#and then in the final few scenes when its all the later arcs and all the mini frames around

[oflgtfol]

it's really such a shame this map never got as popular as five giants did because it feels like the true successor to five giants that no other map since then has been able to accomplish. some complain about the crazy editing but that just makes this thing so much more impressive to me, just 1. the logistics of organizing it, both in terms of all the people collaborating, as well as having everything synced up art style, timing, mood, story, color wise. and 2. you have to rewatch it to truly get the full scale of what exactly you're watching with all these different frames, and that makes it so much more fun to watch!! why would you complain? just rewatch it and choose which part to focus on each time. it's amazing. like 50 rewatches later i'm still discovering new things. such an amazing video

[pinkie-quinns]

(posting some old twitter threads here for posterity's sake)

rocker eddie actor steve fame au p1 | p2 p3 p4 p5 interlude p6

Steve follows Eddie out to LA. Indiana’s home, sure, but Eddie’s got dreams bigger than the both of them. And Steve loves him, wants to be there with him the whole way through.

He does odd jobs to pass the time, nannies a lot, works on sets. Extra work pays the best, quick easy cash, so he dances to click tracks in cut scenes of teen shows and pays for their groceries. 

A producer on one of the bigger jobs picks him out on set, tells him he has a good screen presence. He gives him a contact for a proper agent. Steve books the third thing he tries out for.

It's a small role on a pilot that hasn't been picked up yet. He's excited but doesn't think much of it. Mostly he’s just happy for the paycheck. Corroded Coffin's really struggling to break through. They just got dropped from their tiny indie label and Eddie's really bummed.

And Steve uses some of the money from his big, SAG-approved paycheck to try to cheer Eddie up. Make him feel better about the whole thing. But it does the opposite. Eddie keeps acting resentful. 

It only gets worse when Steve's show does get picked up.

Turns out he tested really well with audiences. So the writers rewrote him into the main cast, extended his two episode arc into the whole season. And Steve's really grateful for it, figures they both should be. Eddie's not really working and they need the money.

Corroded coffin is still labelless and basically broken up by the time the show comes out. 

It's a smash hit. Steve's character is a fan favourite. Overnight, he finds himself within the throes of fame. He gets a manager and a PR team and a personal assistant.

He's away from home a lot, doing the media circuit to promote the show. People start prodding into his personal life. His manager, his team, and the network all advise him to appear single and available. 

Eddie makes it easy for him. He leaves without saying a word.

Years down the road, Steve is settled into his fame. He's done a couple movies (some hits, most misses). His show is heading into its final season. He's dated a lot, mostly other celebrities.

Then he walks into a CVS on Venice & sees a name he's been trying to forget for 7 years.

Right on the cover of NME. Eddie had gone to London, apparently. Finally broke through there. Was releasing his debut album later this month. 

At least that's what Steve could tell from looking at it. He doesn’t buy the magazine. He hops into his car and drives til he’s out of gas.

He used to do that back in Indiana. When everything got too loud. Used to do that with Eddie, once they finally got their shit together. Just drive until the tank is near empty & then pull up to some blinking gas station. Head home.

Steve strands himself in Santa Barbara instead.

He sleepwalks through the next few months. The town is buzzing around the impending arrival of Eddie Munson. His album, Penitence, debuted to solid numbers & has only been gaining traction since. He's promoted it in London, New York, done Glastonbury & the late festival circuit.

It's gotten to the point where it's big enough that its hit single is even terrorizing Steve's local grocery store. He knows the first three notes really well. Knows cause that's his cue to leave. 

He hasn't listened to the album. He hasn't read any of the interviews.

In his head it's a good kind of revenge. Eddie left without a trace. Steve should respect his wishes, right? That's what Eddie wanted so badly that he couldn't even call. 

He should respect that too, be staying dead instead of haunting every busboard like a poltergeist.

But he's Eddie so of course he doesn't. So instead Steve spends all his free time thinking about when he'll inevitably run into him. Will it be the VMA afterparty? Will it be the CBS lot? Will it be the whole foods he keeps running into Michelle Pfeiffer at? (Probably not that)

In the end, it's a knock at his door.

Eddie came straight from the airport. Big duffel at his feet. He looks a decade older but his eyes are the same. He doesn't say I'm sorry, or I fucked up. Doesn't get down on his knees & beg. He just asks:

"Did you listen to the album?"

There's a part of Steve that wants to throw a fit. Be big and loud and start lobbing things at Eddie. He'd seen a movie star do that on set once. Over a PA bringing him the wrong brand of flavored water. But he's not Wahlberg, so he invites Eddie inside. 

And they sit and listen to Penitence.

It's an apology. A long one. Fifteen tracks though Eddie always used to be a real asshole about albums that were longer than twelve. 

And it covers everything. All the regret and resentment and the ego that clouded him when fame happened for Steve and not for him. When Steve didn't even want it. It's sorry over and over and over again. It's I fucked up and please take me back. It's ego death. It's disgust and guilt and self-flagellation. 

And when it's over, it dawns on Steve, who feels just as heartbroken as ever, that it's not enough.

[keakiwis]

thank you yoo sangah for being the n1 girls girl because i know you’re the type of girl to help another girl out at the bar, also for sacrificing yourself for kim dokja’s mom, and for dealing with the stupid men at your work (also a respecter of decisions, seen in the epilogue, dokja gotta say thank you for not ratting him out)

thank you jung heewon for being one of kdj’s most dedicated members after hsy and yjh until the end because i know its def hard after dokja sacrifices himself every time but you still will do what he asks

thank you lee seolhwa for being the glorious healer that you are and keeping everyone alive, you deserved another regression version of you (yes i’m still on this)

thank you jang hayoung for being a dkos fanatic and my favorite second protagonist ily and i think it’d also be cool if we got another regression version of you or how yjh met you in other regressions

thank you lee jihye for being relatable, funny, and taking care of lee gilyoung and shin yoosung when kim dokja wasn’t there, also for being a good older sister to them

thank you uriel for being one of dokja’s biggest supporters, incarnating into the scenarios for him, going to the demon realm for him, and literally losing your internet privileges from metatron for him

thank you anna croft for being anna croft and for being one of kim dokja’s narrative victims. oh and thank you for being mischaracterized by the fandom and being misunderstood for your intentions but still continue to fight for what you thought was right

thank you biyoo for reincarnating into a dokkaebi, giving sub scenarios to kim dokja, and putting up with his bullshit, truly the most tired one of his shenanigans

thank you shin yoosung for saving kim dokja, being lee gilyoung’s friend, being underrated, for having to grow up faster to survive, and being willing to sacrifice yourself twice (once for feeling guilty and being willing to die for 41st sys, and the second being during the intersecting scene during the kaizenix arc where we see where lee gilyoung, lee jihye, and shin yoosung were teleported to)

thank you jophiel for sacrificing yourself to stay back in the 1863rd round, you were actually really cool with the few time you had

thank you gabriel for taking the blame for jophiel when you got back to eden and for taking care of uriel too

thank you lee sookyung for being kim dokja’s mother, for keeping a secret for your son, for allowing him to hate you despite knowing the truth, and having the best intentions for your son

thank you cho youngran for looking after lee sookyung and being dedicated to her

thank you persephone for being kim dokja’s other mom, for lending him aid whenever he asked for it (be thankful kdj), for showing actual care for him later on, for fighting for him during the ark

thank you selena kim for looking out for iris and being kind still after anna croft used you

thank you iris for surviving because even if you were one of kim dokja’s least favorite characters in twsa, you were still a child when the scenarios happened and you were betrayed by anna croft

thank you yoo mia for being silly, rude to kim dokja, and for offering to help secretive plotter

thank you min jiwon for being pretty and for being the king of beauty

thank you asuka ren for creating peace land, which lead to kyrgios existing, also for supporting kim dokja during the final scenario

thank you namgung minyoung, who is breaking the sky sword saint, for training punisher, jang hayoung, breaking the sky sword master, for helping kim dokja during the surya train, for being a half giant, and finally for being kyrgios’ ex girlfriend

thank you punisher for being punisher there’s nothing other than that, i love you queen

thank you tls123 for creating the star stream, killing billions, maybe even more than that, writing twsa for thirteen years straight, for doing it all to see kim dokja and to see him live again, for creating the altered 1863rd round (which is definitely a favorite for me)

and finally, thank you han sooyoung for everything because if i write down all the things i’m grateful that you did then it would take me ages, and thanks for being my favorite ever

[glassautomaton]

What Is the First Magic, Anyways? (Or How I Learned to Stop Worrying and Love FGO Spoilers)

Out of the five instances of True Magic, the Second and Third are known about in some detail, the Fouth is a total unknown from what I can gather and simply hasn't been expanded upon in the lore quite yet, and the Fifth being shown, but not explained in detail, which is its own post. The First Magic falls somewhere in the middle here, where a few vague things are known about it and the person who attained it, but not much in the way of details.

What we do know for sure is that the Magician of the First Magic was Yumina, the First Witch, who founded the Meinster lineage and used the First to create Ploys, which were passed down to Alice Kuonji, considered to be the last pureblooded Meinster by 1989 following the 'death' of her mother. Based on some information about Witches and the Meinsters in particular from the FGO collab from back in April, I think I can hazard a strong guess as to what the First Magic actually is: authority over Mystics/Mysticism itself.

Some spoilers for FGO's Lostbelt 6, though nothing critical to the plot, as well as this translation of Alice Kuonji's FGO profile.

First off, some basic information about Witches and Yumina that was dropped a solid decade after Witch on the Moly Night first came out, because Nasu's a fucking comedian:

This establishes a few things, first and foremost that Alice is actually Yumina's descendant, that Witches aren't human and are instead closer to faeries (although I'm not sure if they can be considered true faeries as this is phrased like they were created by an individual rather than born from the land or the Inner Sea), and that the daughters of Witches are essentially the next vessel for a singular consciousness, such that lineages are more like a single individual with several reincarnations. Not all of this information is actually completely relevant to this point but how insane is it that Alice got a lore drop for the first time in a decade and it was buried in the ass-end of a six-year-old mobile game? I just needed to get that off my chest.

Alice's profile reinforces this by seeming to allude that Alice's mother and her ancestors were all the same person, as well as the third paragraph using similar wording to how True Magic is often explained.

Crucially, the final line also states that Meinsters stand in defense of Mystics from humanity's constant march towards order, which inevitably destroys Mystics by coming to understand them, as is one of the overarching themes in Type Moon in general. Yumina's lineage seems to be actively pushing back on this.

Knowing Nasu, I could stop right here. See, it's thematically cohesive with the Meinsters and Alice's character arc of growing past the reminders of her family's past and learning to appreciate the present, and thematic cohesion is really all you need in Type Moon, established lore and rules be damned.

However, I think that my point is supported by the Ploys, which are all products of the First Magic. We'll start off with the Three Great Ploys, which we know were created by Yumina proper and not any of her later descendants/incarnations.

Flat Snark, Oil of the Moon, is the Great Ploy that's featured most prominently in Mahoyo. This is pretty straightforward - the prose in the scenes that feature it describe it as Magic, and it functions by transforming the world inside of its domain into a landscape of fantastical insanity. It is, quite literally, draping the landscape in Mystics once again. Even the air becomes dense with mana, similar to the atmosphere in the Age of Gods (as shown in Absolute Demonic Front), when Mystics were at their most common and well-integrated, before humanity had begun to push it back as much as they had.

The Thames Troll is the second of the Great Three Ploys, and one that, at first glance, seems to be by far the most simple - it's a massive golem that can get stronger based on what it's built out of. Alice states she has poor compatibility with it, and therefore can only use its first two forms, that being wood and clay/brick/stone, with its final two forms being iron and steel, then silver and gold. Thames uses the environment to create its body, be it the woods the first time we see it or the brickwork in the park during Alice's fight with Touko, which would mean that further forms would likely do the same. As Alice says that the final form would overshadow even London, this would mean that Thames is capable of annihilating entire cities. However, considering it would need iron and steel nearby to do so, it could likely only become so powerful when being used within a more advanced human settlement, likely for the express purpose of destroying it. Therefore, Thames is the Ploy that most directly serves the Meinster's goals of opposing humanity and safeguarding Mystics.

The final of the Great Three Ploys, which isn't directly stated in Witch on the Holy Night but instead FGO, is Wandersnatch, which frankly could and probably should be its own post. There's a whole hell of a lot going on with that thing.

The long and short of it is that the Ploy consists of a dense fog, and numerous entities within it. Only by glimpsing Wandersnatch's true form in the fog can one escape, which makes the Ploy itself act as a microcosm for Mystics in general - it's an impossible, insurmountable obstacle that can only be weakened and overcome by observing it and learning more about it. It's little surprise, then, that Yumina herself choose Wandersnatch to inhabit while her current descendant doesn't yet harbor her consciousness - much of Wandersnatch’s presence has to do with Yumina attempting to exert more control on Alice in order to possess her and incarnate.

Ultimately, though, the smoking gun for me isn't one of the Three Great Ploys, but the most common one we see used: Diddle Diddle, Alice's favorite Ploy. This one has a simple function, that being that it strengthens Mystics in a certain area when dropped on the ground. Which is simple, yes, but also just absurd. You mean she can just crank out little Christmas tree ornaments that can singlehandedly counteract the one consistent force present in every single Type Moon property? She can just do that? Alice, and only Alice, can just say "nuh uh?" That's not attainable through normal magecraft, and has got to be an application of the First Magic through the Ploy. Considering how straightforward the effect is, it seems to pretty clearly point towards the First Magic being tied to Mystics.

As a final note, I also think this makes sense of Nasu's note that the First Magic was discovered after the Third but named as such for a special reason relating to its nature (although this is from an unofficial translation from the Fandom wiki so take this with a grain of salt). It would be very in keeping with what we know about mage society for them to say Mystics are more foundational and important than souls.

[burst-of-iridescent]

Hey does everyone remember when Aang physically hurt Katara via burning her due to his own negligence with fire because he didn't listen at all to her concerns? But all of Katara's concerns were her being worried for him getting hurt and not herself, and then he hurts her badly, this never gets addressed again in the show, but I remember this vividly.

i actually like this scene on its own.

aang burning katara is a good character building moment because it's a brutal reminder of his own capacity for destruction. he needs to understand that his reckless actions can have horrific repercussions in order to fully realize the weight of his responsibility as both a firebender and the avatar, and it makes the moment where he uses zhao's recklessness against him more impactful. it also sets up the "water = life, fire = death" dichotomy that's part of katara's arc on viewing the world in binaries, which will later be broken down in book 3.

but ultimately the incident is still of greater significance to aang, and he's the one to bring it up in the guru and western air temple episodes, telling both guru pathik and zuko about his guilt over burning katara and his refusal to firebend ever again. this experience is also what leads him to accept zuko as his firebending teacher, and then finally forgive himself when he learns the true meaning of firebending. for the most part, it's a well-sustained arc and one of the few narratives aang has that is actually brought to completion.

do i wish that katara and aang had actually talked about his actions beyond this episode? yes. do i wish the aftermath had been focused a little more on katara instead of showcasing the impact of her physical injuries mostly through aang's continued self-flagellation? yes. but as a one-off incident contained to a single episode, i don't mind it.

what i do mind, however, is that this is not the last time the show is going to use katara as a lynchpin for aang's character development.

in the book 2 premiere, katara is turned into a pawn to propel aang into the avatar state. in the guru, her imprisonment is the reason that aang chooses to go back to ba sing se instead of unlocking his chakras. that is three separate times now that katara has been damselled in order to facilitate key turning points in aang's narrative, but not once does the same apply in reverse. there is never a moment where aang is the only one put in danger solely to drive katara's arc, the way she is in his. the closest we get is katara bringing aang back to life, but even then his death is still the result of his own choices and more integral to his storyline than hers.

now, compare this to the final agni kai.

at first glance, katara being put in danger just to complete zuko's redemption looks like the same tired trope, and had the scene ended at his sacrifice, it would be. but crucially, it's katara who continues the fight. katara who defeats the scion of fire nation destruction at the height of her power. katara who saves zuko just as he saved her.

in proving herself a master waterbender powerful enough to defeat azula and save someone she loves - someone who sacrificed themselves for her - from fire nation aggression, katara brings her own arc full circle. it is in triumphing over azula by saving each other that zuko and katara become the people they were always meant to be, and so their individual arcs are brought to their narrative culmination through bookending the other. the final agni kai works where the kat.aang moments fall short because it is of equal significance to both zuko and katara's narratives.

obviously, this is not to say that it's bad for certain characters to exist just to drive another character's arc. it's inevitable that some will be written solely to fulfill that purpose because a story only has so much narrative space, and it usually can't - and shouldn't - be divided equally amongst every single character.

but if we're talking about two main characters who end up in a lifelong romantic relationship, and it's the female character being repeatedly damselled to drive the male character's storyline within an already imbalanced dynamic... perhaps it's time to rethink a few things.

[hattersarts]

gomens s2 thoughts, all spoilers!

I spent 10 hours talking to my housemate about the season after we binged the whole thing in the morning but here are the highlights and the biggest takeaways from the season.

okay i did love the ending, i love that we get the conformation of love AND going into the divorce arc next season (if they're not properly together by the end of season 3 however, i am rioting) they're slow burn and a whole season of them getting to the final 10mins was tasty.

HOWEVER. it was an extremely clunky season when it comes to writing, lots of either set ups missed OR set ups repeated 4 times that they're drilled into out heads. there was also lots of dialogue that really needed to be tightened up. the lesbians were so poorly written i thought they might have needed to be cut BUT they just needed to have more bearing on the rest of the plot AND say things like real people would say things and LITERALLY SHOW ONE SINGLE REASON WHY THEY WOULD LIKE EACH OTHER WITHIN THE FIRST EPISODE.

gabe/bulz romance was the one that should have been cut, have them do more of a oh-my-god-my-boss-sucks kind of thing, lean into them complaining about having to avert a civil war after armageddon stopped and touch on the "structural problems" the angels mention later. Have gabe/bulz be super punished for working together which puts huge fear into az and crowley about what happens if you try to team up as an angel/demon pair (but an extra reason why az takes the job at the end so he and crowley can be the same)

imo it works more if the only mirror of their romance is the HUMANS which should lean into themes to season 3 of how they need to team up with humans (re:"us vs them" line at the end of season 1) to actually achieve their happy ending.

Nina and maggies best scene was their last one telling crowley he needed to talk to az but i think that was one that needed to be cut, it would have been far more satisfying to have crowely work out it out himself that he loves az and wants to tell him (still via maggie and nina but more subtle rather than them telling him to his face AND via spending more time with az in the season)

flashbacks were all pretty good, loved the jobe one and that final "lonely" scene. the nazi one needed some trimming the most (why did all three come back to earth, it made scenes too crowed, have them fight to be a zombie)

shax was disappointing, she was kind of just incompetent the whole way through which didnt make the stakes very exciting, (that whole scene of her talking to the legion was unfunny and pointless) i wanted crowley to mentor her more like when he gave her advice in the first few meetings we saw (kind of in a very non-demonic way, not expecting anything in return) and her to then meet him on equal footing in the finale. would have been a little accidental taste for Crowley to have his good deeds come back to haunt him while showing he's different to demons.

speaking of the finale fight, that halo had NO set up, it was sick as hell but ??? the fuck did that come from. the fight should have been won by az and crowley performing another HUGE miracle together, discorporating the demons (which then would alert heaven and hell something was up in the bookshop and the final scene can happen)

az taking the job from metatron was very good, its consistent with his character where he still hasn't let go of his faith in good/god, he's only been upset by the angels running heaven and still has faith in the system while crowley has realised none of it works and it's only them together that matters. it was nice to show he still hasn't truly accepted crowley for who he is now (tho imo he knows he loves him, he just hasn't quite unrepressed himself) and him not turning down the job after crowley confesses to him shows he still thinks he can fix it. Crowley on the other hand thinks he's now lost him, az has broken he the trust he had in him, he's going to be in big depression mode

few thoughts of good directions for S3:

finally delivering on what crowley said at the end of S1 I think is the most satisfying. the final showdown should be humans Vs heaven/hell with Crowley and az on the human side, helping them win the conflict. there would be suggestions that this is actually god's ineffable plan, this is a conflict she wants to happen and the things that Crowley and az went through are what make them perfect ambassadors to help the humans.

the set up for az in S3 to finally work out he and Crowley can't work out within the unfair rules of the system and for him to abandon heaven (tho not I think, becoming a demon) is good. a sucky ending imo for season 3 is if az somehow "fixes" heaven and via bureaucracy and not via blowing it all up.

growth moments for Crowley in S3 might be having more contact with humans since he's already abandoned hell and it would put az & crowley on similar footing (as az very much loves humans already) when they decided to side with humans for a humans Vs heaven/hell conflict.

anyway, gay people

[pumpkinandcoat]

My TUA4 thoughts

Its been a week now since the final season premiered and I have finally been able to compile all my thought together

This is an essay.

Spoilers for season 4 of The Umbrella Academy

(obviously)

With the fourth and final installment of The Umbrella Academy finally released, brings the long awaited conclusion of the Hargreeves family. And suffice to say… people hated it.

Even when this show is at its weakest with its plot, the thing that makes the show so good and what many people love about the show are its characters. They are all very distinct and memorable. And in TUA3, while it's riddled with plot holes and frustrating choices, is still a lot of fun to watch because of the character moments and the relationships between the different siblings.

That is why TUA4 is so infuriating, because it takes these special and memorable characters and it morphs them into these weird versions of themselves. Every single main character falls victim to this. They regress as characters into these versions of themselves that shouldn’t exist anymore.

Luther has become a stripper. His arc has almost no dignity from the get go. This only very loosely connects with his arc in TUA2 where he works at a bar, but as a bodyman and not as a ‘professional dancer’ so as to why the writers chose to make him a stripper is weird. He has returned to live in a run down version of the academy. There is no follow up on Sloane and he mentions her only one or twice in the whole season.

Diego is somewhat resentful of fatherhood, and he misses his old life of excitement when he was a vigilante. He is unhappy with his life and he seeks the higher purpose that he thinks being a criminal deterrent will give him.

Allison yearns again to be a star and neglects her relationship with Claire in the pursuit to regain her fame. 

Klaus, as soon as he regains his power, turns back to drugs. There is no attempt for him to hold onto his sobriety, even though as we see in TUA2 and TUA3 he is (mostly) sober for three years with his powers fully intact. We don’t even get a scene of him struggling with the ghosts coming back to haunt him before he is off to go buy drugs, and then he becomes a victim to sex trafficking. 

Five’s working at the CIA. After a lifetime of hardship and struggle, after he is forced into organizations where he has to complete different missions - first as a child with Reginald in the academy, and later as an adult with the commission - and after he is ready to retire at the end of TUA3, he joins into another organization instead.

Viktor moves away to Canada and is again isolated from his siblings and alone. Shown to have no lasting and meaningful relationships in his personal life.

Every single character is reverted back to an old version of themselves that they have grown from by now. The writers strip them of all of their character growth and substance and reset them to their base characteristics. Worse than that they write them as stereotypes that they are portrayed as at the beginning of the show, in which they are shown to be more than just those stereotypes and have at this point for a lot of them grown from them all together. They are now reduced back to them but without any of the nuance or layers that they had before, and again stripping them of all of their character growth and personality. 

The writers absolutely refuse to let these characters grow in meaningful and satisfying ways.

The relationships between these characters as well are also poorly written. Many of the strong relationships we see in the past seasons barely have interactions with each other, such as Klaus and Five, Diego and Klaus, Allison and Viktor to name a few. With Allison and Viktor we only really have one meaningful scene between them where they talk about how they aren’t close anymore and then there is no further discussion or resolution between the two. And with many others at best they get fleeting minor interactions where they maybe exchange one line or comment. Then there’s the characters who we’ve been waiting to interact for a long time, like Five and Claire, where in the first season Five expresses his desire to live long enough to meet his niece but in season 4 we don’t see them interact even once.

But by far the most insulting relationship is the one between Lila and Five and Diego. 

Two fucking words: Character Assassination.

The way that they wrote Five in this season is so completely baffling. Because the writers felt the need to give Five a love interest this season they decided to pair Lila and Five up and in doing so they destroy both Five and Lilas character, and the dynamic between Five and Lila, Five and Diego, and Diego and Lila.

There are two faucets as to why this relationship doesn’t work: the in-show context and the real life implications of the pairing.

In-show: Five and Lilas relationship hinges on the fact that they are stranded together on the subway for 7 years, unable to get back to their families. In the second to last episode of the entire show they are taken away from the rest of the characters to be put in this pocket dimension for the sole purpose to develop a romantic relationship between the two of them. 

For Lila as well, but especially for Five this makes no sense for their characters and butchers everything they represent and everything they stand for. Fives' driving force for his whole character is his family. Everything that Five does, every action that he takes, everything that he endures and pushes himself though, is for his family. His family's safety and survival matter more to him than his own physical, mental and emotional well being. They are the only people in the whole world that Five cares about.

Five survives 40 years in the apocalypse, with abysmal chances to get out, where any normal person would kill themselves, Five endures for the miniscule chance to get back and save his family. He spends years working for the commission, killing hundreds of people, after being the only surviving person on earth for 4 decades, to buy time so he can get back to his family. Five spends 45 years trying to claw his way back to his family. And when he does make it back to them, Five spends 28 straight days trying to prevent three different apocalypses across three different timelines so his family would live.

After 7 years on the subway Five gives up on getting back his family, and when he discovers a way back he keeps it a secret, even when he knows they are facing the apocalypse and certain death again? It doesn’t make sense for his character at all. Yes, he was tired at the end of TUA3 and was ready to lay down and die with his family by his side, but that was again after three failed attempts at preventing the apocalypse in a very short period of time. He also isn’t with his family, separated and isolated once again.

In terms of Five and Lilas relationship - It doesn’t make sense for Five, whose sole driving force throughout the entire show is his family, to turn around and betray his brother by engaging in a relationship with his wife. 

The dynamic between Five and Lila throughout the seasons has progressed from enemies to begrudging allies to a close friendship between the two, a progression that could not have happened without Diego. At the end of TUA2 and the start of TUA3 these two hate each other's guts, but because they both love Diego they are willing to put their shit aside and be somewhat amicable. Then, because they also both have a connection through the commission they team up and to go back and investigate and it's here where they can move past their past and are able to slowly form a friendship.

Yes, they are very similar characters and they have a unique bond. They can understand each other in a way none of the others can, because of their unique experiences at the commission and as being used as tools of The Handler. But this doesn’t mean they are suited for each other romantically and in fact is exactly why they aren’t. They both have deep trust issues, paranoia, and a kind of bitterness towards the world because of their experiences. With Lila and Diego, the reason that they work so well is because Diego's trusting nature and goodwill in people shows Lila that she can open herself up to people and to trust and love.

And the showrunners take all of this characterization, all of the love and devotion and the deep bonds between these characters and they throw it away because they wanted to give Five a love story. In the second to last episode of the entire series we see a three minute montage of Five and Lila on the subway for 7 years, and then three scenes of them in the greenhouse before they return back to the main time.

The writers destroy these characters and destroy these relationships for 15 minutes of screentime.

There is no resolution to this plotline. There is no reconciliation or understanding about what happened. Lila dies on dubious terms with both Diego and Five. Five and Diego die hating each other.

In real life: The actor who plays Five, Aidan Gallagher, was a minor during the filming of TUA1/2/3, and this was the first year he filmed where he was legally an adult, being 19 years old when filming TUA4. 

From the first season of the show, when he was 14 years old when filming, he has been heavily sexualised by a certain group of the fanbase. 

And the creators of the show, who have known him since he was a young teenager, at the first opportunity they could, paired him with his 34 year old costar - They met in the filming of the second season of the show, when Aidan was 15.

They waited - literally waited - for him to turn of legal age so that they could make his character have a love story, and then regardless of morals, regardless of plot relevance, regardless of if it even made sense for the characters, proceeded to pair Five and Lila up. Completely uncaring of the story, the established relationships between the characters and the overarching arcs of these characters.

The writers literally had to completely separate and isolate Five and Lila from the rest of the characters in their own timeline for over half a decade in order for it to make sense for them to develop a romantic relationship between them.

The decisions of the creators in this season are just so insane.

In continuation of Fives character this season - he abandons his family twice. Firstly when he finds the cipher to the subway and can return home, but chooses not to. Then secondly while his family are facing a life or death situation and another apocalypse, he physically fights Diego, and when Lila intervenes and implies that their relationship is over, he abandons them in the middle of the fight, to return to the subway.

And finally we get to the finale, where Five - again whose entire character is built on the love and devotion he has for his family - decides to erase himself and his entire family's existence from not just one timeline, but across every single timeline in order to correct the universe.

Five has never cared about the timeline. In fact he has always actively been working against it for his family's survival. They are supposed to die in TUA1 but Five will not allow that to happen and he goes against everything and every one to ensure that they live. He does this in every single season - goes directly against time and the universe to make sure his family makes it out on the other side. Now he is happy to give up and give in and not just to let his family die, but to have them permanently erased as if they hadn’t existed at all.

Even with the Five diner, we see all these Fives who have given up on trying to save their family after trying and failing to save them countless times - over 100,000 times - they resign themselves to a life of solitude with only alternate versions of themselves for company. Surely some of these Five have had to make the same connection that our Five makes, but they won’t sacrifice their families existence for the sake of the main timeline. But our Five, the Five that we follow, the Five we’ve personally seen struggle and fight to make sure his family is safe is the one who does.

I just cannot express how much this season disappoints me. The fundamental misunderstanding the creators have with their own characters and their own show is unbelievable. Even at the show's weakest, what makes it so engaging, what makes it so great, is this dysfunctional ass family who love each other. Their unbreakable bonds even when they are at odds with one another. How in their own weird way they do care deeply for one another. 

And the creators when telling the final story of these dearly beloved characters, destroy the bonds between them and send them off with a big old Fuck You to the audience to boot.

I cannot fathom how the same people who made TUA1 and TUA2, created this. Truly I cannot.

The conclusion from all of this I have come to is that the creators of this show are obsessed with writing perverse storylines. More subtle in the beginning, but now at the expense of the story and the characters themselves. Even since TUA1 there have been very weird romance story lines. Luther and Allison, and though not explicitly stated, the dynamic between Five and The Handler in the first two seasons is extremely uncomfortable.

And in TUA4 it all comes to the forefront where despite all of the complexity and nuance in the previous seasons of the show, they are willing to throw it all away to write these weird creepy storylines that nobody but themselves asked for or wanted. Luther becoming a stripper, Klaus being sex trafficked, Lila and Fives whole relationship.

Again I cannot express how much this season disappoints me. I cannot comprehend the decisions the creators of this show made. I cannot understand why they chose to destroy everything that made this show great. I cannot fathom how they could end this show in such a way and then pat themselves on the back for a job well done.

This has made me so deeply upset in a way that I just can't express. I have completely lost all respect for the creators of this show. I’m glad that it's finally come to an end so the creators can’t keep continuing to ruin this show and its characters.

Goodbye, Hargreeves family. You all deserve so much better.

[chateau-dilf]

LCDMC Script: The Count, Fernand and Opium

Out of all the cut material from the script there were only two subplots: Maximilien's involvement and the Count introducing Fernand to opium as a cure for his headaches. The latter is by far the largest cut, and the most devastating for myself as Fernand is my favourite. His absence or lack of involvement in the films middle section is noticeable, and I'd also wondered why he's so silent during many of the scenes he's in, lo and behond he had many of his lines cut. But I'll focus on the opium for now as it's an entire character arc we didn't get to see, and really could have benefitted a character who is supposed to hold significance, especially as the final showdown is between him and Edmond.

The opium plot begins, as we see in the film, with Fernand experiencing a headache as he leaves the Count's house, attributed to a 'metal souvenir'. He leaves in a hurry, which the Count later brings up in our first cut scene, which was connected to the poker game:

Fernand experiences another headache at the table, leaves, and the Count follows, helping him with his ether in a move described as having a "strange intimacy." I would have loved to have seen this, the power dynamics at play are excellent - Fernand is vulnerable and insecure (so unlike his arrogant younger self,) the Count's gesture is non-judgemental and kind as he offers him a "miraculous cure." Of course this is all part of his plan, yet there's something to be said about the image of a man smothering the mouth and nose of his vulnerable enemy with cloth and not hurting him, rather helping him. The intimacy is fascinating - here are two men who grew up together, the betrayer and the betrayed, yet when you spend the first 22 years of your life together some part of that intimacy must live on, as much as you might wish it didn't, even if you don't realise it. I would have loved to see Fernand vulnerable like this, too. It adds a layer to his post timeskip character that he could have really benefitted from.

Fernand takes the count up on this offer, arriving at his house in a scene which took place after Haydée talks to Edmond about her trip to the gardens with Albert.

The cure, it turns out, is opium, and the Count leads Fernand to an opium den within the house. We have a vague idea of what this scene would have looked like from this image shared by Pierre Niney on Instagram:

The scene in its entirety:

Ross and I have analysed at length the few lines Fernand has prior to Edmond's arrest and how he absolutely felt superior to Edmond and that he (as part of the Morcerf family) is responsible for Edmond's success and therefore Edmond is forever in debt to him in his eyes. It's either impressive that they still got that feeling across with what they kept, or we think way too hard about these men, or both, but our suspicions were absolutely confirmed by Fernand's dream-memories and the way he speaks to dream-Edmond. I don't believe he ever thought Edmond was even a potential threat to his (at that point entirely nonexistent) romance with Mercédès because he did not even consider Edmond could be on the same playing field.

What's most interesting to me is this dream sequence is in Fernand's mind - it's likely he's had these dreams or thoughts so many times and this is what he tells himself: that Edmond had no right, Edmond betrayed him, it's Edmond's fault, he should have stayed in his place, he wouldn't have made Mercédès happy. Alongside this, he imagines Edmond asking him why he did it and saying he would have given his life for Fernand. It's regret and grief for a friend mixed with extreme entitlement, which ultimately wins.

The scene is quite exposition heavy in a way the film generally isn't, but the majority of the script is the same. They cut back exposition everywhere, so I believe they could have made this scene work and I wish they had. If nothing else, it would have been very fun to see the Count throttle the guy - again, there's an intense intimacy between them, with Fernand once again entirely vulnerable and this time the Count does take advantage of that. We see Edmond wasn't as ready as he thought he was to hear Fernand say such things, and the pure rush of emotion takes over. Equally, I can see why this might have had the potential to feel awkward within the narrative with the Count displaying violence towards an enemy during the middle section as opposed to the climax, however I think we do miss something by not allowing Fernand a scene with such a significance, and the dream exchange between the men is fascinating.

Furthering the intimacy, the opium plot steers us towards a world wherein the two men harbour an old (if imbalanced) care for each other which can neither be completely destroyed nor returned to. Their dialogue leading up to the final duel was intended to follow along these lines:

In the film, we have Edmond tell Fernand "You should have killed me," with Fernand replying "It's never too late." But here the thread of friendship is continued with dialogue of a very different sentiment, immediately juxtaposed by brutal fighting. Edmond's statement that he could have died for Fernand entirely backs up what Fernand imagined dream-Edmond to have felt ("I would have given my life for you.") Fernand rushing towards Edmond would have also mirrored dream-Edmond rushing at him.

The description of Fernand running up the stairs "four at a time" was also used earlier when Fernand was running to Villefort's office to save Edmond.

I am glad the wolves were removed from this scene however, it strips him back to just Edmond, who is now threatening enough on his own without the mask and character of the Count. It's a much more powerful image to see him descend the stairs alone and it's a real testament to how much he's changed.

Finally, after the duel, rather than cutting straight to Mercédès at the church, we were going to be shown the fate of the three villains:

Villefort and Danglars are entirely expected (the former can't exactly go anywhere else...) but Fernand's fate is interesting - rather than having him kill himself as he does in the book, he seems to be reliant on opium, presumably living in his memories now he is alone and disgraced.

The mention of him not wearing his eyepatch could be interpreted in a few ways, but I think this was intended to show his lack of care for his own honour and dignity, why should he care when everything's already lost? It's the cruellest fate of all for a man with such entitlement and complexes of superiority and heroism, and it's entirely deserved.

However, it should be said that a depiction of a disabled, drug addicted villain would have carried ableist connotations and overall I'm glad we didn't see what happened to him or Danglars (though there does exist a photo of the latter.)

It's impossible to estimate how much of this was even filmed, and it's unfortunately unlikely we'll ever know. We know Fernand did not leave the poker table, but we also have an image of Edmond attacking him in the opium den. My best guess would be that the decision was made some time during filming to allow either last minute changes to the script or reshoots of necessary scenes, rather than a whole cut during editing.

I'll save the rest of Fernand's cut content for another post, but the opium plot was the most significant loss and I think it's felt in how unfortunately action-less and hollow Fernand can feel at times in ways other characters don't.

[lokiondisneyplus]

Warning: This story contains spoilers for the Loki season 2 finale, "Glorious Purpose."

Loki ends with its titular god claiming his throne — just not the one he expected.

The Marvel Disney+ show concluded its second season this week, seemingly saying goodbye to Tom Hiddleston's Loki. In an effort to stop the universe from collapsing in on itself, Loki learns to control his "time-slipping," using it to go back further and further in time. With help from Sylvie (Sophia Di Martino), Mobius (Owen Wilson), and O.B. (Ke Huy Quan), he tries again and again to fix the TVA's temporal loom and prevent a meltdown. But every time he goes back, he fails, and he spends literal centuries reliving the same events over and over.

Eventually, Loki admits defeat and chooses to sacrifice himself to save every universe. Walking toward the temporal loom, he grabs the very fabric of space-time and uses it to build a throne of his own, weaving the threads together to create a tree. (It's a nod to the legendary world tree Yggdrasil from Norse mythology.) With that, Loki essentially crowns himself master of the multiverse, watching over every timeline as a lonely god. It's the ultimate selfless act from one of Marvel's most notorious villains — a villain who once sicced an alien invasion on New York to get his dad's attention.

Here, executive producer Kevin Wright breaks down the series' emotional finale — from the throwback line that Hiddleston improvised to whether this is really the end for Loki.

ENTERTAINMENT WEEKLY: When did you decide this was how you wanted Loki's story to end?

KEVIN WRIGHT: I think we knew in season 1. Once we were going to do a season 2, we knew that Loki would end up on the throne. That was always the easy thing. The question was: How do you want that to feel for the audience? There's a version that's triumphant and super heroic. There's a version where it's an evil turn. But it was always about the emotional journey we wanted people to go on. It was about building that journey to be as cathartic as possible and to feel like a payoff for six movies and 12 episodes over 12 years with this guy. It was always about building that arc to be as fulfilling as possible.

Most of the episode is dedicated to this sort of time loop, where we see Loki trying over and over again to get things right and fix the loom, almost in a Groundhog Day kind of situation. What was fun about getting to do that endless loop?

Even in season 1, we always wanted to do a Run Lola Run thing, but there was never space for it. So once we started going into loops this season in the writing process, we thought, "Oh, let's finally do it." So much of that is total credit to Paul Zucker, the editor of the episode. That montage wasn't scripted per se. We knew Loki was going to be rerunning things, but it wasn't written exactly the way that it played.

A really fun thing, though, was that our cast — outside of Tom — had no idea what we were doing. They understood that he was rerunning time, but we shot a very different ending to episode 4 that was not the real ending. All the cast thought something very different would happen. We would send them away on lunch breaks, and Tom would take his lunch later, and he would just keep shooting with [directors Justin Benson and Aaron Moorhead] with a skeleton crew. There were very few people that fully understood what we were building in that finale. So, for that core team, I think there was a lot of satisfaction when everybody was able to sit down and see how it came together. It just felt like this little secret.

What do you remember most about watching Tom film those final scenes?

Two moments really jump to mind. The first is a little bit of a longer story. There's the scene with He Who Remains, and that was scripted one way. We had this fear, like, "Is this going to feel like we're retreading the same ground as season 1?" Would it be fulfilling? We started shooting one day, and anybody in any creative field will understand this: There are days where the words are right, they way you're doing it is right, but it's just not adding up. Something was missing. We knew we weren't nailing it, and I had to make the call. That is really scary, when your first AD just wants to keep moving, and I said we were going to stop shooting.

Tom went and sat down with our script supervisor and basically did this insane crash course in 30 minutes of every line that had been said on the whole series. Then, he went for a run around the lot at Pinewood [Studios], and when he came back, he was like, "I know what this needs to be now." Then, he and Jonathan worked out what it was going to be, and they sat down with Justin and Aaron and me and Katie Blair, our production writer. They just quickly rewrote this new scene and shot it. It was just the pinnacle of what Tom does. He has such a finger on the pulse of this entire series and how that scene had to go. In a moment, he was able to reconfigure it with all of our collaborators.

The other thing is that final line before he steps out toward the loom, which is the Thor line, which was not scripted. Right before we were going to shoot that, Tom came and pitched it to me, like, "Should we do this?" We were like, "God, why did we not write that?" It was perfect, and it was 100 percent Tom.

I wanted to ask about that line, where Loki turns to Sylvie and Mobius and says he has to do this "for you, for all of us." It's a direct throwback to one of his lines in the original 2011 Thor. So that was a Tom Hiddleston improvisation?

It was 100 percent Tom. We had already done a few takes of the first part of that line, which was, "I know what kind of god I need to be." And on the final take, Tom said, "Hey, can I try this?" As soon as he said it, all of us were like, "This is going to be the take." It almost gave me Truman Show vibes, that final sign-off, looking straight down the camera. But that story gets to the heart of how Tom is always trying to make things better. We just had to build a series that could give him the framework to have those creative pivots. Everyone would just kind of throw their hands up and say, "Geez, this is why this guy is fantastic."

With Loki in charge of the multiverse, this could affect how (and if) we might see Jonathan Majors' Kang the Conqueror in future Marvel projects. For you, where does this finale leave Kang and his future in the MCU?

I'm going to tread probably infuriatingly lightly, but for me — and I know all the filmmakers agree — we think everything is there on screen. I think all the details are there, and there is a lot that people haven't picked up on, or haven't fully understood what is being said. The key to the future is in that conversation with Sylvie, and this doesn't necessarily undo any of those threats. In my mind, it's what Sylvie said: "At least give us a chance. Let us fight that battle for ourselves and define our own destiny."

I also wanted to ask about that final shot of Mobius in Ohio, where he's standing there silently, watching time pass. Why was that the right ending for Mobius?

In the big picture of the show, we wanted this to feel like a real ending. We wanted to give closure on a number of things, and we didn't want to do anything that felt like it was just teeing up a new story. But you could plant new seeds that could become new stories. My feeling with that scene in Ohio is that it's Mobius overcoming a personal obstacle. He just had to go and look. The show is not telling you whether he's going to stay there, or whether he's going to go back to the TVA. I think both are possibilities. But the important thing was the character growth of him going to do the thing he has been avoiding. I think it took what Loki did to cause Mobius to go, "I have this opportunity. This opportunity was given to me by Loki. The least I can do is go."

So that being said, is this the end for Loki? Is this a season finale, or is it a series finale?

I'm thinking of it kind of like a comic run, and this is the end of that comic run. I know [head writer Eric Martin] has said this a lot: These two seasons were two chapters of the same book, and we wanted to close the book. That was a challenge from Owen in between seasons: He was like, "Nobody has the courage to close the book! Let's close the book!"

Again, I speak for myself and not Marvel, but I am certainly pitching ideas of where I could see certain stories going. I think there are a lot of stories you can tell at the TVA, and we are just scratching the surface on that. I would love to see more stories with Loki, and I think Tom would continue to play this character until he is Richard E. Grant's Classic Loki [laughs]. But I don't think that means you need to have this story every year or every two years. It's about doing it when we have a good story to tell. I would love to keep working with these filmmakers.

We built a really awesome team, and if Loki is Breaking Bad, maybe there's a way for this team to keep telling stories with our version of Better Call Saul — whether that's with Sylvie, with the TVA, or with a new Loki. But we only want to do that if we have the right story and it can be just as fulfilling as this one. After all, you can't be the God of Stories if you're not going to tell more stories.

[wesleysniperking]

One Piece Film: Red and What It Meant for Usopp

Part 2 (TL;DR)

(beware spoilers!!!) | Part 1

If there’s one fandom consensus that I wholeheartedly agree with, it’s regarding Usopp’s screen time in the One Piece movies. He’s a scene-stealer and always manages to do something cool or worthwhile. If you’ve watched the movies, you know exactly what I’m talking about.

The movie I want to focus on is "One Piece Film: Red." This is the movie where Usopp meets his dad amid battle, and they do that iconic Observation Haki thing together. It’s a scene I rewatch time and time again.

"One Piece Film: Red" is many things: fun, ambitious, messy, high-budget, and a wild ride. Uta’s character design was rad, and the overall vibe with the other characters was well-executed.

But in hindsight, I noticed that the movie did a lot of foreshadowing, especially concerning the final battle where everyone tries to take down Tot Musica. We see most of the Straw Hats with power-ups and battle moves that weren’t canonically revealed until the Wano arc was nearing its end. Here are some of the foreshadowed power-ups:

Luffy: We get a preview of Luffy’s Gear 5.

Zoro: Demonstrates his mastery of Enma and Conqueror’s Haki.

Sanji: Uses advanced fire attacks, reminiscent of "Ifrit Jambe."

Nami: Shows her integration with Zeus, who finally gets to shine.

Robin: Showcases "Demonio Fleur," which she uses against Black Maria.

Brook: Utilizes more of his soul-related abilities, similar to his actions in Wano.

Koby: Even Koby had a bit of foreshadowing regarding his growth, hinting at his future role as a Garp-like figure to Luffy’s Roger.

Given all this, I wondered why Usopp didn’t receive a similar foreshadowing in the movie. The answer seems clear: Usopp’s “power-up” or significant moment is being saved for a much later, possibly even more impactful, event.

Many fans speculate (and yes, I’m using some “Oda said” hearsay as a source here) that the people behind the One Piece movies have insight into how the series will end or what the One Piece actually is. If Usopp didn’t showcase his Observation Haki in the Wano arc like he did in the movie, it likely means Oda is reserving his moment for a bigger payoff.

Consider the scene where Usopp and Yasopp perform incredible Observation Haki feats together—something we haven’t seen canonically. Not even Katakuri could maintain such a level of Observation Haki for long. There’s also the part where Katakuri tells Shanks he can see through his sister’s eyes, but only for a few seconds, to which Shanks replies, “You’re not the only one who has Observation Haki.” It then cuts to Yasopp saying, “Yeah. My son has it, but he’s too panicked.”

This interaction might hint at the unique potential of Usopp’s Haki. Perhaps Observation Haki users can link up with others they’re related to, or maybe it’s just a matter of Usopp honing his abilities. Either way, the fact that this was showcased in the movie but not yet in the manga suggests that Usopp’s true power is yet to be revealed.

Another point that stands out to me is the conversation between Katakuri and Shanks. Shanks’ words wouldn’t necessarily lead anyone to believe he was specifically talking about Yasopp. We didn't even know if Yasopp was aware of his son's abilities. Yes, the movies aren’t canonical, but still, it’s intriguing. When Yasopp mentions that his son has Observation Haki but is too nervous to use it effectively, it raises questions. How does Yasopp know this about Usopp, given they haven’t spoken in over a decade (if ever)?

What also stood out was the scene where Usopp is running and says, "If we only did something to Tot Musica’s legs, we could defeat him” (paraphrasing here). Usopp then stops, tells himself to stay calm, presses his fingers to his temples, and suddenly, he’s seeing through his dad’s eyes. Yasopp exclaims, "D*mn, son! You finally managed to link up with me?! Finally!” (Paraphrasing here). They then guide everyone on where to attack Tot Musica’s limbs, resulting in a spectacular team effort. Afterward, Shanks remarks, “Yasopp and his son work well together,” with a thoughtful and brooding expression.

None of this is canonical, but it makes me wonder about Usopp’s story in the main series. Does Shanks know the limits of Yasopp’s Observation Haki? Can Yasopp do things with it that even Shanks can’t? Given Yasopp’s role as a sniper, it makes sense. In real-world terms, snipers use spotters to help locate targets and assess their surroundings. Yasopp’s Observation Haki might serve a similar purpose, acting as a “spotter” for pinpoint accuracy.

Additionally, considering the non-canonical nature of the movies (last time I'll mention this), what if they have their own internal canon? In "One Piece: Red," what if Yasopp and Usopp had already talked before the events of the movie? Yasopp might have advised Usopp to train his Observation Haki and stay calm to tap into its full potential. That’s why, during the fight with Tot Musica, Usopp reminds himself to stay calm before successfully linking up with his father. Usopp’s smile when he realizes he’s connected with his dad, and Yasopp calling him a “knucklehead,” suggests a prior relationship and training.

This scenario could potentially work in the canon of the main story. It opens up possibilities for Usopp’s future development, hinting at a deeper mastery of Observation Haki and a stronger connection with his father.

next part

Part 3

link credits:

Video to gif credit (youtube: SnyapTV offcial)

gif credit Uta (drawing from Amino: @Mommy Issues cora)

Usopp fan club (feel free to join)

[miss-musings]

The Official CrossDad Ranking of The Bad Batch Season 3 Episodes

I love TBB Season 3 so much, and it's partly because of Crosshair's arc and his growing bond with Omega. His attitude toward life in general and her specifically really evolves throughout the season, to the point where he becomes CrossDad™️.

So I thought I'd rank all the S3 episodes by how many and how significant of CrossDad moments we get.

Disclaimer: I'll only be counting episodes where Crosshair and Omega have screentime together (Ep 1, 3-9 and 11).

So, starting with the least CrossDad episode and working our way to the most:

9. Episode 3.01 "Confinement"

Crosshair literally tells Omega that if he had a chance to escape he wouldn't think twice about leaving her behind. Ouch. I’m 99% sure he’s lying, but it’s still not very CrossDad of him to say that.

He also says "I'm not them" when Omega says he's her brother.

But, I guess bro had to start somewhere.

Grade: F

8. Episode 3.03 "Shadows of Tantiss"

Unsurprisingly this is only slightly better. Crosshair's definitely mad at Omega for just winging an escape, but he goes along with it and watches her back. He's definitely not as protective of her here as he is later in the season, but I guess that's to be expected.

The one highlight is, once she thinks they've failed and they'll be killed or recaptured, his Dad instincts kick in and he praises her for getting them as far as she did.

Grade: D

7. Episode 3.08 "Bad Territory"

As much as I love Crosshair and Omega's scenes in Bad Territory -- in fact, they're the only good parts of the whole episode -- I don't think Crosshair acts much like Omega's dad in this episode. More like that older sister-younger brother dynamic she's teased him about before.

However, there are a few crumbs I can highlight:

Crosshair telling her she needs to stay safe and Hunter agreeing with him.

Crosshair's unenthused look when Omega talks about Phee.

As Hunter correctly deduces, Omega is the *only* person Crosshair would listen to about getting his hand examined.

Omega telling Crosshair he doesn't like anything and him agreeing with her.

Crosshair looking very sad and upset when he realizes just how much time he's missed with Omega.

Still, overall, definitely not the most CrossDad episode of the season.

Grade: C

TIE-5. Episode 3.11 "Point of No Return"

This is a weird one, because while we don't get a lot of CrossDad moments with Omega, the episode goes out of its way to make parallels between Crosshair and Hunter to show they're both parental figures to Omega.

I'll talk about this more later on, but one of the ways S3 really solidifies CrossDad is by putting him alongside Hunter so it feels like they're co-parenting Omega together.

This episode does that, in part, by sidelining Wrecker the entire episode. Crosshair and Hunter go up to the colonnade together to get Omega while Wrecker loads the ship, and they watch over Omega together after Wrecker's incapacitated.

And then, we have the parallel between Hunter watching Hemlock's shuttle take Omega away in 2.16 "Plan 99" and Crosshair watching CX-2's shuttle take Omega away from Pabu.

Another poignant parallel that shows Crosshair has become a parental figure to Omega, the way Hunter has been the entire show.

However, I feel like Crosshair ultimately agreeing with Omega's plan to turn herself in is something Hunter would never do. I get that Crosshair was reluctant, tried to talk her out of it and only agreed because he didn't see any better options. But, I still feel like Hunter would never have done that.

Ultimately, I feel like this one's a mixed bag.

Grade: C+

TIE-5. Episode 3.06 "Infiltration"

Admittedly there aren't many CrossDad moments in this one, as the bulk of the runtime is focused on the CX assassins and Rex's clone underground.

But we do get a few:

Omega copies Crosshair's toothpick thing, just like she did with Hunter in 1.01 Aftermath (and her other brothers throughout the series). Now, she's finally copying him, and he takes note of it.

He just nonchalantly tells Omega the Empire's after her again, but once it's clear there's an operative nearby, he freaks out.

Again, the show pairs Crosshair up with Hunter as co-parents talking about Omega's safety and the bigger problems with Hemlock, Tantiss and the CX operatives. Meanwhile Wrecker hangs out with Omega -- like a big brother distracting/entertaining his sister while the "grown-ups" talk.

Not a lot to work with, but it's cute for what we do have.

Grade: C+

4. Episode 3.05 "The Return"

This is another episode where we don't get a ton of one-on-one interactions between Crosshair and Omega, and some of the ones we do get fall more into that brother-sister dynamic (ie, "He started it," and Omega sighing in frustration).

But there are some big CrossDad moments in this episode:

When Omega first approaches the beach and Crosshair looks up at her, his expression definitely changes. It's hard to tell because the focus switches as Batcher comes into the foreground, but it honestly looks like he smiles when he sees her. Or at least his expression "lightens up."

Crosshair has a nice teaching moment with Omega where he describes what it takes to be a good sniper!! :)

Despite his resentment and anger toward Hunter, it's clear that Crosshair agrees with Hunter about not wanting to endanger Omega. In fact, he even defends Hunter's stance to Omega and tells her not to hold it against him.

The "you let Omega be taken to Tantiss" exchange is *chef's kiss*. I feel like I could write entire essays about it.

It's clear that, for the first half of the episode, Hunter doesn't like that Omega and Crosshair are so close. Not only does he not trust Crosshair, but he definitely resents Crosshair for helping Omega escape when he couldn't. I think he's also a bit jealous (???) of all the attention Omega shows Crosshair after she and Hunter have been separated for months. Like, she couldn't even spend one minute having breakfast with him and Wrecker before asking where Crosshair was and immediately going to find him. Hunter also needlessly threw Crosshair a dirty look for seeing how much Omega was following him around before they left for Barton IV. Again, I know it's because he and Crosshair have their own issues -- which they resolve by the end of the episode -- but he never seemed insecure/jealous/resentful of Omega spending so much time with Wrecker, Echo or Tech before.

Overall, this is the one episode where it's clear that, despite their personal differences, Crosshair and Hunter both care about Omega and prioritize her safety. Because they're *both* her dads now.

Side note: the little exchange where Crosshair says he'll handle getting the creature outside the perimeter and Hunter saying "Not alone -- we'll do it together" and then Crosshair asking him if he's sure... you can definitely read that more than one way... :)

Grade: B-

3. Episode 3.04 "A Different Approach"

This episode isn't the *most* CrossDad episode, but I feel like it's the one where Crosshair first starts down the CrossDad path thanks to two big moments:

THE FIRST:

As I said, the show goes out of its way several times to show that Crosshair is on the same path as Hunter -- just two seasons later. While Hunter acted like Omega's dad pretty much from Day 1, Crosshair's just starting his journey in Season 3.

In 1.01 Aftermath, after TBB fails Tarkin's mission, Hunter decides to go back to Kamino for Omega. Even though there's a possibility TBB could be captured or killed if they return to Kamino, Hunter chooses Omega's safety and well-being over his and his squad's freedom.

At the time, Crosshair argued against returning for Omega. But, here in 3.04, he faces the same decision as Hunter: Ensure his own freedom by going to the spaceport OR follow Omega despite the risk of both of them getting (re)captured or killed.

And like Hunter, he chooses Omega over his own freedom and safety.

This was his own Point of No Return, if you will. The moment he first takes up the CrossDad mantle -- never to let it go again.

THE SECOND:

Additionally, in this episode, we have the Imperial officer mistaking Crosshair for Omega's dad. I'm 99% sure that Hunter is the only Bad Batcher who was assumed to be Omega's dad before this episode. I can't recall anyone ever doing that with Echo, Wrecker or Tech before -- just Hunter. (Please correct me if I'm wrong.)

The fact that another character in-universe believes Crosshair is Omega's dad is a purposeful choice by the writers. The captain could've easily said "I've never seen you two around here before," and the conversation could've continued the same way. The fact that he says "dad" is significant, because again, we're drawing parallels between Crosshair and Hunter.

And in this episode, where Crosshair ultimately makes the same "Omega>freedom" choice Hunter did, that seems poignant.

ADDITIONAL POINTS:

Outside of the two big items, I'll only say that there are a few other CrossDad elements in this episode, like him being ready to square up against anyone who threatens Omega. Including a poor street kid. LOL

But, the bulk of the time, he follows her lead. She tells him they need new clothes; she has the idea to bribe the spaceport employee; she decides to "hustle" people at the cantina; and she refuses to go with Crosshair after the Imperials take Batcher. Heck, even the "Let's try things your way" line is still HER decision.

Hunter definitely has his moments where he defers to Omega's judgment (and moments when she just 100% defies or disobeys him), but the narrative and other characters definitely see him as the one who has the final say as the squad leader and her guardian.

So, we can see that Crosshair might be transitioning into a "dad" role, but he's definitely not there yet.

I also like how he grabs the briefcase of credits, even though they didn't really need it anymore. He was like, "I'm not going to let all of Omega's hard work go to waste." LOL

The final moment I want to highlight is Crosshair trying to emotionally prepare Omega that Hunter and Wrecker might not be there. Of course he was wrong, but I appreciate that he was not only looking out for her physical well-being in this episode, but her emotional well-being too.

Overall, this is one worth being in the Top 3 of Most CrossDad episodes.

Grade: B

2. Episode 3.09 "The Harbinger"

Like 3.05 The Return, we don't have a lot of one-on-one interactions between Crosshair and Omega. But, again, the narrative and other characters go out of their way to treat Crosshair as a full member of The Dad Batch.

Asajj seems to view all three brothers as equally problematic toward Omega's possible Force training. She doesn't single Hunter or Crosshair or Wrecker out more than the other two -- they're all "overprotective shadows" in her eyes.

If anything, I think that shows just how well Crosshair has slotted into the family dynamic in such a short amount of time. Hunter and Wrecker have been with Omega longer and arguably know her better, but Crosshair is just as fiercely protective of her as they are.

It also demonstrates how far he's come in just half a season. Seven episodes ago he said he'd leave her behind without a second thought (although he was probably lying), and now he's fighting a former Sith apprentice because she might be a threat to Omega's safety.

But, while Asajj might view all three brothers the same way -- and to a certain degree they are -- the narrative once again has Wrecker playing a different role in Omega's life while putting Crosshair and Hunter on (near) equal footing.

Multiple times throughout the episode -- namely the family meeting in the Marauder and the final conversation with Asajj -- we see Hunter and Crosshair are framed more as co-parents while Wrecker acts as either guard dog or Omega's distraction while the "grown-ups" talk.

One final point I'll make is that, while Crosshair nominally agreed with Hunter's plan to let Omega train with Asajj alone, he also made it clear he disagreed with Hunter’s decision. He basically gave himself an out. Like: "You might've agreed to let Omega train with a former Separatist assassin unsupervised, but I made no such promise so I can intervene if I see fit. I'm only up here with you guys because of peer pressure."

I'll be the first to admit that I'm not a big fan of this episode in general, and honestly wish we could've consolidated it with 3.08 Bad Territory somehow. But, it's definitely a CrossDad heavy episode, and in that respect, I *am* here for it!

Grade: A

1. Episode 3.07 "Extraction"

You all knew this had to be No. 1. It's THE quintessential CrossDad episode!!

I love the little touch of Omega going to look down the spire alongside Crosshair. She really is trying to learn from him, and he doesn't seem to be opposed to it.

As we see later in this episode and again in the finale, once Crosshair knows a CX operative is after them, he volunteers to face him. I know he has all sorts of reasons for wanting to confront CX-2 by himself, but protecting Omega must be one of them.

Once they get away and crash-land in the jungle, we get THE CrossDad conversation -- which was apparently a late addition by the production team.

Once again, he's checking on Omega's physical and emotional well-being. He makes sure she's safe and knows what to do, even though they've been in at least two firefights together at this point.

And once again, we get another parallel between him and Hunter, this time by Omega herself!

Omega: You're as bad as Hunter. Crosshair: Oh, I'm much worse.

He's so fully embraced the CrossDad path that it convinces Howzer (who understandably didn't trust Crosshair earlier in the two-parter) that Crosshair really is different.

Once those Jango Fett "dad genes" kick in, all the clones are practically different people, and Howzer clearly sees that in Crosshair. I'm sure it reminded Howzer of his own time on Ryloth and how much he cared about the Syndulla family and Hera specifically.

We also get a nice allusion to Crosshair's own journey of loyalty. He said earlier in the two-parter that he wasn't loyal to the Empire any longer, but didn't really specify who he was loyal to now. But, Howzer clearly sees Crosshair's now 100% dedicated to his family, especially Omega.

During the first skirmish between the protagonists and the Imperial troops, Crosshair unnecessarily tells Omega, "Stay by my side and stay down."

I say unnecessarily because 1) he should know by now Omega can handle herself and 2) neither Hunter nor Wrecker felt compelled to give her similar directions. But, he's full CrossDad™️ in this episode, so his first priority is her safety. It was also objectively a good idea for Omega to stay with Crosshair, considering he has an infrared sight and could see enemies the others couldn't.

Which is exactly what happens when Crosshair realizes CX-2 is after them. So, once again, he takes on the responsibility of distracting CX-2 so Omega and the others can get to safety.

Omega doesn't like his decision, and in the perfect CrossDad™️ move -- in that it combines all of Crosshair's quintessential traits with those of the quintessential dad -- he turns off his comm and says under his breath: "Too bad." LOL

The fight against CX-2 is so well-done, in part because we see exactly who Crosshair used to be in S1 and who he could've become in S3 if he hadn't resisted Hemlock's "re-education" efforts.

Granted, this was a headcanon someone else shared, but I like the thought that Crosshair was able to resist specifically because of Omega.

Either:

Hemlock controls the CX operatives by enhancing the effects of their inhibitor chips (like what Tarkin & co did to Crosshair in S1); in which case, Crosshair is immune because he took Omega's advice in S1 and removed his inhibitor chip.

OR

While he'd never admit it, I'm sure seeing Omega regularly (probably daily) on Tantiss gave him some amount of hope and comfort in an otherwise desolate and isolated environment. In which case, he had something to hold onto mentally and emotionally while he was being tortured. This would be a nice parallel to Hemlock interrogating him in S2. He didn't break then because he was clearly thinking about his family, and it'd poignant if that was the case again in S3.

In any case, 3.07 Extraction is, without a doubt, the most CrossDad episode in S3. I honestly wish we could've gotten more episodes like it, or just more S3 episodes in general. But, I'm thankful we got to see Crosshair and Omega grow so much -- both individually and together -- this season.

Grade: A+

EDIT/UPDATE:

Episode 3.15 "The Cavalry Has Arrived"

I initially said I wasn't going to grade the finale, because I felt like it'd be too hard. But I kinda had a change of heart:

While I won't put it in the official ranking, I will share some thoughts and give it a general score.

This is another episode that falls into same category as 3.05 "The Return": Omega and Crosshair might not have a lot of screentime together, but the narrative and other characters go out of their way to reinforce Crosshair's role as a co-parent to Omega.

The first time Crosshair mentions Omega is in the "change of plans" scene. It's genuinely heartbreaking for a myriad of reasons, but one is that Crosshair doesn't feel like Omega needs him the way she needs Hunter and Wrecker.

I personally don't feel like this is a very CrossDad moment. Him doing whatever it took to infiltrate Tantiss and rescue Omega -- absolutely. But deprecating himself and saying he deserves to die -- definitely not.

(Tech's sacrifice was different, because there was no alternative. That definitely wasn't the case for Crosshair.)

Look, I know why he says it. He must feel like Hunter and Wrecker genuinely mean more to her, and after letting her surrender on Pabu and missing the shot to track her ship, he probably also feels like he failed her and doesn't deserve to be in her life anymore.

Thank goodness Hunter and Wrecker talk sense into him! (Btw, I love their little look at each other when he says "Omega needs you both." They're like, "Buddy, she'd be devastated if you died. That ain't happening.")

And I love that it's Hunter who emphasizes to him that Omega needs all three of them in her life. This moment -- plus the final confrontation later -- shows how far Hunter and Crosshair's dynamic has evolved, especially regarding Omega.

Moving on, the next time we get a real CrossDad moment is when Hunter says he's going after Omega and recommends Crosshair stay behind.

Considering that Echo and Wrecker were still fighting the CX clones, Crosshair covering them from above would've been helpful. So it wasn't a terrible suggestion on Hunter's part, but that's not Crosshair's place emotionally or narratively.

If Hunter's going after Omega, he is too. They're going to do it together, as they've said since 3.05.

And I'll say: once again, the narrative sidelines Wrecker while putting Hunter and Crosshair on (near) equal footing.

Wrecker stepped into his role as the team's Tank and fought off the CX clones long enough to give Hunter (and Crosshair) a chance to save Omega. His role in the story -- just like in Omega's life -- is important, but it is different from Hunter and Crosshair's roles.

And now we have THE SCENE.

Holy crap. I can't tell you, as a CrossDad fan or just a TBB fan in general, how much I adore this scene!!!

Hunter and Crosshair take out CX-2's Dagger together. I'm sure they both had their respective flashbacks of helplessly watching Omega be taken away, and they both thought, "OH HELL NO!! We're not letting that happen again!"

They take every move together. They destroy the Dagger; they shoot Scorch; they take a knee on the bridge after Hemlock puts the blaster to Omega's head. They're in total lock step.

Until Hunter catches Omega's signal, but Crosshair apparently doesn't.

So, Hunter tells him what he needs to do. He physically and emotionally supports him in that moment.

It's also crazy to think that Hunter is trusting Crosshair with Omega's life, and the fact that Crosshair is hesitant to shoot while Hunter is encouraging him. How far these kids have come since 1.01 Aftermath!

As I've alluded to before, Crosshair has been kind of speed-running through Hunter's Dad arc from S1-2. Now, he gets to the moment where he must fully accept how capable Omega is and trust her. This is something Hunter has understandably struggled with before, but he seems to have made his peace with it by this point.

But, Crosshair hasn't.

He loves Omega so much AND has lost so much confidence in his own abilities for numerous reasons that he can't stand the thought of potentially hurting her.

It's a far cry from the shot he made to save her in 1.16, when he had full confidence in his abilities and didn't seem to realize or care that he might endanger her if he missed.

But, with Hunter's support and Omega's faith, he makes it!

And now the hug:

Omega runs toward them, but rather than flinging herself onto one or both of them, she stops a few feet away and smiles. It's only when she sees Crosshair's missing his right hand that she goes to hug him first.

(BTW, the English-Audio Description version confirms that Crosshair's eyes well with tears in that moment.)

Crosshair definitely doesn't like to be touched. We've seen this as far back as 1.01 Aftermath, when Wrecker's messing with him. His brothers and Omega seem to be the only people he'll accept physical affection from, and even then, he doesn't really reciprocate it.

Until now.

He doesn't use his arms, but he closes his eyes and presses his head against Omega's as she hugs him. Also, once they start walking back, he puts his right stump on her shoulder.

Side note: others have pointed out how Hunter's body language in that scene suggested he wanted Omega to hug Crosshair first, that he was happy when she did, and that he hugged both Omega and Crosshair back. I agree with this assessment. Hunter clearly understands how important Crosshair and Omega are to each other, and really reinforces how all of them are a family together.

Now, I really wish we could've gotten one post-Tantiss conversation between Omega and Crosshair, because they haven't had an onscreen conversation since 3.11. (Although that's better than poor Wrecker, who hasn't had an onscreen conversation with Omega since 3.09.)

But, I do love that, once Crosshair and Wrecker settle into their "family portrait" pose, Crosshair is on Hunter's side. Again, it's significant to their relationship as brothers, as well as co-parents to Omega. They're going to be supporting each other for the long run. (Wrecker too, but I would imagine in a different way based on his role in the narrative.)

One final thing I'll mention is that, in the epilogue, Hunter says, "You're our kid, Omega. You always will be."

Hunter might've been the first one to step into the role of Omega's Dad, but he also recognizes that he didn't raise her alone. She's not just his kid. She's Crosshair and Wrecker and Tech and Echo's kid too. They all raised her, together.

It reinforces the same point as 3.09: Crosshair might've been the last brother to officially join the Dad Batch, but he was a full member all the same. Even Hunter acknowledges that.

Anyway, looking at the finale on the CrossDad ranking, it's a weird one, because we only have a few CrossDad moments in the hourlong episode. But, man, do those moments really pack a punch!

If I have to grade it, I think it'd put it in the same ballpark as 3.05 "The Return." It hits a lot of similar beats as far as the Hunter-Crosshair dynamic and how the narrative once again frames them as co-parents to Omega.

But, we got the long-awaited Crosshair-Omega hug, so I think that automatically bumps it up from a B- to a B!

Grade: B

*****

Here's to hoping that, somewhere down the line, we'll get a Bad Batch comic, novel, spin-off show, cameo... something! I'd love to get more CrossDad content, but I suppose fanfics will have to do for now! LOL

Thanks for reading 'til the end, especially now that I've added in the super-long finale analysis. :)

[recklessvigilant]

My Solution to the JJ Problem

Now that the backlash around OBX has started to settle and after reading through various fan theories and reflecting on my own ideas, I wanted to share a potential solution for how JJ’s return could be handled. Importantly, this theory doesn’t rely on the Crown. Like many fans, I feel that using something as supernatural as bringing someone back to life through a wish would be a bit too over the top. I’d also be okay with the crown approach—as I’ve said before, OBX already took its first steps in that direction with El Dorado. However, I’d still prefer a non-supernatural solution if possible. It just feels more in line with the show’s roots and tone. Such a storyline would require exceptionally strong writing to feel believable within the OBX world. ______

The Setup Since we’ve already seen a body being buried in the desert, there aren’t many options left that make sense. The words spoken during the campfire scene wouldn’t add up if it wasn’t JJ being buried but instead Lightner aka the guy Pope shot (at least if everyone knows). However, the fact that Rafe is the one burying the body opens the door to an intriguing possibility.

The Twist Everyone’s been saying the Pogues couldn’t bring themselves to bury JJ, so Rafe stepped in. But what if, after finding JJ’s body, the Pogues were overwhelmed and needed a moment to process everything? Maybe Kie (or one of the others) stepped away from the scene and the others followed to comfort her, leaving JJ’s body unattended for a short time. In their absence, Rafe might have offered to carry JJ’s body.

It looked like the body was wrapped in sheets, so it’s possible that Rafe left to find something more secure to cover JJ. On his way back, however, he might have noticed people—perhaps cops—closing in on JJ’s location. (After all, there were gunshots during the sandstorm, and someone must have heard them.) Rafe would have been forced to abandon JJ’s body.

To prevent the Pogues from risking everything to recover their friend’s body—and to avoid any emotional outbursts that could draw attention—Rafe might have made a quick decision. He could have wrapped Lightner’s body in the sheets and returned to the group, claiming it was JJ. At this point, Rafe isn’t a completely different person yet. He still wants to take down Groff and knows he’ll need the Pogues’ help. Believing JJ was already dead, Rafe’s thought process might’ve been, “It doesn’t matter.”

The Payoff This sets up the possibility that JJ is later discovered alive—barely—and rushed to the hospital. However, such a twist wouldn’t happen early in the season. It would make sense for the reveal to come midway through, or even closer to the finale, to maximize the emotional impact.

The Conflict This twist could lead to a compelling arc in Season 5, where Rafe slowly becomes part of the group, convincing the Pogues that he’s changed. But when they eventually uncover the truth—that Rafe lied to them about JJ’s burial—they confront him. This betrayal would hit even harder because they had started to believe in his redemption. Even though Rafe’s lie wasn’t malicious and he thought he was doing what was best, the damage to their trust would create significant tension within the group (even if only for a short time).

A Practical Solution This storyline could also serve a practical purpose: it would allow Rudy to stay largely out of the show, aside from a few key scenes. If the rumors about pre-filmed hospital footage are accurate, these could be incorporated seamlessly, requiring only a few additional scenes from the Pogues’ perspective to be reshot.

Final Thoughts Yes, I know this theory has its flaws. For example, how would Rafe convincingly wrap Lightner’s body so no one realizes it isn’t JJ? But let’s be real—plot holes like this aren’t exactly out of place in OBX :D

At the end of the day, this is just my way of holding onto a little hope. With all the drama surrounding the show—unfollows, gossip, and everything else—it’s hard not to feel like JJ’s return is unlikely. But this theory feels like a solution that could work without straying too far from the OBX we know and love.

[jakes3resin]

Can you tell us about your other fics if you already have an established plot?

I'd love to! So there's quite a number of them I won't lie. I tend to get inspired by the randomest things. These are all in various stages of plotted out and written.

A/B/O fic (technically turning into 3 fics) that follows Bucky & Buck through the war, described below.

Courting Arc (top of my list to finish writing) - Bucky POV as he is anonymously courted during his time in the states just before he gets sent over to England (there's a post I'm basing my writing around I'll link it in a moment) <- published

England Arc- a quick look into their lives as they run missions with A/B/O elements (this will be pretty short I think) mostly snippets of scenes from the show just now with Omega Bucky and Alpha Buck <- published

Stalag Arc - Omega Bucky and his awful time in Germany. Here is where we see what being an Omega in war is really like in my omegaverse. Bucky is the highest ranked Omega in the camp meaning he's technically 'in charge' of keeping those Omegas in line. He's tested by his heats, keeping his pack together, and finally by a German order that could tear Buck and Bucky apart. This is a big fic for me to prepare for, and I'm building up to it by writing the Courting Arc first <- next on deck

Biker Gale AU (my beloved, genuinely obsessed with this AU) - this was inspired by one of hogans-heroes AUs. So, Gale leads an outlaw-esque biker club, and Bucky used to be his right hand (and lover) except one day out of the blue he just disappeared. Gale does everything he can to find Bucky, but there's no trail to follow, no clues to put together, nothing. Fast forward about two years, Bucky arrives on Curt's doorstep holding a small baby with the brightest blue eyes and prettiest blonde curls and begs Curt to watch his baby for 5 days. 5 days later Bucky comes back in town bruised to all hell with the FBI on his tail with their own nefarious reasons for tracking Bucky down. Bucky has nowhere else to turn especially since when he comes back to Curt's he finds Gale holding his little baby. (This could be A/B/O I haven't decided, but it's definitely at least mpreg)

Amnesia fic - this is based off of a post I made about the effects of Bucky getting hit over the head like 3 times in the span of two days, its... somewhere (edit: here). But its about Bucky waking up with no memory of who he is just before he gets interrogated by the Germans and sent to Stalag Luft III where he meets a man that his heart rejoices at seeing but his mind doesn't recognize. Buck of course has to deal with the love of his life forgetting him.

Magic AU - Bucky is a Scamander and its now everyone's problem to deal with it. The tag to find all of my ramblings for it is magic au (not that Tumblr's tag system works), and @getinthefuckingjaeger just wrote the best ever fic of Bucky and Theseus so go read that.

I've also got a few paragraphs written of Foster Kid Bucky somewhere but that might never see the light of day (that's also from a hogans-heroes AU) where Bucky is a jaded teenager just trying to make it to 18 to get out of his shitty foster placement when in comes Buck whose mother finally divorced his dad, got custody of her kids, and moved to her hometown to escape. It's about a Bright Buck meeting a Jaded Bucky (a flip on their usual dynamics)

Blonde Bucky AU - I wrote a blurb on the Twin Cleven AU post, and the idea of Bucky bleaching his hair on a drunken night out with Curt and Bubbles has haunted me since <- published as well

There might be more? But these are the only ones I can remember off the top of my head right now that are plotted out beyond oh that'd be a good fic. I have a lot of time spent sitting and waiting right now, so I have the ability to write a multitude of fics. I'm happy to talk about any of these fics if you want to come into my inbox or my messages.

[physalian]

On Fight Scenes (Or, getting creative with your magic system)

This is coming from a reader’s perspective, not a writer’s, in what I like to see and what my thought process was when writing my fight scenes—I hate these things and can’t call myself any authority on the matter. They’re tedious and translating what’s in my head onto page is always frustrating.

This is also for fantasy and sci-fi: Fight scenes that have some magical or technological element to them, not a straight-up action story with two dudes punching each other. This includes anything from fights in Harry Potter to battling a Xenomorph to bending in ATLA to a throwdown between superheroes.

Side note: I really, truly hate “two dudes punching each other”.

—

I have a friend who loves comics, specifically DC Comics, and watches all the DCAU films. When we lived together, I often watched a lot with them. My favorite remains Constantine: City of Demons because unlike literally every other DCAU movie, it doesn’t drop the ball in the third act and devolve into a stakes-less fistfight. This dude faces *consequences*.

I’m not a comics (like actual, paper comic books) fan, but without fail, every time the setup is good, the characters are good, the first 2/3s are good with pacing and usually a mystery and passable character development like Batman: Under the Red Hood…. The last 15 minutes or so always abandon what had been a good plot for just superheroes punching each other and I get so bored. I’m invested and then they rarely deliver any payoff.

But I do like Constantine. Dude needs a nap.

Point is: On top of those fight scenes not really mattering, by the nature of what comic books are in that they can never stray too far from the status quo, or if they do, it doesn’t stay that way for long, the people who made these characters don’t get all that creative with their powers.

I think, actually, I liked Constantine so much because his stuff is rated R and it doesn’t shy away from the more realistic effects of living in a superhero society… without being gratuitous like The Boys.

I just get bored. The fight stops when the plot says so. Knockouts are arbitrary, power scaling is arbitrary. Someone can get thrown through a wall and walk it off but the villain or their buddy can come up behind them and hit them really hard on the head and that’s enough.

Anime is its own thing and would take far too much time to address here but I do want to talk about My Hero Academia real quick, following up on a previous post about tournament arcs.

Season 2 of the show has three main arcs: The tournament in the first half, and the Stain fight/final exams in the second.

For a while, the show actually seemed to take injuries rather seriously (for shonen, at least), and got insanely creative with characters’ very niche powers. In season 1, their teacher, Aizawa, gets pretty brutally beaten by a horde of villains and his powers are permanently impacted by his recovery—he can’t use them for as long as he used to, and he has a new scar.

Midoriya, too, whose powers break his bones on the regular, has consequences for overusing them, like his hands and forearms not healing properly despite superpowered medical intervention.

Power scaling, too, was fantastic…. Until the Stain fight.

I will never understand the thought process behind this logic:

“Hey let’s show how powerful Todoroki is by having him manifest an entire glacier in about 3 seconds!” *9 episodes later* “Hey let’s make this fight with a dude who only has various blades to work with super tense by making Todoroki completely nerfed in a legit life or death situation!”

Buddy couldn’t take two seconds to yell at his friends to get the fuck out of the way? Was he worried about damage to the buildings? I feel like nepotism could have spared him from some consequences if breaking a few windows meant him not getting murdered. It wasn’t like he had daddy issues over his ice powers.

The rest of the show (until I DNFed) had similar issues. Powers were as competent as the plot allowed at any given moment, which I guess is the nature of shonen, but if you’re going to go out of your way to establish realistic rules and consequences really early on, breaking them willy-nilly because it looks cool later is annoying.

Which is applicable across all fantasy sub-genres: Consistency.

I might not be the best at writing the step-by-step choreography, but damn it if I don’t know how to make sure I’m not opening up plot holes in how much damage my characters take and dish out.

—

So. How I approach fight scenes as told by Eternal Night and my sci-fi WIP.

Before anything else, establish a reason that this has to be a fight, that it has to happen now, and what’s happening beneath the combat to keep the story progressing. The plot will not stop just for fisticuffs.

A magic system is only as cool as what its characters cannot do with it, and breaking those limits ruins the magic system.

Make sure this is a fight that can only happen in this story, taking full advantage of the various powers/abilities/magic system rules, if this is meant to be flashy and grand.

Eternal Night is about vampires, thus my vampires, being immortal, can take a lot of hits and not suffer long-term consequences compared to a mortal. I adhere to a lot of classic vampire lore while also making up my own rules. They don’t have super speed, super strength, or compulsion, they just have a lot of experience and know how to use their weapons well, and can essentially go at 100% without mortal limitations of fatigue.

Basically: My vampires are only as strong as a mortal in absolute life-or-death situations, but that’s also dependent on how strong they were in life. Somebody who was a couch potato isn’t going to be as strong as a bodybuilder, and that carries over. I don’t have “younger/older vampires are supernaturally stronger” rules.

They have the same immortality risks as most versions: Stakes, beheadings, sunlight. Anything else is survivable.

Simple magic systems tend to be the most robust because there’s less rules available to risk breaking or forgetting (why ATLA's bending feels so real).

So when I was writing ENNS’s big fight, on top of making sure they weren’t all gods with their weapons—they missed shots, got tired, made bad calls—priority one was making sure I kept killing blows consistent, and when they’re temporarily “dead,” that the timing of when they revive isn’t determined by the plot.

Meaning: If I have a vampire who, idk, gets stabbed by a regular sword and it “kills” them, they have to stay “dead” for whatever amount of time I’d previously established and not wake them up early to participate in the plot again. Those are my rules and I have to work with them.

And in that way, yes the choreography is frustrating, but even if it’s an average description of a fight, I will appreciate that the writer respects their own rules and still be entertained.

With that, in the sci-fi WIP I had incredibly complex and diverse magic systems, 3 complete and unique practices split between two characters. One of which was incredibly OP.

This was a very reluctant OP character who wouldn’t use the full extent of his powers even to save his own life, often to the ire of his team who suffers the consequences of unnecessarily complicated battles when he could one-shot the enemy but chooses not to.

Internal limits tend to be stronger than external ones if you have an OP character, because they’re more believably toggled on and off without breaking the lore.

Even with OP character stubbornly making life harder for himself, he was still OP. He had two different magic systems at his disposal, and beyond his internal limits, they had two very easily exploitable external limits.

Magic system A was tied to a physical artifact he had on his person. If he got separated from it, he couldn’t use it. A is also a lot harder to use if B is also busted.

Magic system B was counteracted easily by users of Magic system A, and by the enemy military who’d developed weapons specifically to nullify those powers, and that weapon was everywhere.

Which meant my fights concerning OP character were rarely “why doesn’t he insta-kill them” it was “oh shit, he can’t insta-kill them, now he has to be clever to get out of this alive”.

One of my favorite fights was at the tail end of Book 2 where he was stuck with two of his non-powered teammates, on a ship dead in the water being overrun by the enemy. The ship had no power, the radios were dead, and the engines were fried.

He had already been sick for half the book and physically and mentally exhausted, and when the enemy arrived, they nullified the rest of his powers. All he had was Magic System A, but in his condition, it was like being asked to do long division on paper by hand, because his calculator was broken.

Dude was not having a good time.

Which meant he was basically useless, with two of his basically useless teammates, who all had to work together to get creative and clever with the tools that they had, on a ship they all knew like the backs of their hands.

So many things they would not have had to do in any other situation, with stakes so much higher because OP was powerless. The characters came first, not their powers, which I think is the most crucial ingredient to any fight you want people to keep talking about for years to come.

—

I can’t tell you how to choreograph your scenes, but I do think that why they’re fighting matters far more than what they’re fighting about, and especially in fantasy: What’s the point of writing magic if you don’t take full advantage of your magical characters?

[mashithamel]

When I first heard Rand would be working in a sanitarium in season 2 and he’d have a friend named Errol, I was kind of annoyed. Why would they spend precious time in a location and on a character that aren’t in the books, when there is so much ground to cover and so many characters to introduce?

But they used this setting and this character so economically, and so efficiently, that I have been completely converted. They didn’t waste a moment of screentime for Errol, and in only a few minutes justified his creation as a terrific vehicle for exposition and to introduce so many important concepts.

As soon as Rand walks in the door we’re introduced to the Aiel War (specifically—I means we got Blood Snow last season but it wasn’t put in a lot of context). We get a personal view into how much Cairhein specifically was affected by it (the effects of which are mentioned a couple more times this season), as well as giving it a relative timeframe—Errol is much older than Rand, so it wasn’t just a few years ago.

We are reminded that Rand looks like the Aiel even with shaving his head, reminding us about his adoption and that he’s an outsider. Here in Cairhein, even when people know and like him, the citizens are likely to have a gut reaction of surprise or fear when they first see him, something that may contribute to his difficulties ruling the place down the road. We are reminded that they are considered fierce fighters, and introduce that their women also fight and are considered deadly.

We are introduced to sword forms! We didn’t get Lan training Rand in either season (although it sounds like we will finally get it next season!), so it’s nice to learn he’s been getting at least some introductory training if he’s going to be a blademaster eventually. It’s also very consistent with the books for Rand to take advantage of opportunities to learn whatever and from whoever he can. We’re reminded about Rand’s heron-marked blade (before it does its important thing and melts in episode 8) and make the connection that it is carried by blademasters.

So importantly, we see how kind Rand is. He clearly knows and likes this crazy old man who’s calling for the guards. He speaks to him kindly without a trace of annoyance that they’re having the same conversation they do everyday (anyone who cares for people with dementia can probably understand that is really hard at times!). He puts Errol’s shoes on for him. This isn’t quite washing feet, which Biblically speaking is an act of humbling one’s self, but it’s definitely the sort of thing you wouldn’t expect the Promised One to be doing routinely. Right now it’s his job to do, but he does it with the care and compassion you might have for an elderly family member. He defends and comforts Errol when another employee is cruel. At heart Rand is kind and loving. Killing, ordering executions, sending people into danger where some will definitely die are all things he will need to do as Dragon Reborn, and his struggle with this will inform a large part of his arc over the next few seasons.

We see the inequality of the Cairheinin system (and then more blatently at the dinner party). Unsurprisingly the Cairheinin separate their health care by wealth and power, and it sounds like the poor ones may not even have a garden to walk around in? The Two Rivers doesn’t really have this type of inequality, and some of the first things Rand does in the books as the Dragon Reborn is make the elite start treating the poor and lower classes more fairly.

And of course we get PTSD and mental illness. Both PTSD and fears of going mad are important for Rand later, so this early introduction helps define the stakes for him.

It was such a short scene, and I’m sure there are other details those with more skill could expand on (the horse that Rand sets upright? the color palate?). I just really appreciated how much the writers crammed into an original character to help lay the groundwork not just for this season but for seasons (hopefully) to come.

[pyrotechnicarus]

what's your experience re: the difference between writing prose and scripts 😭 i have to write plays for the first time for school and i miss my wife Purple Prose

Congrats on writing your first play! And I definitely empathize -- switching from one form to the other was hard for me, and something I still struggle with. Musical theater is arguably the novelist's crutch into scriptwriting because we have access to songs -- the kind of access to the characters' thoughts and intentions you get throughout a novel, you can inject into a song, whereas straight playwrights (especially realist playwrights) don't always have that built-in genre convention for theatricalizing their character's minds.

Unless you're working at a level of heightened text in your play that allows interior monologues to be spoken aloud or narrators to describe things (which, hey, you might want to consider!) then you'll have to really work on externalizing both beauty (your beautiful descriptions of things in your short stories? now someone has to say them out loud. Who would? What sort of person would speak this way? Would anyone?) and character development (often my playwriting teacher says that every shift in a piece has to be signaled through an action. A character can't just change their mind. That change doesn't exist to the audience until they do something with that new perspective -- hurt another character, avoid a situation, indulge in something they've opposed before, etc.) Writing for theater really forces you to make your character arcs visible in a way that prose doesn't.

On the other hand, you now have access to a ton of other tools that you didn't have as a prose writer! These usually fall under the broad umbrella of "theatricalization," but really just mean everything you can do in the theater that you can't do in any other medium. The intercut scene before Me, Myself, and I in Adamandi -- the casual, silent cohabitation of the past couple and the present couple at the start of Ghost Story -- the use of the edge of the stage to represent suicide in Adamandi -- all only work because the theatrical audience is willing to accept thematic intersections of space, time, and character because of the boundaries of the stage. When can two things happen simultaneously? When can your character make eye contact with an audience member? When can they leave the stage? What does having collective physical bodies perceiving your art allow you to do - when are they crying together, laughing together, when does their pulse race? Can you make them feel scared? Try out writing scenes that take place in the dark, in a spotlight, with a silent actor onstage, or with significant costume changes that can carry an equal amount of the story to your stage directions and spoken text.

Finally, I guess my overall advice would be to study plays you admire (my benchmarks are currently Is God Is, Escaped Alone, Streetcar Named Desire, M. Butterfly, and various Paula Vogel plays -- And Baby Makes Seven is my fave but The Baltimore Waltz is probably a gentler introduction to her) for their conventions and copy the shit out of them. Imitate their formatting, for a bit. Steal a staging that works in your context. Cut your dialogue down viciously -- words and exchanges that take a few seconds to read on the page take precious minutes to say out loud. Watch out for conversational cul-de-sacs -- ideally each line should advance the scene, advance the characters, and advance the plot. If your character is saying stuff like "What's your name?" then maybe the scene needs to start later -- you want every line to be one that only that character would be able to say.

Relatedly, and I think a failing of mine when I made the switch that is now getting better: don't rely on tone indicators to do the work of adaptation. Your actors and directors will ignore them, first of all, but also each line should contain its proper reading -- it should be clear from the context of the scene whether your character is saying "Hello." (angrily) or "Hello." (haughtily). I try to limit myself to 10-20 tone lines per 90-page musical script, if that's a helpful benchmark for you (this is different from stage directions, but you should also not be using stage directions to take the place of good dialogue. Anything inconsequential -- he paces or chewing his lip or with a sly grin -- ought to be cut.)

Anyway, overall, have fun and do whatever it takes (including disobeying all the advice above) to FINISH IT! You'll only know once you have a full draft A. whether you want to keep going with this medium and B. what your storytelling is Like; how you can improve it. Good luck!