render this post/points useless. So apologies for that and if there are people that have pointed out similar stuff! 

I might be inaccurate in some of the stuff that I mention below, especially for the second half of S3. 

So please let me know if I am wrong in any assumptions or parts!

Okay. So I have noticed some parallels between the different seasons. (Note: The A that follows the season is for the eps before the winter break and B will be for the eps after the winter break.) 

Premiere ep:

S2: Time jump after Walter’s accident. Quintis are still friends.

S3: Roughly 12 hours time jump? Walter went after Paige, Happy and Toby are at the bottom of their relationship (-ish??).

S4: Couple of hours time jump? Waige is finally a thing and Quntis are on their honeymoon. 

Main couple progression:

S2A: Quintis. Mainly them having the main scenes with a theme of making them realise how they are without one another. Eg: Chet, Toby’s boxing, dancing at college, Christmas eve kiss. Waige eg: their first kiss, crazy train ep, mainly one off scenes/episodes.

S3A: Quintis. Mainly them having the main scenes with a theme of leading them towards the marriage. Eg: secret marriage arc, false positive arc, Waige eg: Tim, Veronica (-ish. Like she prefers Walter and wants to help him with Paige.), Christmas ep, mainly pushing them towards becoming a couple. 

S2B: Waige. Mainly them having the main scenes with a love triangle theme. Eg: Linda, the Vietnam tornado ep, Tim, Waige singing. Quintis eg: relationship becomes public, gambling rooftop scene, mainly one off scenes/episodes.

S3B: Waige. Mainly them having the main scenes with a love triangle theme and finally facing the depth of their feelings. Eg: Tim’s aftermath, Waige in the middle of the ocean, Paige’s fears (seeing Walter kiss another woman), Waige dancing, Waige getting together. Quintis eg: Happy’s childhood fears, premarital counselling, moving in together, preparation for the wedding, wedding, mainly a background arc.

*Note: Valentines’ Day ep is traditionally Quintis heavy. Like they tend to have a major scene then. S2 had Happy at Toby’s apartment and S3 had Toby worried about Happy. (Granted, S3’s Valentines’ didn’t really have a focus on either of the couples.) I am not sure if I am right but I feel like the couples do take a turn for each half of the season. There is of course progress for both couples over the entire season. But for half of the season, things seems to be moving faster for one couple over the other. Eg: the progress for Quintis in S2A does seem to be faster while Waige is building up to something huge in S2B. Of course, Quintis in S2B is also major, but it seems to have a running theme and flowing really slowly, or that those scenes are not the theme of the episode. (Kinda like how Toby and Walter went to counselling in S2 and that was the theme of the ep.)

What I mean to say is that there is often a running theme for the couple for half of a season. So like how usually couple A is in the background having a continuous arc which will set up for the second half of the season where things just explode, and vice versa. Which leads to my guess of Happy and Toby family expansion being the theme for S4A, and Waige will have something else major in S4B.

BUT.

The main common point in S1 and S2 finale is that they all kinda hit a “reset” button with the couples. Like how the seasons always end with Walter in a car going after Paige and wanting to confess but failed to do so, and Quintis having to start all over again (in a way?).

But that wasn’t the point in S3. Sure. Quintis are married so they kinda “restart” by having to navigate being a married couple and not just a couple and Waige are finally together so they have to navigate being a couple. So yeah, they do have something majorly new in their relationships that they have to figure out. But I am not sure that this will continue in this season, like I feel that they didn’t really hit that reset button? Idk. And judging from interviews so far, it does seem very Waige heavy, so there could be a flip. Idk.

So mainly, I feel that the pregnancy reveal should be around the Christmas ep. It will set up nicely for a background arc of them adapting to this in S4B, after seeing them struggle in most parts of S4A. Kinda like how the wedding stuff happened in S3B, but it is a baby this time round. It could also happen in the finale eps, especially when their major stuff are usually in the second half of the season. (Like their relationship reveal, first proposal, wedding, etc.) There are a lot of ways that this family expansion can happen and I have quite high hopes for how they are going to handle it. (Like not just about adoption or pregnant!Happy. But if they are going to go the conceiving issues route, how are they going to react? Will they go for adoption straight? Are they gonna try other methods or just give up? There are so many factors that can be used in this scenario and it is just so interesting.)

But personally? I hope for a baby with Happy and Toby’s genes with a reveal in the Christmas ep. Preferably without much issues conceiving because they have been through enough. Thank you so much for reading this long post that probably don’t even make sense! Do let me know what you think about this post! 

[gadgetsrevv]

Juventus are favourite to win Serie A again but there are reasons to doubt them

The mind games began at the end of May. Not from a pretender to the Juventus throne, but from Maurizio Sarri’s predecessor.

Sarri had yet to be announced as the Old Lady’s new coach back then but Massimiliano Allegri seemed to have a very good idea of who the club were lining up as his replacement. In his goodbye press conference, he once again stoked up the debate that had raged throughout the final two years of his tenure.

Does how you win matter? Last time he checked Juve’s motto, he didn’t think so. It claims “winning is the only thing that counts” and Allegri is a born winner. In coaching, guys like him are few and far between. As he sees it, you either got it or you don’t. Winning is not something you learn.

“I could give you an example,” he said, “but if I do, I’d bring the house down.” Some in the room thought Allegri meant Sarri who, at the time, had lifted only one trophy his whole career: the Serie D Coppa Italia.

– Williams: What to watch in Serie A this season – Serie Awesome podcast: 2019-20 season preview

In his final TV interview before heading off on his holidays, Allegri did what he often does, downplaying his own role in Juventus’ success while championing the work of the club and its players. He dismissed the idea that his successor has a big job on his hands to maintain the standards he set. “It’s a winning team,” Allegri said. “It’s a team that has got what it takes to keep winning. It’s a team that’s way better than the rest and has a 90 percent chance of winning [the league] again.”

Innocent and nonchalant in his delivery, Allegri would never have said such a thing in the event he were staying. It was, perhaps, a subtle way of applying some pressure on his successor.

While many still make Juventus favourites for the Scudetto, which would be their ninth straight if successful, they do seem less of a sure thing than usual.

For a start, Sarri’s appointment is the most left-field since that of Gigi Maifredi in 1990. Sure, the circumstances are different. Sarri is undoubtedly better prepared and more experienced than Maifredi was then. Juventus, as a club, are united behind him and he’s taking over a winning team. Make no mistake: if Sarri can get his ideas across and make a group of players this talented play in the style he implemented so successfully at Napoli, then we could be about to see the best Juventus of all-time.

But doubts remain.

Are the goalkeepers as comfortable on the ball as he needs them to be? Is a defence used to defending man-to-man, backing off and defending its own penalty area prepared to go zonal and step up, playing with wide open spaces behind it? And what of the attack?

Juventus are undoubtedly fancied to win Serie A for a ninth straight time but this season might be their toughest campaign yet in terms of competition.

One of the challenges Sarri faced when attempting to impose his style at Chelsea in England was the tentativeness or unwillingness to play quick combinations. Midfielders needed too many touches. Wingers held onto the ball too long, stopping and starting, allowing opposition defences to regroup and re-organise.

On Juve’s preseason tour, Sarri spoke about the re-education process for his new squad and how he needs time to change the habits of players who’ve worked under different coaches with different ideas for such a long time. His biggest challenge might be the players’ muscle memory. Sarri must convince Giorgio Chiellini, 35, and Cristiano Ronaldo, 34, to play another way. In fact, during the Asia leg of Juve’s preseason, he described his job as organising 10 players around CR7.

Sarri is the one who will have to adapt to the winner of multiple Ballons d’Or, and to Juventus. It’s not going to be the other way round. And so, a coach used to relying on a contingent of 13-14 players now has to keep a squad of superstars happy, something Allegri made look easy, and the club hasn’t helped Sarri in this regard.

For a start, Juventus have tried to offload a number of big names without success. Gonzalo Higuain has been returned to sender, to say nothing of forgotten man, Marko Pjaca. The Bianconeri tried to sell Paulo Dybala not once, but twice, and the Argentine is still bizarrely up for sale. Mario Mandzukic and Sami Khedira, who signed new deals last season, know they are on the market. As it stands, Juventus are going to have some very tough decisions to make when it comes to deciding who doesn’t make the cut for their 23-man Champions League squad.

We will have to see whether the club’s efforts to ease the strain on the payroll and recalibrate the wage-to-turnover ratio — the European transfer window closes on September 2 — have in turn caused friction elsewhere. Juve’s no drama togetherness has underpinned their success over the past nine years. A happy camp could potentially be compromised although saying that, one might counter that Higuain and Dybala aren’t the ones inconvenienced; the club is. Unfortunately for the balance sheet, they don’t want to be anywhere else.

Juventus’ appeal is higher than it’s ever been this century. Testament to that is Matthijs de Ligt‘s decision to join from Ajax when he pretty much had his pick of Europe’s elite and in that context, the scepticism and reservations surrounding Juventus are hard to square. Projection plays a part here. After eight consecutive league titles, there is an element of “Juve fatigue” among neutrals and fans of other Italian clubs. But it’s also a reflection of the increased competitiveness of the league and the indications this year are that Juventus have less margin for error, not that they make many mistakes.

Conte and Lukaku are new arrivals at Inter Milan this summer and should be integral to a much stronger title push in 2019-20.

In my opinion, three teams have a realistic shot at winning the title.

Inter have to be taken seriously not just because they have strengthened across the board, but, to follow Allegri’s logic, on the basis that they have a born winner at the helm in Antonio Conte. Much more is expected of Napoli in Carlo Ancelotti’s second year, too, and rightly so now that Kostas Manolas is partnering Kalidou Koulibaly in defence.

Standards are rising across the league, too. Roma have appointed the impressive Paulo Fonseca to managed a flawed, but fixable, squad. Milan have tailor-made their team for Marco Giampaolo, while Atalanta and Torino have retained what made them great last year. Lazio look capable of making it rain goals like they did two years ago.

Tax breaks have enabled Brescia to bring Mario Balotelli home and Fiorentina to give Franck Ribery a swansong. Cagliari have assembled an ambitious team, including the returning Radja Nainggolan, for their centenary season. Bologna have invested roughly €60m in players like successful loanees Riccardo Orsolini and Nicola Sansone, hoping to pick up where they left off under Sinisa Mihajlovic, who is continuing to coach the team while undergoing treatment for leukaemia. Genoa look like they could be very exciting with Aurelio Andreazzoli in charge.

The number of clubs hiring coaches who set out to dominate opponents and win games rather than sit back and aim not to get beat is encouraging as Serie A continues along a progressive, expansive path.

For Juventus, it doesn’t look like it’s going to be another procession this year. Still, with Sarri the hope is that its the beginning of a process to something bigger and better than what went before. Allegri isn’t the only one curious to see whether that’s possible or not.

//due to VPPA compliance we can not send keywords through URLs implicitly in the US var countryValue = $.cookie("country"); if(!!countryValue && countryValue !== "us") {

(function() { var _fbq = window._fbq || (window._fbq = []); if (!_fbq.loaded) { var fbds = document.createElement('script'); fbds.async = true; fbds.src = "http://connect.facebook.net/en_US/fbds.js"; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(fbds, s); _fbq.loaded = true; } _fbq.push(['addPixelId', '1587432981493230']); })(); window._fbq = window._fbq || []; window._fbq.push(['track', 'PixelInitialized', {}]);

$.ajax({ url: '//pixel.mathtag.com/event/js?mt_id=694557&mt_adid=137010&v1=&v2=&v3=&s1=&s2=&s3=', dataType: 'script', cache: true }); } (function(d, s, id) {var js, fjs = d.getElementsByTagName(s)[0];if (d.getElementById(id)) return;js = d.createElement(s); js.id = id;js.src = "http://connect.facebook.net/en_GB/all.js#xfbml=1&appId=116656161708917";fjs.parentNode.insertBefore(js, fjs);}(document, "script", "facebook-jssdk")); Source link

via wordpress https://ift.tt/33WSyMu

[katyatalks]

Spoon.2di April 2018 - Itou Setsuo’s [Mob] Interview

Here’s the translation of Itou Setsuo’s interview from vol 36 of Spøøn.2di (April 2018), released in promotion of MP100 Season 2, announcement of which happened at the end of the Reigen OVA! Three page interview that I’ve done as a summary for the most part, but the end is full of meta regarding Mob’s relationships that’s incredibly sweet so I’ve typed those up fully.

He is asked how he felt when season 2 was announced. “Naturally, I was incredibly happy. I felt the joy of being able to perform as Mob again, and since I’d read all of the manga, I’d be thinking things like, ‘will this scene show up in season 2?’, and, ‘will I get to perform this scene with everyone?’. The excitement wouldn’t stop…!” Goes on to say he felt excitement as both a fan and as a voice actor.

Q: How were you told about season 2 being greenlit? A: That was… it was before appearing at an event with Director Tachikawa. I recall him saying super casually, ‘uh, you know, right?’ (Laughs)

Q: (Laughs) So, was it during recording for “Reigen: The Miraculous Unknown Psychic” that you truly came to realise that season 2 was going to start? A: That’s right. When I was told that the announcement would come at the end of the film, I thought, ‘we’re really doing season 2…!’

He’s asked how he felt reading the scenario for the OVA for the first time. “I did a double take (laughs). I read through the pages, thinking to myself, ‘this isn’t the Mob Psycho I know.’ (Laughs).” Goes on to say that while it’s a compilation it’s a fresh take on one.

He’s asked about any scene(s) from the OVA that left an impression on him, to which he replies the scene in which Mob has finished writing the book and he’s got Ritsu, Teru, Mezato & the telepathy club gathered around him. “The amount of people Mob has around him has increased so much. It’s a scene that had me realise that anew, so for me personally it’s a scene I love.”

He’s asked the same but from the scenes that have been fabricated, to which he says when Reigen pastes himself over Shou. “That’s a scene in which it’s established how cool a character Shou is, but with Shishou’s fabrication, we get Shishou’s face instead of Shou’s own. That was unbelievably hilarious (laughs). I think that’s probably my favourite out of all the fabricated scenes.”

He goes on to say that another scene that left an impression on him is when Mob and Reigen go to eat ramen together. “I thought to myself, ‘of course it’d finish up with ramen!’. Since S1E1 ends with Shishou and Mob going to eat ramen together, I felt like it suggests that a new story is going to start, so it really left an impression on me.”

[TN: Seko dismisses the above in his interview]

He says he wishes he could’ve been part of the audience not knowing that the S2 announcement would be dropped at the end of the OVA.

He goes on to say that since it’d been a year and a half since recording for S1E1, he wasn’t sure how good a job he’d do with recording for the OVA ("Can I perform in the same way?")

“When Sakurai-san performs, he has this incredible persuasive power (laughs). I was reminded anew of just how skilled Reigen-shishou is at winning over people.”

He’s asked what he’s looking forward to with season 2, and anything he’d like to see. “It appears at the end of the ‘Reigen: The Miraculous Unknown Psychic’... I really want to see ‘that person’s’ press conference.” 

He also mentions the fight with Touichirou, “if it appears in season 2[...]”, and he’s looking forward to BONE’s approach to the action scenes.

He states another scene that he wants to see, though he’s not sure if it’ll be included in season 2, is the part in which Mob gets a girlfriend

[TN: I recall him saying in another interview that he was happy to see the Emi story being in S2E1, so that’s nice]

“It’s a story in which we see Mob’s strengths and weaknesses. You can sympathise. So I’d be glad to perform it.”

He’s asked about the stage play in January and how it influenced him, to which he says that it helped him look at characters from a different perspective and take different interpretations

He’s asked what he means by this; “Rather than Mob not having any emotions, he has a weak way of expressing himself… the stage play reaffirmed that for me.”

He quotes Kawajiri Keita (screenplay/producer for stage play); “This isn’t a play that’s led by the main character. It’s the characters around him that decide the atmosphere, and Mob exists in that atmosphere doing things at his own pace, which is interesting.” Itou says this is true for anime Mob too.

And, the final section;

Q: For Mob, who would you say the other characters in Mob Psycho 100 are? Could you please begin with Reigen?

A: Shishou, rather than teaching Mob the concept of what is ‘correct’, teaches him the ‘choices’ that he needs to live. He teaches him that making the right choice is good, but he doesn’t always have to go for that option. It’s for that reason that he can be called the ‘shishou’ of Mob’s life, but I wouldn’t say that the two of them have a relationship as formal as the word ‘shishou’ suggests… the use of that word suggests a very stiff relationship, but Reigen is more like, ‘a big brother Mob is very close to who lives nearby’ (laughs). They may have no relation by blood, they may not be family, but, they’re as close as family, and Reigen cherishes Mob as such. We’ve seen Mob wonder, “is Shishou really an esper?” before, but regardless of whether or not he has powers, regardless of his shishou’s conman-like behaviour, the two of them support one another. I’d like to keep seeing these two, with that ‘shishou’ and ‘deshi’ relationship.

Q: How about his little brother, Ritsu?

A: Ritsu is a truly important person for Mob-kun. The first time we see Mob-kun genuinely get angry for someone else is when Ritsu gets abducted by Claw. So I always think of that when performing as Mob-kun; Ritsu is that important to him, that he let his emotions lay bare.

Q: It appears in the compilation part of ‘Reigen: The Miraculous Unknown Psychic - even after Ritsu vents the emotions he’s been keeping locked up inside at Mob, we once again see Mob-kun’s big-brother-like-nature.

A: That’s right. Mob-kun performs dogeza for Ritsu’s sake. When I look at that I think, ah, he’s definitely a big brother.

Q: Next, how about Dimple?

A: Dimple is, how should I say, he’s already become a friend (laughs). I suppose friendship is, the closer you get to one another the more sharp tongued you get. To be cold to someone on purpose, turn that into laughter, tamper with someone, be tampered with… I think Mob-kun and Dimple’s relationship has gradually turned into something like that. At first, I think Mob-kun was simply disinterested so he was cold to Dimple, but now they’re on good terms so Mob-kun being cold has turned into a bit of an act, I think!

Q: How about Teru?

A: Teru-kun is the person Mob-kun can sympathise with the most. At first I suppose he was something like a rival, but now, if Mob-kun were to have any troubles regarding his powers, I think the person he’d turn to first would be Teru-kun. Rather than shishou… (laughs)

Q: (Laugh) Now, please give a message to Sakurai Takahiro, voice of Reigen Arataka, who you’ll once again be playing a Shishou-Deshi relationship with!

A: I’ve been a fan of yours since I was in primary school! … which is something I’ve told you before (laughs). I may be inexperienced, but I look forward to performing with you once again!

---

Twitter crosspost here.

Spoon 2di vol36 April 2018 links (interviews in the order they are presented);

Itou Setsuo’s [Mob] interview here.

Sakurai Takahiro’s [Reigen] interview here.

Seko Hiroshi’s [Series Co-ordinator] interview here.

Kameda Yoshimichi’s [Character Designer] interview here.

Tachikawa Yuzuru’s [Director] interview here.

ONE’s [Original Manga Writer] interview here.