#also this does happen with a few other characters but its most apparent with leo

[sad-leon]

Questions for systems in the rottmnt fandom

For any of y'all with turtle alters, do your alters influence how you draw/write the turtles if you create?

I've noticed that whenever we draw Leo outside of an au where he has an established design, he tends to take after how he appears in headspace. Was curious if anyone else has experiences like this

This can apply to other charactes as well, but considering this is the rottmnt fandom, I figured that would be the best common denominator

[maybe-homestuck-now-or-something]

I really wanna talk about homestuck in relation to this post but like, idk if I wanna add to it because it might be a total derailment of the topic but homestuck is such a weird apocalypse narrative.

like... the way it handles it is so odd because earth itself is not very well characterized before the characters leave it. the characters themselves are massively well characterized, and that takes up the bulk of the narrative, but like... we never even hear them talk about school? or much of anything more than their shared interests and what's immediately happening to them. and in a way, that is kind of authentic. because when kids get together to hang out, the last thing they ever wanna talk about is dry, boring stuff about their mundane lives. they'll mostly just yell memes at each other, talk about anime, play video games... it's possible to simultaneously know nothing about your friends, but feel closer to them than ever, because you're mostly around for the parts of their life that they want to experience when they're having the most fun. you see them as they are when they have the most agency to choose that. and that might be totally divorced from the reality of how their day-to-day life unfolds.

in this way, homestuck presents these characters as people who have shed that mundane portion of their lives. they are now left with only the part that they typically share with their friends. and in reality, if a SBURB type apocalypse were to literally happen to you, it'd be traumatic as hell. but this is the place where homestuck chooses to ask you to suspend your disbelief. let's just believe that John didn't have any other friends or family to think about when the world ended. let's pretend they left zero people of any interest whatsoever behind. all they are shaking off is the society that they were obligated to participate in so mundanely. they no longer have to make any compromises with anyone... they get to fully center themselves.

okay, so that's obviously not entirely true... playing SBURB is a cooperative experience, and being friends with someone doesn't always mean that your relationship is easy. but homestuck allows the narrative to become self centered. it's about one individual and the tiny sphere of influence they have, among solely the people they've developed meaningful bonds with. it allows them to become a case study.

so when the world ends, the world is not necessarily what matters. what matters is the identities of a few specific individuals who we spend a lot of time cultivating our own connections with as a reader.

and that all becomes incredibly interesting when you consider classes and aspects.

basically, in terms of the post linked above, classes and aspects are the harry potter houses, the factions, the "what bender are you" or MBTI type... they're not the only way you could categorize the characters, but they're the most universally applicable to all of the characters that are important in the narrative. and what's interesting is just like... what classes are for, and how complicated it actually is to know what aspects are, or what they mean.

starting with classes, these are basically a series of archetypes that are specialized so that everyone has a role to play that makes them uniquely valuable to a collective. if we're considering this in terms of DnD, you can think of what classes might make for a balanced party, and how having a balanced party makes it satisfying to play the game. no one player could handle everything on their own, and at the same time, everyone feels needed. nobody is useless.

this already seems fundamentally different from some of the means of categorization that I listed above. a lot of these systems are meant to divvy up the characters into societally recognized in-groups and out-groups... people who can be identified as allies or enemies. even if the groups are ascribed certain archetypal skills, the goal is rarely so explicitly for the archetypes to work together, or cover each other's weaknesses. Avatar is probably what comes the closest to this idea, with its underlying endeavor to find harmony between the elements, but homestuck uses classes both as a way to communicate unique specialization, and as a way to unify the characters by their need for support.

and that's a little weird isn't it? these characters just shed all of their obligations to a broader society, and we're taking that as a freeing event... right? but there is a difference between society and community, and while homestuck might use the destruction of society as a catalyst for adventure, it uses the formation of community as the driving force behind the story's progression. the characters are all motivated to work together and help each other... and that doesn't always mean that it works. even within a community, one person's drive to center themselves and their own personal growth can trample others who were trying to do the same thing. perhaps not everyone in the community consents to being cooperative. perhaps the difference in archetype could drive someone to become competitive instead. and these are all value-neutral observations... no archetype is specifically acknowledged as being evil, even when they have friction with one another.

basically... this is character writing. and I find it funny that these broad categories that kids like to identify themselves with are seen as ways of flattening characterization into broad strokes like "the brave one" or "the sneaky one" or what have you, because in the case of classes, the characterization becomes deeper. and I think that's because the categories are used well... the characters all have specific relationships with the stereotypes they're ascribed by others, and the archetypes they're told they must fulfill. the classes don't define them, but they do give them something to contend with. can they fulfill their role? can they live up to their purpose? is there a place in the story for someone with an archetype like theirs? do they want to be this?

aspects get even trickier, and for this I might just link to a video I really love that covers a lot of the thoughts I've been having. it's kind of front loaded with a lot of technical talk about computer science and philosophy, and tbh I love that homestuck does actually link up those concepts with so much of it's presentation, but the main bit that intrigues me is the way the video talks about aspects as irreducible components of thought. like the periodic table of elements, but for ideas.

this drastically elevates the importance of each character's assigned category, and makes it function so much better as a tool for characterization. because, like, the aspects are actually really abstract. when someone says their aspect is "wind" or "light" you could take that 100% literally if you wanted to... but by the time you've read enough of homestuck to connect those to John and Rose, you probably understand that it's not that simple. and other concepts, such as astrology, have taught you that this is the sort of system that you're supposed to interpret, right? what is a capricorn if not a loose collection of traits that give you a certain vibe? that's what we're working with when it comes to aspects. otherwise, how would you know what void, or doom, or mind are? tbh it's actually pretty genius that astrology was worked into the comic as an aesthetic element, just so we'd all be mentally primed to do this kind of categorical interpretation... hell, even the actual signs themselves constitute a framework with which you could analyze the characters, like, how does Nepeta display typical leo traits, or how is Vriska a stereotypical scorpio... it all still works, even as you understand that each individual is more complex than the traits which support that interpretation.

in this way, the aspects are never really explained exhaustively verbatim, and are almost solely defined by the traits you've observed from individual characters, who act as representatives for what these categories actually are. or at least how they function in this instance, which is what's relevant. it's not just superpowers, and it's not just archetypes... it's both at the same time, and you come at them from a character-first perspective when you're trying to figure out what they mean. the characters inform your knowledge of the categories, and the categories act as a framework for analyzing the characters. and I love how homestuck tricks you into assuming that it has a lot of little rigid categories for the characters to slot into, and how quickly it becomes apparent that everything is way more abstract than it first appears. and yet, it all still means something. and it's really interesting to, say, compare two different time players to try to piece together what is typical for that archetype, while also accounting for their class, and trying to understand how that changes the roles they play and the ways they behave. and then you have the trolls' caste system on top of that, and the astrology angle I mentioned earlier, and there are honestly so many overlapping ways to think about it all, and I think that's the point.

[heyitssmiller]

Clandestine: Chapter Three

The first mission doesn’t exactly go as planned. Also, Logan has a thing for glasses, apparently.

@lumosinlove Thank you for letting me run away with your characters! <3

Again, @donttouchmycarrots is my hero and the best proofreader ever! This fic wouldn’t be what it is without her.

Clandestine Masterlist

.

The bank was quiet, save for the soft murmurings of tellers and customers. Sunlight filtered through the windows of the storefront, light and hazy. The office plant by the front door was growing way too big for its pot. There were a few people waiting in line, absently scrolling through their phones. Others were sitting in the waiting area, mindlessly taking in their surroundings. It was calm, peaceful.

Or it was, until a redhead came sprinting out of the men’s restroom, screaming “Fire!” at the top of his lungs.

The bank then descended into madness.

A man watched from the driver’s seat of his car as people frantically streamed out of the building and onto the sidewalk. He sighed, taking a second to rest his forehead against the steering wheel. “Damnit, O’Hara. This wasn’t part of the plan.”

29 Hours Earlier

“Good morning, cubs!”

“Fuck you, Black.” Logan muttered into his cup of coffee. “It’s too early to be that excited.”

Leo smiled a little and set a paper bag on the table. Logan stared at it. Where had it come from? He hadn’t seen Leo carrying it into the briefing room, but it was too big to stuff into his pockets. He didn’t have a bag or anything – the only thing he was carrying with him was a notebook and a pen. How did he manage to smuggle it in?

Logan was so confused, and it was still too early.

“I brought muffins.” Leo explained, opening the bag and handing one to Finn. “They’re cinnamon swirl.”

“Nut, did you make these?” Finn asked, removing the wrapper and taking a big bite. Leo shrugged.

“I like to cook.”

Black looked up at him in awe. “These are amazing.” He cradled the muffin in his hand like it was something precious.

“I can give you the recipe, if you want.”

Logan grabbed a muffin, looking up quickly at Remus’ snort. “He can’t cook.”

“Neither can you.” Sirius shot back, a little more hostile than his usual teasing manner. Logan glanced back and forth between the pair, tearing off a piece of muffin and popping it into his mouth. Fuck, that was good.

His partners had clearly picked up on the tension, too, but neither of them brought it up. Leo twirled his pen around in his hand, eyes moving from the pair to Finn. He smiled as the redhead enthusiastically grabbed another muffin. Logan snapped his gaze back to Sirius. “Can we get started, please?” He asked pointedly. “If you make me get up this early, we’d better be doing something productive.”

Finn laughed at him, nose scrunching. “Are you always this grumpy in the morning?”

Green eyes rimmed with dark, dark lashes glared back at him. Logan didn’t say a word but took a long sip of coffee instead, refusing to break eye contact. Finn let himself stare a little longer than he probably should have. He wasn’t lying when he told Logan he was a sucker for green eyes.

Sirius finally broke the tension-filled staring competition between himself and Loops and looked down at his files. Remus started the projector without a word, only speaking up when he was ready to begin his presentation. “We’re starting you three off with the easiest flash drives to retrieve – the two in the banks.”

He moved to a picture of the layout of one of the banks, pointing at a small room tucked away in a corner of the building. “So the safe is back here in this room. You can’t get back there without permission or an escort, which makes it a little trickier. The security system is also very high-grade, so I don’t think trying to break in after hours is our best bet here. There’s too many little things we might miss.

“The plan is to go undercover. Leo and Finn, you’ll be infiltrating this bank. Logan, you’ll be lookout. Leo, you’re going to pretend to be a safe specialist. Tell them the make and model of the safe Riddle uses is faulty and the company sent you to see if this one needs to be replaced. I don’t really care what you say, just make it believable.”

“What kind of safe is it?” Leo asked.

Sirius looked down at his notes. “It’s a… Tigerking Digital Security safe. Does that mean anything to you?”

Leo grinned. “Makes my job a hell of a lot easier. They’ve got a weak spot.”

“What am I doing during all of this?” Finn asked through a mouthful of muffin, crumbs stuck to his mouth. He swiped at them with his tongue before speaking again, “Distraction?”

“Yeah. It’ll have to be big – big enough to get Leo alone with that safe. How long do you think it’ll take to crack, Knut?”

He shrugged. “Ten minutes, tops. It’s got this small hole at the back where bolts are fed through. I can get a stiff wire through that hole and hit the reset button. Then I can reset the code of the safe and open it without leaving a trace.”

Finn smiled, mischief in his eyes. “I think I can manage a ten-minute distraction.”

That… that didn’t sound good.

Finn took one look at Logan’s fearful face and laughed. “Relax, it’s nothing too dramatic. I’ll probably just ask for whoever takes Leo back to look at the safe and then throw a fit when they say he’s not available. And then I’ll drag out our conversation to give our dear Nut enough time. Simple.”

“That… actually works.”

Finn scoffed, giving Remus a look. “Why do you sound so surprised?”

“Because you’re Finn O’Hara.”

Finn thought about it for a second, then shrugged. “That’s fair.”

“Nut, when you open the safe you need to replace the real flash drive with this decoy.” Sirius said, holding up a blue flash drive. “This op might take weeks or months – if Riddle comes to check on this drive, he needs to see one instead of an empty safe. Now, if he actually checks the information on the flash drives… well, we’re screwed. Hopefully it won’t come to that. He doesn’t usually check the flash drives unless absolutely necessary – it’s too much of a hassle.”

“And I’ll loop the security camera footage when you get there, so there won’t be any evidence of you tampering with the safe.” Remus said. “Get in, get out. Not too hard, right? And we’ll both be with you every step of the way. You’ll have microphones and earpieces so that we can all communicate.”

Finn couldn’t tell if the bouncing of Leo’s leg was his normal restlessness or nerves. His face was a mask of calm that revealed nothing. For someone who didn’t have any previous experience in espionage or conning people, he sure was good at hiding how he was feeling.

Finn handed him another muffin anyways.

The dimpled smile he got in return was nothing but genuine.

***

Remus sat down on his couch with his dinner, sighing to himself as he stretched out his back. It had been a long day, but he finally felt ready for tomorrow. Their plan was solid, the cubs were as ready as they were ever going to be, he had his video loop for the security camera in the safe room, the rest of his tech had been checked over and deemed ready to go. There wasn’t much else he could do besides get a good night’s sleep if he could.

That would be easier said than done, though.

Sirius chose that moment to throw open the door and close it loudly behind him. Remus glared at him. “Is that really necessary?” He asked, but didn’t add anything else on as Sirius slammed down a stack of hand-written pages onto Remus’ coffee table. 

“You want me to open up? Fine. There’s all you need to know about me.”

Remus looked down at the pages and instantly felt guilty. How long had he been working on this? “You didn’t have to-”

“You said you couldn’t trust me.” Sirius interrupted coolly. “I can’t get my brother to safety if you guys don’t trust me.”

It appeared that his brother was his sole motivation. For all of this. Remus could understand that. He’d stop at nothing if the safety of his own brother was put into question.

“Yeah, but you didn’t have to do this.” Remus looked up at him, at the stiff set to his shoulders, the detached look in his eyes. He went too far the last time they’d talked about this, hadn’t he? “Look, we got along for over a week when you first got here. I think we can do that again, right?”

At Sirius’ skeptical face, he sighed. “This is on me just as much as you. I… I don’t trust easily.” He had to laugh at that massive understatement. “Perks of being a spy. But I feel like we can manage learning to trust each other the old-fashioned way.”

Sirius raised an eyebrow. “And what’s that?”

“Getting totally, outrageously drunk and sharing all our secrets.”

Sirius’ straight face only lasted for about a second before he busted out laughing. “You go from wanting my entire life story to wanting to get drunk together?”

“It’s a failproof way to gain someone’s trust.” Remus said solemnly, cracking a smile when Sirius laughed again, incredulous. “But not tonight. We’ve got a big day tomorrow.”

“This Friday, then?”

He couldn’t help but notice the hopeful look on Sirius’ face. Had he ever done this with someone before? Did he have any friends besides his brother previously? He put up this excitable, outgoing façade, but Remus honestly had no idea what lay underneath. He nodded decisively. “This Friday.”

Sirius hesitated, then spoke again. “Do you think they’re ready?”

“I think so. And we’ll be there if something goes wrong.” Remus met his eyes, trying to instill confidence into the ex-Snake. “No matter what happens, we’re going to do our best to get your brother out safely.”

“And what if that’s not enough?” Sirius asked, eyes haunted.

That was exactly why Remus hadn’t made any strict promises. There was no way to guarantee that they would get Regulus back. If Remus was in Sirius’ shoes, if this this was Jules instead of Regulus, what would Remus most want to hear?

“We’re going to do everything we can, I promise.” He said, soft but firm. “I know that’s not enough, but it’s the best we can do as of right now.”

Sirius stared back, then nodded. “Thank you.” He looked down at Remus’ food. “What’s for dinner? I’m starving.”

Remus laughed, shoving him away. “Get your own, you leech. This is mine.”

“Leech?” Sirius demanded, dramatizing his offence. “I can’t believe you called me a leech. You were the one who offered to house me, after all.”

That was true. Even if he hated to admit it, Remus was lonely. He lived in this apartment all by himself, worked mostly on his own, and his family lived miles and miles away. And being a spy didn’t exactly make it easy to find friends. He was distrusting and cautious by nature, especially after... well. After he left fieldwork and transitioned to a desk job.

He didn’t know why he’d offered to let Sirius stay, honestly. He just got this gut feeling that it was the right thing to do.

And Remus Lupin always trusted his gut.

“Worst decision I’ve ever made.” He quipped, laughing as Sirius threw a pillow at him. Sirius was a horrible roommate. He left dishes in the sink, beard trimmings on the bathroom counter, and his shoes haphazardly strewn about the living room.

But he always had hot water on the stovetop in the mornings when Remus woke up, always let him pick what they watched on tv at nights, and always replaced anything he had used up without being asked. And, if Remus was being completely honest with himself, soft gray eyes paired with an even softer smile weren’t exactly a terrible thing to wake up to.

So far, this whole roommate business wasn’t too bad.

***

Logan hated nothing more than being lookout.

He watched on as Finn and Leo geared up, testing their mics and earpieces and making adjustments accordingly. He was supposed to be watching the entrance to make sure no Snakes entered the building. They were doing the first bank heist while Logan was stuck here, in the car parked on the street, where he couldn’t see what was going on or if his partners were in trouble.

Their first mission, and he was stuck outside.

Ugh.

“You ready for this?” Finn asked Leo as he discreetly tucked a wire under his collar and out of sight. Leo had his eyes trained on the building across from them, wrapped in his coat and a thick scarf, fingers drumming out a staccato beat on his thigh. He didn’t seem to have heard Finn.

“Nut?”

Leo swiveled his head to look back at them. “Hmm?”

“You ok?” Logan asked, watching the blond’s face for signs of nervousness or stress. But his gaze was steady, determined. For someone on their first mission, he was remarkably calm. Either that or a much better actor than Logan had given him credit for. But then his expression flickered and a shadow of doubt crept in.

“I’m fine.” He said, and Logan couldn’t tell if he was trying to convince them or himself. He reached out and gave the blond’s shoulder a squeeze, letting his hand linger before trailing it down his arm and pulling away.

“You’re fine.” Logan reassured with a smile and watched the resolve build back up in Leo’s eyes, causing the knot in Logan’s chest to ease up a little.

That was better.

Finn looked at him for a second, then took his glasses off. “Here, put these on. I feel like your cover story requires glasses.” He gently eased them onto the other boy’s face. Leo blinked rapidly, then squinted and widened his eyes to adjust to the lenses.

“Jesus, what prescription is this?”

“It’s not that bad.” Finn said, ruffling Leo’s hair in retaliation. He took a step back to see the finished product and whistled lowly. “Damn, maybe we should take those off again. We’re supposed to be unmemorable when we’re undercover. No one will be able to take their eyes off you with those on.”

Logan had to agree there. Soft blue eyes blinked back at them from behind tortoiseshell frames, looking larger than they normally did. Leo buried his nose in his scarf in an attempt to hide the blush caused by Finn’s flirtatious words.

The sight did strange things to Logan’s stomach.

Remus’ voice reached them through their com link, startling all three of them. “You guys ready to go?”

Leo took a deep, steadying breath. “Let’s do this.” He looked back at Logan, eyes fierce – a stark contrast to the soft look of only a few seconds ago. Logan sucked in a breath of his own. This kid sure was something.

“See you in a bit.”

“See you in a bit.” Logan echoed, grabbing the car keys out of his pocket and letting his lips twitch up into a smile at Finn’s cheery salute. He leaned against the car door and watched the pair make their way around the corner and towards the bank without glancing back.

He got back into the car and moved it around the same corner before putting it in park. His eyes shifted between the street in front of him and his rearview mirror, a book in his lap to keep from raising suspicions, and settled in to worry and wait.

***

Leo shoved his hands in his pockets to keep from fidgeting and made his way to the front desk. Ignoring his pounding heart as best he could, he locked eyes with the teller and smiled. “Hi there. Is your manager here?” He asked, dragging his accent out slow and sweet like molasses. “I’ve got a few questions about your safes.”

She smiled back. “Sure thing. I’ll go grab him.” Leo thanked her as she left, looking around while he waited and trying his hardest not to squint too much in Finn’s glasses. 

“Nut, between the accent and the glasses - plus your looks in general - I think that girl is half in love with you already.” Sirius’ voice teased, causing Leo to flinch slightly. He needed to get used to hearing the voices of people he couldn’t see during these missions.

“She is not.” He muttered back as he pretended to rub his nose, covering his mouth as he spoke so that no one else could see it. His hand absentmindedly played with the old, frayed bracelet on his wrist.

“You can do better, Nut.” Logan chimed in, voice a little gruff.

“How do you know?” Sirius asked. “You can’t even see her.”

“I’m using my imagination.”

Sirius barked out a laugh while Remus just sighed and requested that they all stay focused. Leo glanced around at the lobby again. Finn was standing in line behind him, looking at something on his phone. He forced himself not to look at his partner too long and kept scanning the rest of the lobby. It seemed to be a pretty quiet day - there weren’t too many people inside. A few people were seated in the waiting area and some were waiting in line behind Finn. Leo saw the teller and a short, balding man who must have been the bank manager making their way back towards him.

Leo stuck his hand out when they reached him, which the manager shook with a fake smile on his face.

“Hi, how are you doing?” Leo asked, withdrawing his hand. “I’m Fred Decker with Tigerking Digital Security. I have on record that you’re currently using one of our safes, is that correct?”

“Fred?” Sirius’ voice asked incredulously. “Of all the aliases you could use, you choose Fred? Nut, you should be ashamed of yourself.”

Remus hissed at him to shut up. Leo ignored it.

“Yes, that’s right.” The manager said, a bit stiff. “What’s this about?”

“There’s a recall on a few of our safes. I was wondering if I could take a look at yours and see if it needs to be replaced. Free of charge, of course. This is an error on our part, and we want to do all we can to fix it.”

The manager hesitated, then nodded. “This way.”

Leo followed the man through a set of doors into a hallway, spotting Finn out of the corner of his eye as he approached the front desk and sent Leo a quick wink. That, more than anything, calmed Leo’s nerves. If Finn was acting like this was just run-of-the-mill and not a big deal, then they must’ve been doing something right. The door closed behind Leo, blocking his vision of the lobby. He took a fortifying breath and followed the manager into the safe room, secluded from the rest of the bank.

“Here we are,” The manager said, then pointed to a safe wedged into the corner of the room. “And there’s your safe.”

“The camera in the safe room is already on a loop, Leo. You’re all set.” Remus’ voice said, steady and calm. Leo looked the safe over, stalling as he waited for Finn’s distraction.

“Fuck,” he heard through his earpiece. “Leo, you’re going to have to hang in there for a few more seconds. The planned distraction didn’t work.”

Leo swallowed, looking back up at the manager. “So there’s these holes in the back, see?” He said, figuring a sure-fire way for him to stall was to talk about the safe. He could keep up a conversation like this for hours. “They’re used to bolt the safes into the wall. A few of our older models have larger holes.”

He grabbed the stiff coil of wire out of his pocket. “Some thieves have learned that you can get to the reset button in these older models if you use a tough wire like this and insert it through one of the holes. Basically all I want to do today is see if a thief could potentially do that with this safe. Is that all right with you?”

“Yes, of course! If there’s a problem, our client would want that fixed immediately.”

“I’m sure they would.” Leo said absentmindedly as he started fiddling with the wire for as long as he possibly could. He straightened it out from it’s coil, looked down it’s length, and then pretended to straighten some kinks out.

Don’t panic don’t panic don’t panic-

Remus’ voice was a little more tense now. “Finn, where’s that distraction?”

Finn, who was in the men’s bathroom grabbing handful after handful of paper towels and shoving them into a trash can, grumbled, “I’m working on it, ok? Sirius was right - that teller definitely has a type, and it sure as hell isn’t me. I had to improvise.”

“What does that mean?” Logan asked warily. Finn could practically see him gripping the steering wheel in a white-knuckled grip as he forced himself to stay put. “What are you doing?”

Finn grabbed the bottle of hand sanitizer on the bathroom sink and took the top off, dumping the contents into the trash can as well. He grabbed the lighter in his pocket (he liked to be prepared, thank you very much) and produced a small flame.

“Something stupid.”

He lowered the lighter to the trashcan and prepared to run.

Leo could hear the shouting from Finn’s distraction all the way back in the safe room. He looked up at the manager, pretending to be confused. “What’s going on?”

“I’m not sure.” The manager frowned, shifting from foot to foot nervously as he looked towards the commotion. “I’m going to check it out. I’ll be right back, ok?”

Leo waved him off with a reassuring smile. “I’ll be right here.” He messed around with the safe until the door closed, then hissed, “Finn, what the hell is going on out there?” He moved Finn’s glasses to perch on top of his head and shoved the wire through one hole in the back of the safe. He grabbed his flashlight to look through the hole on the other side, searching for a small red button.

“I might’ve started a fire in the men’s restroom.”

“You what?” Leo demanded, finally finding the reset button and moving the wire steadily closer to it. “You do realize that does the exact opposite of give me more time, right?” Sure enough, the fire alarm sounded, loud and clear.

“Fuck me.” Leo muttered as he jabbed the reset button with the wire. Someone - Leo thought it might be Finn, but he wasn’t sure - muttered something too soft and muffled to be picked up by their mic. Leo didn’t have the time to question it. The safe door opened with a soft click. He quickly switched the flash drive with the replica and closed the door again. The wire got recoiled and shoved back into his pocket, Finn’s glasses returned to resting on his nose. He climbed to his feet and made his way towards the lobby at a quick pace. “I’ve got it.”

“Nice work, Nut.” He heard Logan say, and couldn’t repress the jittery feeling he always got after a successful job. He exited the bank, looking around for the manager. He seemed busy as he talked to his employees in an attempt to get the situation under control. He caught Leo’s eyes and stepped towards him. “Mr. Decker! I was looking for you.”

Leo only just remembered to over-exaggerate his accent. “I heard the alarm and high-tailed it out here. Was it a prank?”

“No,” He said after a beat of hesitation, “Someone actually started a fire in the men’s bathroom. The fire department is on its way. Hopefully it won’t take too long and you can get back to looking at that safe.”

“No need, I already finished. The holes were too small for the wire, so y’all should be fine. Anything thinner than the wire I used will be too flimsy to press that reset button.” Leo glanced down at his watch. “I do have six more banks to visit today, though, so I’m afraid this is where I leave you. Thank you for being so cooperative.” He held out his hand for the manager to shake again and gave one last smile before walking back down the street towards their designated rendezvous, trying to look casual and not like he was running away from the scene of a theft.

Sure enough, a non-descript gray car was waiting for him, right where it was supposed to be. Without a word, he climbed into the back and sprawled across all three seats, throwing an arm over his eyes as Logan put the car into drive.

The three of them were silent for a few seconds before Leo cracked a smile and laughed. “The one thing – the one thing that could get me kicked out of that safe room too fast, and that’s what you decided would make a perfect distraction?”

Finn looked back at the back seat with a grin, which softened when he laid eyes on the blond. His hair shone in the late-morning sunlight, highlighting a streak of gray at his temple. Those long legs of his took up most of the back row, and even then he still had to bend his knees to fit all the way. His eyes were blocked by his arm, but Finn could’ve seen those dimples via satellite image from space. 

“Hey, cut me some slack. I was making it up as I went.” This sent Leo into another fit of laughter, causing Finn’s smile to broaden.

“Besides,” Logan added, “You’re quick with your hands. You didn’t need all ten minutes, you barely needed three.”

Leo shrugged, which looked really strange in his current position on his back. “Got lucky. Found that reset button faster than I usually do.” He adjusted Finn’s glasses, which were still resting on his nose. “Maybe I need glasses, too.”

“Shut up. Those glasses are a statement piece, thank you very much.”

Logan snorted, watching Leo’s hand reach over the center console to return the glasses to their rightful owner. “Maybe that’s why you’re a terrible marksman, O’Hara. When’s the last time you got that prescription checked?”

Finn gasped in offense. Logan glanced over briefly and noticed the tips of his ears getting red. Cute.

“How dare you! I am not a terrible marksman!”

“That’s not what your file says.”

“What?”

“The evidence doesn’t lie.” Logan said, struggling to bite back his grin. Finn was just so fun to tease.

“Screw debriefing. When we get back to the office, we’re going to the shooting range.” Finn crossed his arms over his chest sulkily. “Terrible marksman. How dare they. Nutter Butter, back me up here.”

Leo blinked at the new nickname, but he couldn’t say he minded it too much. Especially when Finn said it like that, with such unfiltered affection. He watched the redhead turn around in his seat to look at him with big Bambi eyes, only then remembering that he was looking for an answer from Leo.

He put on a show of thinking about it, then shrugged. “I dunno, Finn. The evidence doesn’t lie.”

“Et tu, Brute?” Finn whined. “Betrayed by both of my partners. Unbelievable.”

Leo wished there was another word for partner. Maybe he should refer to them as just coworkers now. The term partner was giving him ideas. 

Ideas he couldn’t afford to be having for the first and quite possibly the biggest op of his life.

“Also, you’re one to talk!” Leo looked back up at Finn when he realized he was talking to him. “Have you ever shot a gun before, rookie?” He stopped suddenly, then grinned broadly. “Oh man, please tell me you’ve shot a gator when you were back in Louisiana. That’s so badass.”

Leo arched an eyebrow.

“Just because there’s horror stories about gators doesn’t mean they deserve to be shot.” Logan said, switching his turn signal on and waiting for the left turn light to change from red to green. “They’re a big part of the ecosystem.”

“And they kill people.”

“Oh come on, when’s the last time you heard of someone being killed by a gator?”

“Literally last week, down in Florida.”

“Well, that’s Florida. Crazy stuff like that happens in Florida all the time.”

“Did you hear about that guy from Florida who made a beer run while holding a gator?”

Logan chuckled, glancing over at his partner in disbelief. “What?”

“You heard me! Apparently he walked in, looked around and asked ‘Y’all ain’t out of beer, are you?’ But then the story gets weirder!”

Leo just sat in the backseat and laughed at Finn’s dramatic retelling of Florida news as building after building flashed by outside their windows, feeling lighter than air. His first mission was a success. He grabbed the small, innocuous flash drive out of his pocket, twirling it in his hand. One down, six more to go. If all missions were like this, taking down the Snakes wouldn’t be so bad.

He should’ve knocked on wood after having that thought.

[mc-critical]

What are your thoughts on Ibrahim? For me it went from indifference and dislike in season 1 to liking in season 2 and becoming my favorite male character in season 3 tbh. Actually the only good male character by season 3 (season 4 has many other options too). He is probably the most complex and well written character and I really sympathise with him. His arrogance was his downfall but if Suleyman wasn't such a bitch it wouldn't have been lol. He wasn't wrong in that imo. He was a slave, a fisherman's son but his intelligence and skill took him farther than anyone else and it's not wrong to be proud of such a feat. He deserved the pride more than just about anyone, even Suleyman. What I dislike the most about him is his treatment of Nigar after their relationship ended. She's my favorite character and although their relationship itself was my favorite in the whole show (other than Nurbanu and Selim) it ended really badly

Ibrahim is one of my most conflicting characters on the series: one time I feel like I don't get the appeal, especially not the stans in one Bulgarian forum, he doesn't elicit such a strong emotional reaction in me as he does in others, but then once he hits an incredibly strong arc and I begin to analyze his character and all its dimensions, I come to love him for what he is and realize how much effort has gone in conceiving and developing him. He's certainly the most well-written male character that isn't a sultan or a prince in the entire franchise. (the sultans aren't the brightest, but the bar is so high when it comes to their writing. There isn't any of them that is badly written. The princes are also well developed, but now that I think about it, Ibrahim surpasses some of them as well!) He's delightfully fleshed out with every detail; his actions, while morally ambiguous at times, are very understandable and you can clearly see the deeper, nuanced reasons why he does what he does. His arc was a sight to see from beginning to end and watching it reach its inevitable tragic conclusion was heartwrenching. At a point he became so important to the narrative, whether it was intentional or not, that the show (or actually, S03B in particular, because S04 was absolutely fantastic!) began to lowkey miss something without him. He had such a strong presence that couldn't be matched by anyone else after him.

[To be brutally honest though, I find his dynamic with Hürrem in terms of screentime to be kinda overrated. Not that it's bad or anything, quite the contrary - their chemistry was great, they were consistent and fun to watch, they had quite a few great scenes that were definetly more than Hürrem and Mahidevran's, I dare even say this is one of the most solid antagonistic dynamics of Hürrem's writing-wise, but I just find it sometimes gets way too much credit? It's weird, I know.]

The most interesting thing about him is, without a doubt, his fatal flaw that I... actually don't think is arrogance. It's not up for argument that Ibrahim can definetly come off as arrogant, but the arrogance is rather a manifestation of his fatal flaw, not his fatal flaw itself. I believe that it's precisely his inferiority complex that is the root of his vulnerabilities: as you said, he's been only a fisherman in Parga, and his background is both a source of memories where he can recall his more "innocent" days with his family and a tough spot for him where he is consistently reminded of something that is already in the past after all he has achieved. He did want to return to Parga, to see who he used to be one more time, but after that it's as if he never gets a chance to forget, to put it behind him. He pretends he has forgotten, but that consistent reminder of how he has started seems to be constantly haunting him to the point he begins to remind himself of it. It's not only people like Figani, Iskender Çelebi or the other members of the divan in early S01 that don't let him forget, it's as if he himself doesn't want to forget. It's undeniable that he had climbed up to heights he wouldn't dream of and the role of a grand vezier needed getting used to and to be dealt with with care. On one hand, we could argue that he reminds himself of Parga as a way to preserve his moral compass, in a way, to realize when and how he has screwed up or remind himself of the limitations of how far can he go, for Süleiman is his friend and companion who he wouldn't want to disappoint. But on the other hand, the more he rose in the hierarchy, the stronger became a wish for him to exceed these limitations placed upon him by everyone around. Süleiman is able to give him everything if he wishes, so why not let it happen? Then he's going to prove to everyone, prove to his inner demons, this sense of inferiority that he, in fact, can not only become the most politically adept grand vezier there is, but a person who has his own country within the country and can rule it with ease. The political arena ultimately becomes a target of his inner conflict where he projects more power than anyone else, is most influential and does the best in order to gain the goal, not only to gain SS's approval, but show that, yeah, he can do his best for the role he's put in, fixating on the Ottoman country he claims to be a ruler of and his apparently endless rights. It turns into a coping mechanism where he can escape his past and background and he gets so sucked in it that his self awareness becomes less and less. That's where his arrogance comes from and I feel that if he didn't possess that complex of his, he would've managed things way better and had more self control, as a result. He was a very good politician in the show, setting in motion many good strategies (his strategy gave them the Mohacs victory after all), having a strong, pragmatic mind and many innovative ideas and if he didn't try his hardest to convince himself he's worth something that isn't just the story of the fisherman in Parga, Hürrem wouldn't stand a chance against him.

This inferiority complex is the reason for his infidelity, too. He loves Hatice dearly and he never expected that she of all people would do the very thing he dreads the most. Her pulling rank on him came as such a shock for him that it seemed he would never forget or forgive. It put infinetly more salt to the wound, deeply hurting his ego and the self-esteem he was just beginning to gain. That's why he let himself in Nigar's hands for so long, for she would only want to please him, for that relationship would have no limitations whatsoever and wouldn't restrict Ibrahim in any way. It was something that was his, something the dynasty would never touch or learn about. I love Nigar and Ibrahim's relationship, too. Principally, I'm not a fan of love triangles at all, but that one is a notable exception for how wonderfully, but crushingly psychological it is. It wasn't added in only for the sake of the drama, it was set up for very long and it was like the characters actually got there through their own actions and they had to truly face that struggle to flesh out and evolve. But there wasn't genuine love there, not in Ibrahim's part. That was his biggest weakness speaking, causing the illusion of love, not the real feeling of it. He wanted to preserve this relationship as the fisherman in Parga, but to me, it felt like he showed something more similar to his own confident assertions of the power of a grand vezier than actual regard for Nigar's feelings. It all was a lie he wanted to believe, because of his ego's denial, and he believed it so much he told Nico that Nigar was the person he truly loved in E51. And when he did get out of the lie (the monologue in E57), see how he reacts differently in front of her now - he turns off every single try of hers to give him affection, he reacted very badly when he learned she was pregnant, it was as if he wanted her to wake up from the dream and move on, too? And due to his inner conflict that perpetuates his arrogance grew even more in S03, he got over Nigar, but not over her child. Esmanur's birth made him return to and enforced his old habits that made him consider that child as another piece of solace, something out of the dynasty, also only his, trying so desperately to have her live with him and Hatice. The infidelity and the way he treated Nigar after he realized the error of his ways are ones of the worst things Ibrahim did, along with Leo (now, I get he wanted to knock Hürrem down a peg, but that was admittedly much for me.) and while I understand why these events and interactions came to fruition, I can't justify him for them.

I agree that had Süleiman not given him as much power, his inferiority complex would be highly downplayed, at the very least. He underestimated the possible consequences of Ibrahim's rise and it really doesn't look like he knows him as much as he thinks he does. Whether he did it to test him (SS's lasting reminders that Ibrahim gets closer to death) or because he loves him dearly and wants to embrace his potential ("I want you to use that mind only for me!") or both, it's like he gave him both too much freedom and too many boundaries at once. I mean, I understand why SS executed Ibrahim: his affirmations, no matter their backstory and how metaphorical they are, pose a definite threat for a padişah and along with his growing paranoia of betrayal, he couldn't be sure how far he was going to go anymore. It's as if Ibrahim crossed every line, openly acting like he controls the padişah and his state in front of the fellow pashas, efendis and ambassadors and that couldn't be controlled anymore. It's as if he had done his best efforts to bring him down to earth, but since none of it was working, he decided to act accordingly. The many "failures" of Ibrahim have been piling up in the narrative in the span of 81 episodes and I get why SS would finally snap for what was the final straw. However, doing so much unprecedented stuff for a grand vezier was bound to bring disasters for the padişah due to the chance in his mind that he would try to question or prevail over him, hence Süleiman should've realized that it was only natural one would want more and more. And that happened with S03 Ibrahim - he fought more and more with his inner demons, hence wanting to have more and more to be validated by the others and by his own ego that perhaps wouldn't feel satisfied regardless.

While his fatal flaw underlines his complexity, it also gets complimented by his many positive qualities: his love for Hatice was very sweet in the beggining and after the Nigar plot, it turned out to be really genuine - their reconciliation was very telling in that aspect; his relationship and loyalty to Süleiman deserves respect, even though his inferiority complex came in the way, he still would never give him up and never once lost hope in his recovery when he was in his deathbed and while that may become up for debate in S03, he would never openly stand against him and would gladly try his best to please him; his bond with Mustafa is amazing, too - I love how he practically raised that kid and gave him sound advice as well as his mother; that said, his relationship with Mahidevran deserves more appreciation and it is one of the most reciprocal and understanding, soft and "carefee" dynamics of the show; I love his dedication to his family and how he loves them as much and remembers them with the same fondness as ever before. In short, when going in depth, this multifaceted character has so much to offer, like, wow!

Okay, when I first watched the show, there was that point where I felt Ibrahim overstayed his welcome and I even wanted for Hürrem to finish him already (heh, those were the days! 😅) but now when I've rewatched and reexamined MC many times, I see that despite of his few negative traits, everything about this character flows so well and so organically and it's one of the characters in the series that have aged really well with time in my eyes. And I respect him so much for that.

[mismashedsocks]

 so riordan made a half assed lame excuse on his lazy/racist writing on piper yesterday and on top of that he made another one on samirah and i’m muslim so i am going to talk about it

damn i’m so sorry these people have been pushing you past your comfort zone about your wildly popular racist caricatures of minorities that have great impact on your young, impressionable target audience. while its fine that if he takes a break for his mental health he still needs to deal with these problems you can’t just take a break and hope they go away.

why does he think everyone is bullying him. if they talked in all caps, cussed at you, or didn’t stop bothering you, i’m sorry they’re just trying to get you to realize how racist your books are, which you keep refusing to believe. i can believe that a few of them were doing it for attention, but it couldn’t be the majority. and my god, god forbid people want you to write your books the way you preferred, without racist stereotypes. 🙈

you can set your boundaries but you keep ignoring the people, you don’t listen. like you put yourself out there as a writer you are open to criticism

why does he keep doing this to seem like the good guy. you give excuses and don’t do anything and just say that its up to you, you can think whatever you want 🥰🥰. like its such an obvious excuse not to take any action.

i’m sorry but no matter how many muslims you’ve interacted with you haven’t gotten the full experience and last time i checked teachers aren’t the kids best friends soo uhm. anyways the rest of it is just him telling his experience with muslimah students so its just there.

so uhm you just said your students ‘unwillingly’ become an ambassador to everyone she knew’. and then you went to talk to them about islam to make sure you were TEACHING THEM YOUR SOURCE MATERIAL CORRECTLY. i’m sorry imagine. these are kids not some scholars you go to consult. there are so many muslims all over the internet and youtube sharing their experiences for you to access on how to ‘represent their experience’ correctly. you’re the teacher here. picture this:as a muslilm, i teach at a public school and while teaching about Christianity in class, no i would double check or some dumb shit with the students. like educate yourself i’m sorry. anyways apparently he blames his mistakes on himself then goes on to deny he ever made any mistakes i can’t.

so this is a blatant lie. 99% of muslims i’ve met have never read all of sahih bukhari and sahih muslim. usually only scholars do that when they are studying islam for YEARS. and FIVE different interpretations of the quran on top of that. ok so sahih bukhari is 9 books that are over 300 pages each and sahih musilm is 7 volumes with also about 300+ pages each. and then the english versions of the quran are 600 pages. and he claims he read five of them. i’m so sorry but no he didn’t. he writes books so fast and he released mcga around the time toa was being released almost one book per year so he did not have a lot of spare time. the rest ig i can let slide. also and if he did do all of that why does he make so many mistakes in writing samirah. and even IF you accept his excuses reading ALL of this source material is great for teaching your class or whatever but not for writing a modern day muslim. you don’t need to lie to us rick ❤️

most of this is just describing what she’s like but his writing did also add in the model minority, smart kid trope. like no they don’t have to be a terrorist or a A+ student who is the best at everything. there is a middle ground to their personality. 

i actually used to love his rep in sam. that’s how i got into the series. i saw a hijabi girl on his website. i got excited and read all of his books. i loved piper, leo, hazel, percy, annabeth, sadie, carter, nico, everyone. now that i look back i was younger and didn’t see anything wrong with it back then. its great that he tried to portray minorities but he did it so badly and now is just denying the faults that his now older readers are trying to tell him.

hey, uhm didn’t you read all of sahih bukhari and muslim? hmm i didn’t think so. anyways the way he dealt with it honestly wasn’t that bad. but the whole ‘whoops’. like why does he keep portraying himself as the innocent old white man just trying his best.

honestly how he wrote samirah as a hijabi was the dumbest thing i’ve ever read. its is totally fine if she wasn’t hijabi, many muslim girls aren’t, and that is their choice. but he decided to make her like a weird middle ground. it was so lazy and inconsistent. in the first book she says she wears it when she needs to, like in situations like going to the masjid. this was fine, since many muslim girls do that. then in the next books she wears it all the time except when she’s in valhalla for some reason. hijabi girls take of their scarves when they’re at home or with family, but making her claim the entirety of vallhalla as her family. that was just demeaning and stupid to me. it takes away its value. and i fucking hated that last sentence. for hijabis, their hijab is important and not a toy or weapon or a MAGIC ITEM. and then on top of that she would have to take it of to hide. he could’ve made it anything else. her hijab isn’t some token item istg.

i love how he admits that they are a big problem and abusive and usually engage with child marriages. i’m relatively he doesn’t understand what the people even meant by it. the practice is a problem that isn’t supposed to be seen in a nice light. the only possible way it could be slightly ok is that if ADULTS agree they 100% do not want to choose who they want to get married to and let their parents choose, and both sides agree. samirah was a child and he decided to make her wedding life decided since the age of 12. and it was ok because amir was conventionally attractive and she loved him. WHAT IF SHE DIDNT. this literally is a dangerous arranged marriage. and arranged marriages are not ok, and mostly perpetuated by victims of it who will end up passing it down their family lines. my parents got an arranged marriage and I HAVE NEVER SEEN THEM DISPLAY ANY SIGNS OF AFFECTION. arranged marriages are not a trope that your can turn around to be a quirky personality trait for your characters.

i’m sorry that’s not how arranged marriages work. most likely if she said something her grandparents would have shut her done and continued with the marriage, as that is what you usually happens. do not portray the small amount of consented, ‘happy’ arranged marriages as the majority. it is a huge problem that many desi/middle eastern cultures are trying to erase. even on top of that he writes situations where she’s going to be in trouble for acting up and ‘jeopardizing the marriage agreement’ and that her grandparents think she’s ‘lucky that she could get the fadlan family to agree to marry their son to her’. these statements are often used in forced and dangerous marriages, so don’t try and justify your actions. if you wanted to show traditional customs in a positive light, there are so many richer parts of samirah’s culture you could’ve focused on and you chose arranged marriage. 😻 all you’ve done is given parents and authority figures a westernized resource to justify arranged and forced marriages, especially with the minimal explanation on how the marriage isn’t forced in the actual books. and yes, your books do condone child marriage samirah is clearly deemed into this marriage ever since the young age of 12. she lived her life knowing she would marry amir. no one has only one crush throughout their life. imagine how she would’ve grown up. sorry you only consider opinions that align with those in you mind.

i’m going to be honest i did like that one scene it was written nicely and accurately but the explanation he gives just ruins the entire thing. the way he just if this strikes you as islamophobic, or samirah as a hurtful, uhm no explanation i just disagree 😽. the way you wrote her is a hurtful stereotype sorry you can’t see it.

oops, you did. too bad you don’t want to do anything about it.

why do you think people are painting you in a negative light, so many of your characters are written on hurtful and negative stereotypes. people aren’t painting it that way, you need to calm down w your ego and listen. dang i’m sorry your best is giving half-assed excuses and not actually doing anything. i’m even more sorry people are mad that a highly privileged author that has a lot of influence is done talking about his racist depictions of minorities in his books. 

dang must be lucky to take a break from the social media, imagine what all the minorities you wrote about have to go with everyday weather they are on social media or not. people aren’t bullying you this is valid criticism you refuse to listen to.

fuck you

obviously these are my opinions do not judge every muslim based on what i’ve said come to me if you have a problem with it

anyways support jewish, muslim, black, brown, asian, hispanic, indigenous, lgbtq+, disabled, and other minority authors and creators.

[heyheydidjaknow]

For anyone who is wondering why I deleted the chapters, I was very tired and forgot what tenses were, so I had to go back and change it all, and that is a pain on Tumbr. Tumblr also, apparently, either has a character or word limit, so this is our first 2 parter. I know I could just separate them into chapters, but I feel weird about making a whole chapter devoted to a date, so.

Edit: Who was gonna tell me I misspelled Casey?

Chapter 6 Pt 1

Leo sighs. “Okay, the fact that this will be the second creepiest stunt you’ve pulled this week says a lot.”

“Relax.” Donatello draws another line. “If she has a map of the foreseeable future and showed it to me, it obviously makes sense that I should answer in kind.”

“But,” Raphael points out, “this is the most desperate thing he’s done this week.”

“Zip it.” He caps his pen, holding his diagram up and walking off to his newly obtained whiteboard. “Besides, it’s not a comprehensive flow chart—attempting to list every possible conversation thread would be futile. It's simply a visual aid to remember the general actions I should take in any given situation.” Although you have been promising to “teach him a thing or two” about plot structure one on one, a part of him thinks it appropriate to make the first move. It appears to be the gallant thing to do, anyhow.

Mikey hops over the table, following one of the paths with his finger. “How come you have a shark on this one?”

“Oh,” he nods, “that’s in case she decides to go to the beach and gets attacked by a shark.”

“And why are there these Xs on this one?”

“That signifies the end of one of our lives.”

“And the hearts?”

He blushes. “I’m not answering that.”

Raph shudders. “Man, this just feels gross. I can already feel the secondhand disgust.”

“Raphael,” Donatello sighs, “love is a complex enigma that, if not thoroughly considered and tailored, will crumble before your very eyes. I cannot and will not destroy what little relationship we have by being reckless. Besides,” he scoffs, “in what other possible manner could I ask her out?”

“Hey, Y/N,” Leo offers, “let’s hang out.”

“See, that’s too pedestrian.” He gestures to the poster. “Trust in the—”

You slam through the door. Donnie, apparently panicked, flips the board over with fumbling hands. “H-hey, Y/N. Hey.” He stands up properly, clearing his throat. “Hey.”

You point at him. “How do you feel about busting a corrupt disgrace to the title of scientist?”

“Good!” He peaks at his board, trying to steal himself. “Where are we headed?”

“A neuroscientist by the name of Rockwell got mutated.” You start heading out. “Asshole in question is Victor Falco, AKA Feral Falco, AKA The Rat King if we don’t haul ass. He’s at Rockwell’s lab.”

“Awesome. Let’s go.” He runs after you, shooting a thumbs-up back at his brothers.

You are going to murder a man tonight. Probably. Hopefully not. Depends on how hard it is to wreck his shit. You have been stalking the Channel 6 news for about a week now, waiting for the jackass to show up, and now that he has? You are not about to let him become the monster you knew he could and would become.

“So,” Donnie startles you, lost in thought, “how was your first day of class?”

“It was fine. Met Casey, avoided Irma like the plague, all that jazz.” You turn a right.

“Casey?”

“Casey Jones. Hockey player, real bad at math.”

“A guy?” He seems interested in this subject for some reason.

“Yup.” You reach into your bag, wrapping your fingers around your kitchen knife, hands already shaking. If you must kill him, you will make it quick. “My age.”

“Oh.” He sighs. “That’s… nice.”

‘Can I just take him to the police? I don't have any evidence. This is breaking and entering.’

He clears his throat. “Y/N?”

“Hm?”

“We’re here.”

You look up at the building, sigh. “So we are.”

He moves in front of you, moving to meet you at eye-level. “Is there anything I need to know before we go in?”

You take a deep breath. “The man in the lab coat is the perp. We need to take him down, first and foremost. He may act a fool, but he’s accountable for the mutation of his partner. We either have to incapacitate, convict or, if necessary, kill him.”

He swallows. “This guy is that bad?”

“Not yet.” You start pulling the knife out properly as you push the door open with your clothed arm. “But it’s best to pull a weed out from the root.”

He follows you closely.

You look down at your phone to double-check that this is the offending room. “Here.” You back up, gesturing to the door eccentrically, heart pounding in your chest. “This is the room.”

He approaches you, brow furrowed. “Y/N,” he asks cautiously, “don’t take this the wrong way, but you look sick. Are you alright?”

You nod. “Nervous is all. Haven’t done this sort of thing before.”

He offers a reassuring smile. “Don’t worry.” He gives you a thumbs up. “I’ll be with you every step of the way, alright?”

Your knuckles go white around the grip as you try to release some tension. ‘Don’t choke. That’s his job.’ “Yeah.” You return it. “Oh, are you free tomorrow night? I still have to give you that lesson.”

His face lights up. “Y-yeah! Totally!” He grins eagerly. “Should I go to your place? At what time?”

“We’ll hash out the details on the way back.” You look prominently to the lock. “Now, I take it you have some gadget or gizmo to help us open this bad boy?”

He kneels, pulling a device from the utility belt on his hip and sliding it into the card reader. “Of course.”

The door lets out a harsh buzz, the light turning green. You pull your sleeve forward onto your hand, pushing the door open.

The room smells like metal and mold and decay, a certain lethality hanging in the air when you enter. You stay close to the wall, pulling down a lever to illuminate the harsh laboratory in an even harsher light. And there, caught frozen as he pockets a vial, is Victor Falco.

His eyes flicker towards the door.

You tackle him to the ground, shifting your weight back onto his legs, and pin his arms above his head. “Donnie,” you call, stopping his struggling with a knife pressed against his neck, “would you be so kind as to find a few things for me? I can tell you where they are in the room, but I’m a bit preoccupied.”

“Uh, sure.” His voice sounds strange to you. Tight. Nervous? Confused? You ignore it for now.

“What is the meaning of this,” the scientist bellows from underneath you. “I demand you give me an explanation!”

“Oh be quiet, traitor.” You press the blade against his skin. “We both know the crime you’ve committed against your partner.”

His eyes widen.

You keep your eyes locked on him at all times. “The first thing you’re looking for is a container of mutagen. When you get to the desk, you should see 2 stacks of drawers.”

You do not hear his footsteps. “Mhm.”

“The bottom left drawer has a false bottom. If you pull it up, you’ll find a canister of mutagen.”

You hear the drawer slide open, the shuffling of papers. “Got it.”

“Fantastic. Now, on the desk should be a flash drive belonging to Rockwell. Grab that.”

“How could you possibly know?” You feel his wrist tense as he clenched his fist. “I was so thorough.”

“I’m psychic,” you lie, smiling coldly. “Be happy I met you here and not in your home.”

“Anything else?”

“Whatever is in his pockets, besides car keys and a wallet. You’re getting new chemicals.”

The doctor does not seem to like that idea. He starts writhing underneath you.

“If you don’t stop moving,” you sigh, bringing the knife up and down quickly, hovering over his left eye, “you, a neuroscientist, will have the pleasure of discovering firsthand if what people say about losing your depth perception is true. See, I’ve always heard that it settles, but I’m more than happy to see it happen firsthand if you’ll indulge me.”

“You wouldn’t.”

“You aren’t sure.” You chuckle darkly, fingers wrapping tighter still around his wrists. “I don’t need to be a psychic to feel your shaking.”

Out of the corner of your eye, you see a green blob crouch down, pulling vials from his pockets.

“You’re a child.”

“And yet I’m the one holding a knife to you.” ‘Why am I so calm?’ “You’re selfish. You’re prideful. You won’t try anything because I know you to be cowardly, and you won’t say anything,” you nod, “because, if you did, you would have to admit to breaking into your missing partner’s lab, and deal with the backlash regarding me and my associate bringing that hard drive to the police and letting them connect the dots.” You smile sweetly. “Donnie, would you be so kind as to get some distance between you and Mr. Falco?” You do not look over at him, focused on the current task. “If he pulls anything, you need to be able to bring that to the police.”

“Got it.” A few seconds pass. “I’m by the door.”

You slide the carving knife in that general direction. “Goodnight, Falco.” You grab his hair, slamming his head against the ground once as you leap to your feet. You grab the knife, sprinting towards the door. “And that is our cue to leave.”

Donatello, who is having interesting feelings about the whole thing, appears to have been snapped out of some sort of trance. He nods, and the both of you exit the scene.

--

You wipe your mouth on your sleeve, shaking as you rest your chin on the edge of the dumpster. “T-thanks,” you smile shakily. “I appreciate it, really.”

“Not at all.” He let your locks fall from his hand. “I imagine it’s hard, what with having hair and all.” He helps you down from your perch on a stack of crates. “Are you feeling alright now?”

“Besides my mouth tasting like stomach acid? Never better.” You sigh, rubbing your face with your hands. “Sorry. The nerves just kinda…” you trail off, cheeks dusted pink. “Well, you get the idea.”

“It’s alright, really.” He smiles fondly. “You were really bold in there. It was really cool.”

“I don’t feel cool. I feel the opposite of cool.” You start down the alleyway. “But at least we stopped a ton of problems in its tracks.”

You hear a primal cry as a large primate lands in front of you.

You look him in the eyes, already tired of this episode. “Good evening, Dr. Rockwell.”

His eyes snap to Donatello, who was already unsheathing his bo staff. You look over your shoulder at him. “Chill out. He’s cool.”

“He’s a giant monkey!”

“Dude, he’s a well-esteemed scientist.” You turn to face him properly, holding his arms out to get some proper separation. “Put the effin stick down.”

“But—” He stops, takes a deep breath, and sheathes the staff. “Alright. I’ll trust you.” He seems almost disturbed by your apparent ease.

You turn back to face him properly, smiling. “Doctor,” you nod, “your partner will be of no concern to you from this point onward. Rest assured; his research has been halted.” Your tone is politely respectful.

The wild eyes of the primate calm. He seems to at least sense the general sentiment. He nods once, leaping up onto the nearest rooftop and disappearing into the night.

You nod in satisfaction, looking back at the stunned Donatello.

“He calmed down so easily.”

“He has a human mind, for the most part.” You shrug, continuing down the alley. “Let’s head back. Man, if you dad knew the kind of trouble I just got him out of.” You giggle at his dumbstruck expression, walking backward to keep facing him. “Well, are you just gonna stand there lookin pretty or are you going to come with?”

His face goes red. He nods once, hurrying after you.

You two walk quietly for a little over a minute. “Hey, uh, can I ask you something?”

“Totally.” You decide to bite the bullet and pull of the manhole cover. “What’s up?”

“Why do you call him that?”

“Call who what?” You start climbing down.

“You know, not call him Master Splinter.” He pulls the cover back on, landing beside you. “You always call him my dad or Yoshi or Mr. Hamato.”

“Well,” you shrug, “he’s your dad, right?”

“I’m not saying it’s a problem,” he clarified, “or that’s it’s incorrect, but most people—myself included—refer to him as Master Splinter.”

You start walking with him. “Don’t take this the wrong way, Donnie,” you sigh, “but, if I can help it, I honestly hope I never have to call him that.”

“Why?” He walks beside you, eyes tracing your figure subtlety.

“Didn’t I already say?” You nod back in the direction you guys came from. “You saw how I acted back there. This is only episode six or seven. The trauma I’d have to go through as a ninja here would kill me,”

“But you have the guts for it.” His voice is certain. “You’re strong enough, mentally, to be a ninja.”

You pause, your throat catching. You wonder if he would still think so if he had seen how you had spent your nights.

He clears his throat, blushing again. “I think you are, anyway.”

You wrap your arms around his neck, burying your face in the crook of his neck silently. You feel him seize up under you. “Thank you,” you mumble.

He slowly relaxes, snaking his arms around your waist and pulling you closer. He rests his head on top of yours gently. Slowly, he buries his hand in your hair. He is always so warm— he makes you feel oddly safe. This is only the second time you have been this physically close to him, but you don’t think for a moment that he would try anything.

You back off, clearing your throat as your cheeks catch fire. “Sorry,” you smile timidly. “I’ve just been… I’m not usually this clingy.”

He blinks out of his stupor, looking down at you. “Huh? Oh, don’t worry about it.” He grinned giddily, almost drunk. “Y-You are all good.”

You swallow. “I’ve gotta do an introduction type project for school, so I gotta get back home.” You walk back in the direction you two came. “Come to my place at about seven tomorrow. I’ll order food.”

He nods, body relaxed. “Seven. Got it.” He does.

You wave, walking back to the ladder. “Then I’ll see you then.”

He stands there, watching you leave. As soon as he hears the sliding of the manhole cover back into place, he takes a moment to celebrate the victory before starting to walk back to the lair.

‘I got a date!’

Table of Contents

Chapter 5

Chapter 6, Part 2

[strangeandforlornbooks]

best books with morally ambiguous narrators!

all y’all’s problematic faves and villains! :) also included are third person narrators but in books with morally ambiguous leads/themes 

Sci-fi

Scythe by Neal Shusterman: in a future free from pain, disease, and war, people can live forever. ‘scythes’ are given the power to decide who lives and who dies to preserve the balance. sad and kinda gives of hunger games vibes, if you like that.

Neuromancer by William Gibson: basically invented the cyberpunk genre. strange and removed protagonists. (a team of computer hackers have to face off against an evil AI). you kind of dislike everyone and suddenly you’re crying over them. one of those trippy sci-fi classics.

The Sirens of Titan by Kurt Vonnegut: very beautiful and very very sad (same author as slaughterhouse five). the richest man in america has to face a martian invasion. more about free will and bad people doing good things than a plot that makes any kind of sense.

The Man in the High Castle by Philip K Dick: set in an alternate universe where the germans and japanese won world war two. not really like the tv show at all- it’s not an action story, and there’s not really the hope to somehow fix the world that drives a lot of dystopia stories. instead its about how people survive and connect to one another in a hopeless society.

The Scorpion Rules by Erin Bow: a supercomputer convinces the leaders of the world to keep the peace for hundreds of years by taking their children hostage and obliterating any city that disobeys. what happens to the hostage protagonists when war seems inevitable? lots of morally fraught decisions and characters slowly losing their identity. (plus a fun lesbian romance)

Cryptonomicon by Neal Stephenson: a brilliant mathematician and a dedicated marine fight to keep the ultra secret in world war two. fifty years later,  a tech company discovers what remains of their story. one of the most memorable sequences in the book is a japanese soldier slowly becoming disillusioned with his nation and horrified by the war even as he continues to fight.

Blade Runner by Philip K. Dick: another one of those sci-fi classics that’s not at all like the movie. there is a bounty hunter for robots, though, as well as a weird religion that probably is referencing catholicism and a decaying society with a shortage of pets. kind of a trip.

Wilder Girls by Rory Power: girls trapped in a boarding school on an isolated island must face a creeping rot that affects the animals and plants on the island as well as their own bodies. the protagonists will do anything to survive and keep each other safe. very tense (and bonus lesbian romance whoo)

The Fifth Season by N K Jemisin: three women are gifted with the ability to control the earth’s energy in a world where those who can do so are forced into hiding or slavery. some veryyyy dark choices here but lots of strong female characters.

Historical Fiction

Fingersmith by Sarah Waters: two victorian lesbians fall in love as they plot to betray each other in horrific ways. lots of plot twists, plucky thieves, gothic settings, and a great romance.

Quo Vadis by Henryk Sienkiwicz: a powerful roman soldier in the time of Nero plots to kidnap a young woman after he falls in love with her, only to learn more about the mysterious christian religion she follows. very melodramatic but some terrific prose. 

All the Light We Cannot See by Anthony Doerr: a blind girl in France and a brilliant German boy recruited by the military struggle through the chaos of the second world war. ends with a bang (iykyk.) very sad, reads like poetry.

Boxers by Gene Luen Yang: graphic novel reveals the story of a young boy fighting in the boxer rebellion in early twentieth century china. the sequel, saints, is also excellent. beautifully and sympathetically shows the protagonist’s descent into evil- the reader really understands each step along the way.

Fantasy

Three Dark Crowns by Kendare Blake: three triplets separated at birth, each with their own magical powers, have to fight to the death to gain the throne. lots of fun honestly

Six of Crows and Crooked Kingdom by Leigh Bardugo: everyone in these books is highly problematic but you love them all anyway. a ragtag game of criminals plan a heist on a magical fortress. some terrific tragic back stories, repressed feelings, and revenge schemes.

The Dark Tower series by Stephen King: idk how to describe these frankly but if you can put up with King’s appalling writing of female characters they’re pretty interesting. fantasy epic about saving the world/universe, sort of. cowboys and prophecies and overlapping dimensions and drug addicts galore.

The Amulet of Samarkand by Jonathan Stroud: lots of fun! a twelve year old decides to summon a demon for his cute lil revenge scheme. sarcastic demon narrator. lighthearted until s*** gets real suddenly.

Elegy and Swansong by Vale Aida: fantasy epic with machiavellian lesbians and enemies to lovers to enemies to ??? to lovers. charming and exciting and lovely characters.

The False Prince by Jennifer Nielsen: an orphan boy must compete with a few others for the chance to impersonate a dead prince. really dark but very tense and exciting and good twists.

The Grace of Kings by Ken Liu: fantasy epic. heroes overthrow an evil empire and then struggle as the revolution dissolves into warring factions. interesting world building and three dimensional characters, even if they only have a small part.

Circe by Madeline Miller: the story behind the witch who turns men into pigs in the odyssey. madeline miller really said, i just used my classics degree to write a beautiful gay love story and now im going to write a powerful feminist retelling because i can. queen. an amazing and satisfying book that kills me a lil bit because of the two lines referencing the song of achilles.

Heartless by Marissa Meyer: the tragic backstory for the queen of hearts in alice in wonderland. a little predictable but very fun with a compelling protagonist

A Song of Ice and Fire (Game of Thrones) by George RR Martin: ok I know we all hate GRRM and rightfully so but admittedly these books do have some great characters and great scenes. they deserve better than GRRM though. also he will probably never finish the books anyway....

A Series of Unfortunate Events by Lemony Snicket: not really fantasy but not really anything else either. plucky, intelligent, and kind children fight off evil plots for thirteen books until suddenly you realize the world is not nearly as black and white as you thought. 

Classics

Rebecca by Daphne du Maurier: gothic romance!! a new wife is curious about the mysterious death of her predecessor in a creepy old house in the British countryside...good twists and lovely prose.

A Separate Peace by John Knowles: not really morally ambiguous but one awful decision suddenly has awful consequences and certain people are haunted by guilt forever.... really really really beautiful and really really really sad. boys in a boarding school grow up together under the shadow of world war two.

Anna Karenina by Leo Tolstoy: while imperial russia slowly decays a beautiful young woman begins a destructive affair. a long book. very russian. the ending is incredibly tense and well written.

Lord of the Flies by William Golding: I think you know the plot to this one. the prose is better than you remember and the last scene is always exciting.

And Then There Were None by Agatha Christie: one by one, the guests on an island are slowly picked off. one of Christie’s darkest mysteries- no happy ending here! very tense and great twists.

Contemporary

The Secret History by Donna Tartt: inspired the whole dark academia aesthetic. college students get a little too into ancient greece and it does not end very well. lovely prose but I found the characters unlikable.

Honorable Mentions

The Dublin Saga by Edward Rutherford: has literally a billion protagonists, but some of them are morally ambiguous ig? follows a few families stories’ from the 400s ad to irish independence in the 20s. beautifully captures the weight and movement of irish history.

Artemis Fowl by Eoin Colfer: how morally ambiguous can you be if you’re, like, eleven? a lot if you’re a criminal genius who wants to kidnap a fairy for your evil-ish plan apparently!

Redemption by Leon Uris: literally my favorite novel ever. the sequel to Trinity but can stand alone. various irish families struggle through the horrors of world war one. the hero isn’t really morally ambiguous, but the main theme of the novel is extremely bad people suddenly questioning their choices and eventually redeeming themselves. sweeping themes of love, screwed up families, redemption, and patriotism.

The Lymond Chronicles and House of Niccolo by Dorothy Dunnett: heroes redeem themselves/try to get rich/try to save their country in early renaissance Europe. if I actually knew what happened in these books I'm sure it would be morally ambiguous but its too confusing for me. in each book you spend at least a third convinced the protagonist is evil, though. lots of exciting sword fights, tragic romances, plot twists, and kicking english butt.

Bonus: Protagonist is less morally ambiguous and more very screwed up and sad all the time

The Goldfinch by Donna Tartt: you know this one bc its quoted in all those quote compilations. basically the story of how one horrible event traumatizes a young man and how he develops a connection to a painting. really really really good.

Never Let Me Go by Kazuo Ishiguro: hard to describe but strange... not an action novel or a dystopia really but sort of along those lines. very hopeless.

[imma-lil-teapot]

TMNT 2003/2k3 Headcanon: Crying - (Leonardo)

Feel free to scroll past this first part if you’re not interested in my silly rambling and nonsense. I won’t mind. Promise. ;)

Okey-dokey then, with the global epidemic that is the Coronavirus well in action and most of the world stuck in lockdown (starting this Friday for us too), felt like getting the ‘ol creative juices flowing with a little headcanon-y thingy in preparation for -possibly- more fandom writings to keep myself busy during the house arrest (well... it kinda is!) and hopefully my mind off all the bad news. :( 

Also, this is totally my first one on the blog! WOOT! Please bear in mind that I’m SUPER rusty! Haven’t written in ages so there are bound to be typos and all matter of general errors scattered throughout the post. Don’t pet them! They bite!  

Anyhoo~ Despite attempting to create and share with the goal in mind to uplift spirits, I decided to start on a rather upsetting subject (PLEASE DON’T LEAVE! They end on happy notes ;) ) because, Imma just come and say it, I enjoy seeing my favourite characters shed tears (not for just any old reason -their personality plays a huge role in this- and CERTAINLY not for sadistic reasons, land sakes no! But... well, you’ll see~ ;) ) It makes me all gooey and fuzzy inside to see them display such raw emotion and I just wanna leap into the TV screen to hug and console them. I dunno why. Maybe I’m nuts like that. (Remembers Raph crying at the farm when Leo was badly injured and wishes she could just hug them all and take away the pain) Oh well, if you enjoy visualizing the same, then *High Fives*. :)

So yeah, if you read the title, you’ll know this is based on the 2003/2k3 series (my favs). Hope you all enjoy~ :D Grab tissues cause sad turts ahead! :’(

Jibber jabber stops here~

TURTLES~

LEONARDO - You are here

RAPHAEL

DONATELLO - Coming soon

MICHELANGELO - Coming soon

WARNING(S): Because of the subject, Angst and Hurt/Comfort will be present.

RATING: G (General)

WORD COUNT: Don’t have the foggiest.

ANYTHING ELSE TO ADD:

And apparently gifs too, so without further ado: (Completely unintentional but in actuality, totally intentional rhyming)...

TO THE HEADCANONS~~~~

~LEONARDO~

-- It’s no easy feat to make the leader in blue turn on the waterworks. Leo won’t cry for any old reason. It’s not because he has no emotions, far from it, but being the leader of a small ninja clan -who happen to be family as well- is no easy task in itself: he has a lot on his young shoulders and deals with many issues on a daily basis few his age ever have to.

-- It’s because of these reasons that Leo doesn’t cry often. One of the lesser likely to out of the four brothers. But when he does, it’s an emotionally distressing sight to behold. 

-- Leo tends to cry whenever those closest to him -namely his brothers, his father/master and truest friends- are severely injured or are in a dire situation. Remember his angry/moody arc? The thought of losing any of them causes him great pain and distress, especially if he were the cause of any of it, and when that happens, he can’t stop the dampness that forms around his eyes and soaks into his mask. 

-- He’s not fond of crying, especially in front of others, even though he fully comprehends its normalcy. He feels he needs to be everyone’s rock, their fortress of physical and emotional stability to turn to for strength when things get rough... So when the tears start to fall, he feels he can’t show them, can’t allow them to watch him crumble under the gripling weight of helplessness and anguish.

-- He frantically wipes at his eyes and desperately attempts not to sniffle, but it’s a hopeless battle, for his tears are already a steady stream. 

-- He’ll try to hide when possible, usually retreating to his room to allow the worst of the emotions to spill over before returning to the others... Though he may be in there a while: when Leo lets his emotions go, it can be just as powerful as his red-banded brother’s rage. 

-- He spares no time in making sure the coast is clear for the tears are already streaming by the time he reaches his futon, and there’s no stopping them now as he lets himself drop to his knees, only halfway onto the mattress. He purposefully leaves the room unlit, cloaking his form in the darkness. 

-- He sniffs a few times as he shuffles up against the wall, sitting upright against it, bringing his legs up and hugging them loosely and droops his head against a single knee pad. 

-- His voice desperately wishes to escape. To express its misery. But he won’t allow it to, often placing one hand over his face in a bid to quell the sadness and remain silent in the battle against his own inner turmoil. He refuses to let anyone see him in that state of utter sorrow and vulnerability.

-- He whimpers ever so slightly and coughs a few times as breathing becomes difficult. He knows this episode won’t be over any time soon. Fortunately, he keeps some tissues next to his bed for such rare occasions and tries not to blow too loudly. He thinks back to the last time he cried so hard... It’s been a while. It felt like a build up. 

-- Time has been forgotten as he’s lost in deep thought. By the time he slips a hand across his eyes, only the material of his mask is still slightly damp. He clears his nostrils a couple of times before considering whether he was ready to return to his family. He’d of course straighten up his bedding beforehand, and would also require a trip to the bathroom to wash his face. A true ninja leaves no evidence. 

-- Leo tries to put the horrifying images out of head before leaving his quarters. He doesn’t wish to be weighed down again and thus maybe cause his emotions to come out a second time. He knew someone would catch on that time. Instead, he holds his head up high, focusing on the there and now to carry him forward.  

BONUS EXTRA~

-- Failure is also one of his greatest foes. Leo despises it, but not in the irrational sense; he fully comprehends that in order to grow, one has to lose in order to learn and thus, succeed in turn, and while it can frustrate him when he’s unsuccessful at mastering a martial arts technique for example, he understanders it’s part of the process and that no one’s perfect. 

-- It’s when his slipups could spell casualties or death to his family and/or friends is when it weighs down on him like a boulder strapped to his shell. 

-- A really big one. 

-- And it hurts. So much so that it causes him to become despondent and often teary-eyed when no one’s looking.

-- Boi Bloo might also cry from especially sad movie scenes. He gets seriously into the story, and when the scene is just right -perfect music, perfect timing etc.- you may just catch Fearless with watery eyes. 

-- He can’t help it. After all, he’s a leader, and very caring and kind-hearted individual, so movies showing children or anyone/anything defenceless getting hurt has him not only visibly upset, but also angry at the cause. He’s a softie like that. 

-- He won’t have a meltdown, of course, but the tears are definitely there. Just don’t tease him too much; he’s easily embarrassed by it. ;) 

BONUS EXTRA EXTRA FEMALE READER OR S/O EDITION~ (Can also use an OC/FC insert if you wish, up to you)

You had figured something was up by the time you’d finished greeting everyone in the Splinterson household except for the Turtle you’d long to see most and he hadn’t made his presence yet known. 

The idea that he must’ve been practicing or meditating swiftly vanished when Mikey told you he’d been in his room in the dark for the past few hours. “The guy hardly ever naps, and even so, never this long.” He’d told you. “I dunno, (Y/N), we were about to check on ‘im when you arrived, but maybe you should be the one to. Think he’d really appreciate it.” And there was absolutely no argument from your side as you were already making your way up to the room.

You didn’t know what to expect as you neared the doorway. Could he possibly still just be sleeping? Meditating in the dark instead of his usual spot by the training area? Or... was he sick? The latter now had you concerned and you picked up your pace... Only to pause mid step when an unmistakable sound reached your ears: a sniffle.

Had it come from within his room? It was the only logical explanation as everyone else was downstairs. You were truly perturbed now as you stood outside the doorway and called out the ‘eldest’ Turtle’s name.

There was some shuffling to be heard but you were unable to tell for sure what he was doing -probably trying to neaten up his bed- “(Y/N)? Just a second, okay?” he responded in a rather awkward verging on frantic tone, and you were certain you heard another sniffle escape him. 

That, along with the way he’d replied really didn’t help to put your mind at ease. “Leo, are you alright?” Nor was the pitch blackness in which he remained concealed in.

“Yeah, just... l-looking for something.” There was some more shuffling as if to prove his point, but you were having none of it.

“Then maybe this,” you began, turning around to flick the light switch, “will help?”

“No! Wait!” But it was a split second too late for as soon the brightness illuminated the entire room, you had caught the telltale signs of an emotional meltdown in progress plastered on his face before he quickly turned away and briskly wiped an arm across his face, attempting to hide the shame... or perhaps embarrassment? 

“Leo...?” your heart and voice softened, “Hey, what’s wrong?” You automatically walked to him, closing the gap he was now trying to form. 

“Nothing,” he lied, and acknowledged it was a fruitless attempt but still couldn’t stop himself. Autopilot panic mode was enabled now. “It’s nothing.” 

Unfortunately for him, autopilot mother hen mode was activated for you as you reached with both hands to his carapace and shoulder, gently turning him to face you. “I can see that it’s something.” Your words were gentle, and you wanted nothing more than to take away his pain. “Look at me, Honey.” His body was turned but his head remained to the side. It was clear he didn’t want his obvious distress on display, even to you. “Please, Leo?” You tried again, and slowly but surely, his eyes met yours, and you felt your heart sink further.

The fabric of his mask was wet and eyes were still red with fresh tears that threatened to fall. He appeared so broken and helpless as he stared at you, and even though he uttered no words, you could practically hear him despairingly ask “Is this what you wanted? To see me at my lowest?” from his expression alone. 

Never had you witnessed the leader of this band of mutant brothers cry. At times you had wondered if he ever did, and yet here he was; the incredible pillar of strength and dignity you had come to know and adore, in tears and so dejected that you couldn’t stop your own eyes from becoming damp the more you gazed at him. “Oh, Sweety...” You whispered as you felt your soul shatter. It was too much to bear. You slowly wrapped your arms around him, one around the midsection and the other over his shoulder, and buried your face into his leathery neck, offering every ounce of comfort you could muster.

It didn’t take him long at all to sink into the embrace and return the action. Beyond the point of concerning himself with showing the pain he felt -or the wetness now soaking into your shoulder when he placed his forehead against it- he sniffed and finally allowed the tears to fall once again as fresh waves of emotion surged throughout his body.

And this time, he couldn’t keep the whimpering to himself.

“Shh~ It’s okay, it’s okay,” you soothed, lightly patting and rubbing along the scutes of his shell as he weakly sobbed, finally letting go of all the sadness that gripped him. 

You weren’t even aware of what was wrong, and you most likely wouldn’t find out til later once he calmed down, but right now, he just needed you to hold him. Hold him until the hurt was gone... And so you would. 

AND THAT’S ALL SHE WROTE!

ALL THE FEELS!! I EMBARRASS!!

OMGosh, this turned into a monster! The mother of all HCs!! :O No seriously, this wasn’t meant to be this long! I was suppose to squish all four into one itty bitty little post, but then it just grew... and grew... and GREW! Personally, I blame the Reader Bonus but I’d be damned if I didn’t enjoy writing it! ;P You guys here on Tumblr got me slightly addicted to them and have wanted to attempt some myself so... Anyhoo~ I can’t really say if I’m entirely content with the whole thing, I dunno. I feel some parts are better than others (writing style-wise) but yeah, I really need to get back into the swing of things...

Speaking of which, I DO plan on adding my two cents on the other bois as well, but judging by how this one turned out, they’ll most likely all be this length, more or less, so each Turt will get his own post so I can really jot down those details with all the freedom in the world! That being said, I can’t say when they’ll be added but hopefully soon-ish. :) Raph's next on the list!

Thank you all so much for the read and hope you enjoyed~ :D

~Drag0n Mistr3ss’ Random Fandoms*

[amillioninprizes]

An entirely too long post on how to fix Veronica Mars

So, anyone who has followed this blog for any length of time knows: 1) What a massive Veronica Mars fan I was and 2) how distraught I’ve been over the most recent season that debuted on Hulu in July. I’ve been pretty angry about it since it dropped, but the first month after I was pretty occupied with real life stuff. Now that I’m more settled, I’ve found myself getting sadder and angrier over time with just how terrible S4 was and what an obvious fuck you to longtime fans it was. It feels dumb to be so upset over a tv show, but this show got me through a lot over the past 8 years, and I feel like it’s been taken away from me.

 It’s anyone’s guess as to whether there will be a new season. Ideally it would end here with maybe an alternate ending filmed to avoid alienating fans further. On the one hand, the botched release, overwhelmingly negative response, and silence from the creators after initial interviews don’t look good for renewal chances. On the other hand, Hulu doesn’t have a lot of streaming hits, it probably did relatively decent numbers, and there are rumors floating around that its pickup chances look good. On a personal level, I hate the idea that this is where the legacy of Veronica Mars ends, while at the same time being extremely wary of what the creators have planned. I think a big part of the disappointment with S4 was that the movie and books set up what could have been some really interesting storylines and situations, all of which RT and co. squandered for cheap drama and to apparently turn the show into an entirely new vehicle; additionally I had hope that S4 would be a chance to rectify some problems the show has long had, but again, S4 exacerbated them. At this point I don’t expect anyone higher up in the creative process or at Hulu to give a fuck about the fans or making the show better as long as they hit streaming targets, but here are some suggestions:

Fire Rob Thomas

 While he created the show, it’s become clear that not only has he lost touch with the audience and the original spirit of the character, he doesn’t seem too keen on putting much effort into writing the show (as I will discuss below). Then you have his clear misogyny: his views that women in relationships can’t be interesting, that what makes Veronica interesting as a character is her trauma and how much she can endure, and the fact that basically every female character in the history of the show has a history of sexual victimization. He thought that making the Mexican cartel hitmen “philosophical” was subverting expectations (which says a lot of what his expectations of Latinx characters are). Then this is the way he essentially exploited his long term fan base to earn a new season of the show, only to turn around and tell us that we don’t matter. From a business perspective alone keeping him doesn’t make sense; selling a streaming platform on your loyal fanbase and then proceeding to purposefully piss ~80% of them off would be pretty questionable to me as someone in charge. The sheer cruelty with which he treated not only the fans who have supported him for 15 years (I fucking used to liveblog iZombie y’all. iZombie!), as well as how he callously dismissed long time cast members in favor of celebrity guest stars should not be rewarded. He’s admitted in interviews that he would be ok with younger writers doing a reboot many years in the future; why not just let him have a producer credit and then hand the show over to someone who’s invested in making it good?

Put a woman in charge and diversify the writing staff

A big problem with a) Veronica’s characterization in S4 b) RT’s ideas about what makes female characters interesting c) the show’s long history of problematic treatment of sexual assault is that it comes from a man’s conception of the female experience. The Veronica showcased in S4 and that RT wants to write in the future is very much a male fantasy: hates marriage and children, traumatized, DTF, and is too cool for other women. RT stated in interviews that he wanted to show Veronica at a “crossroads” this season in a way he claimed had been shown for men but not women; many female viewers found this depiction to ring false (few women are spending their time fretting about how committing to marriage after five years in an established relationship will bar us from strange sex going forward). In addition to having RT at the helm, most of the show’s writing staff for the majority of its run has been white dudes, which doesn’t bode well for telling the story of a female PI in a diverse community in today’s political climate. Putting a woman in charge would hopefully help rectify these issues to make the character feel more true to life and put a damper on the misogynistic storytelling. The show has a natural candidate in RT’s second-in-command Diane Ruggiero-Wright (despite her problematic history, never forget #KeisterEggGate), who has admitted to not being able to watch the last episode. Jennifer Graham, who wrote both of the books, would also be a worthy addition to the writing staff; while the books had a mixed reception, most fans agree that she got Veronica’s character right. And with the show’s problematic historical treatment of minority characters, adding more POC writers going forward is also necessary.

Bring back Logan (alive)

You don’t have to be a LoVe shipper to recognize just how integral Logan has been since the inception of the show, not just as Veronica’s partner but as a character is his own right. Logan’s journey in many ways parallels Veronica’s, and shows a contrast in how different characters respond to similar trauma. The most critical plot line in the show’s history, the mystery of who killed Lilly Kane, simply doesn’t work without Logan’s importance to Veronica. RT and his defenders like to claim that Logan was holding her back from true growth, which is frankly bizarre as he is the only character to consistently challenge her, like when he tells her that she obviously isn’t happy this season. Additionally, Logan’s scenes this season were the lone highlight of what was otherwise a painful slog of a season. Of the people who have said they would watch a potential S5, a good portion are only interested because they believe that the ambiguity of the last 10 minutes of the season means he’s not really dead (despite what RT has said in interviews). Then there’s what Logan’s death does to Veronica’s character, effectively cutting off what would have been an interesting character arc and stagnating her forever. No matter how much they try to shove Leo the pedo creep and other milquetoast RT self-insert love interests on us, no one else can possible measure up to Logan’s level in terms of being able to match Veronica as a character, intellectually or as a result of shared history.

Plus, the fact that we haven’t had a Weevil/Logan interaction since S3 is a goddamn travesty and should be rectified immediately.

Bring back Veronica

As sad as I am about Logan’s death, for me the most upsetting aspect of S4 was the assassination of Veronica’s character. For many viewers (including myself), the character we saw Kristen Bell portray in S4 wasn’t Veronica Mars but a different character with the same name. Between her abusive behavior towards Logan, her general indifference to her father’s medical condition, her dismissal of Wallace, and her racism towards Latinx characters (using a kid’s lawyer to threaten deportation: not a good look!), she was lacking the marshmallow-y center that always balanced out the pricklier aspects of her character and made her compelling. This change in characterization was especially jarring given that she was not this way when we last saw her in the books, where she mused about having children and sent her half-brother Hunter to summer camp (side note, but does he even exist anymore?). Many of us who had grown up with Veronica were hoping to see her grow with us as a character; instead we got an extreme regression lower than we’ve ever seen her. It would be one thing if they were trying to depict a PTSD storyline, which would make sense given her background, but since her change in behavior is never addressed by the narrative, it just makes her look like a cruel asshole and makes it impossible to root for her. This is exacerbated by the fact that RT has made it clear he has no interest in portraying her inner life, as shown by his wanting to avoid showing her grief over Logan’s death because it would be a real downer compared to the entertaining but ultimately hollow banter and quips he wants to focus on. Veronica this season was also just plain dumb: you mean to tell me that the girl who nearly got killed by Aaron Echolls in her back seat wouldn’t think to check her backseat every time she gets in a car?  (And let’s not even start with RT’s bizarre assertion in an interview that she apparently votes Republican). Not helping matters was Kristen Bell’s performance, which felt very flat for me this season compared to S1-3 and the movie; I don’t know if this was due to personal limitations or a reflection of the bad writing. Writers of future installments and KB herself would be wise to revisit S1, the movie, and the books to figure out what makes sense for Veronica’s character, leading me to my next point:

Get reacquainted with canon, develop a show bible, and hire a continuity director

This show has long had a problem with dropped plots, timelines, and continuity issues. Shelly Pomroy’s party has two happened either in the summer, or the fall. Then we have the movie paradox: Veronica graduated high school in 2006, which means her 10 year reunion should have taken place in 2016. The movie was released in 2014 and the books seem to keep to 2014 dates. Then S4 states that Keith’s movie accident took place in 2013, and mysteriously ages Veronica up to 35 when she should be 32 in 2019. Logan mentions an Aunt Naomi in S4--why didn’t she take care of him after Aaron was arrested (and what happened to Trina)? How the hell is Leo working as an FBI agent when he presided over the disappearance of the Lilly/Aaron tapes? Veronica is shown to be tentatively forgiving of Weevil taking the settlement from the sheriff’s department in Mr. Kiss and Tell, but is then shown to be extremely angry towards him for it in S4. This is just a small selection of the inconsistencies within the show. Plus there is the problem of repeated plot lines: Veronica rejects Leo in favor of Logan in S1, then rejects Leo in favor of Logan in Mr. Kiss and Tell, only for her to...reject Leo in favor of Logan in S4 (and RT says he wants to leave the high school plots behind). This sloppiness doesn’t bode well for a series that is supposed to be about mysteries, which require tight plotting. It would behove TPTB going forward to once and for all determine a timeline of Veronica’s life, keep a detailed record of past plot and character points, and have at least one person on staff who thinks to remember this stuff (RT notoriously has only a “solid, not spectacular” memory of the show, no matter what Kareem Abdul-Jabbar says).

Make an effort (and do your fucking research) 

Moving on from continuity issues to more general problems with the laziness of RT’s writing. He has basically admitted that he doesn’t care much about facts or characterization when writing plots--he shoehorns details to fit the plot rather than have it evolve organically from the characters and prior canon. I know that when writing it’s often impossible to make every story detail 100% accurate, but the extent of RT’s sloppiness is alarming. This excellent Reddit thread details a lot of the problems with S4 in particular, but this has been a problem since S2. Did anyone ever understand exactly why the Fitzpatricks were invested in framing Logan for Felix’s death? In the movie, it makes no sense that if Cobb and co. wanted Carrie silenced, they would add the complication of framing Logan for her murder--given her history, it would have been a lot easier just to make it look like she had accidentally overdosed. Given his previous patterns of villain writing fans were able to guess the identity of the S4 bomber based on casting alone. The mysteries in both Mr. Kiss and Tell and S4 are both ripped from the headlines, which indicates that RT wants to turn VM into the next Law and Order. Meanwhile, he complained about how hard including Logan in the story in S4 was, while Logan arguably had the best lines and most interesting scenes this season--apparently when you put an effort into things, they work out! This laziness extends past storyline issues and into factual problems that detract from the quality of the plot. Longtime fandom pals are probably tired about hearing me go on and on about how there’s no way Aaron’s lawyers could have gotten Veronica’s medical records due to HIPAA laws. Logan’s career change from naval aviator to intelligence is highly unlikely (and unnecessary, given that they changed it only to fridge him at the end of the season). Meanwhile, I know fanfic writers who have spent hours on the phone with strangers in order to research what type of firearm would cause a specific type of bullet injury. It’s very puzzling to me that RT wants to take the show in the direction of being mystery-only when apart from that one time he is piss poor at writing mysteries and puts no effort into them. I shouldn’t have to tell television writers to, you know, do their job but this is what we’ve come to in 2019.

Know your audience

A majorly annoying thing about the promo for this season is how in every single interview Rob Thomas did he was always talking about how he wanted VM to be like other shows and movies: Fargo, True Detective, Game of Thrones, Chinatown (which is apparently the only noir movie he’s ever seen). The thing is, if I wanted to watch those shows, I would; I watched Veronica Mars specifically because I enjoyed its unique qualities, and I would say most fans agree. The general perception within the fandom is that with this season Rob Thomas seems to have been aiming to dump the old, majority female, CW fanbase in order to achieve what he perceives as a cooler prestigious male fanbase; the issue is, new people aren’t going to take up a show in its fourth season if they didn’t watch or didn’t like earlier seasons. Also, trying to write a prestigious show doesn’t make your show prestigious. Considering that based on anecdotal evidence most of the people who like S4 seem to be male, he may have succeeded in the first part of his aim. However, this majority female fanbase he was so willing to cast aside are the ones who have run fansites and rewatches during fallow times (i.e. between S3 and the movie and then between the books and S4), so drumming up interest among fans (and therefore streaming views) in the future may be a challenge. Plus, women are a better advertising demographic since they are more likely to be in charge of household purchasing decisions, so maintaining us as a fanbase makes business sense as well. He may have tricked enough people into watching S4 that S5 is given a go, but I wouldn’t be surprised if streams are weak beyond that. If the show is to succeed as a commercial endeavor, better to go with appealing to a known quantity than trying to make a generic show that very few people have expressed interest in watching.

Bring back the mystery of the week

This is a more minor thing I felt was missing from S4. I think after the criticism of S3 not having a season-long arc RT overcorrected in focusing on one mystery. However, the mystery of the week had the following benefits: 1) giving chances for the characters to interact and telling us more about them 2) helping to modulate the pace of the season-long arc. With better writing a season-long standalone mystery could maybe work, but in the case of S4 specifically the mystery was kind of dull and repetitive and could have stood to include a couple of diversions in the form of a smaller case here and there.

Re-evaluate the creators’ interpretation of the word “adult”

Much of the promo and reviews for this season noted the more “adult” content to be expected this season now that Veronica’s grown. Many fans hoped that meant seeing Veronica act like, you know, an adult with adult problems rather than a teenager less mature than the actual teenager she was. Unfortunately, the show’s interpretation of the word seems to be more in keeping with a television rating sense of the word--meaning sex, drugs, and gratuitous violence (But apparently not the word “fuck.”). Look, it was expected that as the show moved to a streaming service and given the overall dramatic scope that there would be an upgrade in some of this sort of content (and I’d be a liar if I said I wasn’t looking forward to steamier LoVe moments, which were sorely overpromised), but the way it was included this season felt like RT and co. included this stuff just because they could and not to serve the storyline. For me, personally, the biggest example of this was Veronica’s drug use, which I know didn’t necessarily bother everyone. Given her history as the daughter of an alcoholic as well as someone who had been the victim of two roofie attacks, not to mention the fact that her character never seemed to be into partying, I found it very out of character (and book writer Jennifer Graham agrees). It felt like RT included this just bc they thought it would be funny to see Veronica on drugs without considering whether it made sense for her character. Also, were the beheadings strictly necessary? Plus there’s RT’s little temper tantrum over not being able to use curse words this season--they weren’t present in the original show, no one was going to miss them now, and the “cuss” thing was just annoying and reminiscent of The Good Place. 

Dealing with a parent who maybe has dementia--that’s an adult storyline. Too bad RT ended it with a dumb excuse about “mixing meds” (another factual error! Pharmacy software would have caught it!) rather than actually exploring what it would mean for Veronica to see her father in decline and take over the family business (and give Rico Colantoni the exit he appears to want). This is the kind of adult content I would hope to see in future seasons.

Adult is not a synonym for “unrelentingly bleak” either. The original show, while dark, always had an element of hope that was completely removed from S4 (no matter what KB might claim). And would it have killed the writers to show Veronica wearing disguises and going undercover like she used to? There was nothing fun about this season (and no, I don’t count the multiple partying scenes as fun, more like sad).

Kill your darlings

It’s cliche, but it’s true. Another issue the show has long had is the writers keeping around characters or inserting jokes and references for their own personal amusement rather than for the story. The most notable example of this is the continued presence of Dick, a highly problematic character considering he pushed Beaver into the room with Veronica the night of Shelly Pomroy’s party, among a whole host of other racist, sexist, and generally obnoxious actions over the years. But because Ryan Hansen is so widely beloved among the cast and crew, so he stays. Then there’s the matter of the infamous Keister egg in 3x08, which the writers and KB have all expressed love for, despite the fact that said Keister egg is an example of sexual assault--which, even if the victim is a douchey fraternity president, is never funny. 

Also the constant Big Lebowski references are tiring. Watch a new movie.

Improve Neptune’s gender ratio

Veronica Mars, despite having a female lead, has always been a male-dominated show; other than Veronica herself, the only consistent female character over the original show was Mac (and she didn’t even come back this season). This is unacceptable in 2019, for any show. The books introduced promising female characters in the form of Marcia Langdon and Petra Landros, but Marcia’s character was was watered down for S4 and Petra was nowhere to be found. Additionally, Veronica and Mac have always been written as “cool girls” who looked down on other women for their femininity, which isn’t a great message. Almost every other female character, even the innocuous Parker, is portrayed as somehow bad or incompetent. I would love nothing more than a season centered on the women of Neptune and their interactions with each other. While we’re at it, stop giving every woman on this show a background of sexual victimization.

Treat VM as an ensemble show, not a Kristen Bell vanity project 

A major complaint from Burnt Marshmallows and S4 defenders alike was how little time was given over to the original core cast this season. While Veronica may be the protagonist, a large part of how the show became so beloved was her relationships with the other characters. Yet RT has decided that going forward VM will be a KB solo project, with her traveling town to town quipping and sleeping with strangers. This seems strange, given Kristen’s recent interviews talking about how difficult it is to shoot VM and how she never wants to be first on a call sheet ever again, not to mention how she asked for less screen time all the way back in S2, which resulted in the Weevil-Logan storyline, which was way more interesting than Veronica’s storylines during the first half of that season. (The traveling detective thing also seems weird considering that KB is pretty insistent on shooting in LA to be near her family.) Additionally, if this is truly the last season of VM with all the original characters, then no one got a proper sendoff. 

I’m not sure how willing much of the cast will be to return for future iterations, given how uncomfortable many of them seemed during promo as well RT and KB’s treatment of them (insensitive at best, deliberately mean at worst) this season (shout out to Tina Majorino for recognizing what a shit show this was going to be), but bringing back all the original characters into the fold and giving them significant storylines would go a long way to mending fences with fans, improving the show from a character arc perspective, and would also give KB the break she apparently wants. 

Recourt the fanbase

What has VM always been renowned for above all else? It’s incredibly loyal fandom which not only got it renewed twice during its original run but also put up their own money to get the movie made--I know many people who donated when they really couldn’t afford to. RT basically owes the last 6 years of his career to VM fans--the success of the Kickstarter arguably got him the iZombie show running gig, and the fourth season likely wouldn’t have even happened if not for it. Thus, the blatant cruelty and disregard with which RT and KB have treated fans during the promotion of S4 has been incredibly insulting and hurtful; I still can’t fathom what in the world possessed RT to think that throwing away this 15-year relationship was a good idea. It’s not a good sign when the 2 fansites most active during the post-movie period (VMHQ and VM Confessions) cease operations in the wake of S4, and when at least 3 out of 8 board members of the oldest running fan group, Neptune Rising (who were dormant during the post-movie period but played a critical role during earlier fan campaigns and in the S4 promo) resign. A fandom this loyal that was betrayed will not stand idly by if the S5 RT wants to make goes ahead; given the number of tweets the official Hulu VM account has had to delete in the wake of S4 due to the overwhelmingly negative response as well as the controversy over editing out Logan from S4 promos, I imagine that S5 will be a PR nightmare. Even if future seasons are amazing the trust can probably never be fully repaired, but it would be helpful for RT (or fingers crossed, a new show runner) and KB (as star and EP) to go overboard in reaching out to fans and at least admitting they made a misstep with the entirety of S4. Back in the day, the old Mars Investigation fansite was invited to set to conduct interviews; maybe do that again. Also someone should get KB some sort of VM fandom-fluent media trainer because I don’t think she has conducted a single interview during her entire stint on the show that didn’t anger fans (it might help if she actually bothered to watch the show).

Map out an endgame

Look, this can’t go on forever. As long as RT keeps leaving every installment open ended with the hopes of maybe getting renewed again five years down the line, the story is going to keep running into the issues the movie and S4 faced with having to shoehorn the characters into nonsensical plot lines to reconcile those endings and deal with actor availability issues. Either plot another 2-3 seasons to wrap the show up with a satisfying conclusion, or map out a greater timeline of Veronica’s life with spots where a mini series or movie here and there could fit in.

[feelhuman]

ʻ   /   wow ,   i  am  so  excited  to  introduce   jessica delaunchy   to  our  current  students  at  cape  coral .   she  is  extremely  excited  to  join   track / field  &  latin .   coming  in  as  a  twenty one  year  old   junior  ,  they  shouldn’t  worry  about  fitting  in .   the   cisfemale  leo   has  always  reminded  me  of   zoë love smith   ,  but  some  people  don’t  see  it .   trying  to  keep  the  fact  that   she was under witness protection    from  getting  around  this  school  is  going  to  be  tough .  no  worries ,   though ,   cape  coral  will  create  a  new  life  for  them ,   i  assure  you .  ʼ 

                     hiya  beans  !  i’m  nae  (   she  /  her  ,  twenty  ,  australia  gal  /  acst tmz !  )  and  i’m  real  pumped  to  get  crackin’  &  introduce  you  to  this  walking  tragedy !   ──   this  is  my  gal  jess  ,  who  is  rlly  smthin  else  ,  phew .  i  truly  am  in  love  with  her  tho   &  i  hope  ya’ll  like  her  too !  click  ....  the  ....  read  more  ....  now .

basic stats .  

*    find  her  full  stats  here !

current  legal  name  :  jessica  blaire  delaunchy.

nickname  /  alias  :  jess  ,  jj.  /  none.  

gender  /  pronouns  :  cisfemale  ,  she / her.

dob  /  age  :  august 13 1998.  /  twenty one.

place  of  birth  :  long  beach  ,  california.

currently  living  :  portland  ,  maine.

ethnicity  :  curaçao  ,  indonesian.

nationality  :  american.

languages  spoken  :  primarily  english  ,  learning  latin .

religion  :  her  father  was  christian  &  her  mother  was  muslim  ,  so  she  was  exposed  to  both  growing  up  (  her  dad  wanting  her  to  feel  closer  to  her  mother  in  a  way.  )   jess  doesn’t  really  know  which  bracket  she  falls  in  ,  if  at  all  ,  so  instead  she  respects  both .  does  this  make  sense ..... no.

sexual  /  romantic  orientation  :  pansexual  ,  panromantic.

occupation  :  self - employed  ,  ig ?  she  takes  odd  jobs  wherever  possible  ,  and  the  $$  is  always  under  the  table   :  house / pet / baby sittin’  ,  deliveries  ,  written  papers  /  tutoring  ,  even  ...  dare  i  say  it  ...  gambling.  

education  :  scholarship  student  at  cape  coral  international  school.

major  :  archaeology. 

biography . 

*    tw  :  parental  /  family  death  ,  murder  ,  gang  activity  ,  &  nae’s  obsession  with  rlly  bad  tragic  backstories .

the  unfortunate  beginning  to  this  story  is  this  :  a  girl  understands  death  before  she  understands  life  ;  a  sad truth  ,  a  lost  mother  on  the  birthing  bed  as  they  try  reviving the  infant  &  succeed  ,  a  broken  family  from  day  one  ━  she’s  born  novi  ovard  ,  with  a  head  of  thick  raven  hair  &  a  set  of  lungs  you  can  hear  three  floors  down  ,  but  healthy ,  alive  ;   her  mother  meets  a  much  more  grim  fate  that  very  hour  ,  and  it’s  almost  as  if  she  carries  that  misfortune  as  a  stain  for  the  remainder  of  her  childhood  ,  because  if  she  wasn’t  here  ,  maybe  her  mother  would  have  been . 

her  father  is  a  stern  man  ,  strict  &  abrasive  ;  he  loves  his  daughter  though  ,  that  is  crystal .  nora  grows  up  wanting  little  ,  and  some  could  say  that  is  her  father’s  way  of  over - compensating  for  the  lack  of  maternal  parent  in  the  household  and  the  way  he  works  long  hours  at  the  police  department .  he  remarries  when  nora  is  twelve  ,  to  a  woman  with  a  couple  of  daughters  &  a  son .  it’s  not  a  bad  thing  ,  no  evil  step - mother  or  new  step - siblings  horror  stories  ;  nora  likes  the  feel  of  a  feminine  presence  ,  likes  having  siblings  to  confide  in .  most  importantly  ,  she  sees  her  father  smile  for  the  first  time  in  years  ,  and  that’s  more  than  enough .  it’s  a  family  ,  not  entirely  by  blood  ,  but  it  feels  just  as  close  ;  like  pieces  that  finally  form  a  whole .    

FAMILY  OF  FIVE  FOUND  MURDERED  IN  LONG  BEACH  SUBURBAN  HOME  :  nora  comes  home  from  a  night  out  with  friends  to  find  strange  men  in  her  house  &  bloody  stains  on  the  carpet .  they  don’t  see  her  ,  if  they  had  perhaps  she  wouldn’t  be  breathing  right  now  ,  but  she  see’s  them  and  that’s  just  as  bad  ━  the  lights  flash  bright  red  &  blue  as  the  cops  ask  for  a  recount  of  the  events  that  occurred  ,  but  she  can  only  describe  faces  and  remember  a  few  names  shouted  as  the  culprits  ran  from  the  crime  scene .  they  presume  it’s  connected  to  the  L.A  mafia  ,  looking  for  justice  from  a  cop  that  did  them  dirty  a  few  years  back  ,  but  there’s  not  enough  evidence  yet  &  they  say  her  safety  is  at  risk  now  .  so  ,  they  offer  her  protection  ,  say  it’s  for  the  best  if  she  leaves  her  california  life  behind  ,  leave  everything  behind  and  start  anew .  

portland  is  a  big  city  ,  not  entirely  ideal  but  it’ll  do  for  now .  she  leaves  california  as  novi  ovard  ,  and  is  reborn  as  jessica  delaunchy  in  maine   ━   no one  remembers  a  jessica  delaunchy   ,  or  at  least  ,  no one  truly  knows  who  she  is .  she  lives  with  her  aunt  ,  no   ;  her  parents  work  overseas  so  she  lives  alone .  she’s  from  somewhere  in  west  virginia  ,  except  she  doesn’t  sound  like  it  ,  so  maybe  it  was  oregon  ?  apparently  she  got  expelled  from  her  last  school  for  setting  fire  to  the  gym  ,  or  was  it  trashing  the  headmaster’s  coupé  ?  in  truth  ,  not  much  truth  is  known  about  jessica  delaunchy .  she’s  only  at  cape  coral  because  the  thought  of  getting  a  free  ride  to  an  expensive  school  sounded  appealing  ,  and  a  refreshing  change  from  a  life  of  constant  camouflage  ;  she  only  joins  track  ,  because  everyone  hates  track .  she  only  joins  the  latin  club  because  who  really  has  the  patience  for  it  ?  jessica  blends  in  ,  jessica  is  just  jessica  ━  an  enigma  ,  hell  in  heelys  ,  possible  undercover  secret  agent  (  ?  )  and  a  heck  of  a  lot  of  fun  to  have  by  your  side  on  friday  nights .  

other  tid  bits .

phew  ,  where  do  i  begin  .  .  .  in  general  she’s  a  pretty  fun  gal  !  knows  how  to  let  loose  &  have  a  good  time .  we’re  here  for  a  fun  time  ,  not  a  long  time  ,  homeboys .  

this  is  also  her  downfall  because  she  will  literally  do  ANYTHING  to  have  fun  ━ jump  from  a  moving  car ?  sounds  cool .  jump  into  a  tank  full  of  piranhas ?  best  idea  she’s  ever  had  ,  get  the  camera  ,  tony .

does  NOT  understand  boundaries !!  at  all  !!  she’s  not  sorry !!

bit  of  a  compulsive  liar  too  tho  ??  she’s  one  of  those  people  that  you  never  rlly  know  if  they’re  telling  you  the  truth  or  just  mucking  around  ,  which  she  is  like  99 %  of  the  time  ,  and  no  -  matter  how  much  you  pester  her  ,  she  will  just  come  up  with  more  extravagant  ways  to  deter  you  from  the  truth  because  she  has  some  sort  of  .  .  .  allergy  to  sincerity  ,  ig .  

for  ex  .  don’t  ask  abt  her  family  unless  you  want  a  5  hr  presentation  on  how  she’s  related  to  the  lost  romanov  family  &  was  disowned  because  they  were  too  intimidated  by  her  big  dick  energy .  

really  in  denial  ??  over  everything  that  happened  ??  she’s  been  ignoring  the  truth  for  years  &  tries  not  to  let  her  thoughts  wander  too  close  to  family .  which  is  # yike !  

as  much  as  the  portrays  this  too  cool  for  school  persona  ,  she  actually  enjoys  it !  she’s  v  smart  &  studious  ,  loves  history  ,  philosophy  ,  literature   ,  loves it .

a  complete  DORK .

rlly  bad  attention  span  tho  &  one  of  those  annoying  ppl  that  waits  until  a  person  finishes  talking  and  says  ‘  u  say  smthin ?  ’

lives  on  her  own  w/  her  cat  larry  ,  who  she  uses  as  a  judge  of  character  but  he  hates  everyone  so  its  ....  useless  ,  but  one  day  this  asshole  is  gonna  like  someone  and  she’s  gonna  be  STUNNED .

has  a  big  heart  ....  somewhere .  she  just  forgets  she’s  supposed  to  have  one  sometimes  dfkjlhhfdhg 

will  always  do  the  unconventional  way  of  doing  things  because  she  hates  following  the  norm  or  being  labelled  as  a  stereotype !! def  one  of  those  ‘  i  liked  it  before  it  was  COOL  ’  bitter  ppl  too. 

i  think  that’s  iT ?? I  THINK .

wanted connections .

*    find  her  wc  page  here !  if  nothing  floats  ur  goat  tho  ,  pls  hmu  &  we  can  figure something  out !  (  either  here  or  on  d*scord  :  i’m stu pedasso #7836  )

[lizzybeth1986]

I love the code name, and I'll hopefully remember to sign my messages with it from now on. I'm actually quite flattered that I've earned one, so ty for that. I somehow came up with 2 more questions, most likely to turn into essays, for you. 1 should be more lighthearted than the other, so I'm gonna start heavy if ya don't mind xD. You've touched briefly on how families affect the courtly ladies, so I wanted to see your take on how families have shaped the people at court. Have fun!-CL anon :D

You come up with such amazing questions, CL anon! How do you do it! 😁

So...hmm...how families shape the people in court. That's a pretty loaded question! And I mean "loaded" in the sense that when we're talking about "family" in an environment like this, we're also talking about the larger society they inhabit and what values from that society these parents were busy instilling in these children.

Sometimes the struggle I have with theorizing on these things, is that Book 1 starts out with very different ideas of what modern Cordonian society is supposed to be like, but by Book 3 or Book 4 they have developed other ideas that contradict it...or that you have to really work around to make sense of. For instance, the entire idea of open relationships being accepted in Cordonia that crops up conveniently in Book 2 just so the MC can sleep with whoever she wants after she's gotten engaged...yet the same society has such a strong disapproval of PDA that you can lose points with the general public for even joking about being intimate with someone (can these two things happen in the same space? Of course!! But that point from Book 2 does make the overall stuffy atmosphere in Book 1 about displaying affection look a little confusing, you have to admit). So...making sense of these things with the way the books have changed over the series is challenging, but doable.

The one thing that gets clearer and clearer as the story progresses...is that most noble children seem to grow into an awareness from a younger age itself that their public life should not reflect their private ones. Another is that, in the political climate of the time - they may not understand everything that is going on...but their parents have inadvertently taught them to grow up in fear (a legitimate fear, considering the threats at the time). I'll start with the palace, then move to the duchies. (I won't include Drake and Hana much in this, as Drake's family seemed to operate very differently - and honestly we know way more about his American roots than his Cordonian ones - and Hana grew up in another country...though there will be a short paragraph about her towards the end).

--

Liam

Liam grew up in the palace, the second son and younger brother to the royal heir, but you can tell there were things he had to learn pretty early on in his childhood. Things like compromise. Things like weighing what was more important to the country at a time when many children should be caring about their own needs.

It's not a very easy life, Liam's. His mother was murdered when he was still a young boy. His father often neglected him (remember the Eiffel Tower sequence where he justifies Constantine breaking a promise to visit the landmark with him, by recognizing that his father had bigger responsibilities as King?) and expected a great deal from him even at an early age (I mean...forcing an eight year old into hours of diplomacy meetings for three whole weeks??). And while race is never really mentioned in the books, the subtext is there that Eleanor and Liam possibly might have had to work harder for approval from the court than, say, Leo.

Added to this is the entry of Regina later on, after Eleanor's death. I feel like some aspects of her are based on Queen Elizabeth II - especially the way she advocates for stoicism in Book 1 (which is why she is so hard on herself after Constantine's death, in Book 3). Every move of hers is consciously planned and measured so that only certain aspects of herself will be visible to the general public, and I do think Liam draws a little bit on that with his own public image as well. This can be advantageous, because that means someone like Regina (and Liam) will be in control of their image. Only what they want to show, is shown. But it does mean that they have to weigh anything and everything they do with particular care.

In the "wedding advice" scene in Book 3, Liam speaks of how - even if they did have a conflict - Constantine and Regina would always show a publicly united front (and we see elements of that in the aftermath of the MC's scandal. Regina doesn't openly disagree with Constantine's actions, but she does adopt countermeasures because she sees a bigger picture that Constantine isn't willing to see). The family as a whole seems to be very image conscious (and they would be! The royals will be subject to way more scrutiny from the press and the public than most children, so parents will do whatever they can to protect those children from the worst aspects of it) and have to keep in mind that even their slightest reactions in public could have consequences. You see this pretty clearly in the way Liam handles the chaos at the Coronation Ball. He does what he has to, to calm the court down even though he is personally in turmoil - and we see how much turmoil he is in right after he has made his way to the MC's room.

This might be more extensive than most of the other characters, most coz he is an LI and some of his arc was supposed to revolve around being a different man from his father (they...dropped the ball on that one in Book 3).

Maxwell

To me, at least in the beginning, the Beaumonts were supposed to represent two extremes in one House. Propriety is extremely important, and you see this clearly in the way Bertrand speaks and acts and even thinks. But at the same time, their space is also a space for the nobility to let loose and go wild, as one can see from their Beaumont Bashes. These two extremes are represented pretty accurately in both Bertrand and Maxwell, and in a limited way in their parents as well.

Barthelemy expects a great deal out of his sons (even though he isn't exactly the best at meeting expectations himself. In that way he reminds me a little of Sebastian Delacroix's father from The Junior) and requires that they keep the honour of Beaumont House first. But the mother...even though we never actually meet her or even know her name (a pity)...we do know that she made people relaxed and comfortable around her, and wanted her younger boy to be happy with who he was. In Maxwell's wedding advice, he speaks of the importance of laughter - how his mother made his serious-looking father laugh and that was the most enduring image he had of their relationship.

But it's not like the family wasn't prey to the tense political climate that was there in the country when the boys were younger. For instance, Maxwell's fear of carousels is deeply rooted in his own family's fears of their children getting targeted - because he tells us "I was only three, I had no idea what was going on...And because our parents had spent so much time trying to warn us about dangers, I thought I was going to get murdered". I mean...imagine being three and having those thoughts!! I think that kind of insight should give us pause, because it does direct us to how an unstable political climate can bleed its way into the personal life or people, of their families and children.

I do wonder what implications and impact the discussions between Bartie Sr and Godfrey have on the family, though. Because if most of the fandom is right about what those two were planning, I see Bertrand and Madeleine as the people who will correct the wrongs of their parents in their support of the Crown, much in the way Olivia was last book.

Kiara

Kiki's family is actually my favourite of the lot, and we can see how she developed her skills in an environment that was supportive, and vibrant with challenges and creative stimulation. It's clear that she is one of the few people who really thrived in her family environment. Nothing was really forced on her: learning languages, and mock-treaties, and diplomacy were all things she had an aptitude for, so she went for them. And I'm guessing given the speed at which the book had Hakim and Joelle accept Zeke's decision (which could be retconning for all we know, but I do think it doesn't jar with their characterization until that point)...had Zeke opened up to them earlier, they would have figured out a way without the MC or Penelope having to convince him to open up in the first place.

One thing that I loved about Kiara's family arc was that if the MC tried to sass her about whether "everything in your family is a negotiation", or tried to cast Kiara and her family into this bland, staid stereotype of "negotiators who have no personal connection as a family", Kiki would shut that nonsense down. Every single time. She would establish that these are things important and personal to the family, and make it clear that the MC is no one to judge how they interact as a family.

Hakim and Joelle are my favourite older couple in the series, honestly. We're told they met and fell in love in college, and that their political views align more with Liam's than they do with Constantine's. In fact Liam at one point even tells us that Joelle was "the kind of person King Fabian would have approved of", and she speaks the same language about how it isn't merely enough for the country to be safe - it needs to thrive as well.

Hakim and Joelle are very different people, and in her wedding advice Kiara tells us they "delight in their differences". This is especially apparent in a fail play, where Hakim plans to go to the wedding, and Joelle winds up going to Switzerland. There's plenty of banter between them beforehand about their different ways of thinking, but expressing the same delight.

If there is only one flaw, it's in the writers - because in their mad rush to make Kiara's trauma look like it didn't matter in Castelserraillian, everyone was made to look as if they didn't care...including her parents. Which is bizarre coz the entire reason Hakim was going to leave in the first place was the fact that his daughter suffered in that attack! They never let Joelle mention anything about what Kiara went through, up until the end where she asks us if we took care of Kiara during the tour (and we are the fucking lowlifes here who didn't put the effort to, so Kiara ends up having to lie through her teeth that we "had my back").

I do see Kiara having a particular idea of "strength" that she holds everyone up to, including herself. The whole reason she even agrees with us when we manipulate/emotionally blackmail her into coming for the wedding, is because she's ashamed of herself. She wants to handle her trauma the way she handled everything else, and finds it impossible. I don't see anything that proves this is something she picked up from her family, because even while diplomatic, Hakim is open about his feelings when upset (eg. Constantine) and Joelle is expressive as well. It probably might be more of something she has imbibed in court, and in the overall culture of Cordonia itself. But the fact that the writers made sure she had support from no one, not even her family, up until readers raised questions....that is bizarre, and pretty disgusting.

But other than that, the family is interesting for their political views, and their openmindedness, which is rare in the noble family dynamics we have seen so far.

Olivia

Besides her love for knives and weapons, Olivia's determination to make the Nevrakis name one to look up to...is her entire story arc. Her story revolves around doing the exact opposite of what her parents did, of what her aunt and Anton Severus wanted to do.

Olivia is the rare person in the books who is shown without her family at all, and that is because she lost hers at the age of five. Her aunt (great-aunt in Book 1, but they made Lucretia her mother's sister in Book 3) left her and hid in the French Riviera, insisting that "the Nevrakis heir shouldn't have needed me to hold her hand and wipe away her little tears". This is something Olivia is angry about, but accepts because she has equally high standards of her own resilience.

There is plenty in the culture of Lythikos that contributes to Olivia's character as well. These people pride in their ability to survive, their determination to power through the most challenging, exacting situations. They're a militaristic society, and Olivia takes to that mindset like a fish to water. She believes in self-reliance because it's a hard bitter lesson she has had to grow up with (though one must not discount the value of Liam as a support) and because it's part of her culture, and it's become so much a part of her thinking that when the MC insists to Lucretia that relying on friends and allies is not weakness, just common sense - Olivia is equal parts grateful and shocked by the logic of that statement. It has literally never occurred to her that she can voluntarily reach out for help!

Olivia grew up in circumstances no child should have to grow up in, and manages to embody the best of her culture in contrast to her family. She adopts her father's moniker "if you can breathe you can stand, if you can stand you can fight", but reinterprets it to mean she can fight for her beliefs, fight for more than just her family and duchy. She adopts all the good in the Nevrakis clan while working to obliterate the parts that can place her loved ones in danger.

Penelope

I've actually mentioned this before, but one of the best examples of "winging it" you can see from the books, is Penelope. The writing for her just bounces from one gaffe to another so that when you look at her overall story, nothing adds up. You have to literally stretch logic to connect the dots in her story! (I know, because I've tried).

In Book 1 she suffers from seasickness, but somehow in Book 3 she has grown up by the seaside and there is practically no mention of aforementioned seasickness. In Book 2 her family insist that she not return to court without a suitor (both her parents!) yet somehow in Book 3 when we actually meet her family you'd wonder how Landon would have allowed such things to be said to his daughter. There's a no-pets-allowed rule among the royals that Liam somehow changed when he became King, so how the hell did Penelope's parents think she was going to manage court without her emotional support animals? That too a social season and an entire world tour after that?? A lot about the writing for this family doesn't even make sense, and in some ways you can tell that the writers realized they hit a goldmine with the arc about Penelope's anxiety only when they published it, and then milked it for all it was worth (I know that sounds awful, and it is. But if they'd really, genuinely planned this properly, Penelope wouldn't appear so poorly developed as a character).

Landon and Emmeline are meant to serve as an inspiration to Drake, for their commitment to their people is something he wants to emulate (either as a Duke, or as someone who will do...something in court, I guess). The writing splits the major concerns between them: Emmeline is the Duchess who inherited this estate, and who will work through any condition or situation she is in to do her best for them. Emmeline particularly, seems to have a similar drive to power through - as Olivia, Regina and Madeleine show - the worst situations in the name of "stand up for Portavira".

Landon on the other hand, is more concerned about Penelope's well-being (not that Emmeline isn't, it's more like she doesn't fully understand how difficult it all is for Penelope), and reluctant to place her in situations where she is not comfortable (which is why the hints about them in Book 2 sound so jarring on rereads).

What stands out to me, especially in Penelope's characterization is how much coddling she has come to expect, from everyone. There is very little effort - or even inclination - to right her wrongs. Part of this is the writers seriously retconning the narrative on what Penelope did to the MC, so that NO ONE ever brings it up again. But it's partly also because, as I said, they were fully ready to commit to her story in a way they didn't for Kiara. Often I wonder what it would be like if Landon and Emmeline did get to know about Penelope's involvement. I think they'd focus their anger on the Crown for placing her in that situation in the first place, and going by this characterization they may also make Penelope out to be the victim in this situation (which isn't too far off the mark - but we also mustn't ignore how coddled Penelope is most of the time and how entitled she often sounds). But even this wouldn't be so bad if we saw Penelope take responsibility for her actions, which she never does in Book 3.

One thing I do remember from her "wedding advice" was how she spoke a lot about the need to relax in their relationship, and how in-tune they are as a couple. So in a lot of ways their success with their duchy lies in how they balance their work and family (which apparently Landon seems more comfortable doing? Because he doesn't keep as much pressure on himself for Portavira in the way Emmeline does).

Penelope's family honestly...is a mixed bag. But I can say that for the most part they're supposed to represent a supportive family that deals with a child's diagnosis of their mental health by providing support, and a couple that is dedicated to their people.

Madeleine

The characterization for Madeleine also bounces from one concept to another, tbh. They started out with writing her as merely power-hungry, manipulative, duplicitous....before retconning completely and putting all of this under the label "patriotic". There is a huge, huge disconnect between the Madeleine that rejoiced in almost breaking her lady-in-waiting, and the one who places too much pressure on herself "for the sake of Cordonia". A North Pole to South Pole sized gap, really.

If it weren't for the fact that they wrote her family storyline only because they were really that desperate to make us sympathize with Madeleine, I would have found it interesting. The seeds of it begin in the second half of Book 2, when we notice Adeleide worrying about the pressure becoming Queen is going to place on Madeleine.

In Book 3, we're faced with her father who constantly dubs her a failure and doesn't see her as worthy of attention unless he can benefit from it. And with her mother, who wants to show her support, but can't in a way her daughter is comfortable with. There is a constant emphasis in Madeleine's storyline on expectations, dealing with constant failure, and resilience. She doesn't have the kind of support system she wants from either of her parents, so she has to find her own way to make lemonade out of those lemons. So each time she has to convince herself that each failure is only another step towards the biggest success possible (marrying into the royal family), and when she is robbed of that, twice, she is left having nothing else to muster up the motivation for. Which is why, then, they promote the Cordonia angle so aggressively.

Only problem is, you don't exactly get this impression from Book 2. A person with Book 3 Madeleine's bent of mind, whose main aim was to do her best for Cordonia and who spoke of the importance of an entourage...wouldn't be so short sighted as to think that just because she was engaged she won everything, esp when her last fiancé fell in love and broke off his engagement to her as well. She wouldn't be so careless in her treatment of her own ladies-in-waiting, all of whom (except Hana, and even her family has immense influence even though her mother is from a minor noble house) are from powerful Houses and families, whose support she would need in the future.

Even if one brushes off her bullying of Hana and Penelope as no big deal (as I'm very sure some of her fans do), the fact remains that at the very least such behaviour is short-sighted and in a better story would reveal that she doesn't exactly have Cordonia's best interests in mind after all, if she jumps at the slightest excuse to burn bridges with these powerful families before she even becomes Queen.

In any case...Madeleine's family ranks as one of the messiest of the lot - her father is uninterested/feigns disinterest in the country unless it involves being involved in some elaborate plot against the monarchy, and her mother shows disinterest in her duchy overall, but is clearly invested in what makes her daughter happy. Her mother is supportive, just not in the way Madeleine wants support.

Regina also hails from Krona, and Madeleine is in some ways a reflection of her values and beliefs - which is why the two get along so well. So even though Adeleide is the Duchess of Krona, I'm pretty sure she's an anomaly in a family full of women who practice stoicism and diplomacy in their regular lives.

Hana

This note is going to be small, because as I explained earlier she was brought up in a completely different environment. Hana was brought up in a manner meant to make her flexible to whichever family she would marry into - so she learns different styles of horse riding, learns diplomacy over a toy tea set, is expected to know all the 26 important dance varieties in Cordonia by the time she is an adult, grows up learning about the countries neighbouring Cordonia as well. I have a whole other essay that speaks about her upbringing alone, so I won't speak much about that here, but you definitely get the feeling that her parents spent so much time trying to cultivate an asset for themselves that they rarely ever stopped to think about her as a person.

--

The overall impression I do get from modern Cordonian nobility in the books (not just from these guys, but also interactions with other nobles like Rashad and Neville, and palace staff like Bastien) is that Cordonia is a culturally diverse place, and people in different estates have different dynamics that are influenced by their family situation and by the culture they were born into, but overall there is more of an inclination to show resilience and power, than to confess to weakness. Which makes sense, because many of them are public figures under immense scrutiny, who are aware of the kind of message they could send if they show the slightest signs of weakness. That's my overall impression of this.

I hope you enjoyed that, CL anon! Now I'm curious about what the next question is 😀

[gascon-en-exil]

Lords and their Knights: When FE Chivalry Goes Gay

@mwritesink prompted me to write about my favorite tropes in FE and how they evolved over the course of the series. I already crossed a few others off in an earlier post, but this one is a particular favorite of mine where M/M romance in this series is concerned and one I felt had enough examples to constitute a piece of its own. Let it not be said that this is merely the gay variation on the well-worn heterosexual romance trope of a lady and her knight (ex. Eirika/Seth), because negotiating the fundamental power imbalance in this type of relationship takes on different dimensions when both parties are male. I draw a closer comparison to courtly love, which in the traditional sense is also socially transgressive (being adulterous) and not consummated via marriage or other public means...which in FE terms means an S support and possibly a eugenics baby. A vassal in love with his lord rather than his lord’s wife is not only cutting the female intermediary out of what can already be a very homoromatic scenario, but it’s directly tangling together a kind of martial romantic love and ideas about what knighthood/vassalage even is or ought to be - two topics FE loves to explore. I’ve therefore compiled a few of the most notable examples of this trope across the series to talk about in more detail, because if one is willing to be liberal with subtext there’s surprisingly quite a few to pick from.

(And yeah, this is also in part because I like hot rich men who take orders, and this series already has plenty of gay or otherwise ambiguously non-straight mages, thieves, archers, and their ilk without my help.)

The Sad Gay Knight: Quan/Finn

This one I’ve talked about before in a fair amount of depth, from my hopes for how a Genealogy remake will treat Finn to speculation on just what Quan got out of this relationship besides a devoted retainer and (we may assume) a nice piece of ass. The summary here is that Finn’s love for Quan supersedes anything he’s shown to feel for any of the various women he can hook up with and quite frankly astonishes in its ramifications for the future of Leonster and Thracia as a whole. It’s poignant, adulterous (but Ethlyn’s probably ok with it?), and messy as all hell once you factor in whatever’s up with Glade and whatever Lachesis wasn’t feeling about the whole situation. It is also, naturally, very sad; Finn loses his lord when he’s only around eighteen, and with their kingdom collapsing around him and the entire continent consumed by war he dedicates the next twenty years of his life to raising Quan’s son to be the king Quan himself had wanted to be. And for all his labor he apparently derives no lasting satisfaction, spending his epilogue wandering around the Yied desert and at last returning only to (possibly) pen the history he’s helped to make. 

Finn is the embodiment of knighthood loyal unto and beyond death, and that paired with all the romantic and erotic subtext surrounding the two of them - Finn as Quan’s treasured favorite, his catatonia after Yied, the obsessive polishing of the brave lance that Quan gave to him, his inability to satisfy women in some vague way - makes them the defining example of this trope in Fire Emblem. I look forward to seeing how remakes will handle them; Finn’s presentation in Heroes is definitely cause for hope there. As for the issue of yet another story in media of gay men beset by tragedy and death, I did draw up a long headcanon on the technically crack pairing of Diarmuid/Tristan that specifically plays into the lord and knight trope while also allowing Finn a chance to pass his experiences on to a later, happier generation. IS is free to take notes, just saying.

Pretty Blond Twinks and the Men Who Love Them: Perceval/Elffin and their lasting influence

Moving on from Jugdral, I’ve got to say that I’ve really been sleeping on the original gay Elibean duo. Before Raven and Lucius (but chronologically after, because these games are out of order) there was another feminine young man with long blond hair beloved of a severe-looking warrior. Binding Blade gives us the bard Elffin, who in another life was Etruria’s Prince Mildain and Perceval’s liege. The Knight General takes Mildain’s alleged accidental death about as well as Finn takes the death of his lord and lady; he turns grim and humorless, and without a dying dream to guide him he follows the command of the corrupt revolutionary faction of Etruria with little protest. It takes learning that Mildain is alive and in Roy’s army for Perceval to drop the halfhearted Camus routine and switch sides, and the strength of his fealty not to his nation or even to his king but to the prince he’d thought dead is absolutely touching in the moment not to mention incredibly useful since the guy is one of FE6′s best units. 

Binding Blade doesn’t give anyone but Roy and his harem paired endings, but there’s still a fair bit to be gleaned from their support lines, both what is in them and what isn’t. Perceval and Elffin each have supports with women, but nothing remotely romantic - Perceval’s support with Larum is particularly amusing since he clarifies that her, ahem, dancing does nothing for him. Also worth noting is that neither of them can support with Clarine, even though one would think they’d make fine romantic choices for her given their statuses and physical resemblances to her beloved brother. Their own support line is quietly intimate. Elffin has changed since his near-death experience, and Perceval is still struggling to accept that their relationship can’t be as it was, that in fact for the time being they can’t now be a knight and his prince. Perceval also frets over Elffin’s refusal to see his father the king, and he later extracts a promise from Elffin to come home to Etruria after he’s done traveling the world as a bard, in one of the series’s several instances of writing what sounds like a marriage proposal in ambiguous terms. Per Elffin’s ending, he’s only gone for a few months after the war, so their promised reunion isn’t long delayed. I’m interested to see what a remake would add to their relationship, because as it stands Perceval/Elffin has an established romance arc that deserves a paired ending or at the very least more suggestive epilogues.

Further compounding their underrated signficance, it’s not too difficult to trace a line from Perceval/Elffin to a number of other M/M pairings in the two later GBA games and in Tellius that present some variation on this theme:

As mentioned above, Raven/Lucius is physically similar and performs a nearly identical gameplay function, with the pretty blond waif again responsible for recruiting his surly but protective boyfriend from the ranks of the enemy. 

Gerik/Joshua meanwhile borrows the character of the end of their support line and turns it into a genuine paired ending, with a prince incognito recruiting a swordsman to come work for him. They being who they are however, it’s all handled a bit rougher, with Gerik being impressed by Joshua’s “swagger.” Take that as you will.

Ike/Soren may be the defining seme/uke dynamic in Tellius’s overflowing fount of queer subtext, but Tibarn/Reyson smashes that trope together with this one and FE’s power couple unit archetype plus a dash of whatever the avian equivalent of furries is for wholly unique results. Although both of them are technically royalty, only Reyson is a prince by heredity whereas Tibarn presumably became king of Phoenicis by beating the crap out of any rival contenders as most laguz prefer to do. One can therefore read shades of a courtly relationship in Tibarn’s decision to zealously take up the cause of justice for the Serenes massacre in Reyson’s place. Combine this with Reyson’s characteristic edge that even Tibarn is forced to rein in at times and their relationship comes off as surprisingly more egalitarian than the sum of its parts. Oh yeah, and blond waif dancer + premade OP unit with ludicrous physical stats and movement again.

Meanwhile, on the other side of the conflict of the Tellius games Zelgius -> Sephiran explores what would happen if a gay Camus archetype chose instead to dedicate himself to an antagonistic lord. Sure, you can still recruit Sephiran via a convoluted and unintuitive process, but Zelgius is doomed no matter what.   

They Can Say It, But They Can’t Do It: Awakening and Fates

Ugh. If I must....

I’ve made no secret of my ambivalence toward FE13 dragging the series into open acknowledgement that same-sex attraction is a thing that exists, handled as it was with a lot of explicit homoerotic denial and an assortment of cheap gay panic jokes and...whatever the hell Victor and Vincent are supposed to be. Chrom/Frederick, hot though it may potentially be in fanon, is one of those jokes, making a parody out of a knight enamored of his lord and leaving it to mean absolutely nothing since Awakening’s relationship endgame is invariably S supports for time traveling eugenics babies. FE has taken cracks at the overly dedicated knight before - see just about everything involving Kieran from Tellius, up to and including his overzealous devotion to his superior officer - but Awakening plumbs the depths of Frederick expecting Chrom’s nude image to raise the army’s morale. Just..what do you even say to that, apart from the awkward sputtering that comprises most of their support line?

FE14, for all its stumbling steps toward something less completely offensive, fares little better in this particular regard. Leo/Niles is a deeply troubled albeit thought-provoking callback to the subtextual lord/knight relationship, one where it’s hard to imagine them finding a healthy way to navigate the power differential. Then there’s Ryoma/Saizo. It’s nothing special in localization, but the never-localized festival DLC involves Saizo’s ardent desire to warm Ryoma’s clothing in his cleavage. That sounds like absolutely normal behavior for a servant and not a rehash of Frederick’s shenanigans, uh huh. Fates may indeed be said to be slightly better about playing palpable homoerotic tension for drama rather than comedy...but only slightly.

Paving the Way for an OT3: The Deliverance

This is, incidentally, yet another reason to appreciate Echoes for doing so much to redeem the 3DS games in the realm of (male) queer content. Yes, there’s a large and unaddressed divide between the openly gay and very modern Leon and the heavily subtextual faux-historical queerness of the Deliverance, but taken independently the two presentations work for what they’re each separately aiming to be. Among Clive’s gay entourage are not one but two men who’d dearly love to be the knight to his lord, and Forsyth’s strong desire to put Clive on a pedestal evokes the earlier spoofs of this kind of relationship precisely because Forsyth is that kind of vassal, the kind that would read Ribald Tales of the Faith War and cry like a heavily erect virgin bottom getting his first taste of dick at the brief interludes of tender manly love between Quan and Finn. He’s played for comedy just as much as Kieran or Frederick are, and yet Echoes comes across as less down on the concept as a whole for several reasons, being that

1) Python’s snark over Forsyth’s attraction to both Clive and Lukas is genuinely funny, much more so than when it’s the object of these affections quietly groaning his way through them,

2) Lukas is also there, and his desire to be Clive’s beloved knight is not played for comedy at all but is allowed to be unrealistic and unsatisfying because Clive will never get it,

3) everyone wants to screw Clive for some reason, not just his subordinates but also his sister and the estranged BFF who dies in his arms...and the guy is shown to be unworthy of all of them, and

4) all the characters involved are allowed other avenues for romantic attraction outside of a lord who’s just not that into them. Forsyth has Python, Lukas has both of them as friends and possibly more later, Clair has Gray (...at least he’s not her brother?), and Fernand has a bad rebound that goes to hell in the manner of Zelgius and Sephiran but at least ends with him getting to reconcile with his former friend before he dies. 

The setup for the Deliverance’s overarching queerness is a bit strange as it rests on all these characters somehow finding Clive attractive, but nonetheless it makes for an unexpected and refreshing critique of the lord and knight trope, given a situation where the lord just isn’t that into it and in fact doesn’t seem to realize that he can be into it. It’s a good reminder that this isn’t a particularly good dynamic for a stable and lasting relationship, and that as hot as it can be it takes more than impassioned one-way devotion to make it work in the long term.

The good news if you’re into this kind of relationship like I am is that it’s a trope with some life in it yet. Echoes came at it strong, and prerelease information on Three Houses suggests a few possibilities for this dynamic in that game. I’m especially keeping my eye on Dimitri and Dedue, whose relationship appears to contain echoes of the original duo of Quan and Finn. I highly doubt there will be anything on the level of S supports acknowledging this type of attraction, but I’ll settle for some suggestive A supports.

[dredshirtroberts]

I’m bored and found this having been done by a blog I admire, @vinceaddams. Plus, I - like my projection-favorite Dragon Age Inquisition Character, Dorian Pavus - love talking about myself.

1. Name : I have many and much. I’m currently playing with the name Eyrelain/e (undecided about the final e) but for the purposes of simplicity and what I’ll generally answer to, just call me M.

2. Zodiac : Aries sun, Taurus moon, and either Leo or Pisces rising but I’ve never been able to get that one clear on my birth charts lol. 

3. Height : 5′3" roughly.

4. What time is it ? 11:57pm as of just now - it will be much later by the time I finish this

5. Favourite musician / group ? I’ve always hated this question on these things. I barely know what I’m listening to at any given time, let alone have a favorite out of them all. I just like music.

6. Favorite sport team ? If pressed (and generally if I’m around my family) I state one of the Washington DC teams - and to be fair those are pretty much the only ones I’m familiar with. But honestly I have fallen out of touch with the sportsball games and will have to work extra hard to get back into the, ah, swing of things as it were. Mostly the only sport I give a shit about is Hockey and that’s mostly because I find the players extremely attractive. Something about Russians missing teeth just really does it for me, apparently.

7. Other blogs : @witchwraytohome is mostly aesthetic with some roughly witchcraft-y, spiritual-ish bullshit fleckled in there. @adara-et-al is where I’m trying to put shit about my original characters but I’m bad at keeping up with these things so it’s not well fleshed out yet. @lia-and-em-adventure-in-thedas is a joint blog with @sumomoblossom77 for the fic I’m working on - we’re mostly keeping references and stuff there for now, but maybe one day the fic will go up there too. Once i’m finished with it anyway.

8. Do I get asks ? lol no. Maybe one or two in a blue moon but generally those are from friends who send me DMs usually. I’m not against asks, of course, so please send those on if you have them!

9. How many blogs do I follow : 80, apparently - higher than I thought it was the last I checked but then again I have a terrible memory and do not check often.

10. Any tumblr crushes ? Nah, but not really any crushes right now either. 

11. Lucky number : 3, 5, and 6 tend to be numbers that come up frequently for me and portend nice things. Multiples also count, because lucky numbers are what you make them.

12. What am I wearing right now : a pair of quickly falling apart jeggings, and a really fuckin soft old navy sweater-shirt my mom got me for xmas. it’s so soft. It’s also a lovely dark taupe color

13. Dream vacation : 1) any vacation would be a dream vacation right now. 2) I’d love to travel to Japan. And if I’m in Japan why not go ahead and hit up S Korea, and Taiwan, and China and Hong Kong, and then let’s just go ahead and get all the pacific islands, the Philippines, and head down to New Zealand to head that off there. 3) Of course that’s not taking into account wanting to go further west from there, Tibet, India, Russia, idk maybe the whole middle east. Then do I go down into Africa and start making my way through there? Clearly with the trajectory I’m on I’d start in Egypt and make my way down south from there. Or do I go the opposite direction and take on Europe? Pretty much what I’m getting at here is I’d one day like to travel the entire globe - take like...at least a year probably more, and just explore the world. Eat in every country. Enjoy life. Idk...it’s a dream. 

14. Dream car : One that isn’t almost 20 years old would be nice. less than 100k miles on it would be *excellent*, but I know that’s asking for a lot. Gotta have A/C and working windows. A relatively new sound system would be great, so the radio isn’t jangly (though honestly a working radio is enough). If I can hook up my phone to play music - AND A CD PLAYER, IT HAS TO HAVE A CD PLAYER. And her hair whatever color it please god.

15. Favourite food: I’m gonna have to say steak and/or sushi. I will ALWAYS be down for either. Or Mexican food of any sort. Seriously, you want to win me over? Feed me in general. If you feed me Mexican food (god, especially authentic central or Gulf coast mexican food yaasss) I’ll be yours forever. 

16. Drink of choice : If we’re talking alcohol, always a margarita. I’m a tequila bitch for sure. Non-alcoholic, diet cola (whatever brand I’m really not picky). Though I have found these fun little powder things my parents use called ZipFizz and boy howdy are those tasty as FUCK.

17. Languages : English, very little Spanish, German and French. I’ve been learning a few fantasy languages for fic I’m writing (where Spanish, German and French will come into play, so I imagine I’ll learn those more too). Oh and Latin. I know a little of Latin. It’s not a lot and it’s not great but it could be worse.

18. Instruments : I used to play piano - I technically still can but it’s not very good at all. I tried playing bass guitar which was...alright. I did not go very far with it. I played the recorder for class in elementary school like most everyone else did, and that was...interesting.

19. Celebrity crushes : no one, really, right now. I’m kinda figuring myself out a little and haven’t really processed attraction past “they’re kinda fit, wonder if they’re an alright person to get to know” and then realize that there’s no way I’d ever get to know them as a person outside of their fame and celebrity so I just kinda drop it. ‘S not worth the time or effort honestly.

20. Random Fact : All my old injuries that bother me are completely invisible from the surface - my one that crops up the most is my knee(s) but from the outside nothing looks the matter with them (unless the start swelling but that doesn’t happen as much anymore). Second most easily aggravated is my shoulder that also has no outward sign of having been an injury. Third most easily aggravated and honestly rarely rears its head unless I do something immensely stupid or it’s bitter fucking cold outside, is my right ribs. I got knocked really hard and they were cracked but not broken but I was also, like 10 when it happened and I’m fairly certain they healed slightly incorrectly. Sometimes it feels like I’ve got light bruising and sometimes it’s like they’ve just been injured (depending on the cause of the aggravation). I do not have good scars to show people to be like “yeah this acts up because I was stabbed in the jellies but it’s fine except during low-pressure weather”. I just all the sudden cannot stand up right, or reach over my head properly and I have to deal with it.

[calzona-ga]

The actress talks with The Hollywood Reporter about Amelia's journey and how her long-awaited family reunion will impact the character going forward.

[This story contains spoilers from Thursday's Grey's Anatomy, "Good Shepherd."]

ABC's Grey's Anatomy opened up Amelia Shepherd's world in Thursday's bottle episode, which featured the long-awaited introduction of the fourth Shepherd sister — played by guest star Amy Acker.

The sibling reunion occurred after Amelia (Caterina Scorsone) and Link (Chris Carmack) flew to New York for a surgery and bumped into Nancy Shepherd (returning guest star Embeth Davidtz), who invited the duo over for dinner. The only catch being that Amelia never informed her family of her divorce from Owen (Kevin McKidd) — or her brain tumor, foster kid Betty or Owen's adopted son Leo, among other details.

The meal turns ugly when Amelia's mother Carolyn (returning guest star Tyne Daly) crashes the dinner and instantly remembers having met the real Owen (Kevin McKidd) when she visited son Derek (former star Patrick Dempsey) years ago in Seattle. The estranged siblings have at Amelia, recalling all the ways in which she screwed up her life and the (many) mistakes she made.

After Link — her current love interest — comes to her defense, Amelia reveals her frustrations that her sisters (and mother) only see her as the screw-up and "Black Sheep Shepherd," her childhood nickname. This is why none of her siblings or mother wanted to come to her wedding to Owen.

In typical Grey's fashion, Amelia and Link's patient — and his brother — provide a lesson for Amelia, who makes a bold surgical choice that ultimately gives a college-bound student a new lease on life. But it comes at a cost as Link pulls away from Amelia, whom he accuses of being reckless and making a risky decision because she needed to prove her family wrong.

The hour closes as Amelia and her mother have a heart to heart in which Amelia realizes that she sabotages her own relationships and doesn't know how to love. What's more, her mother fills in some gaps from Amelia's Private Practice backstory when she reveals that the youngest of the Shepherd siblings is the most like her father — whom loyal Grey's viewers recall was murdered before Derek and Amelia. Carolyn's biggest regret, she says, is not being there for Amelia.

Amelia comes away from the conversation with an understanding that she doesn't need her family's approval — she already has it in sisters-from-other-misters Meredith (Ellen Pompeo) and Maggie (Kelly McCreary) — and that it's up to her to realize she's worthy of love.

Below, star Scorsone talks with The Hollywood Reporter about the Amelia stand-alone episode and romantic future with Link (who apparently can be easily won over with a box of doughnuts from his favorite favorite spot in New York).

Amelia is having quite an emotional journey this season: reconciling with Owen, fostering Betty and Leo and learning of Teddy's pregnancy. Then losing her kids and splitting with Owen. What's been your biggest takeaway about Amelia this season? We've seen Amelia be unbelievably resilient. She must be made of some sort of rubber because she seems to bounce! [Laughs.] One of the really nice things I've been able to play this season is some of the lightness, fun and humor that we got to see on [Grey's spinoff] Private Practice a lot more. She's got this wry life is crazy and is finding the joy amid all of the chaos. That's been really fun to do.

Amelia's mother helps her understand that she sabotages relationships and doesn't think she's worthy of love. What made her come to that realization? There were a few hits a couple episodes ago when Owen and Amelia were at the lawyer's office talking about who would halve custody of Leo. Owen said something like, "You're just not capable of love." It was a knife to Amelia's heart and she was so devastated by it — especially after being so patient, amazing, loving and supportive of Owen and Leo all season long, and trying to be so patient with the Teddy situation. That was quite a quagmire! [Laughs.] That was really hard for her to hear. Then having her sisters confront her over and over again and seeing how she wasn't really connecting with Link even though he was being so charming, accommodating and lovely. Amelia was trying to keep him at bay emotionally. She's had enough clues that maybe there's something in her psyche that she's not been willing to look at.

Amelia's mother, despite all the twisting roads that Amelia has gone down, was courageous and generous to really face and admit to her part in the broken attachment Amelia had as a child. She endured a terrible trauma at age 5 when saw her father murdered in front of her. Then her mom says, "Listen, I'm sorry I wasn't able to be the kind of psychological container that you needed at that age to move through that trauma in a way that would leave your ability to connect intact." She really takes responsibility for her part in Amelia's early relationship with attachment and love. And then also says, "And I believe that you're smart, strong and brave enough that now that you have this last piece of the puzzle that I've given you, that you can put it all together and move forward and have beautiful relationships. That's on you." She hands baton back to Amelia, now with the final piece in place, and says, "I'm giving it back to you; you now understand your childhood. You can do the work and can have love."

This episode really filled in some gaps with Amelia's family and why she's not close with them. How will the dinner from hell and conversation with her mother help fuel what we see next from Amelia? I do feel like there was an incredible healing and closure at two points in this episode. First, in that moment where she was able to tell her sisters that, as opposed to try and earn her sisters' approval, finally, after seeing how relentless they were to her at the dinner table and that they just weren't willing or able to see that Amelia had become a pretty wonderful person in adulthood — she's a neurosurgeon, she gives back to her community, she has relationships, she loves children. She does all these wonderful things and her sisters weren't willing to allow their narrative about her to change. Amelia accepts that finally and stops trying. At the door when she's leaving, she says, "I believe you that you love me but you don't like me and I don't really like you, either." She allows that to be OK for herself. She can love her family but if every time she's near them, they tell a story about her in their own minds that that traps her in an identity that doesn't match up with who she is today, she does have permission to not expose herself to that kind of judgment. She can go create family where she finds love: in Seattle with Meredith, Maggie and the people she has surrounded herself with — her chosen family. That was a huge moment for her. And the healing that was given to her by her mother at the end and the apology and the piece of the story that she was missing. And the reconciliation with her mother. I think it's going to free Amelia's psychological bandwidth up a lot. We'll see how that goes. She is letting go of the old story of Amelia as the black sheep and she was able to leave it in New York. Now we'll see next season what the new story is.

Amelia and Link reconcile on the plane. Amelia now has this liberation and missing piece of the puzzle. What will she do with that awareness now? Will Link or Owen be a part of that? That I don't know. The writers are starting to break story for next year right now. All the irons are in the fire trying to think about where it goes next year. All I know is that they don't know anything yet! I'm trying to stay open. Chris Carmack is very talented and we've had some great comedic scenes that have been really fun to play. And Kevin and I are best friends and love working together. So whatever direction they decide to go in, I'm in a pretty great position as an actor.

If you're writing Amelia's next act and had the choice between Link or Owen, who do you see her with? I can't possibly answer that! There are such good things about both of them. The nice thing is that Grey's is doing so well that I feel like we are going to get to play out whatever we want to play out. And if we love it we go with it. And if it's not working, we can go in another direction. We have time to play all those stories we want to play because our fans are so gorgeous and passionate. Knock on wood, hopefully we get to see all of the stories that we want.

How would you describe the season finale? It's a Grey's Anatomy season finale! Debbie Allen is directing. There's some fun, big stuff happening. It'll be funny and it'll be delightful and there will be catharsis. Classic Grey's.

For a season that was dubbed — and delivered — the "Season of Love," is the finale a fitting end for that? Yeah, I think so. Love in all its forms.

[wigwurq]

WIG REVIEW: FOSSE/VERDON

Are you ready for another prestige limited series from FX? Do you like the legitimate THE-A-TRE? Can you do jazz hands upon request? Well then Fosse/Verdon might be for you. MAYBE.

But what about the wigs? Let’s discuss. As this an eight episode series, I will be updating this post weekly and adjusting whether or not the wigs do or do not wurq. Spoilers, obvs.

So this show is about legendary director/choreographer Bob Fosse and his wife/Broadway legend, Gwen Verdon. If you have never heard of either, I suggest that you stop reading because this show is definitely not for you. Sorry? Produced by Lin-Manuel Miranda and directed by Hamilton’s Thomas Kail, this show is made ONLY for theater megageeks and basically no one else. As a former drama club president who definitely got Joel Grey’s autograph after seeing the original Broadway revival cast of Chicago, I thought I fit that bill but after watching this thing, I don’t even know that I qualify. My husband, who spent most of the episode asking questions until finally just deeming the whole thing “boring” was absolutely not the key demographic and yes he went into this knowing who these two people are and has seen several musicals. Similar limited series focusing on very specific pop culture such as Feud: Bette and Joan did a much better job catering to the uninitiated. 

EPISODE ONE: LIFE IS A CABARET

We begin at the end, then go straight to the middle, which is: a choice. We first see Sam Rockwell in old man makeup (sorry - I could find no images of this to share) and then backtrack. Much of this episode is focused on Fosse’s transition from choreographer to film director. This is when Fosse had already lost much of his hair and had a bad combover and Rockwell is given this wig that is giving me Ed Harris circa 1998 feels and like all bad man wigs, looks terrible from the back.

We are then plunged straight into production for the film version of Sweet Charity without any explanation of anything other than the fact that (duh) he’s directing the iconic Big Spender number. But wait - there’s a twist! Turns out Michelle Williams as Gwen Verdon did a lot of the directing! DUN DUN DUN. I am all for giving ladies their propers and approaching narratives as if they are Glenn Close’s The Wife character but this does not change the fact that this red Marilyn Monroe wig is not very good. 

This is all very Theatre-y with a capital T and an ending in RE NOT ER. Everything has a Theatre quality to it - but not in that Tony winning Hamilton way, more in that Emmy winning Grease: Live! way (Kail directed both) which is to say that there is no immediacy or intimacy to anything - all the characters feel like they are far away, performing on a stage - and it leaves the viewer feeling empty and, well, bored. TV and stage are just not the same! Oh, and Fosse just found out that movies and stage are not the same because Sweet Charity was a big flop! Look at how sad they are in their gorgeous apartment and terrible, bent wigs with backs that jut out from their necks! THE HORROR!

So then Paul Reiser shows up. He is fine and I’m glad he’s getting work and he’s thankfully not wearing a wig! When a new character shows up in this show, you spend the first five minutes or so trying to figure out who they are supposed to be playing, like an IMDb charades game since no one explains who they are and simply give vague context clues. At first, I thought he was Neil Simon, then he mentioned making a movie with homosexuals and Nazis so I was like: DEFINITELY MEL BROOKS but it turns out it he is Cabaret producer Cy Feuer. You, know - CY FEUER? You don’t?? WELL WE’RE NOT GOING TO EXPLAIN IT TO YOU WE ARE FOSSE/VERDON.

Aaaaanyway, Fosse gets the job of directing Cabaret and goes to Munich and meets Liza Minnelli who in this tv reality looks like this which is not how Liza Minnelli ever looked. AND THIS WIG. AT LEAST GIVE LIZA A GOOD WIG NOT ONE YOU FOUND AT RICKY’S. NEXT.

Then Paul Reiser gives Sam Rockwell a lot of guff about taking too long to direct things and not deciding about costumes and hiring ugly German prostitutes to be extras yet somehow allows him to wear these really ugly shoes. Throughout, Rockwell’s wig is a mess of a tumbleweave, not unlike this show. And then Michelle Williams shows up to save his ass like all capable ladies ever and even goes to buy a gorilla suit in NYC only to arrive back in Munich where Rockwell is boning some German translator who looks way too much like Ann Reinking. There’s also a lot of nonlinear theatrical vignettes into Fosse’s past that play like, well, All That Jazz. Which this is not. 

In the end, we go back to old man Fosse, and it is told to us that he has only EIGHT MORE MINUTES TO LIVE. Kudos to the production team for somehow trying to turn  Bob Fosse’s 1987 death into a thriller. Spoiler: it’s not.

EPISODE TWO: WHO’S GOT THE PAIN?

We (obvs?) begin in Majorca, where 70s-era Fosse and Verdon have gone to patch up their marriage. Also can you think of a more bougie place to go in the 70s to patch up your fancy marriage? There are a lot of scenes on the beach where Sam Rockwell’s 90s Ed Harris wig gets blown around and Michelle Williams cries into a cardigan. And because misery loves company, apparently their best friends, the Neil Simons, are along for the ride. Joan Simon is Gwenny’s best gal pal and her wig is something one might find in a pile of Halloween wigs to play Uma Thurman in Pulp Fiction.

We then travel back to 1955, or “267 since Gwen Verdon’s first Tony Award.” Yes, this show is still doing this insufferable titling which really is a lot of fun facts that add up to nothing. Regardless, we’re at the point where Verdon and Fosse meet as he “auditions” her for Damn Yankees which he is to choreograph. I have to say that this scene, with both actors dancing and wearing much better wigs than their characters wear in the 70s (still terrible though!) was pretty fun! They can dance! 

They also obvs fall very much in love, though weirdly the scene of them actually having sex for the first time is buried in a montage. You have very odd priorities, Fosse/Verdon! Complicating matters is Gwen’s perpetually bent wig, Fosse’s kind of ok in comparison wig, and oh and the fact that he’s married!

This show not only wants but DEMANDS that you wikipedia everything that is happening, mainly from its distinct lack of good storytelling. Anyway, Fosse’s 2nd wife was Joan McCracken and OMG CAN WE PLEASE HAVE A PRESTIGE TV SHOW ABOUT HER? Wiki tells me that her first husband ended up being Truman Capote’s lover and that Capote based the character of Holly Golightly on her and seriously why are we wasting our time on this Fosse/Verdon mess when we could be learning more about her?!?! Anyway, what the show does tell us is that she has a mysterious illness that makes her sometimes not be able to walk (Wiki explained that she had some heart attacks around this time). Also, she is no fool and fully realizes that Fosse is gonna leave her fabulous ass for Gwenny - just the way he left his first wife for her! Also please look at Sam’s terrible lace front here. Also Joan’s wig is very much Joan Allen in Pleasantville which is to say: the best wig on this show. 

Anyway, the rest of the episode is devoted to working out some musical kinks in Damn Yankees and watching Michelle Williams dance around in a bad wig. Oh, and then finally leave Fosse in Majorca when she realizes he’s about to leave HER fabulous ass for some German translator (I’m sensing a theme here). And the show ends trying to make Joan McCracken’s death into a thriller! Spoiler: Wikipedia tells me she died in 1961! Wikipedia is a much better show than this, also. 

EPISODE THREE: ME AND MY BABY

We begin in some random editing suite where Fosse has gone to begin editing Cabaret and because this show cannot and will not stop trying to be All that Jazz (which I rewatched this weekend and LORDT IS THIS SHOW TRYING TO BE THAT MOVIE - AND ALSO BOTH ARE GARBAGE!) there is an elaborate dance number with random editing assistant (?) ladies. The one good part of this is: Sam Rockwell dancing. Otherwise: garbage fire.

Speaking of garbage fires, the (4 hour!) rough edit of Cabaret that the editors put together for Fosse while he was in Majorca (which he was really pissed about because HOW DARE THEY DO THEIR JOBS) is a friggin mess. Speaking of messes, THE BACK OF THIS WIG. Is Fosse a monk? What is happening here? However, I do appreciate the casting of the dude who played SpongeBob on Broadway as Joel Grey. 

Back at Casa Verdon, where Fosse DOES NOT LIVE ANYMORE, Gwenny is making dinner and trying to get her own career back together when Fosse shows up unannounced with Chinese food and pleas for Gwenny to help him edit the mess that is Cabaret. RUDE! Gwenny and her bent wig have their own dinner dates with her agent, Peter Scolari at the Russian Tea Room to get to THANK YOU VERY MUCH. 

Thus, Gwenny leaves their daughter with Fosse and his epic combover at the editing suite to go to her dinner date and HE CAN’T EVEN HANDLE being with his tween daughter for a few hours (since he definitely has to make time to bone his editing assistant) and ropes Norbert Leo Butz in a very shaggy wig to come hang out with his kid in a hotel room. Gwenny is NOT HAVING IT. 

Even though Butz basically just ate a bunch of sloppy food and made the daughter watch a b horror movie, Gwenny points out that leaving a tweenage daughter with a random dude in a hotel room is INAPPROPRIATE EVEN IF THAT DUDE WROTE MARTY WHICH IS A PERFECT MOVIE. 

This makes her reflect on her own (somehow very Magdalene-Sisters-like) tweenage years (as played by a younger actress whose image could NOT be found on the internet, gurl) when she was raped and impregnated and then slut-shamed by her parents into marrying a much older alcoholic. YIKES. 

So back in the 70s,  despite the fact that she’s in some rando straight play called Children! Children! (yes really) which is being directed by a condescending asshole and taking care of her kid, she somehow finds time to go help her estranged idiot husband edit the movie that she basically co-directed. SERIOUSLY WOMEN HAVE TO DO EVERYTHING. Also all these wigs look like crap. Just when you think Fosse is maybe being redeemable, he decides to bring up the Gwenny’s illegitimate son AT THE VERY WORST MOMENT DUDE YOU ARE THE WORST.

Back with Young Gwenny, we see her giving her infant son to her parents to raise so she can go be a dancer. We then cut to her triumphant turn in Can-Can (some years later but Fosse/Verdon definitely doesn’t specify how many). Gwenny’s show might be a triumph, but her wig is still a mess. Oh, and she’s still haunted by the cries of the baby she gave up BECAUSE WOMEN CAN NEVER FULLY HAVE NICE THINGS.

EPISODE FOUR: GLORY

We begin at Cabaret. Isn’t life one, you guys? Fosse is all poised for this to be the flop that (apparently?) Sweet Charity was but nope: it’s a big huge critical and commercial hit! Do whatever you want, now, Fosse! Oh wait, you already do everything you want anyway? Cool! Fosse and his circa 1997 Ed Harris wig are now unstoppably arrogant! Get ready! So Fosse’s next project is the medieval/psychedelic nonsense musical, Pippin which will definitely give you contact highs. 

JUST LOOK AT HOW HIGH THIS MUSICAL IS. I think when people from the Mid Waste think of Broadway musicals, this is what most of them still think that looks like. Also this is how I fear I’ll die. 

Speaking of! Gwenny’s best galpal, Joan Simon (wife to Neil) is dying of cancer! It’s very sad because she’s really nice and despite her bad Uma Thurman in Pulp Fiction wig I appreciate her dedication to half updos with bows that match her outfits. 

Gwenny does not even have time to be sad about this because she needs to take her bent wig over to Pippin rehearsals to pick up her daughter only to find that Fosse has given her FOUR TABS TO DRINK THAT IS LIKE 3 1/2 TOO MANY. She handles it by smiling through her hatred and truly this was a very Miranda Priestly moment and also I like Gwen’s top. ALSO LOOK AT THE BACK OF FOSSE’S WIG NO THANK YOU PLEASE.

Over at Pippin rehearsals, we also meet Ann Reinking (who will become Fosse’s lady love for the next decade or so) but for now she’s keeping things professional and also this is Andie MacDowell’s (wigless, thank god) daughter. Ok!

Fosse is definitely NOT keeping things professional and basically boning the rest of the Pippin ensemble cast, whether they like it or not! There is a very #MeToo moment where Fosse ends up getting a knee to the groin and GOOD.

Not so good? Gwenny’s play Children! Children! (that title - I still can’t). Despite asking Fosse to come over and FIX. IT. he is too busy becoming the poster dude for Time’s Up and Gwenny’s show ends up getting bad reviews and closing immediately. Also her wig is fully turning into a Jean Stapleton in All in the Family lewk. Whilst Gwenny’s professional life is going to crap, Fosse is winning ALL THE AWARDS as shown in a really confusing montage which suggested that the Tony Awards are before the Oscars. INCORRECT.

In the end, Fosse drunkenly tries to go bone Gwenny but she has wisely shacked up with that dude from Obvious Child which literally leads Fosse into a MENTAL INSTITUTION and the entire show to basically just turn into All that Jazz which I will remind everyone is a very derivative and terrible movie! OY.

EPISODE 5: WHERE AM I GOING?

The title of this episode should really be an question for the viewer: where are you going? Where are we all going? Are we still really watching this show? Sadly: yes. UGH I think we’re more than halfway through now? Let’s just finish this thing!

We begin at the mental hospital where Fosse ended the last episode. Gwenny and their kid are visiting him and Fosse is basically catatonic. This does not stop Gwenny from moving FULL STEAM AHEAD ON CHICAGO! Then cut to: Southampton? Huh? Sure! There, Fosse and his best bros, Neil Simon and Paddy Chayefsky are having a beach weekend which leads to the above upsetting 70s mens shorts (which thankfully Norbert Leo Butz did NOT sign on for). I love dudes who refuse to wear shorts in the summer, no matter how hot it is. My husband is one of these dudes. 

The one problem with this beach weekend? Everybody together in their best impression of Renee Zellweger in Cold Mountain: IT’S RAINING! So everyone is stuck inside. And also it’s kind of a Big Chill sort of scenario except the role of Kevin Costner as the dead friend is now: Joan Simon. And also Fosse just got out of a mental institution 3 months ago. And he’s there with his girlfriend and Gwenny is there with her boyfriend. AND ALL THE WIGS ARE TERRIBLE. 

So Fosse’s girlfriend: Ann Reinking! When last we saw her, she was ignoring Fosse at Pippin rehearsals but it’s explained that after his (1 week!) stay in the looney bin, he gave her a ring and now they’re in LURRRVE. Ok? Andie MacDowell’s daughter plays Annie and she doesn’t wear a wig and she’s fine. Fosse’s circa 1997 Ed Harris wig is still very upsetting. As is his tan!

Also upsetting? Gwenny rolls up with this RAT TAIL (it’s hard to see in this pic but it’s the best I could do!) We’re supposed to believe that in the last 3 months she suddenly grew this monstrosity out?!?! MORE ON THE BONE CHILLING TRUTH ABOUT THIS RAT TAIL LATER.

Gwenny also has a really nice boyfriend named Ron. He is played by that guy who played a nice guy in The Office, Obvious Child, and Girls. He doesn’t wear a wig and he is very nice! Fosse’s combover is not! 

Oh also along for the ride is Fosse/Verdon’s daughter Nicole who is definitely too young to be dealing with all these effed up grownups and also is bored and ends up giving herself a cigarette/pickle-induced stomach virus. GET IT TOGETHER, PARENTS.

Most of the episode is about whether Fosse should direct Dustin Hoffman in Lenny or proceed with Gwenny’s vanity project, Chicago, despite the fact that his doctors told him to take a year off work from either! Spoiler to anyone who has never seen All that Jazz or who does not know enough about Fosse to even bother watching this: HE DOES BOTH! WHO IS THIS SHOW EVEN FOR?!?! Also Norbert Leo Butz’s man wig is not as bad as the rest. Great work on not wearing shorts again also! Also Fosse/Verdon bone again in secret even though they are married but have lovers. The 70s! 

 And now to the critical and bone-chilling facts about Gwenny’s rat tail! After a night of drinking and making terrible professional and personal choices, Gwenny sits down to a breakfast of coffee and one single piece of fruit and then....UNCLIPS HER RAT TAIL AND POUFS IT UP! So first off, that clears up the whole “how did her hair grow so long so fast” question. HOWEVER. This now leads to another case of WIG GASLIGHTING. This is when a wig (which is being passed off as real hair) is of equal or lesser quality to a wig that is a known wig within the context of the narrative. In other words - the quality of this rat tail (which we now know to be a wig) is of the same exact quality as the wig Michelle Williams wears to play Gwenny. WIG GASLIGHTING! For other bone-chilling examples of past wig gaslightings please see my reviews of The Danish Girl and Oceans Eight. WIG GASLIGHTING IS TERRIFYING.

EPISODE 6: ALL I CARE ABOUT IS LOVE

And here we are. Throughout this (limited) season, we’ve gotten hints and asides, teases and tosses of All That Jazz but this episode fully just is a remake of the movie All That Jazz. Which I recently rewatched and is terrible. Terrible still? Anyone who would be watching this show would clearly be familiar with this awful film - so why make an episode that is that entire movie with absolutely no new information?!?! Again: WHO IN THE HELL IS THIS SHOW FOR?!?!

Anyway, if you haven’t seen All That Jazz, this episode is about Fosse editing Lenny while also directing/choreographing Chicago AND having some heart issues that end in hospitalization. Gwenny’s wig is bent as ever and Fosse’s circa 1997 Ed Harris lewk is still the same. Truly, there is no new information in this episode at all except that some of it is presented with Fosse AS Lenny Bruce which was an AWFUL IDEA. 

OH! Except this lady playing Chita Rivera who is really good and has the brunette version of Gwenny’s bent wig. 

ALSO! Nicole Fosse is now played by this slightly older actor who looks nothing like her younger version (or the actual Nicole Fosse) and is in a definitely terrible wig (and also forced to wear heavy makeup to visit her dad in the hospital because kids aren’t allowed to visit hospitals? IS THIS REALLY A RULE?)

Anyway, there’s a lot of All That Jazz hospital drama here and a lot of terrible flashblacks to Fosse’s burlesque tween years which attempt to explain his messed up relationship with women in an extremely Don Draper in Mad Men flashback way. There is also messed up hospital sex with Ann Reinking! THIS EPISODE IS AWFUL IN EVERY WAY!

EPISODE 7: NOWADAYS

Fosse recovered! For now! Back at Chicago rehearsals, everyone is wearing extra socks and doing just great. The most important addition to this show this week is that they got some dude to play Jerry Orbach! His man wig was terrible!

He also very did not look like Jerry Orbach! Anyway, this episode was mainly about Gwenny being TOO OLD for all this choreography, y’all. She was huffing and puffing all over fake Jerry Orbach so Fosse had to cut a lot of her dancing but once the show opened guess what? Gwenny got better reviews than the show itself! Take that, dance steps! However, there was a whole part where Gwenny read Fosse for filth and said that he owed his entire career to her and how dare he make the finale a duet between her and Chita! (He made the finale a duet). There were also many flashbacks about Fosse and Gwenny’s fertility issues and I almost believed that Nicole was adopted until Gwenny got legit pregnant while Fosse was too busy dancing to construct cribs. You almost taught me something, Fosse/Verdon!

OMG I CAN’T STOP LOOKING AT THESE PICTURES OF FAKE JERRY ORBACH. Anyway, Fosse/Verdon then legit DID teach me something: apparently a few weeks into the run of Chicago, Gwenny inhaled some confetti during the finale and it effed with her vocal chords but she refused to leave the show, thinking it might close if she did. BUT THEN Fosse got LIZA EFFING MINNELLI to take her place while she got surgery and recovered! This was news to me! HOWEVER, Fosse/Verdon refused to show me any footage of even fake Liza in the show which was a real missed opportunity. 

Anyway, Liza revived the show and Gwenny was kind of pissed about it but on every level: THE SHOW MUST GO ON. Here is Gwenny during the finale which she was forced to share with Chita. And this show didn’t even show us the full finale! I DEMAND TO SEE MICHELLE WILLIAMS DOING THE HOT HONEY RAG WHY DID YOU EVEN MAKE THIS SHOW IF I CAN’T SEE IT. There is literally no reason for this show to exist if it can’t show me Michelle Williams doing a cartwheel in a top hat.  What a world. What a wig. 

IN CONCLUSION: LOOK AGAIN AT THE TERRIBLE MAN WIG ON FAKE JERRY ORBACH. 

EPISODE 8: PROVIDENCE

We begin (or should I say end?) with some grumpy old men talking about what they can and cannot eat (spoiler: they can’t eat anything good!) Both Fosse and BFF Paddy Chayefsky have heart conditions and creative conditions. And I have a condition with this wig on Norbert Leo Butz. NO THANK YOU PLEASE. Anyway, Paddy tells Fosse how to rewrite All That Jazz aka how to rewrite his life and Fosse DOESN’T WANNA HEAR IT. And then Paddy dies and Fosse quite literally dances on his grave but in a really sad and mournful way. Yes, really. 

Meanwhile, Fosse interviews Gwenny in preparation for All That Jazz which honestly is just way to meta at this point, and she kinda tells it like it is. And I kinda know I’m not gonna miss this bent wig! 

Meanwhile, Ann Reinking is forced to audition to play herself in All That Jazz while under the painfully awkward and terrible direction of Fosse in this circa 1996 Ed Harris wig and LORDT I WILL NOT MISS LOOKING AT THE BAD OF THIS THING!

Then over at All that Jazz rehearsals, Gwenny and Nicole are met with bizzarro visions of themselves much like these bizarro visions of themselves in this show and omg everything just got way too meta and NIcole’s wig gives me hives. 

AND THEN. AND FRIGGIN THEN. LIN-MANUEL MIRANDA HAD THE AUDACITY TO PLAY ROY SHEIDER PLAYING BOB FOSSE IN ALL THAT JAZZ. JUST WHEN YOU THOUGHT THIS SHOW COULDN’T GET ANY MORE VAINGLORIOUS. MY HEAD AND MY TV JUST EXPLODED. 

Honestly, this is the only way for this terrible show to end - in a blaze of glory and nonsense. Well actually, it ended with Gwenny and Fosse reteaming in old age makeup to direct the revival of Sweet Charity but the internet refused to give me any pictures of that and fine. And then Fosse died on a sidewalk in the arms of Gwenny. And then for some reason the whole show ended with a shot of Nicole Fosse’s Vermont house. 

WHAT A LONG STRANGE TRIP IT’S BEEN YOU GUYS. But now we can finally be rid of these terrible terrible wigs and this terrible terrible show. 

VERDICT: DOESN’T WURQ

[douxreviews]

Charmed - Season Five Review

"My sister, the demon magnet."

A clear departure from the dark, mature tone of the previous two years, Season Five is where Charmed starts to go downhill. Following some network meddling to avoid the apparent doom and gloom of the previous season, there's a massive shift towards a lighter, and subsequently more banal form of writing. I do feel like I have to defend the first half the season to many, which features a few of Charmed's better hours, but the second half...not so much. Spoilers and, unfortunately, leprechaun discussion ahead.

You can kind of get why there would be an attempt to back track to the light-hearted tone of the early episodes of the series. Season Four was by all rights a bitter pill to swallow. With Prue's untimely death, and the Halliwells’ hard battle to rid themselves of The Source for good, things got pretty dark. Why not change tack and have a bit more fun? Sadly, for Brad Kern et. al, more fun means squeezing Alyssa Milano into the skimpiest costumes possible, and breaking the record for the highest number of irritating magical creatures in a single episode of television. Ugh.

Initially, the dress-up games aren't all that terrible. Sure, the Mermaid fiasco in the two-part premiere was questionable, but the decision to tie it back to Phoebe's pain and desire to escape the toxicity of her relationship with Cole was oddly affecting. Even the fairy tale absurdity of 'Happily Ever After' feels rooted in similar personal struggles. By episode 5, though, we get our first taste of the tackless dreck that will become signature in the series' later seasons. The results are a mixed bag, to say the least. 'Witches in Tights' is a great title for an hour that serves very little purpose other than to get the girls in a "theme of the week" get-up to liven up the WB promos. This tastelessness carries through to the end of the season with Rose McGowan's pain coming through in spades during 'Nymphs Just Wanna Have Fun', where she spends two thirds of the episode prancing around in rags like some brainless dodo. The costume party even runs into the season finale, where a potentially great idea is squandered by a need to ham up every single angle of the girls' transformation into Greek Goddesses.

The first half of the season does shine in a lot of ways. Julian McMahon's presence is still welcome, though Cole's return feels little redundant in light of the rather conclusive ending his vanquish gave us in Season Four's 'Long Live the Queen'. Regardless, we get some great character beats throughout the first 12 episodes before Cole's humanity is eventually lost and he has to be vanquished for the final time in the 100th episode 'Centennial Charmed'. Despite an unnecessarily extended arc, Cole was still an integral part of the show's growth and maturity and Julian McMahon will be remembered fondly.

There are some clear high-points elsewhere, too. A great guest spot from Melinda Clarke in 'Siren Song' helps to buoy yet another episode dedicated to the never-ending push and pull of Phoebe and Cole's now defunct marriage. 'A Witch in Time' is one of my personal favorites. With a fun time-travel element at its core, and one hell of a twist mid-way through the hour, it’s one of the rare examples of how smart the writing team could still be this late in the game. The 100th episode toys with the idea of an alternate reality without Paige around to save the Power of Three. It's played well for the most part, and effectively ties a nice bow around Julian McMahon's time of the series. 'Sense and Sense Ability' is also a bright spot in the otherwise depressing haze of nymphs and leprechauns in the second half of the season. Its full of fun gags and is home to a clever idea that ties neatly back to the strength of The Power of Three, an element that's oddly rare at this point.

For the most part, though, Season Five is a big disappointment with some really low lows. 'Lucky Charmed' is one the worst hours of the series, drawing on cliched leprechaun tropes, and tired demon drama. 'The Importance of Being phoebe' is a tacky mess, and is one of those episodes where you question how good the girls are at spotting when there's something clearly wrong with each other. What's so sad about episodes like these is that you have to endure them knowing there's material that’s just as heinous coming up later in the series.

In the face of some dreadful episodic content, you would usually be able to turn to the sibling dynamics that were almost always well crafted. Unfortunately, Season Five marks a point in the show where the writers begin to favor a more segregated approach to the girls' individual arcs, with lifeless love interests and silly new jobs taking precedent over genuinely effecting drama. Phoebe's time is spent floating from guy to guy and building her career as the city's biggest advice columnist, a career development that makes Prue's quick hire at 415 Magazine seem like a completely feasible move. It's great to see her mature, though. Paige makes a rather questionable choice to leave her job as a social worker, one that causes her to drift for most of the season with very little purpose. Piper's role is probably the better one this season, with her pregnancy, and the subsequent birth of her first child Wyatt, taking up most of her screen time. Unfortunately, her journey this year ends with one of the biggest mistakes the show ever made; the dissolution of her marriage to Leo.

For reasons that stem from lazy writing more than anything else, Piper and Leo are pulled apart in the finale in order to allow Leo to take up a bigger role "up there" with the Elders, and to make room for the time-travelling Chris, who pops up in the season finale and will continue to plague the series next season. It's a move that's just as frustrating as it is contrived, and almost appropriately messy as we enter Charmed's problematic sixth season. There were some attempts to shoe-horn in some martial discord before the finale, notably in clip-show episode 'Cat House', but those small scenes do little to shake the feeling that the writers are now driven more by major story beats, and are far less concerned with the characters that were so well drawn when we started this journey five seasons earlier.

Potions and Notions

Sam makes his first re-appears here since season two, and it marks the first time he comes face-to-face with his daughter, Paige.

There was a lot of build up to Wyatt's birth. The moment itself is actually rather sweet, but the show doesn't really use his abilities to their fullest extent right away.

Phoebe's premonitions start to become more vivid this season, which basically means they're less blurry.

Spells and Chants

Cole: "What happened to us, Phoebe? How'd we get here? We used to be so in love! Even without your sisters, it's not working... Why?" Phoebe: "I don't know... Maybe it just wasn't meant to be."

Piper: "Even if he can handle the demons, he must sense the tension, which means at the very best we end up with a neurotic infant." Leo: "Look on the bright side. Growing up with your sisters, he was bound to be neurotic anyway."

Best Episode: A Witch in Time.

Honorable Mentions: Siren Song, The Eyes Have It, Sympathy for the Demon, Centennial Charmed, Sense and Sense Ability.

Worst Episode: Lucky Charmed.

There are some admittedly strong elements this season, but it's mostly a disappointing year that feels like a disservice to the well written drama that came before it.

5 out of 10 leprechauns.

Panda