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stars-and-inkpots · 1 year ago

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could you possibly do one where Tav is on the verge on burnout in Baldur's Gate, from carrying the litteral weight of the world on her shoulders, plus the murders, dismembered clown, emperor chattering away in her mind and just tryingto help every soul in the city... oh, and everyone looking to her for guidance in making difficult life decisions... possibly after advising Wyll not to take the pact and/or one of their companions being abducted

And Gale being there to help her and lift her spirits up (maybe a little guilty about being too wrapped up in his hubris before having a forgiving audience with Mystra to notice how hard it all was on her)

I loved this idea so much because Act 3 really is just so overwhelming and stressful I was excited to write something about it! Thank you!! I hope you enjoy!

The Weight of The World | Gale x Reader

There is so much you have to do. So many things you have to fix and people you have to save. It's starting to become overwhelming carrying so much alone.

Pairing: Gale/Reader

Tags: Canon-typical violence, Blood and injury, panic attacks (kinda), hurt/comfort, comfort, angst, cuddling, spoilers for Act 3

Ao3 Link: The Weight of The World

Word Count: 1,799

You like helping people. If there is a way you can make someone else’s life easier, you are both eager and happy to do it. It’s in your nature to give.

But you’re wearing yourself thin.

It seems that ever since you got off that nautiloid, you’ve been helping people. First, it was the tieflings in the Grove; then the Shadow-Cursed lands; then the refugees on the way to Baldur’s Gate. And along with all of those problems, you’ve also been helping your companions with their own; some with higher stakes than others.

Wyll is quiet today, and when you notice the look on his face, guilt quickly settles in beside the exhaustion that rests on your shoulders.

He is free now, but it has come at such a steep price. You were there with him when Mizora appeared to offer him the deal. He had asked you for advice. You told him that he deserved a chance to be free from the infernal chess board he had been forced to play on for so long.

But what if you were wrong? What if you don’t find a way to save his father? What if Baldur’s Gate is worse off without the duke once everything is done and over with and the dust has settled. What if Wyll ends up blaming you for the death of Ravengard, resenting your decision that was his own to make.

You’re happy to help… happy to give counsel to your companions when they (so often, it seems) need it, but why should you be the one making the decisions for such things? How can you be expected to decide between Wyll’s freedom and his father’s life?

You haven’t even begun to prepare for what could lie beyond the walls of Cazador’s palace, but you’re certain it can be nothing short of dreadful.

Shaking your head, you try to focus on the task at hand. You have potential murder victims you need to find.

More people that need saving.

---

Finding the Stormshore Tabernacle after Elminster arrived to tell Gale that Mystra had yet another message for him was only another goal added on the growing list of things you needed to do. This, of course, took a little priority, given how much you could tell it mattered to Gale.

You brush off the growing exhaustion that hasn’t had a chance to fully dissipate in the wake of so many new problems.

You stand in front of the statue of Mystra, Gale beside you while the others wait outside. You can feel the magic that flows around it, crackling and humming like an electric current. It is not a feeling that brings you comfort or a sense of calm that one might expect from a god; perhaps that is mainly because of your own opinions of the goddess though. While he does a good job at hiding it, you can tell that Gale’s nerves are beginning to get the better of him. You bring your hand to rest it on his shoulder.

“Time was I’d have given my right arm for a chance to speak with Mystra again. The left one too. Maybe a knee…” he says quietly, and as much as you want to believe he is exaggerating, you know there is an air of truth to his words.

“You know you don’t owe her anything, Gale.” You hope he knows that. It’s impossible for you to understand the nuances of their relationship, and you recognise that, but you know that what she had asked of him was cruel and manipulative.

“Perhaps,” he answers. Then adds, “Her first love was always the weave. At best, I was always a close second.”

You can’t tell if he’s trying to justify Her actions to you, or simply giving himself a reason for them that hurts less than the idea that she did not truly care for him like he did for Her.

“Do you want me to come with you?” Despite your personal distaste for the goddess, you would accompany him in an instant if it was what he desired.

“As much as I’d prefer not to face her alone, I’m afraid the magic is only able to bring one person through. I’ll only be gone a minute though. Wait for me, please.” His voice shakes only slightly. You would wait for him even if he didn’t ask.

When he turns to face the statue again, he moves his hand like he’s grasping at something in the air. Then just as quickly, he is gone.

You wait there anxiously. You wonder if you should have told him not to come here. It was entirely possible that Mystra only asked him to come here so that she could punish him for not following her orders to blow up both himself and the Absolute. It would be another lapse of judgement that would impact only your companion.

The stress of the week is steadily catching up to you again, pushing itself into the forefront of your mind while you wait for Gale to return. Thankfully, he doesn’t take long.

Gale reappears in a small flash of shimmering purples. He is smiling, which you assume is a good thing in spite of the general unease the thought of him speaking with the goddess brings.

He recounts the visit with you while the two of you find the rest of your party outside.

---

No one says anything when you go straight to your tent after you return to camp, Gale letting go of your hand to give you a moment to yourself.

Lae’zel is gone, taken by Orin, and being held ransom in the Temple of Bhaal. The memory of the encounter makes you sick to your stomach.

Lae’zel rounding the corner, bloodied and limping, clutching her side while blood pours out in thick rivulets. Your heart beating so fast that you worry it will stop entirely. Grasping her arm to pull her with you, refusing to leave her behind. The feeling of her flesh shifting under your palm, moving, undulating in that unnatural and revolting way you had come to recognize in the shapechangers you had encountered. You recoiled backwards into Gale, watching in horror as Lae’zel’s form shifted; her neck snapping to the side sharply. Her green skin fading to pale grey. It was never Lae’zel at all, but Orin.

She cornered you into making a deal with her. You were to return with Gortash’s netherstone, or Lae’zel would be left to bleed out on the temple floor.

You can imagine Lae’zel’s voice, condemning you for giving in to the Bhaalspawn’s orders. But you know Lae’zel. You know that she is not as unshakeable as she likes to present herself. You know that, wherever she is right now, she is scared.

You can barely think. Everything feels blurry, the world fraying at the edges of your vision dissolving into a mess of colour and sound.

You should have noticed. Gortash had warned you.

You still have so much you need to do.

How did you let this happen?

---

Gale waits a few minutes before he follows you to your tent. He waits nervously outside, unsure.

“Can I come in?” He asks softly.

“Please,” you answer, and his heart breaks at the roughness of your voice; no doubt from crying and struggling to keep the sobs quiet enough that the rest of the camp wouldn’t hear them.

Your eyes are tired, fresh tears still flowing freely down your face.

Gale is terrified too, just like you and so many of the others, but something else weighs heavy on his chest. Guilt, he quickly realises as he looks at you.

You’ve been dealing with so much, and so much of it alone. You’ve taken their problems and made them your own; you’ve done everything for them. You’ve bore their worries, their concerns, and their mistakes. You’ve had no one to do the same for you.

“Gale-” you start, but a sob bubbles out of you cutting you off as your shoulders shake.

“It’s going to be alright,” he whispers into your hair after he quickly gathers you into his arms as he sits beside you. He pulls you into his lap, wrapping his arms around you like he’s protecting you from the world itself.

“I’m sorry,” you apologise through hiccups against his chest. He only gently shushes you, carding his fingers through your hair.

“If there is any apologising to be done, it is us to you. You’ve been doing so much for us; carrying our burdens and helping with them. I will admit even I have been far too preoccupied with my own mess that I failed to consider the weight that we’ve put on you.”

“I should be able to bear it,” you say mournfully.

“Absolutely not,” Gale objects. “It’s impossible to do that alone. You are only one person. You are not weak because you failed to carry the weight of the world alone.” He sounds so certain, so genuine in everything he says that you know he isn’t merely saying this to comfort you. “Even if you struggled with even the simplest problem, it would be no slight on your abilities.” His words, as reassuring and comforting as they are, bring on yet another wave of tears. He rubs his hands soothingly along your back.

“You are not weak because of this,” Gale assures you once you’ve mostly stopped crying.

“Thank you,” you answer after a while. “Thank you.”

The two of you sit there together. The steady rise and fall of his chest while you lean against him helps calm your racing heart. Gale hums softly, and you relax in his arms.

“Everything is going to be alright. We’ll do this together,” Gale says, with a finality that leaves no room for disagreement.

You nod, too exhausted in both body and mind to bother with speech for now. You reach blindly for one of Gale’s hands, holding it tightly and pressing a kiss to his knuckles. You feel him return a kiss of his own to the top of your head. You don’t need to use your words to explain your gratitude for his presence in your life. He understands you all the same. Your love may go unspoken, but never unheard.

You let yourself relax. The weight of the world may be both figuratively and literally on your shoulders, but your companions can help you hold it.

Yes, you think to yourself as Gale moves you both to lay down on the bedroll, everything will be alright. It will be difficult, but you will be fine. And at least, in his arms, you can pretend that everything will be fine for now. You have to hold onto the hope that everything will be fine.

#gale x reader #baldurs gate 3 #baldurs gate x reader #x reader fic #gale dekarios #baldurs gate 3 x reader #baldurs gate gale #gale x you

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heyclickadee · 9 months ago

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Okay, to try to explain why the Bad Batch finale is driving me crazy

Imagine if Rebels ended at season three. (Thought experiment time!)

Not that it got cancelled; no one is saying it was cancelled, everyone is saying that this is where they wanted to end that chapter. And the entire season plays out exactly the same as it did in the real world*. Zero Hour, exactly as is, ends up being the series finale.

And the initial reaction is, “Great! They’re alive! They made it out, no one else besides Ahsoka died, we’re so relieved,” except—

What about Lothal? We built up to trying to save Lothal even in the third season—are we really just forgetting about it? What about Ezra becoming a Jedi? The whole sequence with the Bendu was really cool, but what about that foreshadowing line he gave to Thrawn in the end? Where is that supposed to go? Why did we waste a whole episode on space whales? Why didn’t Ezra’s talent for connecting with animals ever go anywhere? What about the side episodes about the Rebel Alliance? The episodes in the season were very good on their own-in fact, a few might be close to the best episodes in the show—but because there’s no payoff and nothing goes anywhere, it all sort of falls apart. Kallus’s redemption arc was fine, but what’s he going to do now, or is he just going to feel bad about what he did? I’m glad they’re all alive and all, but that’s it? Theres no real victory except survival? Why did we spend multiple episodes in the temple on Lothal if that wasn’t going to go anywhere besides getting Ahsoka killed?

Speaking of, Ahsoka really died, and we never dealt with it? Thirty seconds of Ezra crying, everyone looking sad, a sorrowful look from Rex, then we never discuss it, and the only time she comes up is when we’re discussing her job as Fulcrum? It was ambiguous enough to begin with, then we never really got confirmation or any processing on screen at all. We had a whole episode for Ezra to process learning that his parents died, and we never even really met those characters! But nothing for Ahsoka? She’s a fan favorite, and she means so much to a lot of people in the audience. She seemed like she was Dave’s favorite, even! It’s not like her death affected anyone either—all the character motivation was driven either by Kanan’s blindness, the fallout with Maul, or Ezra being tempted by the holocron. It was noble and tragic, sure, but narratively, they just killed her for shock value. If she’s even supposed to be dead! We don’t know for sure!

So you’re thinking through all of that, trying to figure out what the hell happened here and how a show that was otherwise very good only resolved two or three subplots, none of which was the main one, never really dealt with a main character’s death, and never fully 100% resolved anyone’s character arc, all while the showrunners refuse to say that this is the last time we’ll see these characters and insist on using the word “chapter” to refer to the end. So you’ve got a sneaking suspicion that the story isn’t actually over, that there’s something weird going on, but you don’t know for sure, and you can’t just let things lie because it’s not that it’s just a bad ending, it’s that it’s bad in a particularly insane way that would come back around to being incredible if there ended up being any follow through for a series that was somehow 99% set up and no payoff.

Anyway, this is where I’m at with The Bad Batch right now.

* For the purposes of this thought experiment, we can add a except that there’s a little epilogue at the end—not the epilogue we actually got at the end of season four of Rebels, but an epilogue where a fifteen-year-older Ezra has a conversation with Hera (no one else, and no Jacen around, no sign that Jacen even exists) about needing to go do something, and then hopping into a ship that looks a bit like the Phantom and has little mementos from various members of the ghost crew family around. Ezra mentions Zeb, Sabine, and Chopper, so we at least know they’re alive, but he doesn’t mention anyone else, and neither does Hera. Something with Ahsoka’s fulcrum symbol is sitting on Ezra’s dashboard. We learn nothing about what anyone does in the meantime. It’s completely open.

#the bad batch #in which I attempt to explain my point #without feeling insane #this is a good show!#95% of the show is great season three included #it’s just that only two subplots go anywhere #and nothing else pays off #but in such a weird way that you can draw an outline #around the void of non-resolution at the end of the show #it’s SO carved out #I’m just #*biting biting biting biting*#should note that in this thought experiment season four of rebels still ended up happening somewhere

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chaotic-orphan · 1 year ago

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Heroic Betrayal: part five

Read part one here

Continued from this point here

*~*~*~*~*

What kind of idiot were they to be stuck here? Hero should have told Sidekick when they got the tip about Villain… they should have told them that they were going to rough Villain up a bit, get the information they needed on Other Villain’s whereabouts and beat the shit out of them. Just a little revenge for touching a hair on Sidekick’s innocent head.

Even if they managed to catch Villain and mete out justice on Other Villain, they would have beaten the ever-living shit out of the wrong person, and that was something Hero didn’t want to think about in that moment.

That Flynn…

Their Flynn was the one who put Sidekick in the med bay.

Sidekick, who was still in the med bay, where Hero should be, but no. Instead, they were here, powerless and bleeding and it was all their fault.

Hero didn’t know how long they sat and stewed on that thought. Long enough that their nose stopped bleeding anyway. Hero tentatively reached up to their upper lip, their hand came away from it dry, the blood caked and flaked onto their face now.

“What happened to your face?” Hero angled their head down from where they stared at the ceiling to see Flynn standing on the other side of the cell bars.

“Fuck off, Red,” Hero grumbled, and fought the wince at their casual nickname for Flynn slipping out of their lips. “I’m not in the mood.”

A jangle of keys and the cell door was open, footsteps approaching Hero in their cot in the corner. Hero’s heart ached with every beat as Flynn came into their line of sight, concern drawing his features together.

How many times had they seen that same concern on his face? Told Hero it was going to be okay. Cleaned their wounds, laughed about the bruises the next day?

How much of it was a lie? — Hero wanted to ask. The question burned a hole on the tip of their tongue, but they didn’t dare speak it. They just stared up at the ceiling as best they could.

“What? You piss someone off already?”

Hero sighed. Flynn sat on the edge of the bed, moving closer to Hero, his hands going to inspect the damage like he so often did. It made something ache in Hero’s chest. Hero slapped their hands away, tears burning in the back of their eyes.

“Don’t fucking touch me, Flynn,” Hero bit out. “You don’t get to betray me and then pretend to be my friend and concerned about me.”

Flynn stared; eyes sad as he said: “okay. Guess I deserve that.”

“You deserve so much more,” Hero said, eyes burning with hatred, voice barely above a whisper. “How many of our friends died because of you? Hmm?”

“Hero, not all of it–” Flynn began then stopped, huffed out a breath of air through his nose, hand running through his hair. “Not all of it was a lie. I am your friend. I do care about you.”

“Oh really? Then you’d never use your power on me, right?” Hero demanded, echoing back Flynn’s words against him. Flynn had the audacity to even look guilty at that, and Hero leaned forwards, hands on Flynn’s as they said: “I forgive you, okay. I forgive you if you let me go. Flynn, please.”

Flynn’s eyebrows knit together, clearly conflicted but he said nothing. After a moment, Hero let out a breath of disbelief and sat back against the wall again.

“Yeah,” Hero scoffed, “we’re friends.”

“You have blood all over your face, Hero. You really want to just leave it?”

“Why the hell not?” Hero said, trying to force their tone into some form of neutrality.

Flynn sighed and stood up from the cot. “Supervillain wants an audience with you. I was sent to retrieve you.”

Hero rolled their eyes but got to their feet no less. “Of course,” they said, pushing past Flynn to the door. “God help you actually wanted to see how I was doing.”

“Hero—”

“I don’t want to talk to you anymore. Let’s just go.”

“Hero that’s not—”

Before they could get the fourth word out, Hero had whirled on them eyes blazing hotter than any hells furnace.

“Fair?!” They asked incredulously, their voice jumping two pitches at the sheer audacity of the word on their lips. “Is that what you were going to say?”

Flynn didn’t back down this time. Instead he stepped forward, looking down his nose at Hero.

“Yes. That is what I was going to say.”

“You are unbelievable!” Hero snapped matching Flynn with a step forward of their own. They held their cuffed hands up in Flynn’s face as if to remind him exactly why Hero was there in the first place. “If you’re my friend you’ll take these off.”

“Hero you know I can’t—”

Hero didn’t let him finish. Instead they placed their palms on Flynn’s chest and shoved them as hard as they could. Flynn looked about as bothered as if a fly had flown into the room.

“I can’t uncuff you Hero,” Hero said, lowering their voice to mimic Flynn’s and shoving him back again. “I can’t let you go Hero.” And again. “I can’t fucking think—” shove “for myself” shove “Hero.”

Hero glared up at Flynn trying to fight back the frustrated tears building behind her eyes. Anger was easier to focus on in the moment rather than that vast aching pit twisting uncomfortably in their gut.

“But I promise I’m your friend, Hero,” Hero mocked, shoving him back again until Flynn’s back hit off the wall. Flynn’s eyebrows curved down and it left a pang in Hero’s chest that they hated. “And then you have the gall to look hurt. As if I betrayed you.”

Hero ignored the tears that fell at the last sentence, or at least tried to. They tried to be firm and act tough, but saying the betrayal out loud, acknowledging it when it was just the two of them was too much.

“Would you trust me if the roles were reversed?” Hero asked, not even wanting to look at Flynn for the answer. The more they saw the conflict on his face the harder it was to hate him. Flynn however, didn’t take this into consideration when he put his hand on Hero’s face and tilted it back to face him.

Hero narrowed their eyes at him, pushing every ounce of anger into their gaze hoping they would turn into actual daggers and stab him.

“No,” Flynn breathed softly, thumb wiping away the tear streaks from Hero’s face. “I wouldn’t trust you if the roles were reversed, but I would hear you out of you tried to explain it to me.”

“And if I took you to Supervillain?!” Hero asked, their voice low and furious as they stepped out of Flynn’s touch. “The enemy we’ve been trying to stop for months?”

“You.”

“What?!” Hero demanded hotly.

Flynn’s gaze hardened, his face devoid of all emotion now except for his usual mask of easy confidence, smirk on his lips as if he didn’t just wipe Hero’s tears away.

“The enemy you’ve been trying to stop for months,” Flynn said again taking a step forward, a dangerous glint in his eyes. Hero matched his step with one back, cautious, hackles raised. “I mean the man you borderline obsessed over, Hero. Don’t you want to meet the genius who eluded you, the great detective, for all that time?”

“Not particularly,” Hero said through gritted teeth, with another step back that Flynn matched, getting closer and closer each time.

“That’s what you called him though, right? A genius,” Flynn teased, his grin showing his teeth. “I mean, fuck, Hero some of the moves he made you were damn right impressed with. You even said you’d have done exactly the same thing if—”

“I was in his position,” Hero cut Flynn off. Flynn’s smirk grew wider as he took another step closer, dipping his head conspiratorially.

“Now you can be,” said Flynn with a wide gesture of his hands. Hero followed his hand to the cell door that they happened to be right beside. Hero was keenly aware that Flynn was backing them towards the door the whole time. “Even just for the intellectual stimulation if nothing else.”

“Go fuck yourself, Flynn. I’m not willingly walking into the Lion’s den.”

Flynn’s eyelids fell half over his eyes. “It is less dignified to be dragged, Hero, but if you insist.”

Flynn made a grab for Hero’s arm but they dodged at the last minute, turning to shoulder Flynn out of the way. Flynn didn’t so much as budge from his spot. Instead he caught Hero by the strap of their scabbard and yanked them into Flynn’s chest.

“The hard way, wonderful. I wouldn’t expect any less of you Hero,” Flynn said, wrapping an arm over Hero's chest and keeping them close as they stepped out of the cell, pushing Hero forward with their own body weight. “Let's go introduce you to Supervillain.”

*~*~*~*~*

Continued here

The orphanage roll call (tag-list): @shywhumpauthor (lmk if you want to be added/removed)

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swampstew · 6 months ago

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Best Doctor in Town

Summary: Inspired by this gif submitted by @quinloki (sorry I lost the original!)

Warnings: Marco the Phoenix X Transmasc Reader with he/him pronouns - modernish AU, consent is implied, vaginal penetration/fingering.

Minors DNI - my content is for mature audiences only

You shivered under his scrutiny, despite having asked him to check on you after a fall that left you feeling severely bruised. You fell in front of him so maybe the bruise was actually your ego screaming out in agony over the embarrassing tumble in front of your long-time crush.

Marco being the kind soul he was, gently inspected every ligament, joint and then some, then had you lay on your back as he spoke.

“Well the good news is: nothing is broken-yoi.”

Your skin broke out in goosebumps, which made you feel even more vulnerable, being half naked down to your underpants on Marco’s futon as he looked you over. You’re not sure why he said your pants had to go, but truthfully just hearing him speak the words had the fabric tossed over the furniture faster than you could process them.

“Oh,” the face you made didn’t look convinced, though it was because you were trying to disguise your inner yearning.

The blonde doctor had already discarded his gloves but that didn’t stop his hands from returning to your abdomen. Fingers traced down your trembling body and you weren’t sure if he was doing it on intentionally or not.

A concerned look on his face, “Hmmm, maybe there is something going on. You’re running a bit hot all of a sudden.”

Despite the fairly cool atmosphere, your body broke out into a sweat being so close to him – even if the setting wasn’t exactly intimate in nature to begin with. You saw your squirming reflection in his glasses as he examined your glands and your forehead. You felt his warm breath against your flesh as he murmured different hypotheses for your condition. His touch was soft as he ran his thumb over your ulnar artery

“Quivering, sweating, increased body temperature, no swollen nodes…sudden tachycardia? – Y/N do you feel any unease right now?”

“L-like what?”

“Anything you can think of. Are you aching or sore aside from where you fell?”

Could the tightness in your stomach be considered an ache? What about the sudden tension you felt as his hands pressed down on your body once more as he assessed for lumps or undiscovered sensitive areas. Fingertips ghosted over you – a sudden jolt startled you both.

“Hmmmm,” he glanced at you before he prodded you again.

Your hips tilted forward and practically jumped him.

Your only real reaction to anything since he began his examination – you didn’t let out even a yelp at the initial fall.

“I see. Yes, I know exactly your condition-yoi!” he snapped his fingers, looking mighty proud of himself.

“Do I have your consent to examine you further? Even it gets a little…messy?”

You nodded, a little too eagerly despite not knowing what ‘messy’ could mean. However, the vibe in the room had spiked since your hips had thrown themselves at him; and you were like 90% sure you were picking up what he was putting down.

Hips don’t lie, you mused.

Folding back his sleeves, he parted your thighs and continued his examination. Sliding his finger over the damp folds of your pussy, he felt your wetness leaking from the fabric.

“Oh dear, you have a serious condition. It seems you need a healthy dose of Vitamin D. Would you like me to send your prescription to your usual pharmacy, or would you like me to give your dosage personally,” he rubbed his thumb and forefinger together.

He didn’t stop his prodding, going as far as peeling down your underwear – the sudden cool air hitting your steaming warm core, forcing a low hiss from you.

“I can give it to you orally, or through suppository. A few doses should fix you right up.”

Your body answered for you, wiggling closer to his lap from where he sat above you. Your face flushed red, not quite brave enough to answer him.

He let out a light laugh, “No problem, I can give it you in any manner. So long as you sing for me, little birdy.”

A hand over your face, you whimpered, “Y-y-yes doctor.”

“Good boy,” he cooed, sinking a heavy finger into you.

#marco the phoenix #marco x reader #transmasc reader #swampstew bedtime stories #marco the pineapple #op marco #marco one piece #one piece marco #marco x you #marco x y/n #marco--the--phoenix #swampstew stories

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corellianhounds · 8 months ago

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The Acolyte Criticisms, with Suggested Changes

Part 1

Word Count: 7.5k. whatever.

(I should mention that these mostly came from episodes 1 and 2, with minor details up to episode 4. Nothing’s been changed despite having seen episodes 5 and 6 since most of this was written)

My complaints so far with The Acolyte are as follows:

The script is weak and boring to listen to

The show tells the audience exposition, character emotions, and backstory instead of showing us characters and history through actions that develop and unfold naturally on screen as they do things to drive the plot

Characters don’t have significant character flaws or depth and are content to go with the flow without taking actions contrary to what others on their side are doing. Any disagreement is solved with a conversation. If it’s supposed to be a mystery, it’s to be expected that people are going to lie, to snoop, to evade the truth, go digging into questions where they’re not supposed to, and not get along with each other: characters (especially and including ones you’re setting up for a redemption arc) don’t have to be nice

The acting itself is boring to watch because most of the scenes are sitting and talking or standing/walking and talking without building the tension or taking action as they speak, which could also be because—

The settings feel like sets, not lived-in environments

Every obstacle is barely an inconvenience and is easily resolved

Issues with pacing in writing, direction, and editing

Missed opportunities for more interesting, dynamic choices

They’ve already answered a lot of the questions they set up. If you’re going to bill your show as a crime drama/murder mystery, you can’t immediately show all your cards in the beginning, meaning—

There’s no rising tension. Events are simply set up and then they immediately happen. There’s no connective tissue or resistance or compounding storytelling taking us from one place to the next, making it feel like a collection of individual scenes that exist just to tell us the exposition we need, instead of showing us how the characters act and interact within the environment with the other people there

There’s not always a logical cause and effect between the characters, actions, and/or actual dialogue/lines of thought

There are inconsistencies with genre and tone, often leading to failed attempts at both humor and drama

The writers attempts at misdirection are sloppy because the dialogue or actions they do or don’t give are either telegraphed too obviously, or they fall into the category of not having a sense of logical cause and effect within that scene itself regardless of if there’s supposed to be a reveal later. Scenes have to be cohesive on their own.

I’ve had similar criticisms of Kenobi and The Book of Boba Fett. I went into The Acolyte in good faith! The story itself at the core of these characters had potential! I was looking forward to seeing a mystery! But if this is what half of the season is, I don’t have high expectations going forward.

Here are some specifics for episodes 1 and 2 with references to episode 3 below (spoilers abound):

They billed the show as a mystery but they’ve already answered a bunch of questions that were set up in the first two episodes, sometimes within the same scene the question is asked. The characters (and by extension the audience) have a pretty wide understanding of who both Osha and Mae are and where they come from, even if we don’t have the exact details of what happened the night of the fire. Osha and Mae both know the other is alive, we already know who the assassin is without there being another possibility or explanation for them, we know who all of the targets are and where they’re located, we have the motive, and each conflict or scenario they introduce is resolved almost immediately. There’s no rising tension in the story or significant interpersonal conflict between the characters on each side, the characters aren’t that complex, and people too readily accept the answers they’re given with little protest or reactions based on a unique perspective that would make them feel more like people.

Even if who the assassin is, what their motive is, who their targets are, and where those targets are located apparently isn’t the main mystery we’re supposed to be following with the show, all of those questions are put forth and then immediately solved, meaning there’s not really a whole lot of mystery in a storytelling sense. If the main mystery is supposed to actually be about Mae and her master, not the crime drama about the assassinations that the marketing team billed the show as, then they should either have had Mae commit all three assassinations in the first episode while Osha is having to contend with the core cast being suspicious of and finding her, or made those the inciting incidents that happen prior to the show that cause the rest of the story, cutting out most of Mae’s appearances in the episodes to keep her character a mystery and focusing on Osha figuring things out. That gets a lot of things out of the way and opens up a lot more time in the show to explore the characters and move forward with Osha discovering and driving the story herself

I have some criticisms of their choice of technical production and design, but most of them come down to uninteresting camerawork on uninteresting and ineffectual set designs and environments. It feels like they plopped cameras onto singular sets they built to represent the entirety of that location without creating the connective tissue used to show characters going from one place to the next. Characters are in one place before we see them already in the next plot relevant location they need to be in with little travel time. We don’t see them arrive or depart or enter anywhere, they’re simply there. The temple had Sol’s one classroom, and later the jail cell. We didn’t get to see Vernestra following Sol to his office where they could talk about the assassin in private, we didn’t see Sol and Jecki walking out into the halls of the Temple during their discussion of Sol’s connection to Osha, we don’t see Osha traversing the ship and climbing up to the hatch to the outer hull of the freighter, we don’t see Yord and his padawan getting to Osha’s quarters, we don’t see much of the trio on Sol’s ship, we don’t see the escaped prisoners being found or taken to Coruscant, we see Torbin’s room from the same angles every time people are there, etc. etc.

The camerawork doesn’t help either. It feels like it’s being shot by people accustomed to doing theater on a proscenium stage, mid shots for conversations and wide shots for walking and rarely any tracking cameras following movement or pulling back to show travel from one location to another or following characters as they walk away, let alone anything more complex than that. Both the sets and cameras feel stationary, not dynamic and interesting, and it doesn’t help that a lot of the script consists of conversations that take place sitting and talking, or standing and talking. People aren’t DOING anything during these scenes and it’s hard to walk and chew gum at the same time when there doesn’t seem like any action is needed to get from one location to the next, or any obstacles (physical or emotional) forcing them to double back or change trajectory or pursue objectives other than get to the location that character needs to go next for the main plot to happen. It’s just not interesting or dynamic, and while you can tell the actors did what they could with the scripts they were given, the writing is weak and there’s only so much you can do with a bad script.

Character and Plot: Mae

I don’t know what a good alternative would be but I would have liked a different means of provoking the Jedi into a fight outside of Mae intentionally causing havoc and killing/maiming a bunch of people first. It was only after she assaulted the bystanders that they started to fight her back, and she was willing to presumably kill a bunch of other bystanders first as a means of distracting or provoking the Jedi when the Jedi already had engaged her in her fight.

I think Mae’s focus needed to stay on the Jedi because otherwise Mae garnered a lot more attention from local authorities and put a price on her head for drawing the wrong kind of attention (senseless killing of innocent people, causing mayhem and collateral damage and picking fights with everybody, not just the specific person she had beef with), making her overall objective more difficult since assassinations are supposed to be done in stealth, which seems to be how the writers intended for her to be interpreted. If anything, sparing bystanders in order to have them witness a fight where the Jedi attacked first seems like it would support her case after a declaration that the Jedi do attack the unarmed. Is she intended to be seen as a ruthless killer, or are her attacks purposeful, calculated, and premeditated?

If all it took was one small blade to kill Indara, I’m not inclined to believe she’s that good of a Jedi Master. We the audience have seen hundreds of examples of Jedi being trained to combat multiple assailants while experiencing numerous distractions, and we’re supposed to believe Indara couldn’t stop two blades she had time to see and knew were both coming? One of which Mae doesn’t even throw until after Indara has already stopped the other one? What it tells me is that Indara isn’t really that aware of her surroundings and isn’t a seasoned Jedi

That moment would have played better if Mae had thrown both at once, and if we’d seen the evidence of the blade going clean through Indara’s chest to the other side. If Mae is angry and if her use of the Force gave her enough physical strength to kick the four-hundred pound table at ground level earlier, there should be enough force and emotion behind the blade that it drives through Indara’s chest into the post behind her and splinters the wood, buckling the support beam. The showrunners made a Jedi assassination show, so show us what level of ability— Force-powered or otherwise— it takes to assassinate a Jedi. Make it bloody, make it vicious, and convince me this assassin is a legitimate danger.

If they didn’t want to show enough bloodshed to warrant the right audience reaction, my alternate suggestion would have been to have Mae level the building. We could still have Mae choosing to allow the barkeep and his kid to escape, with him being able to act as witness later. If she’s been practicing the Force in secret like the opening lines say, show her using the Force more impressively, or using skills we and the people within the show haven’t seen before. I don’t know if bringing the building down would count as not using a weapon to kill the Jedi, but it would have been a better way to show how someone not formally trained by the Jedi was able to take down a master.

Even if Mae isn’t supposed to have mastery of the Force yet, we need to see her do more than small-scale telekinesis and heightened agility, acrobatics, and strength. Her master can (we assume) be withholding even more impressive dark-side Force powers from her until she completes the mission to kill a Jedi without a weapon, but I don’t quite believe she’s strong enough to evade or defeat the numerous trained Jedi in those first two episodes. It felt like the showrunners were dampening the Jedi’s capabilities in order to make her seem like she could be on their level, when what they should’ve done was elevate Mae to theirs.

I want to see proof she’s being trained by a Dark Force user, and right now she reads as a pretty good infiltrator, but not all that impressive of a killer. All of her skills right now are no different than ones the Jedi already use. Giving her some kind of Dark Force powers would make her more impressive and feel more like a threat, something like a Force lightning whip, or blades of pure energy, or puppeteering bystanders to fight her targets/act as human shields against their will, or pyrokinesis (which tbh would be very cool thematically, especially when it’ll probably later be revealed she didn’t intend to set fire to the coven’s headquarters). Redemption arcs will always be stronger when a character has done some legitimately terrible or horrific things before they change.

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One of the criticisms I mentioned is the script. There’s frequently unnecessary dialogue; in this opening fight when Indara asks “What are you doing here,” Mae doesn’t have to say “I’m here to kill you” because it’s already obvious by Mae’s actions that’s what she’s there to do. Indara’s real question is either “How did you survive?” if she knows it’s Mae despite all odds, or it’s “Why are you trying to kill me?” if her part in Mae’s past truly is innocent and/or she believes Mae to be Osha (forehead tattoo notwithstanding; Osha left the Order and for all Indara knows there could have been other witches like their coven).

Mae could have simply gone on the offensive without saying anything. If Mae does respond, it shouldn’t be to state the obvious when both Indara and the audience can see what’s happening. Her response could simply be “Retribution,” or “Justice.” That gives the audience motive and intent and tells us more succinctly than anything that there is an established history or past connection between the two characters.

Indara extinguishing her saber in response to “A Jedi doesn’t pull her weapon unless she’s prepared to kill,” seems foolish because even if Mae’s bias is confirmed if Indara keeps her blade ignited, the logical response from a seasoned fighter and defender of the people should have been “If that proves the only way to stop you I will do what I must,” because Mae’s the instigator who made it clear she’s there to kill Indara anyway, we know the Jedi will obviously fight in the name of self defense, and Mae made it a point to hurt a bunch of other people unprovoked in the fight leading up to this line first; how is she any better than the person she’s challenged with that accusation?

If Mae does have a genuine reason to believe what she says, then covertly drawing another blade with the audience knowing her intent results in said audience NOT believing she has a genuine reason to say it and is only using it as a means of getting Indara to lower her defenses. That combined with her instigating an assault on bystanders won’t make the audience see her as a sympathetic character, even if/when her motives against the Jedi are later revealed to be justified. She’s already proven to be deceptive so there isn’t really a reason to believe anything she says regarding her justifications/motive after this 🤷‍♂️

(Unrelated: Though I’m sure it’ll probably be revealed later, I’m not exactly sure why Mae left Indara’s lightsaber if she made it a point to go after it in their fight.)

(A note on the technical side of things: If the story hadn’t immediately revealed and confirmed for the audience in the first two episodes that the assassin is an entirely separate person, part of the mystery as to who the assassin really was could have been the clue that the assassin’s hair is longer than Osha’s. That detail is irrelevant since the reveal happens in episode two though, but if they’d wanted to build the mystery for longer and have us looking for clues and wondering if Osha is the assassin or later wondering which of the two it could be, it would have been good if they gave the assassin the short hair and Osha the longer hair. The first episode already made us suspicious (Is Osha an assassin and a very good liar in the face of questioning, or is she actually innocent because everything she says on the freighter is true and it just happens to be suspicious? Or is Osha being possessed or mind-controlled against her will and without her knowledge into being an assassin for a time, blacking out entirely and waking up with her regular life and lack of memories as the perfect cover? Or is Mae’s spirit inhabiting/controlling the same body as Osha with Osha entirely unawares? If that’s the case, does Mae know that she’s also Osha in that scenario or are both twins kept in the dark?) If it was the case of two separate identical people, on rewatching the episode the audience would have been looking for the clues that would lead to the reveal; an assassin can cut her hair upon returning to her regular life in an attempt to blend back in and cast suspicions of her appearance on Ueda elsewhere, but you can’t grow eighteen inches of hair overnight.)

(But like I said, once you’ve already revealed who the assassin is in this mystery, there’s no reason to rewatch the story in an attempt to see how they set that mystery up, so those suggestions are irrelevant anyway)

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Exposition, Character Building, and Poor Scripts: Osha and the freighter sequence

The dialogue with Fillik sounds kind of boring because it’s too generic. It could have been made more specific to those people to really show her relationships and history on the freighter, building up suspicions and lack of alibi. An example that comes to mind is Cassian’s introduction back on Ferrix as he’s going through the town, making points of contact with a dozen different people. We really get a sense of who those people are and what they want in just a few lines of dialogue, whereas Osha and Fillik sound like surface-level coworkers; “What I do with my time off is none of your business.” “No rest for the wicked, huh?” “Well the wicked rest, but when they do they usually don’t brag about it.” None of that really gives us anything besides the normal water cooler talk you could get at any office, regardless of whether your coworker may secretly be an assassin.

Since Fillik doesn’t come back in the freighter sequence after their work on the hull, it seems like he’s only there to establish that Osha doesn’t have an alibi for the previous night and Indara’s murder, but if you’re just going to reveal with pretty damning evidence that she didn’t do it in the beginning of the next episode, why set her up to be suspicious in the first place with that dialogue? Either swap it out for something more interesting, or if you want to keep the line because you do intend to keep her a suspect for longer, have Fillik come back towards the end when she’s being questioned.

In that scenario we see this: The door to her bunk is open, he hears her getting upset and goes to investigate, he can vouch for her character to Yord and the padawan, and/or Yord asks him specifically if he was with her the previous night. If Fillik is a close friend and can see Osha’s in trouble he can come up with a lie and cover for her. It can complicate things for Yord and possibly give Osha some time/evidence on her side with an alibi, considering she’s being accused of murder, or Fillik could even be angling to give Osha a chance to escape. If Fillik hesitates because he recalls their first conversation of the day, it could be enough evidence for Yord to conclude that Osha needs to be taken in for questioning.

Either way you do it, you’re using more characters who have already been established as a means of organically complicating the plot and interactions in the next few scenes, weaving these people together and opening up more opportunities for organic exposition so we don’t have to hear the same things being said twice

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Exposition: Telling vs. Showing

I mentioned above that there doesn’t seem to be a logical cause and effect happening within the show. If they suspect someone of killing a Jedi Master, why are they sending a knight and a padawan to apprehend them? It doesn’t matter if Yord knows Osha: the fact a Jedi was killed should have told the council that 1. The assassin obviously has an issue with them, so any prior history between them is negligible and 2. The assassin is powerful enough to kill a Master, therefore two people of lower ranks with less experience and capabilities are not likely to succeed where a Master failed, and the council is putting them in danger by doing so.

Moving on to exposition: Audiences shouldn’t be hearing exposition through one character telling somebody’s entire backstory out loud, especially when the person they’re saying it to is the one they’re talking about. The entire questioning scene with Tasi and Yord is telling the audience who Osha is and how Osha came to the temple and the tragic circumstances under which she got there. It’s boring to listen to and it’s bad, lazy storytelling. It seems like the writers had a bunch of information to get out in order to move to the next plot point, and it won’t be the last time it happens. Osha’s backstory should have been revealed in relevant bits and pieces as circumstances developed.

Within the scene, Osha should have had a much stronger reaction to Yord bringing up the topic of grief (especially if they both know it’s not something she was able to reconcile). He’s the one who showed up out of the blue and brought it up and forced her to talk about something personal in front of a stranger.

In my opinion, I don’t think Yord should’ve known anything prior to Osha’s arrival at the temple. It leaves no questions to be answered for later; mysteries (and stories in general) are supposed to start with a lot of unanswered questions.

A way to change the scene on the freighter is to instead have first had a scene on Yord’s ship before he and the padawan arrive. We see Yord deep in thought, conflicted about having to arrest an old friend especially given the crime that’s been committed, and Tasi Lowa is introduced by listing the mission details on a datapad, going through it again before they dock but realizing Yord’s acting uncharacteristically quiet or somber, and asking Yord why it’s significant that he was sent to apprehend this person in the first place. Yord is reluctant to answer, Tasi presses for more information, Yord eventually reveals that the target is somebody he knows.

“… How do you know an accused murderer?” Tasi says carefully.

Yord’s expression remains conflicted as he docks the ship, not meeting his padawan’s eye. “Because we trained together at the Temple.”

This creates intrigue regarding Osha, tells the audience the council chose Yord specifically, that silence and somberness is out of character for Yord, and that Tasi is forward thinking and inexperienced, hence her need to ask questions.

I think I would have liked for Yord to at least attempt to compel Osha to tell the truth since that’s what he did to the Nemoidian officer on the bridge. Osha resists because he didn’t ask. Her being able to resist further establishes that she had training at the temple, showing rather than telling us more about her character. How she responds to that compulsion would inform Yord (by extension the audience) of her character, and regardless of her emotional response it raises suspicions around her.

On the other side, Yord could ask her if he could search her mind for the truth and if she says no -> suspicious, but if she says yes and he can’t find anything, it gives his character reason to doubt she did it, furthering the mystery, though his padawan could then point out “Unless she really is powerful enough to have killed a Jedi Master, which means she’s powerful enough to hide it from you.” Everything can be used to further the conflict and give it more complexities while still feeling like the natural progression the story would take. Yord will ultimately decide during the span of questioning, given what else they glean from her responses and Fillik’s possible interruption, that even if he could sense she was telling the truth they should still bring her in. Maybe a Jedi Master will be able to tell if she’s lying.

Having Yord be quiet, observing Osha’s responses while Tasi questions her on her whereabouts and opinions on the Order and Indara would have also built up his character as intelligent/capable of deductive reasoning and cautious/prepared in the face of danger, thus being the right choice to send on a mission to apprehend somebody who they believe capable of killing a Jedi Master. He shouldn’t have been revealing all of his cards while he was there in the first place— People will reveal themselves as they talk the longer you stay quiet.

Now the questioning scene is open to them asking specific questions regarding Osha’s recent activity without being bogged down by the past. The padawan goes in understanding why they doubly need to remain on guard, she’s able to ask questions specific to Osha’s whereabouts and see if she has an alibi with witnesses for the night before, Yord is able to ask questions specific to the Temple without having to spell everything out, and Osha can gather from their questioning that a crime has been committed and that she’s considered a suspect. Yord asks Osha questions specific to Osha’s past relationship with Master Indara, tensions rise between them as Osha starts to ask her own questions, piecing things together and asking what happened to Indara, Fillik could come in and the questioning broadens to him like above, and the four of them are interrupted by the witness being escorted in and saying “That’s her, she’s the one that killed the Jedi!”

The scene has its own building tension, we get exposition in the form of forward momentum, characters discovering things as they happen, and it would logically (like it should have in the canon scene) result in Osha having a much stronger response and protestations at being wrongfully accused of a pretty heinous crime against somebody she had no reason to kill. She should have been either verbally or physically fighting back/resisting being dragged away, the revelation as much a surprise to her as it would have been to the Jedi including Yord and Tasi when they heard it at the temple. Her protests can still be followed up with her vehement denial of such a thing, fiercely stating that she knows the council will believe her. Depending on how you want character relationships to develop, Yord can either try and fail to remain neutral as he’s cuffing Osha as she pleads and we can see that it’s a genuine struggle for him, or he manages to control his emotions to the point he can appeal to hers, telling her not to fight, that they’ll take it up with the council

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Always Be Introducing Your Characters

I have to say I don’t really care about Jecki Lon, and indifference to a character is almost worse than active dislike. There are really no strong opinions to be had one way or another because she’s not really that interesting and there’s nothing that really ties her to the plot other than to be someone to ask Sol questions he can give exposition to. She doesn’t have any flaws, she doesn’t have her own objectives, and she’s kind of dull to listen to like the rest of the side characters.

Considering her introduction is with the “Doomed to repeat the past if we don’t learn from it” conversation with Sol, I thought Jecki, Sol’s current padawan, was going to be a mirror to Osha, Sol’s past padawan, but there hasn’t been enough significant development on her part with (or without) Sol for there to be any strong correlations or parallels.

To establish some sense of objective and character flaw it would have been good for her to go digging into Osha’s past and information the Jedi temple would have on her so that 1. The audience receives exposition in a more natural way than her and Yord just straight up asking Sol a bunch of (potentially painful) questions for the audience’s sake on the ship, and 2. So we see more of her character and she’s given a proactive goal and interest of her own in the story. Right now she still feels like she’s tacked on to be an extra set of hands and act as a mouthpiece for exposition. I don’t really get much of a sense of individuality or character from her outside of “follows rules,” which isn’t enough to interest me.

A way to improve the exposition and tell us more about both her and Yord’s characters is if Jecki started digging through Sol’s personal effects on the ship or was shown to have stolen a temple dossier or files from Sol’s office to look through and get some more background on Osha since Sol should have been more evasive about answering questions about Osha, reserving his thoughts for when he’s able to track her down. Sol has already shown resistance to her questioning his past with Osha, so it would be only natural for her to continue investigating.

Jecki could have been established with the rule-following characterization but then shown starting to bend the rules after Sol evades some (better-written) more pointed questions, going against what her own character would prefer, because she sees her master not abiding by the rules they both should already know to be true (not allowing one’s attachments to interfere with what needs to be done for the greater good). It gives her enough internal justification to satisfy her curiosity, since investigation is part and parcel to how mysteries as a genre work in the first place.

With the change of Yord only knowing about Osha’s past at the temple, he wouldn’t think to go digging into anything prior to her time there since he’d have no reason to think it had a bearing on the current investigation. When Jecki’s curiosity compels her to snoop, the scene on the ship becomes more interesting because Yord could’ve caught her and started to reprimand her (also being a stickler for the rules) before she asks him if he knew anything about Osha’s past. Osha’s homeworld, details about the coven, the fire, how it was started, or the fact Osha had a twin who didn’t survive are all possible pieces of exposition Jecki and by extension Yord could find that feel more natural under these circumstances, and it gives those two characters reason to be suspicious of any leeway Sol grants Osha when they find her. Any or all of it reveals something to Sol’s current padawan about his past one, setting up how Jecki (and Yord) will interact with Osha and Sol down the road.

As the two of them discuss what they’ve found, drawing conclusions and debating in whispers, neither realize their absences were noticed, and ultimately that’s when Sol catches them both

Sol either closes off their line of questioning (their specific questions revealing more of what either character prioritizes, Sol’s responses revealing more of his own character), or he could give a cryptic, heavy answer that tells them enough to realize something bad went down that night, shutting the both of them up. It leaves questions unanswered to come up later, it reveals more of the characters, and it sets up Yord and Jecki to have their own perspectives that develop over the course of the story. They get the same information as in canon in a more interesting way, and it keeps Sol from flat out stating something he then immediately goes back on when he meets Osha again at the end of the episode. Jecki now has to wonder what it is about the past Sol doesn’t want to repeat, and at the end of this episode when Jecki and Yord see Sol save Osha and refuse to handcuff her, the two of them could then share a look of trepidation after Sol and Osha pass, both thinking the same thing: Sol may already be too emotionally compromised to make clear calls regarding the alleged murderer in their midst, and they need to watch/listen to him carefully moving forward. That creates a source of interpersonal conflict that will keep the characters (and by extent the audience) asking the right questions as the mystery unfolds.

The Jedi rule warning against attachments is meant to be a self-imposed accountability measure against caring about any singular person or thing above doing what is best for the greater good. Because the Jedi were a specific order of people dedicated to protecting others, it wasn’t just a belief system but a lifestyle combined with a martial art and specific training in the Force. A Jedi’s relationships with other people, regardless of how good and selfless they are, cannot take precedence above doing what is necessary to save or protect the most amount of people. They knew if they allowed their emotions to cloud their judgment, they were capable of harm (either directly or through negligence) greater than that of the average person because they had been specifically trained with those abilities.

Depending on how you wanted Jecki’s character to evolve throughout the season, her curiosity could either lead to jealousy, if Sol genuinely does start to neglect her in favor of Osha (even if its not purposeful on his part, Osha just happens to be who the story/mission is centered around), or it could lead to a more mature response of seeing Sol more of a peer to be held accountable and less of a mentor to be admired and followed with few questions as she nears the end of her time as a padawan, meaning she’s concerned his own perspective will be compromised because he loves Osha too much to remain objective.

Either of those could result in a more severe fight with Sol later on when he inevitably does make a bad call, and regardless of Jecki’s progress leading to that point, even righteous anger directed towards holding him accountable can be interesting and still done in a way that audiences haven’t seen before. Holding one’s mentor accountable and saying the hard things that need to be done without involving one’s own emotional attachment to the relationship creates plenty of opportunities for drama, hard decisions/discussions, and character development, furthering Jecki’s standing as someone committed to following the rules because the rules are there for a reason. That response from somebody younger and less experienced would be harder for Sol to take as opposed to people higher than him on the council. Jecki wouldn’t even have to take issue with Osha personally for that to develop, which gives her own character inner conflict as well. Any or all of that would have been a unique perspective and character we haven’t seen yet from Star Wars, and it gives the characters actionable objectives to pursue or work around the rest of the story.

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Humor/Tone Falling Flat, Undermining Characterizations and Tension

A lot of the humor doesn’t land for me because the jokes either feel like ones we’ve heard before that are now overdone, or they feel out of place within the progression of the scene, story, or characterizations, as though the writers came up with a bunch of jokes and tried to write the scenes around setting those jokes up. I’m not sure if it’s been done in an attempt to keep the show from being “too dark,” or if the target audience is younger than I initially thought, but to me they really just aren’t working.

The one that immediately comes to mind in these early episodes is Jecki’s attempt at conveying what kind of person Yord is (or what she thinks of him) by her tone, leading into a gratuitous shirtless scene with Yord that… doesn’t really tell us anything about his character. If you’re going to have a shirtless scene it has to mean something, but he’s just. Idk, deodorizing his robe for some reason. Leading right into a scene with him after the padawan’s complaint should convey to the audience something indicative of his character since the padawan’s delivery of “he’s just… Yord,” implies there’s no other explanation needed for whatever annoying thing he does that is supposedly consistent with his personality

I don’t care that it’s a shirtless scene, my complaint is that it’s unfunny, tonally out of sync, and doesn’t tell us anything besides that Jecki finds him annoying for some unspecified reason. Shirtless scenes have to say something about the character and/or the story or they’re just eye candy for the audience, which in this story feels cheap, confusing, and out of place.

Anakin’s shirtless scene while having/waking up after a nightmare in Revenge of the Sith tells us that not only does that character feel vulnerable, but that he’s there in Padme’s bed next to her and there’s a clear reason why he was there in the first place.

Princess Leia being forced into a slave girl outfit tells us a lot about her situation in Jabba’s Palace, and it tells us a lot about Jabba the Hutt and the denizens of the court. While she is also pretty obvious eye candy for the audience, it also highlights that the one person she loves romantically, who also loves her, is blind the entire time and never sees her at all, which is important for Han Solo’s characterization later when he makes his feelings clear to her, showing the audience it was never just a physical thing for them.

Yord’s not not showing off/flirting with anybody in say, a sparring arena where he’s justified in not wearing a shirt, so he’s not showing off either his appearance or skill in an attempt to impress people. He’s not lifting weights or preening in front of a mirror or fixing his hair, something that would tell us he’s concerned about his appearance, which means it’s not a case of vanity either, and nothing up to that point (or past that, seeing Episode 4, therefore half the season) tells us either of those things are part of his character.

That leads me to think the scene was supposed to be a way for the directors to tell the audience the padawan (and possibly by extent other people at the temple?) finds Yord insufferable or vain or shallow in some way, and that that’s supposed to suffice as the source of conflict/disagreement between those characters moving forward. However, that character attribute isn’t consistent with what we’ve seen of Yord so far, and nothing following that scene reinforces those ideas at all. If anything, Yord’s got the most objective eye and all of his suggestions and protests are reasonable. I think his plan in Episode 2 regarding Qimir in the apothecary was better as opposed to just blindly sending Osha in not knowing anything about this guy or the nature of his and Mae’s relationship or even what she’s supposed to say once she’s in there. For all they know these two covert assassins could speak with each other in an entirely different language in order to cover their tracks.

All of that ends up making that scene feel gratuitous and out of sync with the characterizations up to and at the end of the episode. It doesn’t serve any purpose other than to make Yord eye candy for the audience, which feels cheap, distracting, and a little insulting to the actor in my opinion, and if it was an attempt at humor, it falls flat because it wasn’t really anything to begin with. I don’t care if you as the writer/director think it’s a fun moment. If it detracts from or doesn’t add to the story, cut it out or make it better and have it mean something.

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Environmental Storytelling: Technical Design and Production

Neither Osha or Fillik feel like they’re in the vacuum of space because their tethers float, but they look like they’re moving with regular gravity. If the boots are supposed to give them traction and keep them grounded, it should take more effort to lift them to walk. Their torsos and arms would move differently regardless.

I bring it up because if employed mekneks aren’t supposed to be human because it’s too dangerous of a job, prove to me that the danger is real just by virtue of the fact they ARE outside in space.

This would be a minor thing I’d be willing to overlook if technical and design flaws didn’t keep coming up and taking me out of the story. These environments are supposed to feel lived in and in doing so the action would feel more like it was happening to characters rather than actors. It’s the difference between the practical effects of Jurassic Park still holding up today because there are actual sets and tangible puppets and animatronics to move around and respond to, versus the almost exclusively CGI dinosaurs and parts of the sets used for Jurassic World (or to use a Star Wars example, the difference between the acting in the original trilogy vs the prequels). You can tell when actors don’t have a physical set to work with— Their performances are going to feel more genuine if they’re not just backdropped by blue screens, green screens, or in this case, the computer-generated Volume.

There doesn’t feel like there’s as much of a sense of danger, which keeps the story from building background tension or feeling complicated on an environmental level. Hoth looks and feels and affects the actors as if it’s freezing in Empire Strikes Back because they were shooting on a glacier. They made the Tauntaun feel like a creature because even after the puppet froze, even after the bellows to make it breathe froze, the props master had everyone grab a bunch of cigarettes and blow smoke into a bag specifically so they could get a shot of the Tauntaun’s breath fogging the air.

Conversely, the ice planet in the first episode of The Acolyte doesn’t feel dangerous because we don't see the environment affect the characters. None of the actors act like they’re in sub-zero temperatures, save for the second time we see Osha wake up (though that doesn’t carry through to her going out in the blizzard and being in the cave); even if you argue that the Jedi have some supernatural way of keeping themselves warm without wearing extra layers, that’s still a conscious choice they’d have to make and we need to see it happen or acknowledged, and Osha should still have been affected regardless. There’s never a single moment we see any of the characters’ breath fog the air.

It’s the kind of practical effect you notice because it’s missing. Osha should have had ice stuck to her hair and over her skin, her lips chapped and changing color, we should have been able to see her breath, and she should have been shivering violently at having crash landed on a snow planet and been unconscious long enough for the snow to pile up in drifts. I’d argue there’s even a pretty notable example of what it looks like for a main Star Wars character to wake up after being knocked unconscious and exposed to the ice and snow for hours on end. If you feel that’s an unfair comparison, I direct you to episode 3 of this same show when the coven is out on the mountain and you CAN see their breath in the air. If you have enough money to CGI a starship, you have enough money to add that in post.

Another example of the set not effectively telling the story is the apothecary in the second episode. It looked like a bar, nothing’s labeled or has a sense of organization or specificity the way a lab or pharmacy would have, Qimir is passed out as if he’d been drinking, and the dialogue of “sampling the merchandise” has been used before in a lot of other media to reference drugs or alcohol, so the audience isn’t going to conclude that it’s an apothecary. The scene where Qimir makes the poison feels too convenient and a little odd since they made it look and sound like he’s easily mixing up a cocktail, and he's not even hunting around the shop for specific ingredients, explaining what he’s doing when she asks him to make something on the fly, instead just grabbing a couple unmarked bottles within arm’s length.

(A side note: If Mae grew up using bunta for hunting, how does she not know how to make the poison for master Torbin herself?)

The end scene of episode two is another standout example of both the bad script and ineffective set design. The scrappers trekking through the forest are shot on a well defined path clear of brush with an obvious view of the ship they “stumble upon,” which makes the line “Hey look a ship! I bet we can scrap it for parts!” seem silly since it’s pretty openly and conveniently placed within their path and line of sight. The dialogue is pretty sparse and cliché (“I can’t believe I let you talk me into this!”) before they walk right onto the next set location we need them to get to for plot reasons all “Oh look, I wonder what that could be 🤔.” If these two are lost in the woods, give us a view of them in profile obscured by trees and actively wading through brush at chest height while they bicker, and then make them stumble out into the clearing or notice the ship through the trees and go to investigate. If the showrunners are trying to tell us the Wookiee Jedi is in a hard-to-reach remote location in the middle of nowhere, they failed to do that because it looks pretty easy to just walk right into this guy’s front yard. If he’s in self-exile or hiding on purpose, have him shoot a warning shot from inside or on top of the ship, or have the scrappers fall into some traps or something. Do something more specific to tell us about the world or characters

—

Most of the above complaints stem from a poorly written story, and what results means it’s not interesting to watch even as a layman or passive viewer. They have some really interesting ideas, but without good scripts, you can’t come up with interesting characters or actions for those characters to do because you haven’t written those characters with enough specificity or conflicting goals. Combine that with minimalist sets that don’t create enough of an environment to interact with and you can’t do any interesting camerawork. Having exposition given almost entirely through dialogue leaves no room for visual or environmental storytelling and missed opportunities for places where characters’ past and relationships could be furthered through the expressions they have and the actions we see them take. There’s no building upon the scenes we’ve already seen, there’s no layers or nuance to peel away, and the characters telling each other everything— often including those characters feelings— means the audience doesn’t have to work to piece anything together. At best the story feels like a simple junior high novel with little narrative tension or understanding of how complicated socio-political issues interconnect and the characters have little depth and aren’t strong enough to even compel me to go along for the ride.

The show has some really talented actors who I’ve seen do good work before and I wish they’d gotten the chance to have a better story. I’m not mad, I’m just disappointed 🤷‍♂️

#The Acolyte #The Acolyte spoilers #The Acolyte critical #Mae Aniseya #Osha Aniseya #Jedi Master Sol #Yord Fandar #Jecki Lon #Jedi Master Indara #Fillik #Tasi Lowa #hounds speaks #my writing

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raven-at-the-writing-desk · 1 year ago

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I've been dreaming of the Spectator of Diamonds.

The stage is wrecked, the crowd is gone. But,,, the show, it must go on. He is both the actor and the audience.

How does a moment last forever? How can a story never die?

Cater settles into his seat. It’s cushy and comforting, the pillows almost cloud-like as he sinks down, becoming one with them.

The theater--empty, dark--is his domain, his castle. And he, the lone king atop of it all.

Click, click, click!

He looks up, finding that the stage lights have flared on. Glaring, hot. Four figures stand there in masks--yet he can see the echoes of himself in their verdant eyes, the orange hair cropping out from their false faces.

They are he, and he is they.

The set rolls in, setting the scene. They are wooden cutouts painted over and mounted in wheels or lowered on pulleys. Students in the wings operate them, hidden from the audience's view.

Here begins another story, a series of illusions to craft a beautiful lie.

"There's so much to do before the unbirthday party!" declares Cater the First, a crown upon his head. He waves an ornate staff over his followers, directing their activities. "Chop, chop! Let's hop to it, everyone! There's not a second to waste."

Cater the Second, in a hat and glasses, ferries a towering cake, as fake as the rest of the production. He knows the sponge is styrofoam and the frosting is plaster and paint. Still, he handles the dessert as though it is made of gold.

Cater the Third wrestles with a horde of plastic lawn flamingos and hedgehog plushies. Cater the Fourth, on a stepladder, stringing up a banner. The Third hurries past the Fourth, his foot catching on a foot of the ladder and nearly tripping him.

Righting himself, the Third hollers, "Hey, stay out of my way! Couldn't you have picked a better spot to do your work?"

To him, the Fourth coolly replies, "Not my fault you weren't watching where you were going."

"What was that?!"

"You heard me."

"Say that again to my face, I dare you!"

"I just did."

"Guys, guys! Relax," warns the Second, placing his cake down on a table. "The last thing we need is drama on an unbirthday."

"He's right," says the First. His brows draw together, not yet a full frown but coming close to it. "Drop it and get back to your tasks."

They scramble to each other, a flock reuniting and tending to their kin.

Cater has witnessed this scene many times over. The chaos, the mini-quarrels. From a safe distance, he watches, wearing the usual stitched smile.

Always a member of the audience, never the actor.

A longing ache fills his chest.

He wonders if now is a good time to clap, to interject. Make his presence known somehow.

Cater moves to speak, but doubt arrests him.

No—they don’t need me. They don’t want me there. They’re fine on their own. You’ll only make things worse.

The whispers start.

“Something’s off.”

“Something’s wrong.”

“Something’s missing.”

Cater surveys his surroundings.

The theater is empty, save for himself. It does not silence the voices coming from all corners, their murmur easily filling the room. It’s as though there is a full house, minus the bodies.

Just as hollow as he is.

“It’s fine!" he calls out to Nobody. "I’m sure the show will get better. They know what they're doing."

"It's incomplete," the whispers insist.

"We need you, Cater."

He gasps, his attention returning to the stage. The Caters are gone, their masks and propr lying abandoned upon it.

That sounds like...

"Trey."

Him, and the others. Their dorm leader and the duo of irksome first years are frozen mid-party prep. Trey strolls past them and to the edge of their pretend world,

He crouches down and grins. "What are you doing down there?"

"What does it look like I'm doing? I'm spectating, silly."

"Spectating? That's an odd thing to do." Trey leans, offering his hand. "Come on. Heartslabyul isn't complete without you."

Cater stares. "But I… I like it here. It’s familiar.”

It’s safe.

Trey cocks his head. “But you also want to be up here, with the rest of us… don’t you?“

“You don’t get it. I—” Cater wavers. “I can’t, even if I want to. I just can’t, okay?”

Under the spotlights, they’ll see me for who I really am.

Trey watches him carefully. His golden eyes soften with understanding. "You're scared."

"Who said I was scared?" Cater attempts at a laugh. It doesn't come out quite right, petering out too quickly. "You're imagining things."

"I don't think so." He shakes his head. "This isn't you, Cater. You haven't been you for a long while now. I wish you'd be more genuine with us. With me."

"I am!"

Cater speaks louder than he means to. His exclamation hushes the others in the audience, silencing dissent.

For one long, horrible moment, he sees the sadness reaching Trey's face. The hope draining. Coldness overtakes Cater, and his mind goes to the worst places: his friend turning away, leaving.

His vision stings. He blinks, and the tears blur the world and the people in it, the stage and its actors.

His house of cards, collapsing.

It's over.

From the disparaging silence, a hushed voice rises.

"It's okay. You can be yourself," Trey says reassuringly. He's warm, like a blanket draped over his body. "Smile when you want to smile. Cry when you want to cry. Share it all with us. We'll embrace it."

A tear breaks free from Cater. The magic words, dispelling the dam holding his feelings back.

"Ah... Geez,” he mutters, wiping at his cheek. “Y-You're making me sentimental...!”

“I’d say that’s a pretty good start,” Trey chuckles. “… Hey, Cater. I think it’s about time. You’ll join us, right?”

“Hah. Of course…!”

That’s all I’ve ever wanted.

Cater rises and races to the stage. Slipping his hand in Trey's, he holds tight lets himself be hoisted up.

The ground is firm beneath his feet, the lights drying his tears. His heart drums with exhilaration—it feels so right. Like he belongs.

Up close, he should see the set falling apart. The wooden textures, the peeling paint. But it looks more real than ever, with foliage shifting in the wind and the aroma of roses perfuming the air. The stage, expanding.

Cater walks into the waiting wonderland.

"Found him!" Trey announces to the rest of the cast.

The scene resumes, the characters returning to motion.

"There you are, Cater!" Riddle cries out. "I certainly hope you weren't planning on offloading your responsibilities onto your underclassmen... again."

"Pfft!" Ace fails to contain a mocking laugh, his gaze sliding over to Deuce. "Yeah, cuz what kind of idiot would fall for something like that?"

"Sh-Shut up! You'd have wanted to help out your senpai too if you were there!!"

"No worries. I promise no more tricks this time. I'm... too tired for that."

"Cater?" Riddle takes a proper look at him, then narrows his eyes. "Have you been... crying?"

"Yeah. I think... I'll need a moment, Riddle-kun. Sorry, I'm going through a lot right now.”

It is his truth. The joy, and the levity it grants him, overwhelming.

He's finally among them.

Finally Somebody.

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korememeprompts · 2 months ago

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RP MEMES FROM ETHEL CAIN’S NEWEST EP: PERVERTS.

trigger warnings apply ( slight nsfw ) change pronouns as desired / preferred.

“ no one you know is a good person. “

“ it’s happening to everybody. “

“ I love you. “

“ there was a point where everything bent down, and it took something from me. “

“ I always wondered if it would come back, and love me the way it said it was supposed to. “

“ maybe you lied, maybe it was all a lie. “

“ I’ve tried so hard to explain in words what it meant to me, how it felt to me….but maybe it’s not meant to be explained. “

“ maybe it’s not meant to be marked down in words, or scrawled out on a piece of paper. “

“ until then, I guess I’ll just lie here and wait for it to come back, wait for it to love me again. “

“ do you think you know how to give up ? “

“ do you think you understand what it means to be loved ? “

“you don’t, and you never will. “

“ it’s beautiful — it’s such a precious, thing to be loved. such a precious, magnificent thing to be loved… such a wondrous and painful thing, to be loved. “

“ when you were young, you said you wished someone loved you. “

“ I do, I love you. “

“ if you want, you can bite me and I won’t move. “

“ you won’t lose me to thunder, or lightning, but you could to crowded rooms. “

“ I like that sound you make. “

“ when you’re clawing at the edge and without escape. “

“ close the door, let me in. “

“ do you like that, baby ?”

“ if you love me, keep it to yourself. “

“ there, I found me in a long, long wood. astray, midway of mortal life. witness to such agony. “

“ I want to know love, I want to know what it feels like. “

“ it feels good. “

“ I am what I am, and I am nothing. “

“ there goes a great shudder through the muscle, a shimmering of bells through the mist. “

“ I have always possessed an insatiable need to see what happens inside the room. “

" beauty, overwhelming, i will dislocate my jaw to fit it all in. "

" the pull, yes, the pull. "

" it is no good bearing false witness, the sinner's errand. "

" i am what i am, but we are not the same. "

" it is no good speaking of fairness, the fool's errand. "

" are these laurels to be proud of ? "

" let me tell you how much i've come to hate you. "

" nature chews on me. "

" this agony, such a consequence of audience. "

" i will claw my way back to the great dark, and we will not speak of this place again. "

" i am that i was, as i no longer am. for i am nothing. "

" i'll be alright, i'll be alright. "

" i take the long way home. "

" 'cause the devil i know, is the devil i want. "

#lyric memes

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tmarshconnors · 8 months ago

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50 Irish Proverbs.

"A good laugh and a long sleep are the two best cures for anything."

"May your troubles be less and your blessings be more, and nothing but happiness come through your door."

"A friend's eye is a good mirror."

"May you live as long as you want, and never want as long as you live."

"The older the fiddle, the sweeter the tune."

"It's easy to halve the potato where there's love."

"A trout in the pot is better than a salmon in the sea."

"When the cat is away, the mice will play."

"God made time, but man made haste."

"A light heart lives long."

"A change of work is as good as a rest."

"Wisdom is the comb given to a man after he has lost his hair."

"A man loves his sweetheart the most, his wife the best, but his mother the longest."

"You’ll never plough a field by turning it over in your mind."

"Continual cheerfulness is a sign of wisdom."

"Time is a great storyteller."

"It is better to be a coward for a minute than dead for the rest of your life."

"Put silk on a goat, and it’s still a goat."

"If you want an audience, start a fight."

"Experience is the comb that life gives a bald man."

"A little fire that warms is better than a big fire that burns."

"Beauty doesn’t boil the kettle."

"A man who holds good cards would never say if they were dealt wrong."

"It’s no use carrying an umbrella if your shoes are leaking."

"A silent mouth is sweet to hear."

"If you lie down with dogs, you’ll rise with fleas."

"Many a ship is lost within sight of the harbour."

"The man with the boots does not mind where he places his foot."

"Two people shorten the road."

"The longest road out is the shortest road home."

"Don’t be breaking your shin on a stool that’s not in your way."

"It is often that a person’s mouth broke his nose."

"There is no luck except where there is discipline."

"Nature breaks through the eyes of the cat."

"The well-fed does not understand the lean."

"Better fifty enemies outside the house than one within."

"The mills of God grind slowly but they grind finely."

"If you do not sow in the spring, you will not reap in the autumn."

"Patience and perseverance overcome the greatest difficulties."

"Where the tongue slips, it speaks the truth."

"A little bit of bread with peace is better than a feast with strife."

"A lie has no legs."

"It is not a secret if it is known by three people."

"Beware of the anger of a patient man."

"Every man is sociable until a cow invades his garden."

"There’s no need to fear the wind if your haystacks are tied down."

"Bricks and mortar make a house, but the laughter of children makes a home."

"A wren in the hand is better than a crane to be caught."

"You must take the little potato with the big potato."

"The world would not make a racehorse of a donkey."

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diazsdimples · 1 year ago

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Inspiration Saturday!!

I did a bad thing and started a new fic, which will be known as the Musician AU. Basically, Eddie, Hen & Chim are all players in the L.A Philharmonic, Bobby is the conductor, and Buck joins them for one concert as a new hot shot cello soloist. Eddie immediately falls head over heels for the man and him and Buck fuck nasty in many many backstage rooms. This is gonna be a long snippet sorry, I'm scared it's too niche lmao

Tagged by @callmenewbie @wildlife4life @loserdiaz @thewolvesof1998, thank you guys!

Eddie gets to his chair and takes a moment to fully appreciate that it’s his. He’s not played first horn for a while, let alone while being the principal, and he’s pretty hyped. He takes a moment to unpack his horn, slotting the slides carefully into place and pressing the valves up and down to make sure they don’t need any grease. He’s so focused on it that he doesn’t hear Hen sneaking up to his side, clarinet in hand, and almost jumps out of his skin when she speaks.

“So, have you seen our new soloist yet?” she asks, leaning casually against his music stand and Eddie lets out a startled yelp.

“Not yet” he responds once his heart rate has gone back to normal.

Hen picks at something in her teeth. “Apparently, he’s very good, Tracy and Jeff can’t stop talking about him. It’s getting on my nerves”.

“Makes sense that he’s good, you don’t solo with the L.A Phil if you’re shit” Eddie jokes and Hen sends him a flat look.

“You know what I mean” she responds dryly. “Was the youngest in his class at Juilliard and did a stint playing in New Zealand with the NZSO before moving back to New York and playing with the New York Phil”.

Eddie can’t help but be impressed; the New York Philharmonic isn’t easy to get into and from what he’s heard, the NZSO are no slouches either. “He must be alright then”.

“You talking about Wonder-Boy Buckley? More than alright from what I hear”. Chimney is slouching towards them, weaving his way through the chairs and music stands from where he usually sits as principal trumpet. “Cathy says he’s hot. You’d better not let him distract you, Eddie”.

Eddie rolls his eyes playfully at Chimney as he sets his music out on the stand. “I have excellent impulse control, thank you. Haven’t had a random hookup in almost a year, even though Joel’s been repeatedly trying to jump my bones”.

“He does that with everyone, don’t feel special” Chimney replies, and he pats Eddie on the back.

“Why do they call him Wonder-Boy Buckley by the way?” Eddie asks. “Buckley’s a weird name, isn’t it?”

“Buckley is his surname; his first name is Evan” Hen explains while Chimney blows into his trumpet to warm it up. “And he’s Wonder-Boy because he’s so young and hot”

Eddie scoffs at this. Wonder-Boy Buckley sounds like a bit of a prick, honestly.

“Ready for your big moment? First movement of the concerto has a pretty big horn solo, and Bobby is expecting big things from you”. Chimney is looking at him with big eyes and if Eddie didn’t know him better, he’d think the guy was actually concerned.

Eddie won’t lie, he is pretty nervous about it. The cello solo and the horn have a few moments in the piece where it’s just them playing and it’s damn high and fucking difficult. Eddie’s done it in concert before, but that was with a much more minor orchestra and not in front of an audience of 2000+ people. However, Chimney and Hen under no circumstances are allowed to know he’s nervous so he shrugs nonchalantly and says, “yeah, I’ve been practicing it loads and think I’ve got it all sorted. Unless the soloist is truly as hot as you say, I’m pretty sure nothing will throw me”.

It seems the gods are listening to Eddie and laughing at him, because at that very moment, an extremely attractive young man walks into the auditorium with a cello strapped to his back and all Eddie can think is fuck, he’s really fucking hot.

“Oh look, there he is” Chimney says, perking up and Hen’s eyes flit across the auditorium, coming to rest on the man and her jaw drops.

“Holy shit, he’s hot. And I like girls”

“How’s our resident dick-expert doing” Chimney nudges Eddie teasingly and Eddie’s currently making a conscious effort not to drool.

“Yeah he’s – uh – he’s not bad”.

Not bad? Eddie is convinced this is the hottest man he’s ever seen in his life. His muscles bulge as he swings the cello case off his back and sets it on the ground and he flicks his head up to talk to Bobby, his blond curls flouncing delightfully as he does so. Even from here, Eddie can see how his eyes are a piercing blue and he can’t help but notice the way they crinkle as he smiles at Bobby, flashing a set of perfect, white teeth. He’s got some sort of mark around his eyebrow, maybe a piercing? Eddie can’t quite tell from this distance but man, it’s got him feeling things he hasn’t felt in a long time.

Hen and Chimney are sharing a knowing look and Eddie firmly ignores them, instead picking up his horn and beginning to blow some warm air into it. Terry, Amy, Sophie and Grant, his fellow horn players, have all turned up and are setting up, striking up idle conversation with one another as they wait for Bobby to give the order to tune up and start practicing. Hen pats Eddie on the back before returning to her chair and Chimney wiggles his eyebrows as he retreats, flicking his tongue around his mouthpiece suggestively.

(No pressure) tagging @theotherbuckley @eddiebabygirldiaz @wikiangela @fionaswhvre @smilingbuckley @fortheloveofbuddie @fruitandbubbles @watchyourbuck @incorrect9-1-1 @knightlywonders @housewifebuck @monsterrae1 @evanbegins @cal-daisies-and-briars @thosetwofirefighters @disasterbuckdiaz @spagheddiediaz @malewifediaz @shitouttabuck @jeeyuns

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solar-halos · 7 months ago

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i finished the umbrella academy s4. i am not amused. here are my thoughts (looong post incoming)

1. i don’t remember diego being so fucking annoying. actually that’s a lie he’s always been annoying but since he was hot i let it slide but now that he’s not treating lila right (how do u fumble a baddie THAT HARD) i think he should participate in the shut the fuck up challenge

2. “their uncle will pick them up” HUH? like obviously this timeline is different but you’re telling me lila has uncles (and parents! or someone! she was talking to some elderly couple before the party!). what does that mean for the others… were their mothers still killed in this timeline or did klaus live out his little amish dream, even if he wasn’t around to experience it? ykwim? like did they show up to this timeline and someone was like “omg where did u wander off to? i was looking all over for u!” and then it turns out it’s their sibling/uncle/whatever in that timeline and they just have to be like ah yes. i surely do know who u are

3. what they did to lila and diego was criminal!!! “she said she couldn’t get pregnant while breast feeding. but she could” dramatic ass reveal for no fucking reason. like get over yourself diego

4. ok i know they prob couldn’t get rays actor to come back but what the fuck do u mean he walked out. and how can allison afford that nice house when all she’s doing is being in commercials nobody wants. our girl has a BEAMER. also i thought they weren’t supposed to have phones or anything like that so why does allison have a vape lollll. not complaining bc that scene was funny to me but why and how

5. ughhh they were tryna set up lila and five SO BAD in the beginning. and even then they still gave off intense sibling vibes

6. ok maybe im just too american but the gun imagery was kinda not it for me. like idk i think the bit with santa claus coming out shooting at everything was supposed to be funny but idkk i think im just too sensitive bc i was like mkkk whatever not funny. also i know luther has super strength but even in s1 he still got majorly injured when that chandelier fell on him but now he’s fucking indestructible apparently?? like getting shot at and stuff?? what???

7. ok but that grandma loading her old timey gun while she turned to the siblings like O.O was funny i’ll give them that

8. speaking of guns wtf siblings are killing EVERYONE. like ik they started the apocalypse and everything but idek just the way they did it was so weird. like less detached/guilty and more like… triumphant? satisfied? idk but it had a different tone than even s3, i remember in s2 it was such an intense ordeal when allison made those two european brothers kill each other but this time they straight up mass murdered a bunch of ppl in a small town and were like B). like ok. like allsion mutilated that guy in front of her DAUGHTER and it was just chill. major tonal shift

9. “you just had to one up me” 1) you just killed a bunch of ppl diego!! 2) that is NOT the lila and diego i know. the real lila and diego would have started making out nasty style the moment lila killed that guy w her laser eyes. also wtf were the point of the laser eyes. she used them like twice and then that was it

10. with that being said all that affair stuff and recovery and addiction and relapse was getting so heavy. which ik is the point and the umbrella academy has always been heavy but like holy shit u GOTTA pick a struggle. is lila gonna groom five or is klaus gonna give claire trauma cos u can’t have both

11. speaking of claire… “would it help to remind u that we were just as shitty at her age” no u fucking weren’t. u could have breathed at ur british alien father wrong and he would have made u do drills until u puked. don’t play rn

12. why did they not trust the audience to pick up on the fact ben spiked their drinks. like we did not need a full on FLASHBACK. or like to be fully immersed in that scene, a tiny little flashback would have done

13. ok but why is this season so scary. like that train station made me paranoid

14. i will never forgive them for what they did to my girl lila. she used to serve CUNT

15. that british lady alien annoyed the fuck outta me

16. WHERE was pogo. and grace. they needed to find a way to bring them back. maybe they could have transported to a universe where the apocalypse happened and now the world was getting ruled by a planet of [gunshots]

17. why the fuck was diego acting like jennifer and ben weren’t linked in some way when all of s3 they alluded to the jennifer incident every other scene. i get it was supppsed to be so obvious even to someone who has ONLY watched s4 that jennifer and ben were linked so it was just a case of diego being stupid BUT that doesn’t work when it’s already been established that they all know jennifer played a part in ben’s death. hence calling it the Jennifer Incident

18. “they tried to address that in later scenes” they failed. they didn’t know how ben died, fine. but they knew jennifer had something to do w it. i’m tired of scenes that poke fun at diego for being stupid. he’s not stupid—he’s cocky

19. okay no but this season was SO gory. like. whatever they have guns this is a revolution but the guts? the intestines?? they wanted to be stranger things sooo bad

20. no but we need to talk about that. the monster thingie at the end was so stranger things and the guns and the military and everything it was like we were back in s3 (or whenever we met the russians)

21. LOL but that scene where diego finds out about five and lila was lowkey funny. this season was so meta in general

22. speaking of the holidays… i sure did love watching everyone sing christmas carols and walk around in the snow when it was hot asf in real time

23. i do like how many parallels there were to s1. like w viktor and reggie, it was very viktor and leonard in s1. and klaus getting kidnapped. although i was kinda tired of klaus getting abducted and his siblings not giving a fuck. i thought there was supposed to be growth there

24. okayyy but ben and jennifer were cute SORRY. “let’s get married” that would have worked on me. however being rude to me while i was at work WOULDNT have worked on me so maybe yall are right maybe we didn’t need a love interest this season

25. i did NOT expect them to actually drag out lila and five’s love story. other than the age gap (no matter how ur looking at it) you already knew it was gonna be bad as soon as they had their first kiss. i hate those multiple little open mouthed kisses that are literally just ALL lip and spit like that’s fucking gross if ur gonna stick ur tongue in my mouth u better do it by the third little :O we got going on there. and then five was giving boy. like literal boy. and lila is a literal goddess but a goddess that’s well into her 20s and the contrast was so sharp it rlly was giving mom and her caucasian child. i mean that bit about lila viewing it as survival vs five actually clinging onto it showed their different levels of maturity, but since it’s never specified if five is still a 50 year old man or just aging normally, his reaction rlly was such a teenage boy thing. “i’m gonna kill him” man shut the fuck up

26. ok no bc we need to talk about this. i think fives actor is my age—maybe even a little bit older—but i don’t see how anyone over the age of 18 is supposed to find him attractive. like idk it’s weird in the show but even creepier irl cos lila’s actor had to have known him when he was still a minor. why did anyone at the umbrella academy think we wanted this

27. anyway not to make this about myself but when i was writing the odesta longfic there were a lot of lore inconsistencies as we kept going bc i forgot some of the details and was too lazy to go back and read it sometimes, and i think that’s what happened this season. the most notable detail is when klaus covered his ears while everyone was shooting at each other. i was expecting some sort of vietnam flashback but like no. he was just there being normal about it, all things considered

28. “ex-squeeze me?” it wasn’t funny when klaus said it in s1. and it wasn’t funny here

29. alright i think that’s really all i wanted to say about the season tbh… like idk diego and lila starting a family made sense i guess and i know they were falling out of love (even tho they would never do that…) but i didn’t rlly feel any of the love w the kids. like even when lila stepped off the train at the last min and her daughter was banging at the glass it looked more like she was like “oh no :(“ and then just started poking at the glass. i don’t even think it matters that she didn’t fully know what was going on—if you’re a child and ur mom steps away in an unfamiliar situation, you’re gonna start to freak. especially w everything else that was going on

30. ok this is such a small thing to harp on but they abused the fuck outta that time skip font. like i don’t think they ever used it that much before now

31. now let’s get into the ending. this is how i would fix it:

we can keep jennifer. whatever. that thing they added at the very last second about her having a particle that causes the end of the world was… whatever. like i get it. they needed a way to explain the end of the world and that was the thing they used and even if it was very late to introduce such a (admittedly confusing) bombshell, at least it fits in with what we already know about this universe’s rules. magic and particles and marigold and whatever. jennifer is fine.

tbh when jennifer started feeling sick i was honestly thinking that they were gonna go the surprise pregnancy route even though they weren’t even fuckinf hinting at that i just have no media literacy. i wouldn’t have minded that tbh, like the monster transformation made more sense but imagine if we did a twilight ripoff for a second, except that jennifer and ben were both equally protective of the killer baby growing outside of jennifer’s womb (or in her womb… whatever. point is there’s a baby). i don’t think this is a good idea—if anything i think this is a shit idea. but something that’s always been so prominent in tua are the moral implications of what they’re doing, like with everyone wanting to kill harlan in s3 instead of letting the entire world die, and with everything that happened with viktor in s1. there was the whole “i can’t kill my brother” bit, sure, but everyone kinda didn’t rlly seem too enthusiastic about it.

actually the baby addition is actually a shit idea. i’m just keeping that part of the rant in bc we need SOME sort of moral dilemma that isn’t just viktor arguing w hargreeves and then his siblings dropping in later with opinions that don’t even seem that strong. everyone needs to have a strong opinion on SOME sort of moral issue that we wanna introduce—that, in a perfect world, we’d be building up to throughout the season—and then yeah whatever there can be an epic fight scene

i don’t watch/read a lot of time travel stuff, but from what i gathered, the timeline can never be restored once it’s fucked with. there has to be consequences, like with any story. and tua did address that—they tried restoring the timeline thousands of times—but i think they shot themselves in the foot there. time travel with a (somewhat) happy ending is possible—there just has to be something to lose, and it has to be something that isn’t nonnegotiable. claire was nonnegotiable, which is why i think they stayed in s3’s timeline for as long as they did

point is, i think they should have gone back to 2019. i mean i don’t think anyone really wanted them to die. i made a joke in s3’s rant that i would just give up, but lucky for me, i am not a fictional character in tua, so the fact they just die in the last five mins and we’re supposed to be ok w that makes the last three seasons pointless. like, actually pointless. what was the message here? why is the ending of the show painted as some sort of utopia just bc we got rid of the siblings? and why is five okay with that? i think him being on board w dying could have been an interesting route to take if they showed his relationship w his siblings consistently deteriorating (both on screen AND off screen) but they only rlly managed to do that with diego, and it was for something fucking stupid

ANYWAY. bring those fools back to 2019, but don’t make them totally happy. just give them something that makes them all just stay put, like how allison has claire (doesn’t matter which timeline. it could be from the fucked up timeline. i don’t think the cleanse would happen bc of that bc claire is only one person and not an entire fucking organization like tua or an assassination like jfk. so hell. might as well throw harlan and sissy in there for viktor. that makes lila and diego’s motivation really easy for staying put, cos then they have their kids. klaus is klaus and no offense to him but i think hes just gonna roll w the cards he’s dealt without trying to fight back, for better or for worse. then ben can have jennifer and since they love each other idk they just stick around. then five’s motivation for staying is that his family is alive and none of them want to leave and that’s good enough for him bc that’s why he time traveled in the first place

again… i don’t think what i came up with is any good. i just think it’s better than them all dying at the last fuckin second. i think this show relied on a lot of haha random xd humor at the beginning and they tried to keep that intact here but everything got so serious that i think them all dying rlly did seem like the only way out but.. it’s not. they could go back to the way things are as long as there were consequences. it would suck, and none of them would be as happy as they could be, but they know that’s as happy as they’re gonna get, so whatever. like, if we were gonna take the suicide route, we might as well gone the time loop route and gone back from the very beginning when five blinks back to 2019. i think that rly would have driven home the “this all would have happened anyway” point way better than them just being like guess ill die :) bc ughhh. no they wouldn’t. also they wouldn’t let lila leave bc she still had marigold in her but… what about her and diego’s kids?? they’re half marigold, and claire is a quarter, so… what’s up with that?

#long post #i didn’t articulate any of this well and idk why i tried acting like screenplay writer in the last bit #i just think the hargreeves were always doomed to not be happy #like idek #the umbrella academy #i never thought anything would make s3 look good but at least we had the wedding scene

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davidchiemcore · 7 months ago

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transcript for DRDT Prologue Episode Five

Xander: All right, we did it! We introduced ourselves to everyone, Ms. Teruko!

Teruko: To be honest, you did most of the talking. I didn’t say too much; I’m not very good with people.

Teruko: Anyway, it seems like no one else has a clue as to what’s going on right now.

Eden: What do we do now? Should we just wait here?

Charles: Obviously not. What would that accomplish?

Hu: Perhaps we should explore the building further. Most of us came directly to this room.

David: I agree. If we look around, we’ll probably find some more clues, if not an exit.

Rose: What if we’re stuck here forever?

J: Don’t say that! How can you be so sure?!

Whit: I think we should all just lie down and take a nap. Kidding.

Ace: Let’s find whoever’s responsible for kidnapping us and beat the shit out of them!

Teruko: …Seems like we can’t even reach an agreement on what to do next, much less find a solution.

MonoTV: Puhuhu!

Veronika: What was that strange laugh, just now?

MonoTV: (＃°Д°) Sorry to keep you all waiting! I just wanted to make sure you all got to know each other first!

Levi: I believe the voice is coming from the speakers of that big screen.

Teruko: As we all turned to look at the source of the noise, the screen flickered on.

Min: “A brand new tv show… Danganronpa: Despair Time.” Are we doing some sort of TV screening?

MonoTV: ＼(＾o＾)／ No, silly, you’re going to *be* in this show! You are all the participants in an up-and-coming, super-exciting game show, broadcasted to the entire world!

Xander: The hell are you talking about? I’ve never signed up for any such thing. We were supposed to be at the entrance ceremony for Hope’s Peak Academy, so what the hell is going on?!

MonoTV: o(=ω< =)ρ⏜☆ Sorry kids, but your class is canceled! Aren’t you glad you don't have to go to school? No need to thank me!

Charles: This is completely ridiculous. Did you kidnap an entire class of Ultimates to coerce them into performing for some sort of asinine show?

Hu: There must be someone speaking from behind the screen. If we could find that person, we could ask them our questions directly.

MonoTV: (*￣m￣) No need to look for me, I’m right here!

MonoTV: Introduuucing–! The most important character in the cast, MonoTV! That’s me!

Teruko: …

Arturo: What is that ugly object?

Whit: Issat one of those old TV things?

Arei: It’s on some sort of weird pedestal. And it’s on, even though it’s not plugged in anywhere.

Nico: …Oh!

Teruko: Is something the matter?

Nico: ……It’s a cat.

MonoTV: Wrooong! I’m very clearly a dog.

Rose: Umm, you don't look at all like a dog. Aren’t you obviously a cat?

MonoTV: No way! Absolutely not! Could a cat do this?

MonoTV: ………………………………………………woof

Xander: Alright, this situation has got a little too ridiculous. I’m probably having a crazy dream right now. Can someone pinch me awake?

Arei: Okay, if you say so!

Xander: OW! I didn’t say to punch me, that hurt!

Xander: Wait, we’re getting distracted from the real issue at hand! Just what the fuck is going on right now??

Xander: First we all wake up in some weird building, find out we’ve missed the Hope’s Peak entrance ceremony, then this thing shows up and tells us that we’re going to film a TV show?

MonoTV: …

David: Are we not going to get an explanation?

MonoTV: The thing is…

MonoTV: I had this whole bit prepared, where I would explain everything about this premise, in a long and dramatic fashion…

MonoTV: Then I realized that that would take way too long! Besides, the audience has already seen this kind of explanation a bazillion times over, it would be so boring if I dragged it out any longer!

Ace: What the hell are you talking about?

MonoTV: So, I’m just going to explain you guys’ circumstances here as concisely as possible.

MonoTV: First things first. You guys aren’t going to Hope’s Peak. You missed both the entrance ceremony and your school year by a long shot. A few years, in fact.

MonoTV: You can’t leave this building that you’re currently in. So, get comfortable with the fact that you’re going to live the rest of your life in this confined space.

MonoTV: Don’t worry, there are facilities for everything you need.

MonoTV: If you so desperately desire to escape this place and return to the real world, you can kill someone else here, yadda yadda yadda.

MonoTV: Then you have to do a class trial and get away with your crime or whatever. If the murderer is caught, they get punished.

MonoTV: If they get away with the crime, they can leave this place and everyone else is punished, whatever, same old stuff. Sorry I have to explain all this, workplace requirement.

MonoTV: Weeell, I think that’s it. Are there any more important things I forgot? Otherwise we’re all good to go.

J: Hang on just a sec, you just glossed over a bunch of important things!!

Veronika: If I understood your explanation correctly, the main takeaway is that we can’t leave this place unless we kill someone else.

Ace: W-W-WHAT??? Murder?! There’s no way something like that is gonna happen, right?

MonoTV: Yup, you got that right! The reason you all were brought here was for the filming of the “Killing Game TV Show.” Like it or not, you guys are only here to start killing each other.

Eden: There’s no way any of what you said is true! I refuse to believe it!

MonoTV: Refuse to believe it all you want. You’ll have plenty of time in the next few days to confirm the truth of what I’m saying.

MonoTV: Trust me there’s no avoiding your fates. No escaping outside, no ending to the TV show, no finding a way around this. The killing show is going to happen, whether you accept it or not!

Arturo: You piece of garbage… Do you think you’ll get away with this?

Arturo: People will notice that we’re all missing, and then the police will arrest you!

Rose: That’s right… I don’t think the outside world is going to miss 16 Ultimates.

MonoTV: Puhuhuhu. The outside world?

MonoTV: I said this was a TV show, right? So who do you think is watching it?

Whit: Uh, snuff film enthusiasts?

MonoTV: Everyone in your precious, so-called “outside world” is going to be watching this TV show. They’re gonna watch you all brutally murder each other, and they’ll be fine with it!

MonoTV: This is high entertainment, after all!

J: You’re kidding, right?

MonoTV: I’m just going to be honest with you guys. Y’all have been missing from society for a real long while! And the world’s changed quite a bit! Everyone’s totally ok with watching you all die!

Xander: No way… No way…

Xander: No way anything that you’re saying could possibly be true. I’m still dreaming, aren’t I?

MonoTV: Your participation in this show is not contingent on your acceptance of this situation.

MonoTV: The faster you accept it, the faster you can acclimatize to your environment, so I would suggest that you come to your senses soon.

MonoTV: Well, this concludes my explanation! You are now free to do as you wish. Return to your suites to sleep, explore this building, go to the cafeteria or a snack, whatever you want!

MonoTV: And remember, if at any point you tire of this life here, there’s always that one way out!

MonoTV: Farewell!

Levi: Wait. I just have one question for you.

MonoTV: Hm?

Levi: Are you the one responsible for this situation? Are you the mastermind?

MonoTV: Yup, I’m pretty much the boss of this place! I control everything, from the filming, to the production, to even the 30 second commercials that I’m gonna air on every other channel!

MonoTV: You’ll need a Danganronpa Prime Subscription if you want to skip those commercials!

Levi: I see. In that case…

Levi: Stop talking.

Teruko: Suddenly, Levi lunged at MonoTV and grabbed him high off the ground. He moved so fast; I didn’t even notice that he had moved at first.

MonoTV: YAAAAAAAHH!! What are you doing? This is harassment! Put me down at once!

Levi: If I were to destroy you, this whole “killing game” operation would shut down, right? You are the root of this problem.

MonoTV: Wait! Don’t do it! If you do…

Teruko: …Oh no.

MonoTV: If you do…

Teruko: I have a bad feeling about this.

MonoTV: You’ll be punished.

Teruko: …

Teruko: LEVI, WATCH OUT!!

Levi: ?!

Levi: …

Hu: What just… happened?

Teruko: …

Nico: Y-You almost… almost died…

MonoTV: Do you understand the situation you’re in now?

MonoTV: I enforce the rules around here. Fail to abide by the rules and you will be punished.

MonoTV: There is no escape from this death game.

Eden: N-no…

Eden: Please… I don’t want to hear this anymore… Just let me out…

MonoTV: Sorry, no can do! If you want to get out so badly, well, you know what you have to do for that, right?

Xander: Like hell any of us are going to commit murder! We’re not going to follow your stupid plan!

MonoTV: Say that all you want, but sooner or later you’ll crack!

Levi: Even if I can’t destroy you, I have faith in my classmates that we’ll remain together and not succumb to such a desperate act.

David: Mr. Levi’s right! We’re all going to work together! We’re not going to fight each other like you want us to!

David: Do you really think we’ll lose hope because you say we will? Give us more credit. We are Ultimates, after all.

MonoTV: Whatever you saaay~! Keep telling yourself that!

MonoTV: Well, that’s my cue to leave for real this time! Do whatever you want! After all, you’ll be here for a while. So why not have some fun?

MonoTV: Upupupu!

Prologue - Surviving Students: 16

MonoTV: Oh, one more thing I forgot to mention.

MonoTV: Even if you can find a way to destroy me without getting killed, it’s not going to do anything. There’s someone controlling me, so I’m not the source of this.

MonoTV: You said you wanted to trust each other? Try this one on for size:

MonoTV: The real mastermind is one of you.

MonoTV: Take that information however you will!

MonoTV: That concludes the prologue of this little show! Don’t forget to stay tuned in for chapter 1, dear viewers!

#drdt #danganronpa despair time #drdt transcript

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octo-artist · 11 months ago

Text

Calm Before the Inkstorm

Pre-war yan! Octavio x reader x platonic pre-war yan! Craig

Chapter 2: bright afternoons

Tw: toxic relationship, controlling behaviors, general yandere tendencies, slight abuse warning, abuse of power, no beta we die like men.

I do not condone the actions in this fic, if you are in a toxic relationship please seek out help.

Certain parts are heavily inspired by Dissonant melodies by DriftingNova

Y/N = Your name

T/C = Tentacle color

E/C = Eye color

Mastserlist Previous chapter Next chapter

———————————————————————

The next day rolled around, Craig and Octavio once again speaking, this time looking over some sheet music Craig had provided.

“What kind of slimy hipster writes sheet music with 10 notes in an octave?!” Octavio exclaimed in confusion as he read the sheet music.

“Well I’m self-taught, and ten was a number that made sense to me. What do you use?”, Craig responded to which Octavio yelled, “Eight! That’s why it’s called an OCTave”

Y/N chuckled at the duo from where they were watching and working.

“Man who knew being in a real band would be so difficult…”, Craig sighed as he fell back with his arms behind his head.

“Real band? Psh.” Octavio brushed off as he continued reading the papers, “this is the first time we’ve met up to practice. We’ve never even played in front of an audience.”

Shooting up waving his hands up and down Craig exclaims, “AN AUDIENCE! THAT'S WHAT WE NEED. The neighboring village is hosting a festival tomorrow night! We should go perform ~A fresh festival of song and spectacle~” when he finishes Octavio looks up at Craig confused while Y/N smiles and chuckles at Craig’s excitement.

“I think that would be a splendid idea don’t you Tavi?” Y/N says over their shoulder to the duo, “a festival sounds like fun!”

“As appealing an idea it is, there’s no way I’d be allowed to jam with commoners like that”, Octavio states returning to the sheets of paper he was holding.

Craig, confused and disappointed, asks, “Why not?”

“Well I mean, im… I’m the future octarian king. I have to watch my image.” Octavio states plainly as he looks at Craig.

“Wait…” Craig processing the information soon exclaims, “YOU'RE ROYALTY?!”

Y/N bursts out laughing hysterically at Craig’s denseness as Octavio shouts back “Of course I am! I told you I was a PRINCE!”

“WHA- I thought that was just a STAGE NAME!” Craig cries out in shock.

“YOU'RE SITTING IN PALACE!!” Octavio shouts back the argument, making Y/N’s laughter worse as they set down their gardening tools to kneel down and catch their breath.

Octavio taking notice sighs saying, “Great we broke Y/N”

Craig holds his face looking at the ground talking to himself, “w-wow… Real royalty.”

Pinching his nose Octavio grumbles, “I had to lie and tell the guards you wet the son of some inkling governor to let you in. No way I can just walk out.”

Snapping out of his stupor Craig looks to Octavio and suggests, “Well, what if you snuck out?I mean no offense but I snuck IN twice!” He points at the wall continuing, “you could put on a disguise and jump the fence ~with all the flash and flair of a rebel prince~”

“Huh, a ‘rebel prince’” thinking it over, Octavio grins and states, “You know what cap’n, I like your style! Tomorrow night I’m goin off the grid!”

Time flew as the days passed, the next evening closing in as Y/N sat in Octavio’s room, the prince making final adjustments to his disguise. “Well don’t you look dashing in that.” Y/N teased causing a deep maroon blush to cross Octavio’s face as he tries to hide it with a smirk and responding, “you’re so lucky I need to be ready for when Craig arrives because otherwise I’d get you back for that little comment my dear.”

“Speaking of being ready, I should return to my room to change into my own street clothes so I can come see the two of yo-“, Y/N began.

Interrupting them Octavio says “I don’t know Y/N I worry you’d get lost in the crowd or hurt if you go, folks are unpredictable, maybe hang back and wait for me to return?”

“Tavi, that's not fair, I want to see the two of you perform… I can handle myself fine and I won’t stray far from the stage”, Y/N argued back.

Octavio halted his preparations to approach Y/N kneeling down to where they were seated. “Y/N you know I love you and I just want what’s best for you, and what’s best is for you to stay here where it’s safe. Maybe next time you can come with us but if we get caught you could get in serious trouble with the council.”

His tone was firm, as if to try to leave no room for arguments, leaning in he gave Y/N a kiss before standing up again and grabbing his instrument. “I’ll be back soon, keep the bed warm yea?” He smirks saying that last part before dipping out into the darkened garden to sneak out.

“‘Keep the bed warm yea?’” Y/N says in a mocking tone before scoffing, “As if, I’m going and he can’t stop me! I’m a grown inkling and I can handle myself just fine!” And with that statement they stand up and march off to their quarters to change out of their work clothes and into something more comfortable. Biding the guards at the entrance goodnight as they leave.

“Let’s see, money; check, pocket watch; check, bag; checkeroo. Looks like I’m good to go. Music festival here I come! Sorry tavi but I’m not missing out on a night of fun!” At this Y/N happily jogs down to the nearby village lit up with colorful lanterns and abuzz with excitement and life. The sound of children laughing and cephalopods from all over laughing and singing filling Y/N with a sense of peace and joy. The air carried the savory scent of crabby cakes and the sweetness of sugary desserts. Vendors lined the pathway displaying a variety of goods and games.

“Hmmm I know Mia was disappointed she couldn’t make it to the festival since she was on rotation tonight so maybe I should get her something to make her feel better. She’s got a sweet tooth so maybe I can get her some dango and candies.” Y/N thought as they browsed the stalls. Finding one filled with various desserts all nicely packaged they found what they were looking for, paying the vendor and carefully placing the packaged sweets in their bag with a smile.

As Y/N approaches the center of town they hear the stage announcement for Octavio and Craig’s group Out of the Blue, picking up their pace they find a spot in the crowd to watch the performance excited for their friend and lover. Soon the duo stepped out and prepared to start, only for it to come out quite disjointed causing the inkling to cringe a bit in response to the sound. The two quietly argue on the stage before starting again, still a bit out of time but significantly better than before. As the two wrapped up, Y/N noticed Octavio’s gaze landing on them and could feel his anger at the fact they didn’t stay put like he’d told them to.

“Looks like I’m getting scolded when we get back…”, Y/N thought as they began to realize the flaw in their plans. “Oh well, at least it was fun while it lasted”

As Y/N turned to walk off and continue perusing the area they were soon stopped when a rather miffed Octavio called out to them, “Oh no you don’t, Y/N get your ass over here right now!”

Y/N weighing their choices carefully speeds off not wanting to be scolded in the middle of a crowd, Octavio chasing after them leaving a very confused and concerned Craig to wait for the results when the upset prince told him to wait there.

“Y/N get back here right now!”, Octavio yelled after them, garnering a few folks' attention.

“Nope, not till you’ve cooled off!”, Y/N responded weaving between people, ducking into a less crowded street to try and move a bit easier, only to quickly be snatched up by the angry prince who had caught up with the lack of cephalopods in the area. “You were saying?”, He states holding Y/N up off the ground.

“Oh come on you can’t honestly think i’d miss out on a festival did you? You know how much I love them!”, Y/N pleads their case in hopes of getting octavio to let go of the situation and just return to the festival and have fun. Octavio, leaning in closely pinning Y/N to a nearby wall out of sight, responds, “If you think I’m going to let you off easy when you deliberately disobeyed me both as your partner and prince you are sorely mistaken. But that will have to wait till we’ve gotten back to the palace. Here is hardly the place for you to receive your… punishment.”

At this he pulls away releasing Y/N from the wall but holding onto their hand tightly so they don’t slip away, leading them back to the festival where Craig is waiting with participation ribbons, Octavio grumbling at not even getting a proper placement in the competition.

Craig sensing the tension asks, “hey is everything alright? Y'all kinda just ran off suddenly and it seems like something happened…”

“Everything is fine, just a typical lovers spat.”, Octavio snaps before taking a breath, “let’s just get going, the festival is almost over so we might as well leave now.” This suggestion prompting a look of annoyance from Y/N who had wished to spend more time at the festival.

“Oh well, ok then, how about we go hang out at the treehouse for a bit before y’all get cooped up in the palace again.” Craig suggests

“I-“, Octavio begins before Y/N cuts him off saying, “That sounds nice! Don’t you agree tav? I know once we get back we’d just be heading to bed so why not stay up a little longer?”

Octavio looks at Y/N shocked only to grumble out an agreement.

“Great! Just follow me! It’s not much but it’s home away from home.”, Craig begins to ramble as they walk, Octavio slowing down to whisper in Y/N’s ear, “don’t think I’ll forget about your punishment for disobeying me. You’re just delaying the inevitable.” This statement making Y/N sweatdrop knowing that they’re going to have a hard time walking the coming morning once they’ve returned to the palace.

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