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medusinestories · 3 years ago

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Onwards to the episode in which we get to see Flint and Silver each having a very bad day (as well as two literal dicks that nobody had asked to see).

Black Sails VII (s1 ep07)

- We open on Pastor Lambrick's sweaty face as he intensely rehearses the Easter sermon and he’s obviously eaten up by what he did with Miranda. His sermon, unsurprisingly, focuses on sin, keeping sin hidden, and the hell that awaits the sinner. Which leads us nicely onto Flint, who’s distracted (by his own sin? by thoughts of Miranda? both?) during a meeting with Eleanor. Eleanor is pissed that Miranda let Richard Guthrie send a message to the Andromache and then waltz into town to close up his business; Flint tries to take the heat off Miranda, once again protecting her (at this point, he may not know the contents of the letter).

- During this meeting, Flint is startled when Silver first speaks up to say that the mob in the street was bad - clearly Silver is a sort of intruder in this meeting. But Eleanor, after Silver reminds her by unsubtly clearing his throat, tells Flint that he’s not to harm Silver because he was instrumental in setting up the Consortium. Silver looks so pleased with himself in these scenes, and Flint quite defeated when he tells Silver to follow him back to their camp. I love it.

- To parallel Flint/Miranda’s Sulky Sex scene from ep4, we have Anne/Rackham’s frustrating/disconnected sex scene. It shows us a few things about them mainly that Anne wants to keep a lot of control over what happens, hence Rackham being tied up (though of course this might also be his kink), her wearing a shirt that covers up most of her body, and the reverse cowgirl position that means that she’s both in control of what happens and completely avoids eye contact. The position reminds us of the Flint/Miranda scene, where Miranda was also on top, but their scene involved more eye contact (yes glaring counts, he’s still intensely focused on Miranda), gentle touching (on Miranda’s side) and her being naked and open to him. Another parallel is that both Flint and Rackham aren’t in the right frame of mind for sex, Flint being angry and Rackham lost in a sea of worries (and probably also somewhat angry/disappointed at Anne for forcing him into the plot to kill their crewmates). The difference between Flint and Rackham is that while Flint doesn’t seem to have any trouble performing, Rackham is miles away and doesn’t even notice that he’s lost his erection - again. Anne is frustrated by this, and apparently knows him well enough that she offers to put something up his arse, but he’s clearly not in the mood, and she leaves in a huff, abandoning him all tied up as a sort of revenge for his performance problems. Whatever the problem is between them isn’t put into words (because Anne can’t yet, for starters), unlike the one between Flint and Miranda. The intimacy between Rackham and Anne, so often described as close partners, seems much more distant to me than the one shown between Flint and Miranda. I’m not sure whether it’s because of anyone’s sexual orientation, or just the fact that they’re fucking but they’ve never discussed the big important things, such as Anne’s identity/feelings/etc.

- In this episode, Dufresne gains a lot of power: with a freshly (and badly) shaved head and a new tattoo, he’s been promoted to Quartermaster on the Walrus in Billy’s place. And very quickly he has a problem to deal with: Randall revealing that Silver stole the page. Gates had actually already told this to Dufresne, as is revealed at the end of the episode, which might explain why Dufresne is relatively calm during the whole conversation, while DeGroot wants Silver and Flint hanged and Howell is surprisingly ruthless: he brings up the idea that it may be better to kill off Randall in order to get to the treasure, if they can’t make sure he’ll keep quiet about Silver being the thief. Dufresne is actually quite kind towards Silver in the scene where he puts Silver’s memory to the test - a test that could result in his death if he fails it and that Silver constantly grumbles against (I love his grumbling!). Basically, at this point Dufresne remains quite a sympathetic character, which will change a lot as the show goes on, especially after Jannes Eiselen had to leave the show (such a sad story, RIP Jannes).

- In the meantime, the Flint and Gates relationship is crumbling. It's sad to see, especially since they're shown sharing chuckles as they talk about Dufresne's appointment in the beginning of the episode. But then Gates brings up the subject of Miranda and demands explanations about the letter Billy found. We're not shown exactly what Flint answers, but it's clear that he's actually trying his best to give him an explanation without incriminating Miranda too badly. The sad thing is that Flint is actually telling the truth: he actually wasn't involved in any betrayal of his crew and and can only guess at Miranda's motivations. But the fact that he's lied time and again in previous situations, including on the Maria Aleyne where he claimed Lord Alfred drew a weapon on him (and Gates secretly verified that this was a lie), and used men as pawns to advance his and Miranda's plans, is now catching up to him. Flint seems truly hurt when Gates accuses him of using the men for his own purposes, and turns spiteful, telling Gates that he should have been "a better father" to Billy and helped him "understand the world he was living in" (suggesting that such a forthright character as Billy can't really survive in a world of pirates who are all ready to stab each other in the back). After that slap in the face, Gates says he's exhausted from Flint and threatens to take it to the crew. Somehow, this pushes Flint to bare all: he tells Gates about his plan to keep a part of the treasure and use it to build up Nassau, depicting himself as a sort of saviour, doing it for the men's good: they'd rather be rich men in a safe place than dead thieves hanging from a noose. Gates sees this as delusions of grandeur, and tells him that while he'll see the Urca plot through, after that they're done. I actually think he sees Flint’s point, since he doesn’t just throw him to the crew, but won’t admit that out loud. The whole of this scene hurts bad, because you can tell that Flint is desperate and sad to be losing his closest ally and friend, and that Gates is hurting from the loss of Billy and exhausted from the toxic relationship he has with Flint, where he's played enabler to his manipulations for years.

- While Flint and Gates’ alliance is breaking, Silver has to forge one with Randall or die. Randall finds out in the beginning of the episode that he’s been voted out of the crew. This is apparently due to DeGroot’s fears that Randall could be a fire hazard, which the crew took disproportionately to heart. Randall is furious with Silver, who smugly tells him that in these situations, a setback often comes with a new or unexpected opportunity. He’s right, but at this point he doesn’t know that he is the opportunity Randall’s going to latch on. Randall reveals that Silver is a thief, and Silver denies it, saying that Randall is both a halfwit and was in a haze of opium when he heard what he thought he heard; he even tries to convince Randall that he was mistaken (this, my friends, is gaslighting). However, by revealing that Silver was the thief, Randall sets a chain of events into motion which could either end with his death (if Howell has his way, since Randall is an inconvenient witness) or Silver’s (if DeGroot tips the balance, not trusting Silver to remember the coordinates and not wanting to sacrifice Randall for nothing). Silver figures out that these are the outcomes, and tries to talk sense into Randall by making a deal with him: he’ll care for Randall and make sure he can stay on the ship. But it’s only when Silver finally admits that he is the thief and that Randall was right, that Randall accepts the deal. Later, Silver realises that Randall might have orchestrated the whole thing: he’s now got Silver to serve him, doesn’t have to take any risks on the ship, and gets to remain with the crew. Silver wonders if Randall is a genius rather than a halfwit (a word thrown about a lot to describe him). And it seems quite obvious, considering what happened, that Randall still has strong survival skills (an amputee with impaired cognitive skills doesn’t stand a chance of survival outside a crew and he must be aware of it), that he still has a good memory and an ability to pick out useful information and that he’s aware enough of what’s going on to be upset by the crew’s rejection and Silver’s attempt to gaslight him. I think it’s important to recognise that Randall is more than a comic relief or a grotesque character: he’s a disabled man who's lost parts of his cognitive ability and is struggling to survive.

- This episode focuses on Vane facing his past. He seeks out the island where he grew up and its master, Albinus. I’d forgotten or never really registered that Albinus was a pirate and that the men who work for him were mostly his crew - and likely slaves (or children, hence Vane?) that he managed to capture/press into service. He’s retired from pirating and set up a system where his men cut down trees for timber all day, without wages. It’s not clear exactly how he holds so much power over these men, although it seems that everyone is terrified of him. He’s extremely strong physically, seems shrewd, speaks rather well, and his tattoos suggest that maybe he’s involved in some kind of ritual (truly religious or just for show?) which would make him all the more scary to superstitious people. Vane is clearly still frightened: he barely makes eye contact and practically stutters when he first tries to make the deal with Albinus, which is that he’ll take some of Albinus’ men as crew and send Albinus part of their earnings as tribute. It says a lot about Albinus that Vane, after years of having run away, is still so scares that he’s willing to pay him a tribute. But he changes his mind as he stares at a boy bearing the same brand as he does: he tries to persuade the men that Nassau is a pace of pleasures rather than hard labour, and confronts Albinus. The fight is brutal and ends with Vane buried naked, just after Albinus tells him that he’s proud of him. But of course Vane wouldn’t be Vane if he didn’t rise from the dead at the last minute and kill Albinus, goaded on by his inner Eleanor voice.

- In the meantime, Mr Scott returns to Eleanor, apologising for what he did, telling her he betrayed her out of love. However he also reminds her of his slave status: technically, he belongs to her. The argument upsets her, and he quite cleverly uses this moment to ask her to free the slaves who were on the Andromache. And it works: by the end of the episode, she’s made arrangements for the men to work on ships and has bought the women’s freedom and found them jobs in her tavern. But Mr Scott has still decided to leave Eleanor to join Hornigold’s crew, to refrain from meddling with Eleanor’s affairs, since he disagrees with her so strongly re: the Urca. Hornigold approached him earlier in the episode, and the introduction to that scene is quite interesting: Hornigold says to Mr Scott “I’ll need to know your secret” and Mr Scott looks startled and frightened. It seems that he’s startled because he’d been giving food to the slaves, but in light of S3, it could be a much greater secret that’s being referred to. Mr Scott is relieved when he realises that Hornigold is simply talking about tolerating Eleanor, who he clearly can’t stand.

- Flint’s bad day continues, of course, with the big confrontation he has with Miranda. He’s furious about the letter (of which he now knows the contents thanks to Gates), telling her that it could have got him killed, or destroyed the plans they’d made and asking her whether she was trying to embarrass him. This sounds so weirdly petty, and yet it also sounds exactly like the kind of argument that would come up in a bickering couple. Miranda answers that she was trying to help him out of that life, because she wants to move on. This is where Miranda utters the famous “there is no life here, there is no joy here, there is no love here”. I noticed that, covered by Flint yelling at her, and distorted because her voice has gone very shrill, Miranda says another line, which sounds like “you used to love, then”. If that really is what she says, it’s extra-extra-extra heartbreaking to hear (if someone wants to check it for me, it’s around 35:40). It’s obvious that Flint and Miranda’s views on life are very different, and I can’t help but think back to the fact that, as a carpenter’s son from the country, Flint has had to struggle all his life to become who he is. So when he says that you can’t get a life without having a war, and Miranda tells him he’s wrong, she’s speaking entirely from the point of view of her privilege. She’s never needed to fight as hard as he has to be happy, because she got extremely lucky in marrying Thomas. And when she says that Thomas would agree with her, I’m certain she’s right. But life has never been like that for Flint, and there’s no way he’ll ever entirely agree with their point of view. Rewatching this scene is tough, btw, because they both have great points, they’re both hurting so much, and there’s so much to take in between the body language, the facial expressions, the tones of voice and the actual words that it’s a whole whirlwind. And it feels very, very real.

- It’s absolutely hilarious to see Rackham get robbed by the whores taking advantage of his lack of knowledge (and research). He should absolutely have done a better job and has no clue how to run a brothel. He’s lucky Max takes things in hand after having heard from Idelle that the girls were taking advantage.

- Then we have the beautiful Drunk Flint scene. Eleanor notices him feeling very sorry for himself after Gates has pretty much broken up with him and he’s still reeling from fighting with by Miranda. I think Flint feels very misunderstood here. He thought that he was doing something good, to save Nassau and avenge Thomas, and doesn’t understand why they can’t see it, why they only see the terrible methods he uses to reach his goals. So he’s full of doubt, clearly wondering if he’s the villain of the story, and puts the question to Eleanor: is their plan worth it? Eleanor is the only person who still believes in him, which leads us to the only scene that I would ever call straight-baiting. Flint hovers near Eleanor, breathing heavily, and a variety of emotions play over her face during this moment of tension, as she seems to think this is leading to a kiss. It does, he gives her a chaste little forehead kiss and leaves. All the elements are in place to make your average viewer start shipping these two. I actually find it hilarious that the ship barely exists in the fandom (though I wasn’t there in the beginning of the fandom and I guess the viewership changed a lot between S1 and S4).

- The scene with Flint and Gates glaring at each other from their respective ships and Parson’s Farewell playing in the background... epic! We know this is the beginning of a big struggle between them, especially since we find out that Gates has pretty much decided that he’ll hand Flint over to the crew once they get the money. But nnnnggh that scene! The ships leaving on their hunt! Awesome and heartbreaking!

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cheri-translates · 4 years ago

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[Analysis] S2 Gavin’s theme song

The music used in MLQC is incredibly evocative and carefully constructed, so I spent some time analysing S2 Gavin’s theme song because I find that it sums up the relationship he has with MC very nicely!

Music is highly subjective, so don’t worry if you have a different view from me :>

🍒 Warning: Contains tons of S2 Gavin spoilers! I’ve tried to make things really clear in this post so you wouldn’t have to read through the entire swamp of S2 Gavin translations to understand what’s going on, but I’ll still include links to the references made! 🍒

INTRODUCTION [ 0:00 - 0:12 ] - Reuniting as adults

I received a jump scare the first time I played the theme song LOL

It starts off abruptly in two ways - (1) the sound effect resembling a puff of air, and (2) the fact that it mirrors the 0:38 mark of S1 Gavin’s theme.

The sound effect resembling a puff of air essentially captures how S2 Gavin and MC reunite as adults -

Before I take a step forward, there’s a sudden tightening on my wrist.

My hands are firmly clasped behind me. Before I can get a proper look at the person’s face, my whole body is pressed against the glass behind me.

??: What are you doing here?

A familiar voice enters my ears, reminiscent of wind from the past awakening my memories.

The fact that S2 Gavin’s theme starts around the halfway point of S1 Gavin’s theme is pretty significant.

On a superficial level, this could reflect how there’s both a sense of familiarity yet foreignness to their dynamics. But this isn’t limited to S2 Gavin x MC, because the dynamics between the other love interests and MC do see a slight change as well.

But what’s perhaps more unique to their situation is that back in S1, Gavin and MC didn't get to know each other properly until they became adults. In contrast, when S2 Gavin and MC reunite as adults, they already have a shared past in Loveland High.

While we don’t know how their lives in Loveland High played out in detail, it’s inferred that they had meals together frequently:

Boss: Then, do you remember that lady who often came here with you back then? She still visits, and also likes to have her beef noodles with extra chilli.

Also, Mr Keller knows that the two of them are somewhat close and are still in contact, since he gets MC’s help in passing Gavin some old photographs, and invited the both of them to visit Loveland High for an activity. In contrast, back in S1, MC didn’t even know that Mr Keller knew who Gavin was until Campus Date.

Just as we’re thrown into the halfway point of what resembles the S1 soundtrack, we’re thrown into an iffy, halfway point of their relationship. In Chapter 1 of the main storyline, we can tell that they know each other well enough, but they aren’t as close as we’d expect ex-schoolmates to be.

Their meeting comes across slightly antagonistic on Gavin’s part, and he even straight out lies to her that officers are approaching, in order to force an answer out of her. Similarly, in Stray Date, Gavin uses his Evol to send her hovering over the ocean, once again trying to force an answer out of her.

Thankfully, this antagonism fizzles out very quickly as we learn that this is just Gavin’s tactic to squeeze the truth out of MC for her own good. And that he still cares about her deeply (evident in Dangerous Night Date).

Aside from the abrupt start, there are three other things to note:

The S2 soundtrack is much slower, and the notes are drawn out as compared to the S1 soundtrack. I’m inclined to viewing this as a representation of Gavin’s self-assuredness and pure confidence as the Commander of the STF and leader of the Special Operations Team

The piano chords. It’s probably just me, but I feel that they resemble the chime of a school bell. This point becomes significant in the analysis of the bridge, which we’ll get to later

There’s a somewhat grating, scratchy sound which I see as a representation of the tension between S2 Gavin and MC. There are only three places in the song where this scratchy sound isn’t present - the first verse, the bridge, and the outro

FIRST VERSE [ 0:12 - 0:38 ] - Gavin the student

This part likely represents the time Gavin was still in Loveland High, because the grating, scratchy sounds mentioned earlier (which I associate with the tension between Commander Gavin and MC), aren’t present.

At 0:24, individual piano notes come in. Even though they sound careful, they aren’t played in synchrony with the firm and resolute guitar notes. Sometimes, the piano notes are played alongside the guitar notes. Sometimes, they don’t.

I’d say that this represents missed opportunities. Despite S2 Gavin and MC meeting earlier in S2, MC ended up re-living one of her main regrets - not getting to read Gavin’s letter:

MC: They said Minor left a bloodstained letter on my desk and thought it was a threatening letter, so no one dared to go near it. But by the time I returned to the classroom, the letter was gone. I searched for such a long time… but couldn’t find it… I thought I accidentally threw it into the dustbin, so I looked through it for a long time. But… I couldn’t find that letter anywhere.

My voice grows even softer at the end, and I don’t dare to lift my head to look at him.

Even if this world were to be reset, unexpected events still present such regrets.

Like a merciless joke, an antithesis to my unwillingness to be powerless.

Even if she had read the letter and gone to the meeting spot, it turns out S2 Gavin didn’t even stay long enough to meet her at the arranged time:

Gavin: That’s not important anymore. Back then, I had already left before the arranged time. So it’s all right.

SECOND VERSE [ 0:38 - 1:04 ] - Gavin the Commander

The grating, scratchy sounds come in, injecting a metallic feeling which is in line with how S2 Gavin is often described as a “sharp blade” numerous times. As mentioned earlier, these sounds could also be a depiction of the layers of friction between MC and S2 Gavin.

MC is on her guard around S2 Gavin at the start, such as in R&S [Reunited Yesterday] where she thinks of leaving Lynn’s Kitchen the moment she sees that Gavin’s there too, and how she was genuinely fearful and trembling when he used his Evol to send her hovering her over the ocean in Stray Date.

If you listen carefully, you can hear that the individual piano notes are somewhat copying the upward climb of the guitar we’re used to hearing in the S1 bgm.

This could represent MC holding on to her memories of S1 Gavin as she navigates the new dynamics she has with S2 Gavin, which gives her the courage not to get intimidated by his cold exterior, and to trust him completely.

Gavin: I haven’t even rescued you out yet.

MC: With you around, there won’t be a problem.

FIRST CHORUS [ 1:04 - 1:28 ]

From 1:19 to the end of the chorus, the piano keys go off on their own, and they come across much more confident and complement the guitar notes much more than in the first verse.

I see all the choruses as instances where S2 Gavin and MC are given opportunities to work together, and we witness how well they gel as a pair. The best examples so far would be Stray Date and The Guardian Project.

I’m no longer that person who only knows how to let you stand in front of me. This time, I’ll stand beside you, and will not back down.

THIRD VERSE [ 1:28 - 1:56 ]

Nothing to say here, similar analysis to the second verse!

SECOND CHORUS [ 1:56 - 2:22 ]

Same analysis as the previous chorus.

BRIDGE [ 2:22 - 2:47 ] - Reminiscence

This part is breathtakingly beautiful. It’s obviously in stark contrast to the rest of the song as the piano takes the stage here. Even though you can still hear the electronic guitar in the background, it’s incredibly muted and mirroring the melody of the piano.

The instrument complementing the piano (it sounds like a harpsichord?) sounds like a middleground between the sharpness of the electronic guitar and the gentleness of the piano.

And here’s where the piano chords I mentioned at the start are significant. This is the only part in the entire song where the piano chords aren’t played. Rather, the chords are broken up and played as individual notes.

This part gives me the mental image of S2 Gavin and MC on the rooftop of Loveland High, reminiscing on their school days when things were simpler. It’s a moment where they peel away their roles as STF’s Commander and Black Swan’s Nox, and are simply Gavin and MC, old friends from school.

It basically represents the rare, precious moments of reprieve S2 Gavin and MC get in the ever-looming danger of S2.

Yet, even outside this safe bubble, the chords continue to be played consistently. They may be subdued in certain parts of the song, and louder in others, but the chords are always there. Their shared past in Loveland High isn’t something S2 Gavin can just ignore. On the contrary, it’s something that likely supported him through his time in the Police Academy:

Gavin is standing underneath a tree, holding a photograph in his hand.

Gavin doesn’t notice Tang Chao. All of his focus is channelled onto that photograph. In this moment, he seems to have unloaded all his defences, becoming a Gavin different from his usual self. Those perpetually stern eyes have grown dim, bringing with them a twinge of fatigue.

Tang Chao holds his breath, subconsciously squinting his eyes to identify the photograph. On it seems to be… a female? Could she be Instructor Gavin’s��

THIRD CHORUS [ 2:47 - 3:13 ] - The power couple

The chorus returns with incredible force, and it’s slightly different from the first two choruses. In the first chorus, the piano is subdued. In the second chorus, you can hear the piano, but it melds into the melody.

In this chorus, the piano is clearly audible, but it doesn’t disappear into the melody like in the second chorus. It goes off on its own, yet blends with the music at the same time.

I’m given the image of a power couple who complement and fight alongside each other. We see this very clearly in The Guardian Project), where S2 Gavin sees MC as an equal to the point where he readily agrees to go along with her plan without having to hear it first.

MC: I have a plan. It could lure the suspect out without requiring more manpower. Would you like to try?

Gavin turns his head to look at me steadily.

Gavin: What do you need me to do?

MC: You’re agreeing just like that?

OUTRO [ 3:13 - end ] - The future

As mentioned at the beginning, the introduction mirrors the middle portion of S1 Gavin’s theme. Here, the outro mirrors the first few notes of S1 Gavin’s theme...

We see S1 Gavin in S2 Gavin. His clumsy way of showing concern, his protectiveness over MC, his jealous tendencies, his handsome face, etc.

Gavin: But protecting you - this won’t change.

His expression is very cold, and a certain emotion seems to be restrained in his voice.

What he says is reminiscent to words being tossed out in a fit of anger. At the same time, it’s also reminiscent of a vow he has always been fulfilling.

Gavin: Regardless of position, I’ll never let you get caught up in danger.

The tune draws to a close with a crescendo which ends abruptly yet on a hopeful, anticipatory note. Their story is far from over, and I can’t wait to see what this undefeatable tag team will accomplish together.

Final thoughts:

Thank you so much for taking the time to read this even though S2 is still very far away LOL And special thanks to @ginkgomoon who has been waiting patiently for this analysis T^T♡ If you enjoy reading Gavin-related analysis, do check out her blog!!

I wish I were a better writer so I can fully convey why the S2 Gavin x MC dynamic is so incredible, and quell the worry most Gavin stans have about S2.

Relying on my translations is a completely different experience compared to hearing the emotions in the voiced lines and seeing the sprites, so I can understand why it might be difficult to feel as much for them as I do T-T

The thing I love most about the S2 dynamic is that the relationship between them is much more natural. Instead of S1 Gavin falling head over heels for MC the moment he saw her in the rain and started following her around, S2 Gavin and MC already established a friendship in Loveland High in S2. And they tease each other so much more HNNGHGH SLOW BURNS HURT SO GOOD

#mlqc #mlqc gavin #mlqc spoilers

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whoslaurapalmer · 4 years ago

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okay so like. i feel like i should come to terms with my ‘4 seasons of the daily punctilio as the office’ because while i came up with GREAT episode descriptions, and also spent like two months of my life dissecting sitcom structure (which was, admittedly, a lot of fun), it would take the Longest to write and the Longest to post, which is terrible, not ideal at all, so

the highlights, which might make it into my current vague incarnation of ‘modern AU where vfd is a book club in some way’ --

-eleanora poe is the managing editor of the punctilio, and she won possession of the paper in a card game from the previous owner (who was vfd-adjacent) -moxie is city desk editor, lemony is copyeditor, and then jacques does fashion and ramona does finances -they work the night shift, 4pm-12am -geraldine is hired in the third episode as the theater critic to great distress of the entire staff

it’s honestly easier to just, post how i wrote out the episode descriptions to show the vague plot i had mapped out, especially because i’m very proud of them regardless --

i hadn’t figured out a and b plots for all of them, so i left the ones i had written down --

s1, e1 – the punctilio – eleanora wants to take the punctilio in a new direction.

-a plot – the staff gets used to working with a documentary crew as eleanora tries to push the punctilio in a more honest direction.

s1, e2 – the article – the staff works overtime in an attempt to get their articles done.

-a plot – demeaned by the staff’s antics, eleanora has them work overtime to finish articles.

s1, e3 – the new kid – geraldine julienne is hired as the new theater critic.

-a plot – geraldine wants to prove herself, so she decides to do all her work herself.

s1, e4 – the book club – geraldine finds out the other staff members have a book club and tries to get in.

-a plot – geraldine wants to fit in, so she tries to join the book club.

s1, e5 – the ribbon – lemony and moxie try to find a replacement typewriter ribbon.

-a plot – lemony wants to fix his friendship with moxie, so he asks her to help him get new ribbons.

s1, e6 – the finances – ramona uncovers a filing error.

s1, e7 – the straight man – the staff tries to make jacques laugh.

-a plot – concerned at jacques’s steady impassiveness, the staff tries to make him laugh.

-b plot – lemony and the rewrite crew deal with geraldine’s articles?

s1, e8 – the actress – lemony’s girlfriend visits the punctilio offices and creates a stir.

s2, e1 – the theater night – the staff spends an evening at the theater.

-a plot – because the staff doesn’t understand his relationship with beatrice, lemony invites them to the theater.

-b plot – to prove her position, geraldine tries to get esme’s attention at the theater.

s2, e2 – the banker – the staff encounters eleanora’s brother, who comes to audit the office.

-a plot – the staff, hostile to anyone disrupting the paper, does not take well to arthur poe.

-b plot – ramona fields calls from her mother about replanning the garden.

s2, e3 – the sunglasses – eleanora deals with a theft.

s2, e4 – the pigeon – geraldine inadvertently scares the pigeons.

-a plot – attempting to assert her position and knowledge, geraldine accidentally scares lemony’s pigeons off the fire escape.

s2, e5 – the 3rd annual esme squalor fan club dinner party and salad bar – geraldine tries to bring the staff together.

-a plot – geraldine wants to show she’s sophisticated, and involves the staff in the planning of the dinner.

-b plot – lemony wants revenge on geraldine for the pigeons, and sabotages the dinner.

s2, e6 – the inheritance – ramona returns to winnipeg after her mother has an accident.

-a plot – lemony gets updates from winnipeg as ramona helps her mother.

s2, e7 – the kansas city shuffle – eleanora considers some staffing changes.

-a plot – lemony and eleanora engage in mind games as eleanora shuffles the staff around in ramona’s absence and lemony tries to keep his job.

s2, e8 – the intern – the punctilio picks up a new intern.

-a plot – because he misses ramona, and other personal reasons, lemony shuns the new intern. (bertrand. the intern is bertrand.)

s2, e9 – the replacement – eleanora cements her staffing changes.

s2, e10 – the reunion – ramona returns to the punctilio.

-a plot – not wanting to desert her post and colleagues, ramona returns to the punctilio and has to deal with the changes eleanora made.

s2, e11 – the rival – moxie, geraldine, and eleanora meet someone from jacques, lemony, and ramona’s childhood.

-a plot – desperate not to be upstaged or embarrassed by the appearance of olaf, lemony, jacques, and ramona decide to upstage him?

-b plot – eleanora and moxie, feeling left out, try to figure out what olaf’s deal is.

s2, e12 – the salmon – the staff get together to review a new restaurant.

a plot – in pairs, the staff goes to review cafe salmonella.

b plot – eleanora, allergic to salmon and disappointed she can’t go, fields phone calls.

s2, e13 – the framing, part one – on the tail of a big story that might finally get her on the wall of Best Articles, geraldine accidentally frames lemony for a series of crimes.

-b plot – geraldine wants to be on the wall so badly that she digs too hard into an article. (I had an idea it was about like, since she’s fashion editor, eye tattoos???? hmm hmm hmm!)

s3, e1 – the framing, part two – the staff scramble to clear lemony’s name. (fuck the cold open is like, lemony saying once again, “do I have any regrets? several. …. I left the tea kettle in our apartment on.”) (god the sheer beautiful absurdity of lemony on the run…..followed by a camera crew I’m dying)

-a plot – moxie takes the lead on trying to clear lemony of false accusations.

s3, e2 – the assignment – lemony encounters the punctilio’s previous intern.

-a plot – when lemony runs into bertrand again, he wants to make amends.

-b plot – jacques and geraldine get put on assignment together.

s3, e3 – the costume party – beatrice holds a costume party.

-a plot – lemony is nervous about the party and bertrand, and hides the whole time.

s3, e4 – the trivia night – the staff attend trivia night at a local cafe.

-a plot – jacques is nervous about talking to jerome, and asks lemony to accompany him to trivia night – the whole staff follows.

-b plot – geraldine wants to impress people, and studies up for the trivia night.

s3, e5 – the blues (I guess that’s why they call it) – jacques takes a day off.

-a plot – to cope with being denied by jerome, jacques takes a day off.

-b plot – lemony struggles with his feelings and takes it out on the staff. moxie retaliates.

s3, e6 – the moonlighting – geraldine has a hard time keeping lemony’s second job a secret.

-a plot – torn between wanting to keep a secret and wanting to tell people bc reporter, geraldine goes to great lengths to try and keep lemony’s playwright job a secret.

s3, e7 – the summer camp gang – moxie and lemony hang out with their summer camp friends. (the sbts crew)

s3, e8 – the book club, part 2 – things escalate in the book club.

-a plot – at the monthly ‘book club’ meeting, things get out of hand when the punctilio is brought up.

s3, e9 – the telegram – eleanora gets a telegram from an old friend.

-a plot – eleanora receives a telegram from the previous owner of the punctilio and her old boss.

-b plot – jacques and ramona wait for a different telegram.

s3, e10 – the game – a flashback to eight years previously, when eleanora got the punctilio.

-a plot – eleanora, much like her employees in the present, wants to prove herself, and engages in a battle of wits to get a newspaper of her own.

s3, e11 – the librarian – moxie gets involved in a dispute between the snickets and a librarian. (dewey.)

s3, e12 – the hustle – after being picked up at the city jail, lemony tells ramona what happened at the pool hall.

-a plot – having called ramona because she’d be the least embarrassing, lemony talks about how pride was his downfall at the pool hall.

-b plot – moxie and jacques get involved in a game of Hell Chess.

s3, e13 – the siblings snicket – jacques and lemony’s sister returns to town.

-a plot – worried about lemony and jacques, their sister, kit, visits the punctilio to check on them.

-b plot – moxie and geraldine become determined to find out about the person who runs the presses.

s4, e1 – the feint – the staff investigates the local mystery of the feint family.

s4, e2 – the cat – ellington and the staff butt heads.

s4, e3 – the anniversary – geraldine’s three year hiring anniversary is derailed.

s4, e4 – the train – the staff finds themselves trapped on a train.

s4, e5 – the candlestick maker – the investigation takes a turn.

s4, e6 – and all of them out to sea – the investigation into the feints comes to an unexpected end.

s4, e7 – the lunch – lemony tries to meet someone for lunch.

s4, e8 – the soda – geraldine gets an offer.

-a plot – geraldine is torn between her love and devotion to the punctilio and her still-there desire to prove herself, especially to esme, when esme offers her a job.

s4, e9 – the reckoning – moxie makes a decision.

-a plot – moxie is startled to find herself upset about geraldine’s offer.

s4, e10 – the fire – eleanora’s telegram from last season comes back to haunt the punctilio.

s4, e11 – the end – lemony, jacques, and ramona reach an understanding.

s4, e12 – the caveat – eleanora fights for her employees.

s4, e13 – the volunteers – geraldine and lemony talk.

-a plot – scared that the punctilio and her friends are breaking up, geraldine seeks out lemony for advice.

s4, e14 – the punctilio, part 2 – once again, the punctilio takes a new direction.

-b plot – the cameraman is finally revealed.

#lulu talks about the sad lemon man #i love episode titles that are like 'the [x]' so that's why they're all like that. i think they're delightful and no title style is better

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celosiaa · 4 years ago

Note

hi me again 🥺 sorry for making you tear up even if it was in a good way (hopefully?) 💕 i don’t mind the wait at all, i completely understand and it’s 100% worth it (honestly i get so excited whenever you post a new fic)!! soooo... i was doing some research for a project on epilepsy and i got thinking about epileptic martin?? like particular in s1 maybe he didn’t tell the other archives crew as he didn’t know them that well/hadn’t worked closely with them before (ok sorry tbc as i am rambling)

hello friend!!! I am so sorry that this took me a literally unreasonable amount of time to write! I really enjoyed the research I did for this, and I love this hc forever. And I hope this is what you were looking for <3

CW seizures, nausea, misgendering

Focus.

Just focus.

For god’s sake.

It’s been nearly an hour of Martin sitting at his desk, trying desperately to rein in any sliver of concentration he can muster to look at the laptop screen before him. He feels awful doing it, but every time Jon has passed by his desk that day, he’s found himself pretending to click around or to type—though he’s got the brightness set so far down there’s no way he’d be able to see it anyway. After a few attempts at turning it back up, he’s had to immediately look away, as the pounding behind his eyes resumes again. So for now, he’s stuck with reading statements—something he is loathe to do even on a good day.

And this certainly wasn’t.

He knows better than this, knows that he’s very nearly approaching disaster—what with the not sleeping out of hypervigilance, not eating out of anxiety, and not having his seizure meds for the past two days, as he’d managed to run out of his flat without them. And there’s no doubt in his mind that he cannot send anyone back to his flat. Not with Prentiss still on the loose.

Selfish selfish selfish

No, stop it.

You haven’t even done anything.

Wishing more than anything that his mind did not constantly run him ragged with thoughts like this, Martin looks up from his papers, intending to find a rubber band to snap against his wrist as a distraction, but instead—

Instead he finds himself frozen, colors fading in and out across his vision, heartbeat steadily climbing as his fingers go numb.

No no no no

Not now not now please not now

Realistically, he knows it’s only been a few seconds, but the seconds feel like years against the rapid thrum thrum thrum in his ears, made even worse when he sees Tim approaching from the periphery.

Damn it damn it

Please please please

“Hey Marto!”

Like clockwork, the focal aware seizure ends, and at last—at last he is able to move enough to look up at where Tim stands, leaning against his desk, smile fading rapidly as he watches Martin blinking in the suddenly-too-bright light.

“You alright?” he asks, tilting his head to the side to get a better look at his face, doubtless taking note of how quickly he is breathing now to match his settling heart rate.

“Y-yeah, sorry, um. Was just thinking,” is all he can reply, fighting to put an easy smile back on his face.

It seems to have been the wrong move, as Tim only shifts to sit atop his desk, expression quickly becoming overrun with concern.

“Okay, well…you look like you’re having a panic attack, mate,” he says lowly, reaching across him to grab his water bottle and set it nearer to him. “What do you need?”

Even with his misguided interpretation, Martin can’t help the flood of affection he feels toward him in this moment—because that’s just Tim, isn’t it? Never assumes, just asks what will help and then does it.

If only I weren’t such a mess, and would let him.

“Oh, n-no it’s not—it’s not that, Tim, I’m—I’m alright. Must’ve…drifted off, or something. Had a nightmare.”

There is no way Tim buys that, no way in hell—but thankfully, he lets it go.

“O…kay then. Well. If that’s the case, I was just thinking of grabbing some lunch, do you want anything? Don’t reckon you’ve eaten properly in a bit, yeah?”

God, Tim.

I don’t deserve this.

Yes, you do. You deserve a friend and you need to eat.

You need to eat.

“Uhh—th-thanks, erm. Where—where are you going?” he asks, wishing to god his voice didn’t sound so shaky.

He takes a few intentionally deep breaths after that—thinking that perhaps it is a panic attack, after all. Without realizing that several seconds have gone by since his question, he feels Tim’s bracing hand on his shoulder, knowing that he’s not going to ask again—but offering him a clear sign that he’s there all the same.

“Just the corner shop,” he murmurs, starting to rub his thumb over the shoulder seam of Martin’s t-shirt. “Nothing fancy. But I can get you a sandwich, if you like. Well, no—I am getting you a sandwich regardless, but I thought I might be considerate for once and ask if there was anything in particular that you want.”

“Yeah—erm, yeah, just. Anything that’s warm would be nice,” he says at last, sinking a bit as Tim removes his hand from his shoulder. “Thanks, Tim. That’s—that’s really kind.”

“Don’t mention it. Seriously,” he says, clapping his hand back against Martin’s shoulder with force before standing. “Be back in a bit. Drink that water.”

“I will,” Martin nods, earning himself some finger guns of approval before Tim starts walking towards the lift. “Thanks, mate.”

And he’s so close now, so close to shouting after him, to asking him to pick up his meds from the chemist, if he calls them in—

Just ask just ask just ask

—and then Tim is around the corner, and out of sight.

Damn it all.

He tells himself it’s probably for the best anyway—that he’s not really even sure he can get them. But it doesn’t stop him burying his face in his hands, tugging at his hair in frustration and shame. Really though, he ought to call first before mentioning anything—perhaps they have a delivery service, or they’ll refuse him, or something.

And what then?

The idea of finding himself suddenly on the floor of the archives, alone and in the dark with the worms having crawled all over him while he seized—

Have to call.

Reaching bitterly for his phone, he takes a deep breath as it rings, preparing his best “customer service” voice.

“Boots, how can we help you today?”

“Hi! Erm, I was wondering if—if I could get a refill for my prescription? For—for carbamazepine,” he says, cheery voice belying the dread with which he pinches the bridge of his nose.

“Sure thing! Just need your name and date of birth and I’ll look you up.”

“Right. Erm—well, it’s Martin, but I think you’ve still got me under, erm. Mary Blackwood,” he says, forcing himself not to grit his teeth at the foul taste his deadname leaves in his mouth. “Date of birth October 15th, 1987.”

“Alright, let’s see here—“

Please please please

“—it looks like you’ve already got your refill, Miss Blackwood. Our system says you picked up your medication on the 19th.”

“It’s—it’s Mister, actually. Erm,” he stammers, stomach churning over the entire thing. “L-listen, I—I’ve had to leave my home quite suddenly, and—and I am unable to return there for the time being. So I don’t—I don’t have access to my meds. And I, erm. Really need them.”

Pathetic pathetic pathetic

“I’m really sorry, Mister Blackwood. You’re going to have your doctor call in another prescription for you before we can get you that refill. Unfortunately, it’s out of our hands.”

Of course.

“Oh, right. That’s erm—that’s okay. Thank you so much,” he says as brightly as possible, unwilling to blame anyone for something out of their control.

“You’re quite welcome. Take care.”

With a long, shaky sigh, Martin throws his phone back onto his desk, returning his head to its rightful place, buried in his hands. There’s no way he can call his doctor today—or tomorrow even, with it already being a Friday afternoon. No chance of him getting his refill, then. And no chance of sending Tim back to his apartment either.

Don’t panic. Don’t panic.

It was just a focal, nothing too bad.

Nothing unmanageable.

I can make it.

Steeling himself with somewhat tremulous determination, he takes another long breath—blinking back against the steady pounding in his head, and getting back to work.

—

“Aw come on, Sasha! Take a break with me!”

“Not on your life. I’m still furious with you, you know,” she replies, tossing her hair like a lion’s mane over her back. “Can’t believe you’d go all the way to the good café for Martin, and not offer me anything. Not even crumbs, Stoker!”

“Listen—” Tim grins back, hands raised in self-defense. “He looked like he could use some soup! I don’t know what else to say.”

“And you didn’t get me any? What about me doesn’t scream ‘I could use some soup, thank you?’”

“It’s different!! It’s—Martin? You alright?”

As he was walking past their bickering, eyes firmly fixed on the floor on the lookout for worms, Martin had suddenly stopped short—looking anxiously up and over their heads, framed by the doorway of Jon’s office.

“Martin?” Tim repeats, already halfway to standing in worry, following Martin’s gaze behind him and finding nothing.

Faster than he can turn back around, Martin’s muscles all tense at once—and he tips backwards onto the floor with a heavy thud.

“Shit! Martin!”

Tim darts forward at once, in some feeble attempt to catch him, but of course, far too late to do so. In his shock, he can do little but stand over him for a few seconds, taken aback upon seeing his eyes still open where he lies still on the floor.

“What happened?” Jon demands, stepping quickly out of his office towards them, where Sasha now crouches near his head.

“I-I don’t know, he just—”

And then Martin begins to convulse.

“Oh my god, he’s—he’s having a seizure,” Sasha gasps as she claps a hand over her mouth, from where it had been pressed against his forehead.

“Fuck. Fuck, what do—what do we do? Do we call 999?” Tim shouts, unwilling to sit by and watch as this all goes on around him, already grabbing Sasha’s phone from her nearby desk.

“I—I think so, let me—”

“Wait.”

Two sets of eyes land upon Jon as he interjects, crouching near Martin’s flailing left arm, waiting for him to set it back down before quickly grabbing at a bracelet circling his wrist.

“I-it’s a medical bracelet. Says epilepsy,” he says lowly, quickly sitting back on his heels as Martin’s arm begins to jerk again.

“Fuck. I—I had no idea,” Tim breathes, running an anxious hand through his hair. “How could we not know?”

“We should—” Sasha breaks off quickly to swallow a lump in her throat, before continuing. “We should be timing it, did anyone see the time?”

“I-I don’t—it’s probably been less than a minute, right?”

“I think so. I’m—here, I’m googling it to make sure—”

While she does so, Martin’s head begins to slam into the ground—and Jon immediately pulls off his cardigan, folding it quickly and placing it beneath him to cushion the blow.

“It’s alright, big guy,” Tim says, settling down to kneel next to Jon, who now has a hand gently pressed to his shoulder—not holding him down, just resting there in a comfort Martin probably cannot receive.

Tim rests his own hand against Martin’s thigh all the same.

“Okay, I think we’re good so far,” Sasha says at last, setting her phone down with a timer running on the screen. “Just time it, and—and keep watch. If it goes past five minutes, we call 999.”

“That’s—that’s it?” Tim says in dismay, snapping his eyes back to his friend, still convulsing on the floor. “There’s nothing else we can do?”

“No. We just have to watch out for him,” she replies, voice low as she adjusts Jon’s cardigan beneath his head. “Make sure he doesn’t hurt himself.”

Not the answer that Tim was looking for.

And so they wait—silent save for the rhythmic smacking of his limbs against the carpeted floor, and the occasional whispered platitude, though all know he cannot hear them. The seconds tick by in agony while they sit helpless, all eyeing the timer on Sasha’s phone creeping up steadily past three minutes.

“I don’t like this,” Tim says, knowing how useless it is to say so—Sasha raising her eyes to meet his for the first time in a while.

“Me neither.”

“Nearly three and a half minutes,” Jon mutters, worrying at his bottom lip while still resting a gentle hand on Martin’s shoulder.

“We’ve got you, Martin,” Tim mutters. “We’ve got you.”

Ten more seconds.

Twenty.

Thirty.

Forty.

And at last—at last he goes still, right past the four-minute mark.

“Alhamdulillah,” Jon sighs as he lets his chin briefly rest against his chest, a sentiment echoed by everyone around him.

“Okay, turn him on his side, here—Tim—”

“Got it,” Tim says as he moves to crouch next to her, helping roll him towards Jon, head pillowed on the arm Jon stretched out across the floor as a cushion.

As soon as they get him in the recovery position, they watch as saliva runs out of his mouth, surely fit to choke him had they not turned him—and he begins to snore forcefully, catching Tim very much by surprise.

“Wh-what—” he asks in bewilderment, struggling to hold back a bit of shocked laughter.

“The website said that’s normal,” Sasha assures at once, reaching behind her to grab a box of tissues from her desk behind her. “He’s going to be sleepy for a bit.”

“Okay. That’s—okay,” he says, watching as Jon takes the tissues from Sasha and wipes at Martin’s face so very gently, before tossing them aside and taking his hand.

Taking his hand.

…interesting.

Stowing THAT away for later.

As Jon starts to move his thumb across the back of Martin’s palm, the snoring stops—and his eyes begin to flutter rapidly, attempting to force their way fully open.

“Hey Martin, can you hear me?” Sasha says rather loudly, bending over him and tapping his shoulder lightly.

All she receives in response is a moan, deep and low, as he squeezes and unsqueezes his eyelids, coughing a bit against the pooling saliva. Jon reaches for the tissues again at once, cleaning his face as best as possible.

“You’re okay mate,” Tim says, patting his hip before leaving his hand there for support. “You’ve had a seizure.”

It takes a few moments, but at last, Martin opens his eyes, looking vaguely around without meeting Jon’s eyes.

“Wh’ happ’n?” he slurs—all three of them exchanging a meaningful glance, a bit alarmed.

“You had a seizure, Martin,” Sasha repeats, stroking at his hair while Tim starts rubbing his hand up and down his arm, hoping it will somehow help to ground him.

Remaining still for a few moments, still blinking, Martin tries to take it all in— looking down towards where Jon still rubs at his hand, though still seemingly unaware of his presence.

“What happened?” he asks again, voice less slurred, but still weak.

“A seizure, Martin,” Jon says, trying desperately to catch his eyes. “You’re alright.”

At once, Martin wrenches his hand away from Jon’s grasp in favor of clapping it over his mouth, muffling a small and desperate gasp behind it.

“Shit. You gonna be sick?” Tim asks, already looking around him for something to grab as Jon once again prepares his tissues.

He does not respond right away, instead pausing for a few deep breaths—at last shaking his head no. In both relief and the absence of something to do with his hands, Jon fusses at the cardigan again—positioning it just so.

“Wh—oh, seizure,” Martin breathes, and Tim cannot help but feel relieved at his gaining a bit of orientation back.

“Yeah.”

Eyebrows knitting together, Martin moves the hand clapped over his mouth to rest on his eyes, sniffling a bit before speaking.

“M’so sorry,” he gasps—and it’s enough to break Tim’s heart.

All of their hearts apparently, as they immediately place their hands on him in a gesture of comfort.

“Hey, no, none of that,” Sasha soothes, brushing back his fringe again.

“M’sorry.”

“Martin, it’s alright,” reassures Jon, with such rare gentleness that even Martin lowers his hand to look—wincing quickly as he does so, and placing it back over his eyes at once.

“Do the lights hurt?” Sasha asks worriedly, placing her hand to cover his own, hoping to block more of it out.

“Yeah—ah,” he grits out with a pained little gasp, and Jon gets to his feet.

“I’ll get them,” he says, and walks quickly to the switch, sending them into a darkness illuminated only by the light from the hall.

With a quiet sigh of relief, Martin lowers his hand again, eyes still closed, and rubs absently at his nose. Stumbling a bit as his eyes adjust to the dark, Jon makes his way back to kneeling beside him, taking up his free hand again.

“Your head okay?” asks Tim, prompting Sasha to card through his hair to look for any swelling. “I’m sorry I didn’t—I couldn’t catch you.”

“…what?” comes the vague response, delayed by a few seconds as Martin tries in vain to sort through what was said.

“Still confused,” Sasha mouths at him silently—and he nods, instead going back to rubbing up and down Martin’s arm, as Sasha moves to massage his neck.

“M’sorry.”

“Hush, darling. It’s alright,” she says, and Tim knows without a doubt she will sit there all day, repeating these same things to him as long as he needs.

And loves her for it.

“…wh—Jon?”

Eyes more focused than ever, Martin looks down to where Jon still rubs a thumb over his palm, stunned very his very presence in this space.

“Yes, I’m here,” he murmurs, offering a small squeeze of affirmation, inadvertently painting a soft grin briefly across Martin’s face—before it drops quickly again in horror, as the reality of the situation sinks in again.

“Oh god. I—oh god.”

“It’s okay, Martin.”

“No no no.”

“It’s alright,” Jon comforts, more soothing than Tim had ever imagined would be possible for him. “Just be still. You’re alright.”

Five minutes turn into ten, turn into fifteen as Martin’s confusion slowly fades away—his recovery naturally filled with a deluge of apologies, patient soothing from his friends, and tending to the waves of nausea that come over him every few minutes. Ever so gradually, he becomes better able to hold a conversation; better able to hold their gaze, asking what happened before he went down, explaining that his…well, everything is sore, but that it’s nothing unmanageable.

There is very little that Martin would call “unmanageable,” of course, but it’s the most they will get out of him.

“I think I can sit up now,” he says after a bit, bracing his arms underneath himself to prepare, and Tim reaches out to support him at once.

“Sure?”

“Yeah.”

A bit slow, a bit clumsy, they get him up—not without some worried questioning when he hunches forward, face buried in his hands as the headache worsens with the change of posture. But luckily, it dulls as quickly as it comes, and Martin soon finds himself able to look up, even to offer a bit of a sheepish smile.

“Want some water?” Tim asks as soon as he looks steady.

“You don’t have to—”

“I’m on it,” he says, refusing to accept any of Martin’s guilt-laden excuses, and dashes off to the kitchen at once, leaving Jon and Sasha still vaguely holding onto him in the fear that he might fall again.

“I’m alright, guys, really,” he assures, though he makes no effort to shrug their hands off—so there they stay.

“Do you know what caused this, Martin?” Sasha asks, folding his collar from where it sticks up at the nape of his neck.

With a heavy sigh and an exhausted pinch to the bridge of his nose, Martin replies, face reddening with shame.

“Yeah. You’re—you’re going to laugh.”

“Why would we laugh?” Jon asks so earnestly, so softly that it wins him a long and surprised look from Martin.

“I…dunno really, just. It’s just that it’s—it’s all my own fault. Stupid.”

“What do you mean?”

“I—I don’t—” he cuts off for a moment to hiss painfully as he rubs at his temple again, and Sasha’s hold tightens ever so slightly as a precaution. “I don’t have my…seizure meds with me. I left them at my flat when—when I ran. From Prentiss.”

Of course.

Of course he did.

“I would have gotten them for you Martin!” Tim shouts as he returns with the water. “Any of us would, mate. You should have said.”

“I didn’t want to send you back to my flat. She might…she might still…be there.”

He fades a bit as he speaks—rubbing once more at his temples, and Sasha resumes her ministrations of massaging his neck.

“Alright, just—it’s alright, Martin,” Jon soothes, a bit alarmed at the way he’s hunched back over—seemingly nauseous again, as he moves the bin a bit closer to himself just in case. “What can we do now?”

After a few long, deep breaths, his churning stomach finally settles long enough for him to answer, albeit a bit more vague-sounding than moments before.

“I tried…I tried to call the chemist, but…they won’t refill it unless I…unless I talk to my doctor. And it’s not like I can just go.”

“You have to get some from A&E then,” Tim insists, sitting back down next to him and pressing a hand atop his shoulder.

“No, I can’t.”

“We’ll go with you,” mutters Jon, before clearing his throat, returning to his best confident-boss tone. “We’ll keep watch for the worms. Go prepared.”

“You don’t—“

“We will,” Sasha says emphatically, leaving no room for argument—and even Martin knows when the battle is lost. “We’re happy to do it, Martin. Seriously.”

“Thank you,” he very nearly whispers, face flushing beet red as the undue attention of the afternoon catches up with him. “That’s really…too kind.”

“Well, you’ve got to get it somehow, mate,” Tim says with a chuckle, earning himself a warning glare from both Sasha and Jon. “What? I’m sure Martin wants this to happen again even less than we do. Which is saying a lot.”

“Yeah,” Martin says, surprising them all by chuckling briefly in return. “Reckon you’re right about that. I didn’t—this is pretty much my worst nightmare, so…just so you all know how sorry I am.”

“Yes, you’ve said,” Sasha laughs. “And it keeps continuing to not be your fault.”

“Right. Sure.”

He does not sound at all sure—but she lets it go all the same.

“We should go today, Martin,” Jon says as he stands, already grabbing a canister of CO2 in preparation. “Don’t want you to miss another dose.”

“And take that thing on the Tube?” Martin laughs, fully smiling for the first time since the whole affair began. “Think we might get some looks.”

“It’s the Tube, mate. Stranger things have happened,” Tim chuckles, rolling his eyes good-naturedly before jumping in to assist him in standing.

“Suppose you’re probably right about that.”

“Let’s go then,” says Jon, face steeled as if armed to the teeth and ready to tangle with anything coming his way. “Work that needs doing.”

#tma #the magnus archives #tma fic #tma fanfic #martin blackwood #hurt/comfort #cw nausea #cw seizures #cw misgendering #trans martin #jordanian jon #background timsasha #my writing

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laufire · 4 years ago

Text

Supernatural s3

It’s so unfair that the season that has Ruby AND Bela is so short :(((. I was done with it waaaay too quickly, and now I’m speed running through s4 xD (which, like the first time around, is Strong Mixed Feelings territory).

-My girl Ruby!!!! I was so happy to have her back, I kept grinning like a loon every time she was on screen. It’s quite interesting watching the 1.0 and 2.0 versions so close to each other, instead of as they air. I have... Thoughts, on whether Ruby as a double agent was something planned or that they decided as they went, but that’s for the s4 post. s3!Ruby really doesn’t come across as one (“I don’t believe in the devil” oh I wish sometimes xD, I love my nonbelievers), imo, but the beauty of such a device is that you can rationalize anything she does as devious if you want to xD

And it goes without saying that I love her interactions with Sam. THIS SHIP ISTG. I love how immediately ~attuned to her he is lol, his present and instinctive concern for her even if he tries to mask his interest as “practical”. And all the repeated times Sam’s conflicted between her and Dean -like when he deviates Dean shot (wasting one of the Colt’s bullets lmfao) or during the argument about the virgin sacrifice xD. And the “that’s my boy”/ “little fallen angel on your shoulder” quotes!!! Ruby 1.0 deserved to be railed by Sam too, smh.

My favourite episode of hers is “Jus in Bello” (which would be my fave of the season just by virtue of having both Bela and Ruby in the same episode lol. Not interacting, of course, the world as we know it wouldn’t have survived). I just love that she gets that final moment of I TOLD YOU SO to the brothers xD. I really like how she expands on the demonic lore of the show- I love, LOVE the detail about how all demons used to be humans, how they’re souls corrupted in hell. And that in her past life she was a witch (there was this really good fic in Spanish fandom about it... I need to hunt it down).

BTW, though I think her interactions with Dean in that episode are interesting, it really hammers home how much I hate him sometimes xD. Can you stop saying misogynistic slurs for TWO GODDAMN MINUTES, DEAN (and as we know from as early as this season, only HE can have demon/monster friends!! What a fucking hypocrite xD). I freaking love the moment in the finale when she viciously yells him about how she wishes she could see him in hell lmao (and how it foreshadows that when she shows sympathy later, it’s actually Lilith in disguise lmfao). I hate Dean gets the last word in their dynamic, tbqh. Until the s15 cameo, at least xDD

One thing that’s been bothering me xD: the French fries. Demons are vulnerable to salt, like other spirits, right? (and hey, look what a nice piece of foreshadowing that was). How does that translate to food lol. Because Ruby adores French fries, and they obviously contain salt. It’s like spicy food for humans? Or like pineapple? Inquiring minds etc. xD

-I still cannot believe Bela Talbot was only on the show for six episodes lmao. Her presence still lingers in the watchers’ heads so much?? Which is understandable because she’s Lead Girl Material if there was ever any lol. The care with which they styled her even?? You don’t do that for just any character lmao (I mean, just look at most of SPN’s female characters for comparison xD).

Her ship with Dean could’ve really been something, too -even if I hate Dean in it, I can’t deny it packs a punch, narrative-wise. I mean, the Batcat undertones alone!! The fake married undercover shenanigans!! And I think it’s really interesting that she’s such a blind spot for him; Dean’s unusually intuitive about people, but with Bela he takes everything at face value and she can fool him like no other (while, OTOH, is Sam who questions her facade and wants to see more). If he hadn’t been such an idiot (and such an asshole) he could’ve had a really powerful ship. Sucks to be him lol.

Anyway. Man, I love her. So much. I love how Gordon’s threats to kill her don’t work on her, and I love that the show basically said “Bela killing her abusive parents is good, actually” (I’m so tired of forgiveness narratives, you guys. This entire show is founded on revenge, so let me get my revenge fantasies in peace!!) xDD. And I love, LOVE that she withheld that truth from Dean, that she decided he wasn’t worth it. OTOH, you know, fuck the fans that got her written out, definitely; but on the other, I do love how her story ended (and that it was a clear "fuck you" to shitty fans). Doesn’t stop me for wanting to read and re-read (and maybe write!) even more “Bela escapes hell” fix-its, but still.

Also, very important question: what happened to her cat?? It’s the cat alright?? I’m going to headcanon that she left them with that cougar friend of hers lol.

-So. THE DEAL. Okay. Oof. I love this storyline, a lot. A loooot. I love the conflict it creates between the brothers (as long as there’s still conflict and Sam hasn’t yet started taking everything lying down I can enjoy that part of their narrative lol). I love Dean’s initial forced giddiness about “making the most out of his last year” and I love the moment Dean decides he does want to try to live because it makes the last few episodes all the most desperate and cruel (and hey, I’ve heard he only went to hell because the season was cut short due to a writers’ strike... if that’s true that’s so funny lmao).

My absolutely favourite part however? That you can FEEL Dean’s unvoiced resentment towards Sam. For Dean having to die for him, even if Sam never asked him to. He lashes out to Sam repeatedly through the season, but it really came to ahead in the dreamspace episode, where Dean confronts another version of himself that talks about how Sam was “dotted on” (the revisionism asldfkaf). This show is absolutely ruthless when it comes to showing you its characters’ ugly, unfair reactions to things and it’s my favourite thing evah.

Speaking of the dreamspace episode, OMFG. I loved both brothers there. Dean’s hallucination, seeing himself as a demon? And how he let out his anger about John?? Beautiful, truly (regarding John, I also loved their different reactions when it looked like his spirit had contacted them: Dean jumping on it and Sam detached skepticism). But my favourite part has to be when Sam uses the villain’s abusive father against him. Like. Damn. That was cold-blooded o.0

The second-to-last episode, when Sam tracked down that Frankenstein doctor to try and make Dean immortal was ABSOLUTELY HORRIFYING OMG. I loved that. I love that Sam wanted to use it for both them. It was some scary shit. I also love the scene where the crossroads demon questions whether Sam really wants to break the deal, I’m gathering it’s going to be nice foreshadowing later on in the show lol.

Anyway. I also found Dean’s death scene more impactful than Sam’s. Partially because of the horror of it, but mostly because I think at this type of scenes, Padalecki is better. Sam’s grief felt more real, Dean’s got me out of the scene (it’s the voice, I think. Sometimes Ackles’ voice takes me out of scenes, it sounds... forced).

I also really enjoyed how the time loop episode wrapped around this subplot. It managed to be both heartbreaking and mind-numbly hilarious lmfao. Like?? All the deaths?? Were so pathetic?? I tip my hat to Ackles because I don’t think most actors could carry plots like this half as well lmfao.

Sidenote, it’s always a trip to see The Trickster God knowing that fucker is Gabriel. Archangel “hey Mary do you accept God knocking you up” Gabriel. Which I guess isn’t exactly a thing in this show?? Since according to the wikia SPN Jesus was “just a man” (and let me tell you, I’m tickled pink by the fact that out of ALL mythological figures, specifically all CHRISTIAN mythological figures, the show decided to go “nah” on Jesus Christ. I mean, I guess he’d take away from Dean’s, Sam’s and Castiel’s resurrection narratives, but still. It’s so funny!!).

-Gordon Walker remains a superbly acted and fascinating character with extra racist nonsense alsdkfjasdf. But I can’t deny I loved seeing him as a vampire. He was terrifying. And I’m definitely shipping him with Kubrick, ouch xD

-The Ghostfacers episode is... something. As in, incredibly exploitative and homophobic and with an egregious case of BYG (and the first where I’d say it’s incontestable to claim the trope was used. s1 and s2 are muddy territory given the circumstances, IMO, but this one is 300% BYG), but so successfully manipulative my heart hurt for Corbett and Corbett x Ed still. Fuck them for that ngl. I do still enjoy how anti-Winchesters they all are though xD

-3x01 introduces the one nice marriage of hunters so far, between a black couple. The man dies in a gross, horrifying way within the episode ofc (because he was Mean to the the brothers duh). She makes it out alive, and since she doesn’t reappear in the show she gets to live. So for now black women have a sliiiiiightly better track record in SPN than track guys there: they get to appear in a few more episodes and be more fleshed out (Victor, Gordon), but as long as they’re only in one episode they get to live!! (Cassie, Tamara).

-Rufus and Bobby are exes, right? Right?? Probably still married in some state? You know that post about how when gay marriage was legalized across the USA there were a lot of issues because some couples had split and never bothered to divorce, since it was only legal in one place? That post was made for them. Pity Rufus is a black man, and as such has a limited number of allowed appearances before he’s killed off ¬¬

-I would’ve enjoyed Dean’s moments with Lisa and Ben more (it’s just so RIGHT that in this moment he’d want Ben to be his) if my knowledge of future spoilers didn’t perpetually have me in a state of “pls keep this guy away from kids” lol.

-They had Harmony’s actress (BTVS) and they made her a vampire!! The show’s hard on for the Buffyverse is a bit of a hit and miss but I can’t say I don’t relate xDD.

-I know Jensen Ackles can sing (in fact thanks to youtube I know a few of the actors can... is there a musical episode. Does this show have its own OMWF. I need to know). So why. WHY. Does he sound like that during “Dead or Alive”??? I actually like the scene but he sounds so off-key lmao.

-BTW, I found out that apparently Katie Cassidy and Lauren Cohan originally auditioned for each other’s roles añslkdfjasf. I can’t picture it. Ruby 1.0 is Ruby 1.0 and Bela is Bela xD. Although I’ve seen each playing roles that could meld with the other, just. Nope. Good choice on the casting there lol.

#talking to the void #my thoughts #spn thoughts #supernatural #spnruby #samruby #bela talbot #deanbela #deanruby #sam winchester #dean winchester #gordon walker #ruby 1.0 #spn gabriel #ghostfacers #alan corbett #bobby x rufus #spn s3 #the winchesters get to have a tag I GUESS

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seiin-translations · 4 years ago

Text

2.43 S1 Chapter 1.4 - Young Yunichika

4. MISCONDUCT

Translation Notes

1. Bon refers to a young man from a well-to-do family

2. These are lyrics from the opening theme for the famous volleyball anime, Attack No.1

3. I know nothing about Attack No.1 so I have no idea what this is referring to. The original line is “ヒロイン訛ってるって”. If you know anything about this, let me know

4. The kanji for Meisei is 銘誠. 銘 from 座右の銘 (means favorite motto) and 誠 is pronounced makoto by itself

5. Meisei-chuu as in Meisei Middle School

Previous || Index || Next

Haijima Kimichika was an idiot. No, his grades overall weren’t that bad. He was slightly above middling for his third semester finals. However, Kuroba was dumbfounded when he saw the breakdown of that “slightly above middling.”

In regards to math and social studies, he was well above the average, and in fact, he was at the top of the class in his grade. Math, ninety-five. Social studies, ninety-nine—that was the first time he ever saw ninety-nine on an exam paper. He was taken aback by the brilliance of the two 9’s next to each other.

But, things didn’t look good from there. Science, seventy-three. English, sixty. His marks around here were so normal that it made you wonder what his high marks in math and social studies were. Apparently, his strong areas were unusually inclined towards calculation and memorization.

Japanese,

Thirty points.

…They really were unusually inclined.

“Ooh, there’s a whole row of x’s here. What a nice view.”

It was a question about close reading a novel. The answers to “What are the emotional states of the characters”-type questions were continuously absurd, and the way the x’s were written was becoming increasingly desperate, as if to represent his Japanese teacher’s emotional state.

“For the question ‘Please answer in eighty words or less why you think the king forgives Melos,’ you answered, ‘Melos was naked the cow,’. I can see the signs of suffering from trying to write a little more, but not being able to write a sentence and getting frustrated. …Cow?”

“Shut up. You’re always joking about people’s exam answers.”

“Ow ow ow!”

Kuroba groaned as he fell prostrate on the exam papers spread out between his legs with a weight pressed tightly against his back. The other club members laughed at the two stretching as a pair.

“You shouldn’t laugh at other people, Yuni. You got forty-two in math and fifty-five in social studies.”

“Hey, don’t read it aloud. This is an invasion of privacy.”

“Japanese…oh? Eighty-seven. Not bad.”

“For real?”

His back lightened with Haijima’s upset-sounding voice. He lifted his body with a self-satisfied look that said “Fufufu. Japanese is the only thing this guy’s good at,” but Haijima, who snatched and returned Kuroba’s Japanese exam paper, once again pressed down on his back tightly with his entire upper body while staring at his answers with a slightly displeased look on his face. Kuroba grumbled “Ow ow ow” while facing the floor in an open-legged forward bending position.

“Why did you answer the cow question like this? I don’t get it at all.”

“First, let go of the cow…I think the first issue is that no cows appear in the story. I’m getting worried about whether or not you can get into high school.”

He briefly wondered if one could get into school through a volleyball recommendation, but even if one could, it didn’t matter because there was no chance of their weak club reaching the point where they could get noticed in a big tournament. If Haijima was in his previous middle school, recommendations might come, however—he hadn’t asked Haijima himself, but there was no doubt that he had been in a fairly strong volleyball club with a decent coach. He had no idea what a full-scale stretching regimen was until he started practicing with Haijima. Next, Kuroba laid on his back as Haijima took his legs and thoroughly stretched them.

I thought that since Haijima would have nothing left if you took volleyball away from him, it would be his greatest desire to go to a strong volleyball school, but…

Haijima Kimichika was a volleyball fanatic.

The ban on club activities, which had been suspended a week before finals, had been lifted, and they held a practice day at once. With people turning up once they knew it was active, the boys’ volleyball team, which used to be as good as non-existent, had more or less taken on the appearance of club activities recently. With just barely six people, they still haven’t been in a match yet.

It was when they stood up and stretched their backs after finishing their brief stretching session.

“Kuroba, how tall are you now?”

Haijima said while looking up at his hair whorl.

“Hmm? Didn’t I say I was one-seventy-three?”

“When did you measure that?”

“Um…in fall, I think…November?”

He tamped down his hair whorl, but his bed hair bobbed back up. He felt depressed when he wondered if he had been exposing this hair to people all day since morning.

There was a scale on the door frame of the gym equipment room that could be used to measure height, and was used to compare heights for fun during club activities and gym class. It was probably the work of students from decades ago. It was the culmination of very precise work, with each millimeter being carved out from one-fifty to one-eighty centimeters with a utility knife.

“One-seventy-five-point-zero.”

Putting an empty powdered drink box to the top of Kuroba’s head, Haijima read the scale out loud.

“Ooh, I grew two centimeters?”

“My turn.”

They exchanged places and now it was Haijima with his back to the scale.

“Don’t raise your heels. Um, one-seventy-two-point…seven.”

“Ah. I grew too.”

But, Haijima didn’t seem too happy about it. With a sullen face, he left the scale and grumbled “Two centimeters off.”

“Two-point-three centimeters off. Don’t round it down. You’re a setter, so you don’t have to be so worried about your height, right?”

“I have a favorite player. It’s Abe, who was selected for the national team. He’s a setter, but he’s one-ninety-one. Even for setters, the bigger you are, the better you block and the faster you set. And, Abe’s ambidextrous, and he has a good left dump.”

“Huh? That reminds me, do you also…”

Haijima served with his left hand. But which hand did he hit with outside of those times...he didn’t have a clear impression. He felt like he recalled him hitting with his left and with his right.

“Use both hands?”

“I do,” He said carelessly, but was that something so easy to do? “There’s still an eighteen-centimeter difference, huh… But Abe can’t hit jump serves, so once my height catches up, I’ll be better.”

When it came to the subject of volleyball, Haijima became more talkative than usual. The way he spoke was basically like cutting short the front part of the context and throwing away the back end, but he came to be able to speak fairly long lines in a polite manner. He must love it a lot, he thought in half amazement and half admiration.

“I’m not sure if you have way too much confidence in yourself or is just an idiot…but I never thought you’d compare yourself to a member of the national team.”

He forced a smile, and got glared at with resentful eyes. He got scared, wondering if he said something that made him angry. He still wasn’t very good at knowing what set Haijima off.

“Kuroba, at the practice game, you see blocks and differentiate between hitting the ball cross and straight, right?”

“Cross-court and straight…oh, straight is where you hit the ball right down the middle, and cross is where you twist a little and hit it outside.”

“It’s the other way around, dumbass.”

He had answered with hand gestures while tilting his head to the side in confusion, but was completely denied with an insult.

“A cross is a spike that passes through the court at an angle. A straight is a spike that goes straight and parallel to the sidelines. When you’re hitting on the front row, you tend to step towards the center in front of the net a lot, so if you hit it straight on, it becomes a cross, and if you hit it with the intention to twist it outside, it will be straight.”

“So complicated…”

“It’s not that complicated, but…oh well. I’ll teach you step by step.”

He thought “Teach me?” every time, but why was he naturally acting like he was above him?

“Even if you don’t understand it with your head, you have good eyes, so you can deal with blocks. Being able to naturally rotate your trunk midair, the length of your time in the air, the suppleness of your shoulders…those are qualities you’ve probably always had. You will get good. It’ll be in no time if you do it properly. You’ll be taller, too.”

“…? Do you have a fever?”

He stared at Haijima’s face suspiciously and got a suspicious look in return.

“What. Did I say something weird?”

“No, it’s just that you’re always so self-important, so I thought you were someone who wouldn’t praise or acknowledge people in that way.”

“If there’s something to acknowledge, then of course I’m gonna acknowledge it. But, there’s no way to acknowledge what’s not there.”

Haijima stated, pouting and seeming truly upset.

Haijima never flattered. He wasn’t humble. He couldn’t hold himself back. Indeed, he might be sincere and straightforward in a sense. …But, he thought it was probably a tough way to live. Most people didn’t want to be told the truth right to their faces.

“You will get good.”

Afterwards, slowly but steadily, a ticklish feeling welled up in the depths of his body. It was uncool to take someone at their word, so he purposely looked indifferent and said,

“I have a talent for volleyball, huh. It won’t make me all that popular though.”

He feigned ignorance and talked big. Unlike Haijima, he felt like he had been drifting through life frivolously, with a bunch of façades lined up in front of him, obscuring reality.

***

The days have become longer, and the chill had subsided considerably. It was now often possible to sneak peeks at patches of blue in the sky which had been covered by depressing snow-laden clouds in midwinter. The sun had completely set when he nearly ran over Haijima in front of that karaoke box in February, but by mid-March, there was still some faint light left in the sky at that same time of day. A rusty copper sunset fringed the ridgelines of Mount Nokude in the distance.

Since their houses were in the same direction, he ended up going home with Haijima on days they had club activities. Their enamel bags, slung over their shoulders, rattled, and they tread on the rugged road in their snow boots. Although the snow on the road melted during the day and was close to becoming sherbet, it had begun to freeze again in the shape of punched-through car ruts and footprints. During the snowfall season from December to March, elementary and middle school students were prohibited from cycling to school, so it took forty minutes to get there on foot. There was no doubt that they would starve before they reached home, so the two stuffed their cheeks with sweet bread as they walked. Incidentally, he stuffed himself with two pieces of bread before club and of course he was going to eat dinner when he got home. At any rate, he was hungry. And at any rate, he was sleepy.

Until one or two months ago, he would have wanted to skip over middle school and become a high school student as soon as possible, but come to think of it, he had stopped thinking about that recently. He had no time to think about superfluous things because after he finished club activities, went home, ate, and took a bath, he immediately went to bed. He fell asleep feeling like he was sinking into the floor with his futon, and then when he woke up, it was next morning.

Finals were over, and now it was time to neglect everything and go into spring break. And whether he left it alone or made a fuss, once the break ended, he would become a third-year. The word examinee still didn’t really strike home for him.

“Haijima, what are you gonna do for high school? Are you taking it here?”

He finally broached the subject that actually wanted to ask him about during club, but hesitated over.

“Well, I was thinking of taking it here, but…”

He got stuck on how Haijima trailed off at the end of his sentence, which was unusual for him.

“But? Is there a condition or something?”

He once again asked Haijima’s profile, which was bulged out with the bread he stuffed in his mouth. He wasn’t wearing his glasses right now. Haijima always followed the procedure of putting in contact lenses and taping his hands before club started. If he taped first, he wouldn’t be able to handle his contacts. When club activities were finished, he followed that procedure in reverse, but there were days when he went home as he was, perhaps because he couldn’t be bothered. From the point of view of Kuroba, whose vision had never fell below 20/20 and whose fingernails and bones seemed healthy and strong, he had a difficult constitution.

“More importantly, new first-years will come in April.”

“Hmm? Oh yeah. Skilled guys would get picked up by the other clubs, so it’s better not to get your hopes up, but maybe we can get one or two people.” More importantly? He had a feeling he was changing the subject, but the timing to repeat the question escaped him.

“If we get more members, I wanna go to a tournament. I don’t know the tournament schedule here, but there should be a prefectural tournament before the summer inter-school.”

“Tournament, huh. But even if we can be in it, I don’t think we can win at our level…”

“It’s no fun if you don’t play a game. I wanna be in a match. I’m gonna train you all to be presentable enough by summer. I’ll take care of the rest.” Once again, he said that he was gonna train us without hesitation. Is he treating us like performing monkeys or something?

Ah, there it was. The sparkle in his eyes like that of a dinosaur-loving elementary schooler. Though he was just being arrogant and saying something self-centered, when he had that look in his eyes, he couldn’t help but feel that it was as though it was being secretly switched with something of pure purpose. Kuroba realized that he couldn’t oppose those eyes at all.

“Ooookay, got it. We need an advisor to be in a tournament or it’s no good, right? Let’s ask tomorrow.”

When he said that with a sigh, a crude voice called out to them from the side of the road.

“Hey, isn’t that the head house’s bon walking there?” (1)

It came from in front of the signboard of the aforementioned “Karaoke Box Monshiro”. Was this the only place to hang out? Well, it probably was. There were three men. Two 125cc motorbikes and one moped. Each of them was sitting astride their seats and hanging their butts on their tandem grips, smoking cigarettes as they tucked their chins inside their collars of their jackets, looking cold. They had the appearances of what countryside delinquents should be.

“Oh, Yori-chan!”

Kuroba called out to him with a smile, but Yorimichi only took a glance at his appearance and looked away.

The other two were Yorimichi’s senpais, both from the neighborhood. When someone other than his relatives called him the “head house’s bon”, it was probably filled with ridicule, but since he was used to it, he didn’t react to it every single time, and Kuroba greeted them in a friendly manner as well.

“’Sup. It’s been a while. I didn’t know you guys are back.”

“It’s spring break in uni too. Bon, how much you got today?”

“Oh…I only have some coins. I’ve been doing club activities lately so there’s a lot of times when I’d be leaving my bag alone.”

“’Club activities’?”

The two repeated it with a rising inflection that contained laughter.

“Oh, is that what Yorimichi was talking about?”

Smirking, they eyed Kuroba from the top of his head to his feet. He uncomfortably let his gaze escape to Haijima, who was waiting next to him. When he looked at Haijima, he could see his own appearance like he was looking into a mirror, or rather, he was just copying Haijima, but—he was wearing a knee-length padded coat over his jersey with his rectangular enamel sports bag slung over his shoulder, and he really did look like he was coming back from a sports club. In regards to the padded coat, Kuroba saw Haijima’s and also bought one recently.

“You do receives or something, how did that go again? We didn’t do it in gym in high school, so I completely forgot.”

The two had mean smiles on their faces, pointing their chins. Either the smoke of their cigarettes or the whiteness of their breath from the cold made their stubbled mouths misty.

“Um, it’s like this, I guess…?”

Kuroba had no choice but to drop his hips on the spot and did the posture for an underhand pass, and the two cackled and applauded.

“Wow, looking pretty good, aren’t you? I know, it’s that thing, Attack No.1, right?”

“That old manga? It’s that ‘I won’t cry, I’m just a girl’ thing, right?” (2)

“The heroine spoke in dialect. Gyahahaha!” (3)

“Haha…”

When Kuroba forced a smile while feeling his face turning hot, his bag was suddenly pulled on. The strap was biting into the pit of his stomach. “Gueh,” he groaned as he turned around.

“Haijima?”

“You’re just getting looked down on. We’re not playing around. Don’t keep them company.”

Like he was pulling on the leash of a not particularly disciplined dog, Haijima primly started walking while gripping the strap. “Okay, okay, don’t pull me. It’s dan…” Right when he twisted his body around and rushed to follow him,

“You’re hanging out with us, right, Yuni?”

Yorimichi called out to his back.

Haijima turned around, not even trying to hide his annoyance. Kuroba also followed his gaze while feeling lost. Turning away and smoking his cigarette, Yorimichi snorted sarcastically.

“Don’t tell me you’re getting’ influenced by Fighting Spirit Chika-chan, are ya? You’re the one who’s gonna be embarrassed later.”

“Hey…oh, hey Yori-chan, are you mad at me? Sorry for not hanging out with you lately. We’ll do stuff together during spring break.”

“Kuroba, we’re practicing during spring break too.”

Haijima’s dissatisfied sounding voice pierced the back of his ear. “We can’t practice everyday, right?” When he turned around with a half-smile, his face seemed to say, As a matter of fact, of course we are. “If we’re going to the summer tournament, we’ll still never make it in time even with that.” “Are you serious…” He was of course ready to have fun and relax during spring break, so when he was told to be prepared to completely spend that time on club activities… I underestimated this guy’s volleyball obsession.

“Yuuuuni. You understand, right? It’s no good for you. It’d be less embarrassing if you stop playing around. I ain’t patient either, so I can’t wait too long for you.”

“Hey, even Yori-chan’s being mean? You’re not serious, right?”

He looked at Yorimichi again with a twitching smile. “Oh, you’re pretty popular, Bon. If you pick one, you have to cut off the other. This is a real mess.” The two university students irresponsibly jeered and aggravated the situation.

“You, you get it, right? I have the same blood in my veins as you, so we get fired up and cooled off easily. I’ll probably get bored halfway, right?”

He ended up prioritizing putting Yorimichi in a good mood with a joking tone. A cold sweat ran down the nape of his neck as he felt Haijima’s burning gaze scorching it.

He knew that he was playing it safe. He was still afraid now that Yorimichi would throw him away. He wanted to secure the warm place he could always return to if things got tough. Don’t put me together with you, he grumbled in his mind. Haijima, who didn’t have an ounce of doubt about himself doing volleyball, probably wouldn’t understand, but for us until just now, guys who went hardcore for club activities were just something to be watched from a distance and gawked at.

Yorimichi bared his teeth and grinned.

“Haha, that’s right. You’re the same as me.”

Relieved, Kuroba also slackened his cheeks.

And, the heat wave of Haijima’s gaze that was burning the back of his neck also abruptly disappeared. The strap was released to send him flying.

“Then quit now.”

Haijima said it bluntly in a cold voice, a complete reversal from the heat of earlier.

“Hey, no need to go that far…”

“I don’t want to the tournament to get messed up.”

“Messed up…”

He immediately guessed that he was talking about scandals that would result in a suspension. Kuroba himself didn’t smoke or drink, but he overlooked Yorimichi doing it. It wasn’t illegal to ride double on a bike, but having only one helmet was probably not allowed. It wasn’t a good look to sneak into karaoke bars either. He didn’t really care about it until now, but it was somewhat understandable that school sports were sensitive to those kinds of issues.

Haijima’s concern was reasonable, and perhaps this was where he should be sorry. But on the contrary, antagonism reared its head. So, from the beginning, he wasn’t worried about whether or not Kuroba would continue to do volleyball or not, but about that?

“You showed your true colors, eh!”

Yorimichi’s loud voice suddenly rang out. Haijima glared suspiciously at him and Kuroba was also confused. Peeling his lips back in a vicious grin that made him draw back a little, Yorimichi continued to speak in a theatrical way.

“The infamous ‘Genius Setter’ of Meisei Middle School only thinks about satisfying his own desires, right?”

“Yori-chan? What are you talking about?”

“You were the one who wanted to know, Yuni. You asked why he came back here. That’s why I investigated.”

Haijima’s sharp gaze immediately moved to Kuroba. He did voice his doubts, but he thought the conversation ended there, so to think that Yorimichi would investigate it…

“Oops, you’re barking up the wrong tree if you’re blaming Yuni. It’s that ‘you reap what you sow’ kind of thing, right?”

Yorimichi came down from his bike and stepped on his cigarette to put it out. He thrust his hands into the pockets of his down jacket and approached him with bowlegs and swinging shoulders, looking particularly vulgar. “Move, Yuni,” he said, pushing Kuroba aside and standing before Haijima.

“I could have easily gotten the name of your school from your grandpa through mine. Well, I used Itoko though, since I’ve been given up on by Gramps. So when I quickly searched the net…oh look, there’s slander of the ‘Genius Setter’ who reigned over Meisei Middle until last year. The net sure is terrifyin’. Everything’s on there. Well, I guess it means you’re not liked very much.”

The more Yorimichi talked, the stiffer Haijima’s expression became. The color disappeared from Haijima’s face that seemed to embody the world’s arrogance and fearlessness, and his gaze dropped downwards. The shadow of Yorimichi, who was a size bigger in height and width, hung over the head of Haijima, who was looking down and biting his lower lip. “Oi oi, look at the poor guy, Yorimichi. Don’t bully middle schoolers. You’ll make him cry.” The two university students saying insincere things were completely taking the role of spectators.

“Yuni.”

“Huh? Y-yeah.”

Kuroba reflexively responded, unable to catch up with the conversation very well. Yorimichi’s face changed from that of someone tormenting a dying animal, and when he turned around, he was no longer smiling. It was an extremely serious expression.

“I don’t have anything against Chika, but I don’t really care. I think it’s petty to talk about other people behind their backs online. It’s all for you. Don’t get too absorbed in it. After all there was apparently someone who attempted suicide because of this guy——”

An instant later, Haijima barked something that couldn’t be expressed in words and grabbed Yorimichi. “Oh?” Although Yorimichi staggered a little, their physiques and amount of fight experiences were different. He grabbed Haijima’s face and thrust it aside, just like he was grabbing a ball—a dodgeball instead of a volleyball—with one hand and throwing it violently. Haijima was lightly blown off two or three meters away, the side of his face crashing into the muddy snow-covered road.

Because it was the first time he heard Haijima’s enraged voice, Kuroba was temporarily distracted by that. He hurriedly broke into Yorimichi’s path.

“Yo-Yori-chan, stop! Violence is no good!”

“He was the one who charged at me. Ah, it’d be no good for a sports boy to be violent, right? Didn’t you say that yourself? I’m being kind by ending it with just knocking him down.”

Yorimichi threw mocking jeers at Haijima over Kuroba’s shoulder. Kuroba turned around and ran up to Haijima, who was crouching and holding his hand to his face. “Oi, you’re alive…” he knelt down and was about to touch his shoulder, but what Yorimichi said flashed across his mind and he stopped his hand.

…Attempted suicide…?

“Let’s go back. My ass is frozen.”

Urging the two university students, Yorimichi returned to his bike.

“Yuni, get over here.”

Summoned, Kuroba looked up at the chin of Yorimichi, who was sitting astride his bike, but hesitated and returned his gaze to Haijima. His earlobe, which was poking out from the gaps between his hair, were terrifyingly white. No way, is he actually dead? He thought, but he saw a fist clenching the snow underneath his face pressed against the ground. Mud soaked into his white taping and stained it brown.

He couldn’t leave him here and go home.

“Even if you say go home, you won’t let me ride double anyways. I’ll send him home, okay?”

“Well, whatever.”

Yorimichi backed down easily with just a shrug of his shoulders. The sneering had already disappeared and he returned to his normal self.

“Don’t forget. Wash your hands of him as soon as possible. From his reaction, it doesn’t seem like those are groundless rumors. Be careful on your way home. I’m talking about the snowy roads and your teammate next to you.”

Perhaps Yorimichi also felt that he went a bit too far. He awkwardly turned his face away, made his engine roar its usual crude and vulgar sounds, and departed on the Komashi-gou.

***

“Mei from zayuu no mei and makoto, Meisei. (4) It’s called Meisei Private Academy Middle School. It’s a middle and high school in one, and their sports clubs are pretty strong. Apparently the distribution map of famous private schools is common knowledge among Kanto kids. You can’t really experience it here, can you? There aren’t enough schools to choose from. Hey, everyone’s gonna hang out in the city after the end-of term ceremony, so do you wanna come with us? I wonder if Haijima would come if we invited him. You guys have been getting along well lately.”

“Um, oh, yeah. If that’s all I can ask then I’m good for now. Thanks.”

He hung up first because it seemed like the conversation would never end if he left it alone.

Itoko said “Everyone”, so the group probably included girls. To tell the truth, he was really jealous of this merry spring break-like event. Normally he wouldn’t be able to refuse. But, it was only today that he couldn’t get into the mood at all. He was willing to bet that Haijima would never come either.

He put the phone handset next to the desk and turned towards the computer again. Since he had an agreement to not own a cell phone until high school, the only place he could access the Internet at home was the laptop in his dad’s study. When he tried to convert Meisei-chuu (5), he realized he didn’t know the kanji for it, and since Yorimichi said he learned it by way of Itoko, he called to ask her directly. Based on the current feeling, Yorimichi had really only gotten the school name, and it seemed he didn’t tell Itoko more than that. He felt relieved about that.

A school with a strong athletic department. If this school was that famous, then it might not be strange for there to be a rumor or two to float around the Internet. After all, there was even a message board titled “[Monshiro Town] Old Man Kuroba [Yokai]”—Yorimichi thought it was hilarious and told him about it, but Kuroba never searched for it because he was scared of learning the contents.

“Tokyo meisei academy middle school boys volleyball club attempted suicide”

He entered the search words, and just when he was about to click the search button, his finger stopped. He couldn’t easily press the key. Of course he was unbearably curious. But, he was afraid to find out the contents for that more than Grandpa’s message board.

“Yuni? Where are you?”

His mother’s voice came from somewhere on the other side of the sliding screen door. He twisted himself around on the tatami chair and raised his voice.

“In here! The study!”

“Why are you there? Aren’t you going to take a bath?”

“Okay!”

After thinking about it a little bit, he ended up pressing the backspace key to delete everything he typed in. Once he did so, he completely gave up, closed the computer and stood up.

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#2.43: Seiin Koukou Danshi Volley-bu #2.43 book 1 #2.43 translation

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panharmonium · 4 years ago

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you can be my ride or die: a staggeringly long essay about a deceptively short appearance

(aka, pan’s personal depository of notes about prince william of ealdor.)

now that my fic is long since done and posted, i can finally transfer this monster piece of meta out of my google docs and onto my blog, where it can serve as an unasked-for, absurdly detailed, beginning-to-end analysis of my obscure fave.

(whose line ‘yeah, and i’m prince william, of ealdor’ is still the funniest damn shit i’ve ever heard and also the most shocking burn arthur has ever received; i hope he thinks of it sometimes and remembers that humility is a virtue)

(the BRISTLING DISRESPECT! the ZERO FUCKS GIVEN! i love him! please can someone else talk to arthur like this! he needs it!)

disclaimer before we begin: i wrote this over a year ago, as a character check for myself during the very early stages of working on my fic. i kept messily adding bits to it over the course of a couple weeks as i explored what i knew about this character and who i understood him to be, but at the time, i didn’t intend on posting it; it was just prep work for my own story-making. it’s still essentially just a record of my train of thought as i pieced this character together - i’ve cleaned it up a bit now and added some recent links to make it more coherent, but it was never meant to be a posted essay, just a collection of notes for myself.

be forewarned, it is more comprehensive than the things i’ve written about this character since, and it goes on for years. if you are not interested in many, many pages of super heavy in-depth musings about a character who appeared in one episode, now is the time to scroll on by. i promise i won’t mind in the slightest; i wrote this for my own purposes and don’t really expect people to read it - i’m posting it just to have it archived with the rest of my merlin stuff.

if you are interested in that sort of thing, however - hit the jump, and off we go!

i really love the episode where we meet will, though i’ve started to love it for new reasons since the first time i watched it.

the first time i watched season 1, 'the moment of truth’ was my favorite S1 episode overall, because it was the first time the Fab Four went off on an adventure together, and that was very exciting; and i also loved it because all the character stuff in that episode was so good; and i also loved it because look, all of us are suckers for that classic seven samurai plot, you know - i loved it in TCW, i loved it in the mandalorian, i loved it in merlin. not gonna get bored of ‘simple farmers defend their homes with pitchforks’ anytime soon. it is overall just a solid, self-contained plot with clear emotional arcs, and it sticks its landing well. it’s a simple, strong story.

nowadays, though, i also love it because of will.

i. will whomst?

prince william of ealdor, that’s who!

will straddles a kind of weird place in canon, because he feels like a minor character to the audience but is very much not a minor character for merlin, who has known will much longer than the brief hour we get to spend with him and who has spent his entire life with will as his sole friend.

but, because will only appears once - let’s start with a round-up. what do we actually know about him?

he’s a peasant farmer from ealdor, like merlin

his father was killed fighting for king cenred (as a foot soldier - these people are not wealthy enough or high-status enough to afford or be accepted into the knighthood)

his mother is either dead or absent

he’s painfully class conscious and doesn’t trust the nobility

he’s a “troublemaker” (the interpretation of which is...well, it’s left to the viewer’s discretion. fandom seems to jump to ‘fun mischief and pranks,’ though i personally don’t get that vibe from this episode. “troublemaker” in will’s case seems to mean more “doesn’t know how to keep his head down/can’t go along to get along to save his life.” it means when he sees something that he thinks is Wrong, he absolutely will not shut up about it even when all his neighbors are sick of him and want him to just let it go. it means he can’t stop rocking the boat even when rocking the boat makes everybody want to strangle him.)

he supplements his agricultural pursuits with carpentry. you can see in his house big piles of hewn timber along one wall, as well as a grindstone and a shaving horse, and when he comes out of his house on two separate occasions he’s holding woodworking tools (mallet, chisel, etc)

he knows about merlin’s magic - for how long this has been the case, we’re not told. it doesn’t feel like a new thing to me, but ultimately that’s guesswork.

he appears to have just one friend

that one friend is merlin

will loves merlin enough to die lying for him

merlin left will behind.

ii. it wasn’t what i wanted

so let’s talk about that.

merlin is asked “why did you leave?” twice in this episode, first by arthur and then by will. he gives completely contradictory answers to the two of them, and it’s worth remembering, before examining both responses, that one answer is inherently more honest than the other, because merlin is only able to tell the whole truth to one of these people.

so when merlin talks to arthur, it goes like this:

“why did you leave?”

“things just...changed.”

“how?”

*silence*

“come on, stop pretending to be interesting and tell me.”

“i just didn’t fit in anymore. i wanted to find somewhere I did.”

arthur has to drag this answer out of merlin, and it’s not because merlin doesn’t feel like sharing (i mean, come on, we know merlin; merlin wants to be in everybody’s business and he feeds off human connection like a starving man; he’d be thrilled that arthur was interested in his life) - the problem isn’t that he’s shy; it’s that he’s not exactly telling the truth and he’s trying to figure out how to do it in the least deceptive way possible.

i just didn’t fit in anymore. i wanted to find somewhere i did.

that’s nice.

it’s also a lie.

it’s not a total lie, of course - there’s an element of it that becomes true, after merlin gets to camelot and realizes that working for arthur is “not totally horrible all the time” - that he sort of likes the excitement, and the newness, and being somewhere where nobody knows him and nobody will judge him - but that’s the reason he stays in camelot, not the reason he leaves ealdor.

by contrast, when will asks the question, merlin gives a completely different answer:

“why did you leave?”

“it wasn’t what I wanted. mother was worried. when she found out you knew - she was so angry.”

it wasn’t what I wanted.

can we digest that for a moment?

merlin didn’t want to leave home.

not that he isn’t enjoying himself in camelot now, of course - which he conveniently doesn’t mention in this conversation, because will is upset with him and merlin feels guilty that he’s been off enjoying his new life while will has been struggling at home alone - but at the point of departure, merlin didn’t want to go.

his answer to arthur about finding a place where he belonged is certain-point-of-view bunk. he didn’t just up and decide that he wanted to run off and find a place where he fit in better. he didn’t leave because he wanted to escape a place he didn’t belong. he didn’t set off in search of adventure and a new life. it’s true that he didn’t feel like he fit in in ealdor, but that’s not what sent him packing. he left because his mother found out that will knew about his magic, and she panicked and sent him away.

iii. why did you leave

most fannish things i’ve encountered tend to interpret merlin’s departure in a much more generous light than i do, with merlin explaining to will that he’s leaving and will being unhappy about it but eventually understanding and kind of like...giving his blessing before merlin goes. this is fine, of course, but it did surprise me, when i started dipping my toes into fandom, because i never interpreted events in this episode like that, and i don’t think it’s even a plausible read, not from the conversations we’re actually given. the antipathy that accompanies merlin’s return doesn’t make sense under those circumstances, and moreover, from the way things actually unfold in this episode, we’re told, in order, the following three things:

1) the fact that will asks “why did you leave” tells us that he and merlin did not discuss it prior to the point of departure. there’s no other reason for will to ask this question. everything about will’s tone and body language in this scene indicates that he’s been stewing over this for a long time, that he doesn’t understand, that this is something profoundly difficult for him to address. and while it might be nicer to think that merlin sat down and discussed things with will before leaving for camelot, that’s not the inference we’re being asked to make here.

2) there is absolutely no way they wouldn’t have discussed it, if will had known that merlin was going to leave. like - if your only friend in the world told you they were moving to another country tomorrow, there’s no way “why?” wouldn’t be the first question you asked. there’s no way you wouldn’t have that discussion, at the most basic level, before separating. it just wouldn’t happen.

3) so, given that information, the unfortunate, inescapable conclusion is this: will didn’t know merlin was going to leave. merlin left without telling him.

everyone is free to continue to headcanon this in their own ways, of course. but this is what we’re actually being told.

iv. we don’t want your kind round here

the fact that merlin vanishes without so much as a word to his best friend goes a long way towards explaining why merlin is so uncomfortable when he first sees will in the street.

when they first encounter each other, merlin looks so apprehensive and wary, and the writers are playing it like ‘uh-oh, someone saw him use magic and now he’s nervous about it!!!’ but two seconds later, you realize that this can’t possibly be what’s causing merlin’s concern, because it’s made immediately clear that will already knows about merlin’s magic and isn’t going to say anything about it.

merlin isn’t afraid of being outed, in this scene. but he might, however, be afraid of the reception he’s going to get, given what we just discussed.

merlin just up and disappeared from home, and not so much as a letter since - we know will’s had a secondhand update, probably from hunith (“how’ve you been?! i hear you’re skivvying for some prince”) but he very clearly hasn’t had any direct contact with merlin since before merlin left.

merlin knows this was a big fuck-up. he feels guilty.

(and to be clear - i think there is a lot to be said about just how merlin’s departure unfolded, and what stopped him from getting in touch. it’s a complicated enough topic for its own piece, and it’s not quite within the scope of this essay, but suffice it to say for now that i don’t believe it stemmed from deliberate thoughtlessness or callousness on merlin’s part; it’s...deeper and more complicated than that. honestly, i think merlin looks back on this as like...the first major mistake he ever made in his life, his...original sin, sort of. and i don’t think he’s ever forgiven himself for it, either, but again, that’s a story for another day.) the point here is that merlin didn’t necessarily want to cause harm, but he knew that’s what he was doing regardless - he knew that leaving without a word was the wrong thing to do. and in this moment he feels rightfully guilty about all of it, and he’s afraid that his friend won’t welcome him home.

merlin’s moment of uncertainty is real, when will pretends to greet him with hostility. merlin is afraid that will is angry with him for leaving him behind.

(and let’s not kid ourselves, will definitely is)

it’s a festering thing that keeps boiling to the surface as we progress through the episode. it shows in the way will finally asks why did you leave, avoiding merlin’s eyes, the question laden with vulnerability. it’s in the exchange “are you going to abandon them?”/“what, like you did?” there’s real pain there, and confusion, lots of hurt feelings.

but.

despite all of that, will doesn’t freeze merlin out, when merlin comes riding back into town. merlin is rightfully afraid that will might not want to see him, afraid that “we don’t want your kind round here” might be less of a joke than it ought to be. and while all of the troubles that merlin is worried about are absolutely real and poised to cause friction later, the truth is that at that exact moment, when merlin comes walking up the road - none of it matters. will has been nursing a collection of hurt feelings for months now, yeah, but in the immediate moment, when it comes down to it - he puts them aside.

they both do. nerves, guilty thoughts, bruised feelings - they temporarily abandon all of that in favor of a momentary joy. you can see how excited they are when they reunite. how they start smiling at the same time. how they laugh their way into that hug. they’re so happy to see each other.

people get pretty worked up about ***That Time Arthur Finally Hugged Merlin!!!***, but i don’t know. i think it matters to remember that merlin had people who knew how to hold him long before arthur was even a flicker of a shadow in merlin’s mind.

v. why are you being like this

so they reunite!

and then they fight. D:

but what really matters is how they fight, because even when they’re having an argument, they never let things escalate quite to the level of interpersonal nastiness, certainly never to the level of cruelty for cruelty’s sake - just a few hard truths and a pile of hurt feelings:

“i trust arthur with my life.”

“is that so? so he knows your secret, then?”

...

“face it, merlin, you’re living a lie, just like you were here. you’re arthur’s servant, nothing more. otherwise you’d tell him the truth.”

the delivery in this scene is essential for understanding how these two interact with each other. it’s so telling. merlin and will are having an argument, and will is angry about everything we’ve already discussed, and on top of that, some prince is trying to round up a bunch of will’s neighbors for a fight that’s going to get a lot of people killed, and will sounds so sharp when he’s talking, up to and including the challenging “is that so?”

but then when he sees that he’s touched a nerve there and merlin knows he’s right, his voice drops those edges and goes gentler, regretful, like - he and merlin aren’t all hunky-dory right now, but he’s not out to rub merlin’s face in it, either. he’s not trying to “get back” at merlin for leaving him. he’s not like...happy that merlin’s situation is shitty.

vi. if i broke it (would you quit?)

we mostly only see these two in a tense season. they’re arguing with each other for almost the entire episode, and yet even in this at-odds state, there are little things that remind us of what they’re usually like - that they don’t want to be arguing, that this isn’t a natural at-rest state for them, that this isn’t what they’re used to. they butt heads, but they keep swinging around back to each other, and trying again, and trying again, and trying again. they never write each other off. they keep trying to make it work.

examples: merlin asking “why are you being like this?,” the implication being that will isn’t usually like this, that this isn’t how they usually act around each other. the two of them together in the background of arthur’s pitiful training session, coming right off the tail-end of another argument and busying themselves with their own work, but still reflexively hanging in each other’s orbit. merlin, even in the middle of a strained conversation, helping clean up the mess that the bandits made of will’s house, without asking or being asked, like it’s just the automatic, reflexive, natural thing to do. merlin using will’s proper name when discussing him with other people, but always the diminutive when they’re talking to each other. merlin following will every time will walks away; will doing the same when merlin’s the one who’s leaving. that moment up in the hedgerow, with will’s embittered “you know why,” which sets them to arguing again, except instead of it pushing them apart, it pulls them closer together - will climbs right up into the hedge where merlin is standing so they can sit next to each other and talk.

like. he’s angry! but the instinct isn’t to storm away, it’s to get closer.

i love that so much. i love how they’re starting to have another argument and merlin stands there and says “why are you being like this,” to which will, already upset, responds “you know why,” BUT -

but

will stalks up into that hedge and plops himself down right next to merlin, and merlin, without a moment’s hesitation, sits down beside him.

i love that. they’re angry with each other, but their first instinct is still to close the distance.

i wonder, sometimes, how much of that is a function of them only having each other. when you’re on the outs with someone, usually you can lean on your other friends, but what can they do? it’s different when the person you usually seek out for comfort is the same person who’s pissing you off. you don’t have anyone else to run to, so you can’t ever really storm off. you have to learn how to hash things out. you have to learn how to make it work. you have to learn not to give up on each other.

vii. she was so angry

the implied backstory for how merlin actually ended up in camelot is so painfully fascinating and, quite frankly, wrenching to think about, given how this episode eventually ends.

when will asks merlin why he left, merlin tells him, “it wasn’t what i wanted. my mother was worried. when she found out you knew - she was so angry.” this is telling us that merlin’s departure for camelot was directly preceded by his mother discovering that will knew about merlin’s magic. that is what ultimately prompted her to send merlin off to camelot. of course there would have been other contributing factors - it’s evident that merlin’s situation in ealdor has always been precarious - but her immediate reason for sending him away was the fact that she found out that will knew about merlin’s magic, and she was angry and afraid to learn that merlin had been lying to her about something that put him at risk.

“i wouldn’t have told anyone.”

“i know you wouldn’t.”

but merlin’s mother didn’t believe that, or she wouldn’t listen to him when he tried to tell her, and she shipped him off to camelot anyway, despite the fact that camelot is arguably more dangerous for merlin than ealdor ever was.

the web of how this played out is such a tangled mess. is it my fault, thinks will, before the episode even starts, desperately trying to figure out why merlin would abandon him like that. it’s my fault, thinks merlin, at the end, knowing that if he had used his magic sooner, or come back alone, events would have unfolded differently. it’s my fault, thinks hunith, realizing that the particular fear upon which she based merlin’s entire departure was utterly unfounded.

merlin doesn’t blame her for it, even though he has reason enough to be angry about it, by the end of this episode. he understands that she was just trying to protect him. but the truth of the matter is that she did make a mistake. she was afraid for him, and she saw danger everywhere, and so she made a misjudgment.

it’s the miniest of mini-arcs, but it’s there. at the end of this episode, right after will drops the Big Damn Lie, merlin looks desperately around for the only other person in the room who understands, and the camera rests on hunith’s face for one lingering moment, as she realizes what’s happening. when she’s exiting the house, there’s a shot where she pauses for a minute on her way out the door, staring back at her son's dying friend, who just offered himself up as a willing sacrifice to keep merlin’s secret safe.

she and merlin are the only people in the room who understand the real import of that moment, the real meaning of that gesture. they’re the only ones who know what’s happening, what it really means for will to say “i did it.”

hunith knows she misjudged that kid big-time.

viii. you can be my ride or die

so. will.

why am i even interested in him? what is it about this character that makes me want to write about him?

number one: i love him because he’s the only person we ever meet who cares exclusively about merlin.

everyone else merlin has met up until this point is either a) as beholden to camelot and arthur as merlin is himself, or b) aware of merlin’s “destiny,” which isn’t necessarily a bad thing but does change the way people talk to him and treat him.

it’s not that merlin doesn’t have people who care about him, but those relationships are not the same as the one he has with will. merlin is obviously #1 in his mom’s life, of course - but, importantly, even hunith’s immediate reaction to merlin’s uncertainty at the end of 1.10 is to tell him that he has to go back to camelot, that arthur needs him, that he’s “the other side of a coin.” this despite the fact that hunith has known arthur for all of five minutes and that merlin, in the moment where she talks to him, is in a lot of pain, and maybe it isn’t the most appropriate moment say, ‘hey, you absolutely must devote yourself to that guy i literally just watched lecture you about the evils of magic while attending your (supposedly magical) dead best friend’s funeral.’

and when it comes to merlin’s camelot network, well - he’s #1 in gaius’s life, too, but gaius also is deeply concerned with the greater good, with the future emergence of albion, with what merlin is meant to become and do. morgana and arthur - well, they don’t know merlin, first of all (really know him, all of him, the important bits) - they definitely like him well enough, and care about him in their way, but ultimately they’re royalty or pseudo-royalty and they have priorities that go beyond merlin, who, at the end of the day, is still a servant. gwen comes the closest to being on merlin’s level, but she doesn’t know him-know him either, and as time goes on she gets more involved with the Crown, with arthur, and with the responsibilities all of that brings. even merlin’s later friends all go on to have other missions - they absolutely all love him, but they all become knights, and they are as concerned about the well-being of the realm and the king as merlin is. even merlin HIMSELF puts arthur’s life ahead of his own - he defines his worth by how well he can protect his prince.

but will is the only person we ever meet who just cares about merlin - merlin the regular person, not the servant he pretends to be, or the legend he’s supposed to become. not the fake, non-magical merlin facade (which is what almost everyone else needs merlin to be before they can condescend to be his friend) and not some destiny-laden figure out of prophecy, either. will doesn’t know anything about destiny or prophecies. he’s never needed to know about any of that stuff to care. he’s always liked merlin. just merlin. just as he is.

that matters. all merlin ever does in this show is deny himself or be denied of the things every regular human being needs to thrive - love, acceptance, truth, safety. he constantly puts or is forced to put other priorities ahead of his own interests, to a point where now, by season five, he’s spent years defending a regime that oppresses him, protecting kings who would execute him.

will, in a display of true-to-character contrariness, upsets that entire narrative, because he does not care one whit about any of the things for which merlin is supposed to sacrifice his life. will gives less than zero (count them: negative zero) fucks about arthur pendragon, and he doesn’t care about camelot, and he wouldn’t know what “albion” meant if he heard the word. and it is refreshing - a blessed, beautiful, heartbreaking relief - to see one person in the world who only cares about merlin, for whom arthur pendragon, in comparison with merlin, isn’t the slightest bit important. arthur isn’t even on the map. he’s a non-entity. he doesn’t exist.

it’s a complete inversion of the way things are supposed to go, in this story. you know how it goes - arthur is the once and future king, and merlin’s job is to usher in his reign. "maybe that is its purpose,” gaius says, about merlin’s magic being meant to protect arthur, about merlin being born this way for that particular reason. it’s merlin’s job to save arthur’s life. it’s merlin’s job to teach arthur to be a better person, at his own expense. it’s all for arthur. i give my life for arthur’s. his life is worth a hundred of mine. what is the life of a servant compared with that of a prince?

will delivers the biggest fuck-you to that entire framework, because he doesn’t assess merlin’s worth based on what merlin can do for some random prince on the other side of the border. merlin’s magic wasn’t purposed for anything, as far as will is concerned. it doesn’t need to justify itself. it just is. it’s just who merlin is.

and who merlin is has always been just fine.

ix. am i the only one wondering who the hell this is

for will, it’s people like arthur who need to justify themselves. arthur with all of his power, arthur riding into little villages with his sword drawn, arthur and his bossing around and his “now, merlin!” conversation-interrupting. will makes no allowances for wealth and couldn’t be less interested in royalty - his frame of reference isn’t you’re the once and future king and merlin exists to prop you up; it’s who the hell are you? what gives you the right to be here? what did you do to earn what you have?

will, like gwaine after him, is acutely aware of the injustice of the reigning social system, and he’s not afraid to throw it in arthur’s face. he knows that people like himself and merlin and all of their neighbors are unjustly disadvantaged from birth until death, and he knows they’re disadvantaged solely because the people at the top of the social chain are greedy lords who sow no seed but reap all the grain, who do no work but enjoy the greatest rewards, who steal from the people with impunity and call it divine entitlement. will knows that he and merlin and all of their neighbors are considered no better than plow-beasts or war-fodder, and he knows that there is absolutely nothing they can do to stop the nobility from either taxing them into starvation or sending them off to die in a ditch - which makes him impossibly angry, and, unlike everybody else in his village, he’s not shy about saying so.

will is, at this point, literally the first non-villain to look at arthur and not immediately see some messianic pinnacle of human greatness - which is refreshing, to be honest, and fair enough besides! he’s evaluating arthur from merlin’s side of things, after all, which nobody - including merlin - ever does, and while i love arthur as much as anybody - for the people’s hero that he could be, and for what he is, sometimes, if not frequently enough - the truth is that he’s not good for all of his people, not yet, and he’s not good for merlin, not the way things stand right now.

will knows that. he looks at arthur and sees a guy with a lot of power, who also happens to rule over the the least magic-friendly place in the five kingdoms, to whom merlin needs to lie in order to avoid the executioner’s block, and he sees merlin deluding himself into thinking that this supremely unequal, extremely unsafe situation counts as friendship.

now, is will’s assessment of the situation a snap judgment based on personal encounters with an unjust social system and very limited knowledge of arthur as a person? yes, definitely. are there nuances to merlin and arthur’s relationship that he’s missing? absolutely.

is he wrong?

not really. and merlin knows it.

x. friends don’t lord it over one another!

i think about that line every damn episode.

over and over again, it comes back to me. i hear it every time arthur gets On His Shit and invokes power he pretends not to have, every time i see more evidence of how this supposed “friendship” between him and merlin is inherently imbalanced. it’s my favorite thing will says in all of 1.10, because it is so true and yet, most of the time, so unacknowledged as a dynamic.

we’re meant to love arthur and merlin together, and we do - i do; i do; when i see those moments that approach true mutual respect and care between them i am as swept up by the potential beauty of this friendship as anyone - but i still think about this line all the time. it’s not right, the power dynamic between the two of them. it’s not just about servants vs. royalty, though of course that’s a structural part of how it plays out. it’s about the fact that, in a real friendship, one person can’t just whip out “you ever say anything like that again, and i swear you’ll join her in exile forever” to shut down a conversation and cow you into silence. one person can’t just throw you in jail to spend a night “cooling off,” and they definitely can’t arrest you whenever someone levels a random accusation at you. in a real friendship, it’s not one person who has all the power.

but when it comes to arthur and merlin, that’s exactly what happens. arthur gets to decide when he and merlin are and aren’t friends. arthur gets to call merlin in or send him away. arthur gets to make all the decisions about when to listen, when to ignore, when to trust, when to believe. merlin can nudge, encourage, suggest, even defy, but ultimately, when you get right down to it, arthur is the king, and merlin is his servant, a dynamic which is compounded by the deadly particulars of merlin’s situation. the relationship isn’t unequal solely because of a difference in social class, it’s unequal because arthur literally has the power of life and death over merlin. arthur could (and would, as far as merlin knows) have merlin executed any day of the week, if he found out who merlin really was.

that’s why when merlin tries to tell will that arthur is his friend, will snaps, “friends don’t lord it over one another!” it’s not that you can’t care about someone who has more power than you, and it’s not that you can’t have some kind of relationship with them, but it is not real friendship if you think your “friend” will kill you when they find out who you really are. it is not a real friendship if you have to pretend to be someone you’re not in order to preserve the relationship. real friends don’t leverage impossible amounts of power to shut you up when you say something they don’t want to hear. real friends don’t say things like “you’ll be a friend for life if you do [x thing]” to convince you to lie to their dad while they go out with a girl and thus get you clapped in the stocks three times in a row, and then turn around and show their appreciation by letting people raid and ransack your house multiple times, throwing you in jail at least twice, accusing (and once nearly executing!) your loyal long-serving mentor more than once - among innumerable other issues. real friends aren’t “you’re my friend when i need you to be, but not when it’s inconvenient.” they don’t have the kind of power to turn things on and off whenever they want.

i love that will is the only person who ever acknowledges this, across five seasons of this show. i love that he spits it out immediately, without hesitation, the minute merlin tries to makes things sound better than they are. i love that he says it unapologetically, to merlin’s face, because he says it for merlin’s sake, after all - the point of saying ‘friends don’t lord it over one another’ is to say ‘that guy doesn’t appreciate you the way you appreciate him/this isn’t reciprocal and he’s taking advantage of you/this isn’t the friendship you want it to be and i don’t like seeing you settle for this.’ will is that friend who watches you interact with someone and then later gets in your business like ‘EXCUSE ME! I DO NOT LIKE HOW HE TALKS TO YOU! I DON’T LIKE HOW HE TREATS YOU!'

will knows that merlin deserves better than arthur pendragon, even when merlin himself won’t concede that point. merlin won’t advocate for himself, so will tries to do it for him. merlin can try to convince himself that arthur is a real friend all he wants, but will knows what’s up. he knows. he knows where this is going, if merlin’s relationship with arthur is allowed to continue on exactly as-is. will knows, from the very beginning, that this is a recipe for disaster.

[addendum 2020: speaking from a post season-5 perspective...will understood where merlin and arthur were headed long before even we the audience did.]

xi. friends don’t lord it over one another [reprise]

you know what real friends do do for each other, though?

a) listen - even when they don’t like what the other person is saying

b) care - even when they’re angry

that’s it. that’s what matters.

we don’t need more than an hour of watching will and merlin onscreen together to see that this is how they interact with each other. they’re arguing for most of this episode, and they’re both right, in different ways, but by the time they’ve had it out with one another, they both understand where their own arguments were wrong, too. they listen to each other despite the fact that they’re angry, and despite the fact that they both have very strong feelings about their respective positions. they care enough about each other to look past their personal injuries and accept where the other person is coming from.

merlin starts off this episode absolutely dead-set against using his magic to help ealdor, if there’s any chance arthur could find out about it. but later, before he and will have even officially reconciled onscreen, we can already see that he’s been listening to what will’s been saying, that he’s come around to will’s way of thinking, because he tells his mother “if it comes down to a choice between revealing who i truly am and saving lives - that’s no choice at all,” hearkening back to will’s “are you telling me you’d rather keep your magic a secret for arthur’s sake than use it to protect your friends and family?” and: “if arthur doesn’t accept me for who i am...well...then he’s not the friend i hoped he was” (you’re arthur’s servant, nothing more. otherwise you’d tell him the truth.)

merlin has been listening the whole time, even if he didn’t like what will was saying.

and the same goes for will, too. he’s (understandably!) bitter about merlin’s situation, about the way merlin left, about the new life merlin built for himself while will was suffering in a confused limbo of abandonment at home - and will also obviously thinks the Farmers’ Resistance is a total disaster, a noble-spun farce that’s going to get good people killed - but even though he doesn’t trust the camelot contingent and couldn’t give fewer shits about prince arthur pendragon specifically, he trusts merlin. he listens to merlin, even though they’ve been fighting. he comes back because merlin keeps telling him it’s the right thing to do.

they both listen, even when it seems like they’re just arguing with each other. and they both acknowledge where the other person was right, even when it means making themselves vulnerable. will comes back to help his neighbors fight a battle against hopeless odds. merlin exposes his magic to save people’s lives.

they teach each other how to do the right thing. they make each other brave.

xii. you just saved my life

let’s talk about being brave, then.

this kid jumps in front of a crossbow for a guy he doesn’t even like.

can we be clear about that? will doesn’t even LIKE arthur. he doesn’t particularly care about him. he doesn’t accept him as the noble savior of all mankind. he isn’t interested in defending the nobility, and he certainly hasn’t jumped on the camelot bandwagon. just because he’s seen that arthur wasn’t planning on sending them all to their deaths without risking his own neck doesn’t mean will is suddenly going to start flying the pendragon crest from atop his house.

but he isn’t going to step back and let a coward shoot another man in the back, either.

arthur’s still a prince, yeah. arthur’s still sitting at the tip-top of an unjust social system, benefitting from all kinds of privileges he didn’t earn. arthur’s still a crappy friend to merlin. heck, two seconds before that crossbow gets fired, arthur’s gone full-on inquisition-mode, interrogating merlin about sorcery, which, given that arthur can just go ahead and have merlin executed with a snap of his fingers, isn’t a great way to earn will’s respect or trust.

but you know what? when it comes down to it, will’s automatic, reflexive reaction upon seeing someone in immediate danger is to Get In The Way.

it doesn’t matter that will doesn’t like arthur. it doesn’t even matter that he actively dislikes arthur. will doesn’t even think about it, he just moves. instinctively. automatically. he isn’t going to let anyone standing right in front of him get murdered with their back turned, no matter how much he can’t stand them.

let’s all take a second to remember and acknowledge something in arthur’s stead, since i’m not sure arthur will do it himself - arthur pendragon would have been dead right there if it weren’t for a dirt-poor peasant farmer from cenred’s kingdom who never had anything nice to say to a prince but still stepped between a pendragon and a crossbow in the name of doing the right thing. without will, the story would have ended in season 1, episode 10. albion itself owes its future existence to a young man with no surname who will never be acknowledged or recognized for anything he did, not for teaching the future king a lesson in humility, not for saving the prince’s life, and certainly not for the greatest and most noble move he ever made, because that gesture’s success is predicated upon its remaining a secret.

this kid saves the entire World That Will Be. the show would have ended before it ever really began, if not for our man prince william of ealdor.

merlin knows that, and merlin never forgets it. but i’m not so sure about everyone else.

xiii. yeah, don’t know what i was thinking

let’s talk about defiance.

this kid is dying, and he’s still full of piss and vinegar. when arthur says, wide-eyed, “you’re a sorcerer,” will responds, “yeah. what are you going to do, kill me?”

what a power move. what a thing to say.

that’s not a question. that is a no-fucks-given, shame-and-blame challenge.

what are you going to do, kill me?

merlin uses those exact same words during his confrontation with morgana in 3.02. when he’s trapped - when he’s cornered and betrayed and angry - he reaches for the kind of defiance he once saw exercised on his own behalf, for a shameless bravery that burned itself into his brain. for the kind of strength he wants to channel himself.

when it comes to holding your ground in front of the pendragon dynasty, merlin learned from the best.

xiv. and i’m prince william, of ealdor

let’s talk about names.

william: from wil (will or determination) and helm (protection, a helm)

hence the common translation of resolute protector.

which, given the events of 1.10, seems very fitting.

xv. i did it

let’s talk about lies.

because resolute protector rings even more powerfully true when it comes to merlin than it does for arthur.

at the time of this writing, i have four more episodes to watch before i’m done with season 5. at this point, at the end of the show, merlin’s magic is still a secret. merlin’s gotten involved in a lot of dangerous situations, risking his life in other ways, but the one danger he’s never had to really confront is the executioner’s block, because none of the pendragons know his secret.

and the reason none of the pendragons know his secret is thanks to our boy prince william of ealdor, who turns his own untimely death into a last-second rescue operation by telling the Biggest Damn Lie of his life and then doubling down on it when merlin tries to tell him no.

will is the one who secures merlin’s next five years of relative safety. not from all of life’s dangers, of course; no one can do that - but when it comes to merlin’s greatest fear, the worst outcome, the prospect of being dragged out of his home in chains and murdered in front of an ogling crowd for just existing - will buys merlin’s escape from that fate with his life. merlin remains hidden and unexposed to this very day because will died protecting his secret, because will lied to the prince of magic-hunting and invited upon himself all of the risk and scorn and danger and condemnation that a false confession like that entailed.

i honestly don’t know how to express clearly enough the enormity of that moment. the momentousness of that gesture. i called it a bold and tremendous lie in some other post somewhere, and i don’t know how else to capture what it was. the thought of what it would mean, to be merlin, and to see someone throw themselves on the block for your sake, for your safety and your future and your freedom, when the rest of the world and every message you’ve ever absorbed says you don’t deserve to be safe, you don’t deserve to be free, you don’t deserve to exist.

it is impossible to overstate how much that matters. merlin carries that with him for the rest of his life.

xvi: i can’t fight you anymore (it’s you i’m fighting for)

let’s talk about love, okay?

this ep is called the moment of truth, right?

so here are some truths about will. in the time that we spend with him, we come to understand that he is the following:

a poor peasant kid with nothing to his name

a kid whose father is dead

a kid whose mother is either dead or absent

a kid who “people are used to ignoring”

a kid who’s been making his own way through this backbreaking subsistence-farmer’s life with no grown-ups to hold him or help him or listen to him when he comes home at night

a kid who isn’t trusted to protect merlin’s secret, even by merlin’s own mother, whom will has known for his entire life

a kid whose only friend in the world fucked off to the country next door without a hint of warning or any indication that it was something that should matter to either one of them, making will think he misread the only meaningful relationship he’s ever had, because if merlin can just vanish to nowhere and not even bother to send a note, then either merlin wasn’t actually his friend to begin with or merlin was his friend at one time but doesn’t want to be anymore, both of which options are soul-crushing

a closed-off, heavily-armored, hurting kid who’s been unspeakably lonely for the past few months but also angry and ashamed at himself for feeling that way, because how stupid did he have to be, to think that he mattered to someone, that someone would ever want him or love him or need him or miss him, to think that this time would be different, that this time somebody wouldn’t leave him -

and even in this state - even in the midst of all this -

at the moment of truth, he still puts himself on the chopping block. he still says, “you’ll have to go through me.”

he comes through for merlin. of course he does. the irony is bitter and beautiful - hunith sent merlin away precisely because she didn’t trust that merlin would be safe with will knowing about his magic, but in the end it’s will who gives up everything to keep merlin’s secret concealed.

not just to keep it concealed, even - to reverse merlin being outed. merlin had already been exposed. the deed was done! the magic was seen! it was all over - and then, miraculously, it wasn’t. what will did was the only way merlin could ever have slipped safely back under the cover of secrecy.

will didn’t have to do that. he didn’t have to lie about performing magic, and he didn’t have to save arthur, either. it would have been better for will to let arthur die, in fact, and it would have been better for him to let merlin get caught, too, because ‘maybe then merlin would have to stay here with me’ - but will is so much better than petty revenge. he’s so much better than anybody ever gives him credit for, merlin excepted.

the fight will has with merlin doesn’t matter to him, in the end. it was a complicated situation for both of them; will knows this. if he weren’t dying now, he and merlin would have talked it out and made up - will knows that, too. things could have gone a little smoother between them, maybe, and will still thinks going back to camelot is less than what merlin deserves, but it’s what merlin wants, and the mark of truly loving someone is when you want the best for them, even if it means you don’t get what you want for yourself. so ultimately, when it comes down to it, the truth for will is this: he wants merlin to have a good life. he wants merlin to be safe. he wants merlin to be happy. he wants merlin to be with him, too, but if he can’t have that, it’s no reason to withhold any of the other gifts he can bestow. if one of those gifts is freedom, if one of those gifts is safety - it’s no choice at all.

merlin is will’s one good thing. merlin deserves everything will can give him, as far as will is concerned.

xvii. the only place worth being

this place has been boring without you.

what a thing to tell someone.

what a powerful thing to say to someone whose entire life up to this point has been a litany of ‘there’s something wrong with you,’ ‘you don’t belong here,’ ‘you’re cursed/broken/wrong/unnatural.’ what a dauntlessly loving thing to tell someone whose entire life has been the message ‘people like you deserve to die,’ over and over and over again.

what a singularly beautiful thing it is, for someone like merlin to hear ‘you are what makes this place worth living in.’

xviii: the only one worth seeing

likewise it’s good to see you again.

because it’s not just “it’s good to see you again;” it’s an acknowledgement that merlin is the last person will is ever going to see.

and will is like, okay.

he’d rather be alive, yeah, but if he had choose - it’s good that it’s you.

xix: the only bed worth sleeping in (is the one right next to you)

the most devastating moment in this sequence, for me, is at the very end, when will confesses fear.

it doesn’t happen until everything else has been taken care of. arthur’s been fooled, merlin’s been safely shuffled back under the cover of secrecy, everybody’s been taken in by the ruse and sent away, none the wiser - all the necessary and important business has been dealt with.

only at the very, very end does will’s own predicament rear its ugly head. only after everything else is done does he even allow himself to feel it. he’s spent the rest of this sequence making jokes and roasting arthur and keeping it all together, but at the last second, when he falters, he comes undone for the only person he trusts, the only person who understands him, the only person in the world who gives a damn about him. his defenses come down, in that last moment, for merlin - and it could ONLY be for merlin - when will says, “merlin, i’m scared.”

we don’t need anything else, to understand their relationship. we’ve seen enough of will by now to recognize that he keeps the world at arm’s length, that even his walls have walls, that this is just not the sort of thing he would ever admit to. confessions of pain? acknowledging vulnerability? never. he’s not that kind of character. we know he has a big heart - look at what he’s doing - but we also know he’s had a hard life. he’s wrapped himself in layers upon layers of protection - snark and anger and deflection and sarcasm and still making jokes at the prince’s expense after being shot in the chest - nobody is allowed to see him open and undefended, never.

except merlin.

will is dying. he is so young. he has been so alone, for so much of his life, and he’s so young, and he’s dying. he clutches for this lifeline like it’s the only thing he has, because it is the only thing he has - merlin is his only friend. merlin is the person will loves best in the whole world.

merlin, i’m scared.

that is so unbelievably vulnerable. that is so utterly naked. that is totally defenseless, exposed, belly-up and barethroated under someone else’s burning gaze.

that is absolute trust. will would never have said that in front of anyone else. he would never have allowed anyone else to see him like that.

his confession is, like pretty much everything else he ever does, for merlin alone.

xx. your heart is on my sleeve

merlin, will keeps repeating. merlin.

how much do you have to love someone, to make their name your last words? how much do you have to care about someone, for that to be the only thing you can think to say, again and again, in your last terrified moments on this earth?

that’s a rhetorical question.

i know how much.

xxi: i missed you too

i think, sometimes, about will, when i watch the later seasons of merlin, and about how he would feel if he could see what merlin’s life has turned into.

i sometimes wonder how he would feel, if he could see how merlin allows himself to be passed over, disbelieved, disrespected. if he could see how merlin has started to define his worth in terms of how well he is able to protect Some Dude who doesn’t even know who merlin is, who keeps people like merlin trapped in the shadows of subjugation, hidden citizens in their own kingdom. if will could see how merlin has laid his entire life down for other people’s enrichment, if he could see how little hope merlin now holds for his own happiness, if he could see the way merlin in S5 has given up on his own liberation -

i don’t have to guess what will would say about it. i know how he would feel. if will could see merlin in season 5, his raging little heart would break.

i wish he were here to tell merlin exactly what he thought about it. merlin does all this self-sacrificing for the sake of his “destiny”; whereas will would think that any destiny making merlin this miserable was a steaming pile of trash. will would tell kilgharrah to get lost, and to take his questionable advice with him. will would tell arthur to fuck off - he’s done it already, in slightly less explicit terms.

does that mean i truly think merlin is supposed to abandon his mission and ditch camelot and run off to live his own life? no. merlin cares too much about making the world a better place to be truly happy with that kind of existence; he wants to change things for the common good; he wants to help the people he cares about. but merlin, as he tries to fulfill his mission, is desperately missing will’s kind of support in his life. merlin needs someone who is only here for him. he needs someone who is going to get up in his face and remind him, “you matter.” he needs someone to tell him, “you deserve better than this.” he needs someone who isn’t afraid to tell destiny to fuck off, when telling destiny to fuck off is in merlin’s best interests.

merlin needs someone who is on his side.

not camelot’s side. not albion’s side. not arthur’s side.

HIS side. merlin’s side.

xxii: he still is

the thing about will, then, for me, is this: i can’t minimize him.

i can’t do it. i can’t diminish that part of merlin’s life.

i don’t think it’s possible to overestimate his importance, frankly. merlin, when we meet him, has only ever had two people in his life. that is such an...unfathomable experience, for many of us. just two people. just two people to know you. just two people to love you. just two people, for your whole life.

will wasn’t just some friend. will was half of merlin’s world.

fannish pursuits that i have seen...the things where will appears are already so limited, and of course that’s completely understandable - it’s not like he’s a main character, or even a side character, by any means; i totally get that. but - so much of what i see is him serving solely as a set-up for merlin/arthur, or otherwise being shoved out of the way as soon as arthur shows up on the scene, or showing up only to be a receptacle for discussion about arthur and merlin’s developing relationship - even will and merlin’s own ship tag is 90% merlin/arthur fics.

and there’s nothing wrong with this, ultimately; everybody should continue to write exactly what they want and enjoy exactly what they want; that’s the fun of fandom. i mention these things here only because for me, personally, the whole point of will’s character is that merlin’s life is bigger than just arthur. the most important relationship merlin had for most of his life had zip-zero-nothing to do with arthur pendragon, and it still has zip-zero-nothing to do with arthur pendragon, after will is dead.

you remember will’s funeral at the end of 1.10? arthur has an entire conversation (a horrible one, fyi) with merlin, and merlin doesn’t look at him once. he answers arthur’s questions because he has to, but his eyes never once leave the pyre in front of him - not while he’s listening, not while he’s talking, not once. not ever. arthur comes, arthur chastises, and arthur goes, all without being granted so much as a glance, because this isn’t about him. this is none of his business.

the whole point of will is that it is possible for someone to love merlin and not give a tinker’s cuss about arthur pendragon. the whole point of will is that having someone love merlin without caring about arthur pendragon is, in fact, a good thing. merlin needs somebody like that in his life. he struggles when he doesn’t have someone like this around to advocate for him. just look at where he is in season 5 - look at what his life has become, when it’s been years since he had an in-the-know friend.

merlin suffers when he loses this kind of support. it’s easy to say that will is never mentioned again after 1.10, but there are real reasons why merlin wouldn’t be willing to explicitly mention him, and the lack of explicit references doesn’t mean we can’t still see him, if we pay attention. we see the immediate impact of his death in merlin’s attitude shift in 1.11. we see him in 2.02, when merlin names his fake tournament knight sir william and spends the rest of the episode roasting arthur to within an inch of his life. we see him in the season 3 opener, when morgana levels her sword at merlin and the first thing that pops out of merlin’s mouth is “what are you going to do, kill me?” we see him in gwaine’s intro episode, when merlin immediately cleaves to this class-conscious ‘people get sick of me too quickly’ stranger whose father was killed fighting one of the king’s wars. and his absence is felt, more generally (as is lancelot’s) in how quickly merlin’s life starts to spiral out of control once the only two honest friends he ever had are gone. their loss doesn’t have to be explicitly referenced for us to understand that merlin, without that kind of support system, is faltering. we see it happening with our own eyes.

[edit, post-viewing-of-S5-finale: and we see where it eventually leads, too.]

so, once again, as i said - i can’t minimize this character. i can’t overstate the positive impact of merlin having somebody who was here for him and only him, who affirmed merlin’s value independently of arthur pendragon’s fate, who knew and loved merlin without caring about a “destiny” that ultimately, in the end, turned out to be a cruel joke made at merlin’s expense.

if will had lived, i’m not sure we would have ended up in quite so dark a place. we might have landed in some other tight spot, sure, but i can tell you one thing for certain - will would not have sat quietly by and allowed merlin to throw his life away, not for camelot, not for arthur, and certainly not for a parade of empty promises.

xxiii: where you are, there i’ll be

the bottom line is this.

merlin spent the first two decades of his life with one friend.

one.

loved by one friend.

one.

merlin had his mother, who was there for him from the beginning, whose love was unconditional, who was an “of course.”

and he had will, who chose merlin, who kept choosing merlin even after merlin told him the Terrible, Horrible, No Good, Very Bad Secret. will’s presence in merlin’s life is the only reason merlin grows up believing himself to be deserving of love from people who aren’t his own mother. his presence in merlin’s life is the only reason merlin knows how to have and be a friend. his presence in merlin’s life is the only reason merlin is who he is - a merlin who’d spent his entire life without a single friend would not have been the same confident, optimistic, gregarious person who later walked into camelot and told arthur pendragon, “i’d never have a friend who could be such an ass.”

will mattered. we don’t talk about him much, because he only appeared in one episode, but it wasn’t “one episode” for merlin; it was closer to twenty years of companionship, of elbows in ribcages and smirks exchanged across the room and someone to natter on at, a person to sit next to and walk beside, in every season and all sorts of weather.

will chose merlin, and he kept right on choosing him, until he breathed his very last breath. that is enough for me to love him, to feel grateful that he existed. i don’t care how rough he is around the edges. i don’t care that he hates arthur pendragon’s guts, that he has a big mouth, that he speaks out of turn, that he has no tact, that he can’t suffer fools, that he has a chip on his shoulder the size of a minor planetoid and wings it at people’s heads when the mood is on him.

he loved merlin. actual, magical merlin; merlin as he truly is, merlin in all his gifted, unnatural, beautiful imperfection.

that is a desperately rare thing. that is worth celebrating.

#the once and future slowburn #no kings no masters #meta #<3

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bestworstcase · 4 years ago

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more than once you've said "the tts fandom can't write x character, or can't write y character," but have you considered that maybe they can write them fine, you've just built up your desired interpretations of these characters? you give off this condescending attitude, like ONLY YOU can write tts characters accurately, ONLY YOU understand them, & any interpretations that don't in some way align with what you think are WRONG. this has become more apparent as you've worked through bitter snow

let’s discuss king frederic, and how he is often characterized in fanworks vs how he is characterized in the show.

now... i think we can all agree that frederic is at best a mediocre father and a not especially good king, that in his worst moments he steps over the line into emotional abuse vis a vis his treatment of rapunzel, and that the avoidant head-in-the-sand approach he takes to the black rock problem in s1 causes widespread pain, unnecessary panic, and does not improve the situation whatsoever.

he is widely disliked in the fandom for very good reason

however! it is difficult, though hardly impossible, to find fic where frederic acts or speaks... like frederic, for one very simple reason: the fandom, by and large, as a group, writes frederic as an angry, abusive man who blows up when he is confronted with the many, many things he does wrong. often this takes the form of a character, or characters, getting up in front of him and rattling off his list of crimes, real or perceived, followed by him basically throwing a tantrum.

canon frederic, to put it bluntly, does not do that.

exhibit a: caine’s confrontation of frederic in before ever after.

caine sets up exactly the scenario that in the average tts fanfic would end with frederic yelling / blustering / furiously denying the accusations, plus she does it while rounding up all his guests and putting them in cage to haul them off and, presumably, kill them somewhere. like. the stakes are life or death and this is an extremely stressful situation for everyone involved.

and this is how that conversation goes down:

FRED: Release my guests immediately!

CAINE: What’s the matter, Fred? Am I ruining your perfect day?

RAPUNZEL: ...The Duchess?

CAINE: Oh, honey. I am no Duchess.

RAPUNZEL: I don’t understand.

CAINE: Of course you wouldn’t, Rapunzel, but try to follow along. This is all your fault.

RAPUNZEL: What?!

CAINE: You see, after your untimely... disappearance, your father locked up every criminal in the kingdom... including a simple petty thief. My father. I saw him thrown into a cage and hauled off like some animal, never to be seen again. So... I thought I’d come back, and return the favor.

[the wagon rolls in]

CAINE: Load ‘em up, boys! Your turn, Your Majesty.

[Frederic moves to shield Rapunzel; Caine snickers.]

CAINE: Oh, come on, you didn’t think we’d leave our prized pig in the pen, did you?

RAPUNZEL: [as Caine’s gang drags Frederic toward the wagon] Dad—

FREDERIC: Rapunzel, stay back.

RAPUNZEL: But—

FREDERIC: No. There’s nothing you can do. As your father and your king, I command you to stay put.

there are two key points that i want to make here, because they diverge significantly from the way frederic is characterized in analogous scenarios in fanfics, like, 90% of the time.

1) fred doesn’t get angry. he doesn’t bluster or yell. he orders caine to release his guests, and when she refuses, he gets quiet. he does not interrupt caine’s rant, he does not even try to deny her accusations, and he doesn’t stomp around escalating the situation even while caine is prancing around waving a sword in his daughter’s face or literally poking him in the chest.

he stays calm.

2) fred’s primary, overriding concern is for rapunzel’s safety, and the safety of his guests. not his own. he does not struggle when caine’s men lead him away. he protests on behalf of his guests, but not himself, and he attempts to physically shield rapunzel from harm before he is dragged away. he doesn’t waste his breath trying to argue with caine, but he does tell rapunzel firmly not to put herself in danger trying to rescue him.

now... there are plenty of ways to interpret why frederic behaves this way, and my personal take is certainly not the only possible one. but the behavior itself, the staying calm in the face of a crisis, while someone is in his face threatening him, his family, and his guests and making pretty charged accusation, is a) objectively playing out on the screen and b) directly at odds with the way frederic most often acts in fanfics.

exhibit b: mood-swapped frederic blows up just like fanon frederic constantly does

and this is the only time we ever see frederic lose his temper like this in the entire series. again, this is not a matter of interpretation: this is just plainly what happens on the screen. when he is in his right mind, frederic is not a “scream accusations, whip out a sword, and impulsively declare war or attack someone because he’s mad” sort of person, and to say that he is really like that, deep down, is just as silly as trying to argue that cass really is a peppy, soft-hearted, affectionate pushover, or that eugene really is too riddled-with self-doubt and anxiety to make any decisions, or that rapunzel really is a grouchy, moody, misanthropic person. the mood potion makes everyone act like fundamentally different versions of themselves; their behavior is, literally, out of character for their normal, not high-off-their-asses-on-a-magical-potion selves.

exhibit c: the angry mob in secrets of the sundrop

like with caine, this confrontation kicks off with a premise that should be pretty familiar to anyone who reads any fic featuring frederic at all, ie everybody is pissed at frederic and there is literally an enraged mob screaming for justice in the throne room. and that goes like this:

[everybody shouting in angry panic]

FREDERIC: People... [raising his voice to be heard] Citizens, please! Listen to me!

[Max rears and whinnies to get everyone’s attention, and the shouting dwindles away.]

FREDERIC: I will not lie to you any longer. Corona is in grave danger. The queen has been taken; over half our royal guard lie wounded; and these black rocks draw ever closer.

[the shouting begins to pick up again]

EUGENE: Uh, sir, hi, yeah—if there’s a ‘but’ in this speech, you probably want to cut to it right now.

FREDERIC: But I look at you, and I don’t just see subjects. I see friends, family; strong, brave individuals who have stood by each other, side-by-side, and have never, ever backed down from a fight! Today, we face a danger like none before. As your king, your friend, and as your brother, I ask you to fight one more time. For Corona!

again, key points:

1) frederic does not deny, bluster, shout down, or otherwise attempt to refute the basic point that he bungled the black rock situation. he did bungle it, and he knows that [this scene is preceded by him spelling out the full extent of his failures to rapunzel and openly admitting guilt]. through his behavior, he demonstrates that he accepts culpability for the situation and implicitly accepts the legitimacy of the crowd’s anger.

2) he raises his voice only so he can be heard above the shouting, and as soon as folks quiet down, he drops to a reasonable volume again. his mood is grim, but he isn’t angry. he projects calm.

3) eugene is nervous about frederic losing control of the crowd and accidentally causing a riot or something; frederic is not.

4) instead of denying the crowd’s anger, frederic tries to reframe the problem for them: yes, things are bad, but they are strong and brave and we can all work together to put things right. he doesn’t shout them down; he seeks to inspire them.

and 5) when frederic says “we face a danger,” he means that. the very next thing he does after giving this speech is go straight to the frontlines to fight in the same battle he’s asking everyone else to join in. he's not asking them to do anything he isn’t willing to do himself.

which... i would argue even more than the caine confrontation in BEA, is diametrically opposed to the way the typical fanon frederic would respond to an angry mob situation, because the typical fanon frederic is a very angry, aggressive man, and that... simply isn’t who frederic is. he’s calm, he’s knows how to work a crowd, he knows how to use his authority to achieve his goals without browbeating or threatening.

even when he does get angry—such as his instinctive reaction to arianna’s kidnapping, when he jumps first to “we will invade old corona”—he doesn’t yell or stomp around or throw tantrum. he gets stiff and rather cold and makes an impulsive judgment call... but then he takes some time to brood by himself, calms down, talks things out with rapunzel, admits his failures, and doesn’t follow through with the impulsive order he made in the heat of the moment.

like... flat out, he is not an angry man.

and it’s frustrating, when i go to read fanfic and frederic is overwhelmingly characterized as this hapless angry shouty abusive person, because it is breathtakingly far removed from how he acts in canon, and i like frederic as a character. i find him very interesting, and it’s not fun to read fics where everything that makes him interesting is taken away and replaced with this sort of one-note Shouty Angry King/Bad Dad Whom Everyone Hates. and that applies, unfortunately, to a very large number of the types of fics i like to read (namely, long canon exploratory or canon divergent fics, etc)

anyway,

i am perfectly happy to read interpretations of the tts characters that do not mesh well, or are even wholly incompatible with, my own.

but i do expect, as a minimum, characters to behave more or less the way they behave in canon unless there is a clear reason for them to be different. i expect varian to be nerdy and chaotic and a bit of a disaster, for example. i expect adira to be aloof, blunt, and perhaps a touch arrogant. i expect cassandra to be ambitious and frustrated and prone to self-sabotage and envy. i expect lance to be laid back and eugene to be a bit vain. i expect the captain to be gruff and very tight-laced. and i expect frederic to act like a politician who is in control of his feelings but sort of cowardly at heart, because that’s how frederic acts in the show.

i hold myself to these standards too. a ton of my editing process is “hm does this character really talk like this? is this how they would react to this situation?” and then going through and rewatching scenes or whole episodes and trying to find roughly analogous emotional beats or situations to sort of gauge whether i’m hitting the mark or not; it’s very difficult and i work hard on it and do not always succeed... and this does make me a bit picky about characterization in fics i’m reading, yeah, because it’s... always at the forefront of my mind. and then yes i post about it here, because this is the hyperfixation landfill where i dump my tts-adjacent thoughts.

¯\_(ツ)_/¯

of course, you’re welcome to unfollow me if you do not enjoy reading what i post. it’s important to curate an online experience that you enjoy! if my general demeanor irritates you, you don’t need to inflict yourself with it.

#thank u for your input anon <3 #Anonymous

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klaus-is-the-real-number-1 · 4 years ago

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TUA Unpopular opinions?

Don’t get me wrong, i love the show but there are a few things that i dont like/ dont make sense to me so i wanted to have a little rant about it but im gonna do it under a read more so you all dont have to listen to me ramble so,

Em’s TUA unpopular (?) opinions (about s1 maybe but mostly s2):

I personally felt like they dumbed down Diego and in s2, i dont understand how he went from being in love and absolutely devastated about patchs death and then just completely forget about her and suddenly become in love with lila in what? 70 days? to me it felt like a cop out way of introducing Lila to the hargreeves.

After 3 years sober klaus didn’t improve his powers at all??? like yeah we saw in the opening scene him using the ghosts to his advantage then that was it, there was no evident improvement to his powers except more control with ben. Surely hed be seeing more ghosts, having control over more ghosts or just anything,, but we didnt get that at all. I personally felt like he had more to do in s1 with his powers and we saw some great progression, we saw as he got sober when he was getting tortured he started seeing more ghosts then used them to his advantage and he literally died and came back to life.

At this point its becoming very inconsistent with him seeing the ghosts that hazel and cha cha have killed but not five??? or lila??? especially since he was sober (at least for a few days) in s1 and in s2 he just didn’t see any ghosts other than ben?

The writers keep writing Five out when its convenient to them and its just becoming,,, anoying?? theyve made him too powerful but instead of actually letting him use his powers with his siblings they just send him away to do something else when if he was there it would be completely avoidable. and when hes actually in these fight scenes they dumb him down, hes the most efficient assassin ever, hes the best assassin ever yet whenever hes in one of these fight scenes they make him do some very untatical skills that he just wouldn’t do

Number5theboy did a very good post about this

Allison has such a huge potential as a character and its frustrating how much her character is basically nothing like her comic character. some people may be happy about the fact shes nothing like her character but it just?? doesnt sit right with me. She was a bad bitch in the comics yet the only similarities from comic to tv was her relationship with luther (which in the comic she rumours him to being in love with her, not even them just being in love), her daughter and that she got her throat slit by vanya.

and to be honest she is a bit of a bitch in the comics and i really wanted to see more of that, like i appreciate her story development in the show but i wanted to see her and five and the whole story line of her and him and the involvement in JFK, i wanted to see that development in their relationship, her getting her voice back because of Five and the commission, her having some involvement with his assasination

now i know that they would not be able to make her pretend to be jackie, physically it would not happen but there could of been all sorts they could of done but instead they just wrote it all out and it peeved me off

it would of completely changed some of the sibling dynamics and it would be super interesting for diego have to deal with the fact his own sibling killed JFK

Five not eating carmicheal, there was other ways they couldve gotten lila to find the files and they ripped a great scene from the show to give it to a character that wasnt even in the comics

the fact that Five didn’t shoot vanya in the head and say “I never liked you” because he would be trying to break her powers basically, then vanya loosing all her memories when they travelled, five could do the whole be soft and then him saying “you really dont remember anything, do you?” and then her regaining her memory, i think it would be great personally

also five just being a dick, because he is in the comics, and i know its not the comics but if he’d of had the scene before him and allison go to the commission he opens up to allison about his commission time

im a gazelle and the jungle is my home is an iconic line and was yet again missed out

a topic i am affraid to talk about, lila: (this may be kinda long)

i do not like lila as a character, i dont like how she treats diego and exploits him and acts like everything is fine (she drugged and kidnapped him??!!??) and what the fuck are her powers

her entire character doesnt make sense, they just needed someone powerful to fight vanya and five

when did she even have the time to figure out her powers, Five clearly does not recognise her and neither do the other siblings so theres no chance she was able to practice during the commission because Five obviously wasnt around. And then she can just use them perfectly??? doesnt make sense to me

and i know some people love lila but she just grates me the wrong way

and now the writers have came across another problem of making her too powerful for her own good

and there was no clear build up to her powers, i wish they wouldve just introduced a new power because it would be so much less confusing

where does she fit in the timeline as well because five went on that mission with the handler but then just wasnt around for the next 25ish years when she was raising her???

the writers have bitten off more than they can chew with her i think and i will be very impressed if they somehow manage to pull it off

she just felt very random and forced into the show in my opinion

The fact that no one mentions fives actual open wounds that he probably still has, last i checked an actual shrapnel wound doesnt heal in what? 14 days? but they just ignored it i guess

in s1 Five not getting reggies monocle, just having diego throw it into the ocean im?? like why?? for what???

luther being in love with allison feels very slightly one sided when in the comic she!! rumoured!!! him!!!!

she basically didnt use her powers for anything useful and when she was about to lila used her power of imitation??? to rumour allison instead

kinda what i talked about earlier but five being the main plot driver until its inconvenient to the writers and then they make him dumb it frustrates me to no end

i just dont understand why they couldnt have lila with a brand new power, not just mimicking because it doesnt make sense and then she has the ability to use it perfectly when she wouldnt actually have any experience in using it??? if the writers are literally going to add christopher the cube they could of given her a better power

all the siblings basically just dismiss five, all the time, the only sibling through the show who have actually done something for five is Klaus in s1 when he literally smashed a snowglobe into his head for five and didnt even know why they were there. Even when luther goes with five he straight away sides with older five and like?? i understand it was a funny thing to add in but even then like its just odd

young five and old five not really having the same energy, its really minor but the five in s1 does not match the energy of old five in s2 when hes just about to go to 2019

these are all just my opinion and just something i wanted to get off my chest, if you dont agree with these its completely valid.

#something i wanted to get off my chest #its a lot #i love the show but these things have just grated me the wrong way #and yeah some of them are unpopular i think whoops

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the-resurrection-3d · 4 years ago

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so heathers eps 2-3

it's a few days late but I just woke up from a dream about my TomTord Roommate and I don't want to be actually productive. I had to go back and copy-paste this from Word because Tumblr’s new text post editor has a woefully small character limit. Gotta love how Wordpress of all fucking places is going out of their way to make their new pet project hostile to writers.

Anyway.

Good things:

the pacing feels like an actual show now

it took them three whole episodes but they finally managed to make JD/Veronica interesting and actually dark. Think the ending of Gone Girl if both characters viewed it as a happy ending.

I love Heather Duke's peacock motif. It's very fitting with her personality and is incorporated tastefully.

Changing “Teenage Suicide (Don’t Do It)” by Big Fun into a musical produced in-universe is a fun idea... I think? It gives me a lot of similar vibes to Riverdale having to justify performing Heathers the Musical in-universe , though that only lasted an episode, whereas this looks like it’s going to be an overarching plot. I honestly think they should just pull a Riverdale and have a full-on musical episode -- at least that would give musical fans something to enjoy. I guess this isn’t a good thing so much as a thing that didn’t annoy me. It’s not conceptually poisoned like a lot of other things here.

Anything else? No...? Well then, moving on.

Several new problems have emerged:

Veronica's bug motif is absolutely heinous and I don't have any clue what it's supposed to represent, especially when they keep changing what exact bug she's wearing.

Also you don’t have to vomit blue all over every Veronica scene. It’s very weird because they don’t usually throw red or green or yellow lighting all over everyone’s else scenes. Sure, it’ll feature prominently, such as the shot of Heather M sitting on her bed surrounded by yellow stuffed animals, but that’s at least a characterization detail. I’m talking solely about lightning choices here.

Removing the death of Heather Chandler has destroyed any sense of direction the show could have had. I asked TTR what the characters wanted and what goals they were working towards and she just said, "I have no idea." They had Heather Chandler blackmailing JDonica and Heather M. getting gaslit and victim-blamed by everyone around her, but both of these things were done by the end of the episode.

This is a problem a lot of teen dramas have, but I think it’s worth noting that the pop music choices rang from “okay” to “.... but why though.” Like in the scene where Heather C. reveals she’s still alive, it plays “Halo” by Beyoncé, get it, because they thought she was dead! Except it doesn’t fit the tone of the scene nor Heather C’s intentionality, and there’s nothing funny about the contrast, either. What?

Heathers looked at the controversy around 13 Reasons Why's suicide scene and said "bet." Except it's not even done well because the entire point of 13RW s1 was getting to know Hannah and understand why she kermited. We always know she's killed herself, sure, but the series utilizes the tapes and frequent flashbacks to characterize Hannah, especially by the time we actually see the suicide. This episode just dumps trauma on Heather M. and has her kill herself at the end. Of episode 2.

After the funeral scene, the rest of ep3 is just pointless generic teen drama, only half of which was made interesting by that Gone Girl twist at the end (where JD kills Ram because Veronica is going out with him and Veronica finds this thrilling and romantic).

The other plot, about Heathers D and C fighting for power, culminates in Heather C forcing D to break-up with Kurt and then bouncing D off the stage during play auditions. Problem one: this is all drama I could get in any teen show. Problem two: you could have easily set up Duke/Kurt in episode one by having a scene where Kurt asks why Duke just she let Chandler humiliate him in front of everyone, allowing us to see that Duke's subservience to Chandler has actual personal costs to her (since the eating disorder angle is out). Problem three: having Duke constantly just back down whenever Chandler challenges her is boring and lame. Why not have a sing-off between the two Heathers? Why not have Heather D. gain the self-confidence her movie self did after C's "death" and then not be fully willing to play nice anymore, especially after Chandler forced Duke to publicly break up with and denounce Kurt for no real reason?

But we can't have the sing-off, because it's getting pretty clear that this show has the same problem RWBY does, where the writers/directors care more about the characters they made than the actual main characters. Characters like the teachers, Betty Finn, and whoever tf this new black girl is get to be major players because their personalities were not as previously well-defined as JD's, Veronica's, or any of the Heathers'. This is also pretty apparent in how Kurt and Ram have both been rewritten to not be douchebros at all (racism aside, because remember, the show doesn't think racism is that bad), despite the episode's title, “Date Rape and AIDS Jokes,” referencing their movie characterization. The show is so obviously uninterested in its supposed main characters that JD and Veronica have only had two real romantic moments together in over two hours of content. Heather M. has gotten the most development... only because the show realized it hadn't given any reason for anyone to care about her before she killed herself off.

JD’s dialogue is fucking horrendous. Imagine if every single word out of Jughead’s mouth was the “I’m a weirdo” speech but five times as long. And you know what, in defense of Jughead, at least Lean Jesus has things going on in his life outside of plowing Betty and wallowing in his own melodrama. He has hobbies, goals, and complicated relationships with other characters. The only things JD has are Veronica and bitching at his dad/his dad’s new girlfriend about how love is a wound and all this other nihilistic shit he got off r/im14andthisisdeep. I’m honestly surprised he didn’t counter Veronica talking about how she wanted to be normal with “Normal is just a setting on the washing machine.” Another missed characterization moment: JD bringing a sword from his katana collection (that’s only seen once in episode three) to school and threatening Kurt and Ram with that instead of the gun. I think that would have been fun.

The show also hates black women. And Native Americans. In such a way that it actively contradicts itself (the pilot established that Heather C. actually isn't just a keyboard warrior and goes to irl protests, so why would Heather C. not say a word about Westerburg's school statue being a Confederate soldier holding an Indigenous person's decapitated head?)

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yuiopiklmn · 4 years ago

Text

Angel Chapter 1

Word Count: 1846 words

Summary: Angel is about a girl with a secret that she doesn't even know about. Bobby Singer found her when she was only a couple months old. She has an awkward reunion with two of her childhood best friends, and then she is stuck on a hell of a ride till the end of the road.

Pairing: Unknown

Characters: Addison Singer, Two childhood besties, and some police officers

Warnings: Language and descriptions of gore

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Need to catch up:

Background

Prologue

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

*24 years later*

(S1 EP1 of Supernatural)

I was driving decently fast down the road traveling from Sioux Falls, South Dakota all the way to Jericho, California. I was on my way to check out a bridge where a car was found, its owner was missing for quite a few days now. However, the reports aren’t clear. I plan to be the one to figure out if there is a mystery ahead.

After jamming out and driving for about 24 hours I was finally at my location. I arrived at the bridge where a man had disappeared leaving behind a bloody body and a locked car, as the reports would say.

Here we go again, I thought as I started walking to the site. I mean, don’t get me wrong; I love doing what I’m doing because hunting is my life, but sometimes it’s tiring to walk in heels all day and investigate. I just want to gank some bitch and head to my next location, which is home. I am going to take a break from cases for a bit and go back to visit Bobby since he’s worried about my growing obsession which is….. hunting. Plus I miss my dad and would love to help out around the junkyard. I don’t see hunting as a bad thing, and I may only get 3-4 hours of sleep, maybe less, but I am saving people and that's what's important to me.

I got to the road approaching the taped-off bridge and parked next to some police cars. I turned off the ignition, checked if I looked decent, and got out. I fixed my leather jacket and headed over to the man standing next to the caution tape.

“Excuse me ma’am, but this bridge is closed for an investigation. No pedestrians are allowed on site,” he said, suddenly standing up much straighter than he was initially.

“I’m Agent Dawson. I was sent by the FBI,” I said as I pulled out my badge and quickly put it back just as quick, so that he wouldn't notice that it was a fake, then I continued, “I have orders to be here.” I might’ve said that a bit sarcastically, but he didn’t seem concerned. I sighed in relief as he moved to the side to let me through to the scene of the murder.

There were very few cops at the scene and they were mostly talking to each other, heads down writing quickly on clipboards and laptops. They didn’t even look up as I made my way over to the car. I was able to catch some of the conversations: a lead, the victim was dating the police chief's daughter. I got to the car and looked inside, but there appeared to be nothing, absolutely nothing. I don’t understand. There is no blood like the report said, no sign of struggle because there was no body... nothing. I made sure nobody was looking and pulled out my EMF reader. The numbers didn’t rise once… Something weird is definitely going on here. It doesn’t smell like sulfur, but I’m sure something supernatural happened here. Deciding to get some information, I went up to the two officers talking about the police chief’s daughter that I heard about earlier.

“Excuse me?” I asked trying my best not to sound young because sometimes I get nervous and they assume that I am a kid needing help. That can set me back a lot and get me kicked off the scene if I’m not careful.

“Yes, can we help you?” One officer said while looking to the other….with a confused look

“Yes, you can actually. What do you know about the victim that was killed?” I heard one of you say something about him dating someone.”

“Yes, he is dating my daughter, Amy. She has been worried sick about him. She has been out all day putting missing posters up around the town.”

“Thank you for the information. Do you know if there is any relation to the victims other than them being all male?”

“Not that we know of.” I nodded my head and quickly jotted the information down. I need to go downtown and find Amy. We need to chat so that I can get more information about her boyfriend.

“Thank you, officers,” I said hurriedly when I heard that two more men were on the scene, I think they were Federal Marshals. They might figure out that I’m not supposed to be here, and then my cover will be blown. On my way out I tried to keep my head down, but I walked right into someone a lot taller than me. “Shit,” I whispered.

“I’m so sorry,” He paused before saying, “Wait a minute, Addi! Is that you?” I looked up as the man said my name, and I was met with a familiar set of eyes. The exact pair of eyes that belonged to…

Sam Winchester, just as giant-like as I remember. He has been my best friend since childhood, and we just recently went our separate ways since I ended college. Last I heard he was still in college since he was 2 years younger than me.

“Sammy!?!” I yelled a bit too loud causing the cops to look in our direction, “Sorry…” I let out a nervous laugh as I turned back to face Sam trying to act casual, “Heya Sammy! Long time no see.”

“I could say the same about you, you look great, how are you?”

“I’m great now that you’re here, it's been a long day so far. How are you? How’s Jess? Why are you here? I thought you wanted to be a lawyer…” I said in a goofy tone to mess with him before taking a breath, and quietly laughing to myself. It felt good to talk to him again.

“I am doing good, and Jess is as well. I see you took on the family business. Did biochemistry just not cut it? Also, I still want to be a lawyer, and I’m younger than you, dummy.” he teased.

“I mean, I liked it at the start but I realized my heart was in love with the family business more than any job I could get, and I hated being in an office all day instead of going out, and saving people which is what I love doing, ya dummy. Anything new?’

“I have an interview on Monday, but then this one,” Sam gestured to his right. My eyes stayed on Sam as he continued to speak. “dragged me out saying that dad was on a hunting trip and hasn’t been home, so I decided to tag along and help him figure out where he went.” He paused and then mumbled something under his breath, I didn’t realize he had just swore and it took me a second to figure out why. I recognized who Sam had just mentioned not and how this said person usually causes…...pain for me.

At first, I ignored the person next to Sam. I love Sammy and I assumed it was just another hunter, but when he brought up John, I knew exactly who it was. That’s when I turned to the person on the right of Sam and caught the gaze of his beautiful, forest green eyes. Those set of eyes belonged to the one and only Dean Winchester, Sam’s older brother. It felt as though time froze when I stared into his eyes. I used to always get lost in them, and clearly, I still do. Then my gaze moved down to his nose and cheeks, and I started counting all the freckles on his face. I used to do this when we were younger. Oh, how I could-someone coughed and made me lose my train of thought

“H-Hi Addi…..um...it's been a really long time. Haha.” He cleared his throat again and rubbed the back of his neck like he was nervous.

Then Sammy continued trying to move the conversation forward from the tension between the two of us of what happened in the past. “Sooooo I see you are working the same case we are. Want to partner up for old time's sake? You don’t have to if you don’t want to.” He murmured something to himself again, probably quietly going through the rest of the sentence, but I cut him off before he continued his spiraling.

“I would love to, Sam. I might as well since we’re all here. By the way, I already took some interviews and looked at the car and crime scene, so you guys could go into town and find Amy; the police chief's daughter and former girlfriend of the man who went missing. She is putting up missing posters around town. Anyway, I got to go and take a breather…..you know...since it was a long drive. So, I will text you my motel’s address and my room number, so that we can exchange information.” a couple officers walked up to us when I was about to leave and we all stayed in awkward silence.

“Who are these two, Agent Dawson?” He looked at me and forced a smile.

“They are… Federal Marshals,” they showed their badges as I continued, “I would love to chat, but I have to go. Thank you for your time officers… marshals.” I said nodding my head to the brothers and turned away.

I briskly walked away before anyone could stop me. I don’t think I could handle much more of that. My heart was hammering loud and fast, I could hear it in my ears. When I was talking to Dean and Sammy, I was chatting faster than I could think, unaware of half the words coming out of my mouth. Why! Why him...why did he have to be here. I should have seen it coming…as kids the boys were always inseparable.

I unlocked my car and hopped in quickly. I started the ignition and sped away in silence. I pulled onto the side of the road a few miles away from the scene, so that no one would see me and parker. I opened the glove-box of my car, knowing exactly what I was reaching for before I even realized I wanted it. I pulled out a small box and opened it, looking at the contents inside before my eyes landed on a small black box. Inside was a silver locket that I’ve had since I was in Highschool. It was old and rusty and needed to be polished. The exact locket I got as a teenager. The exact locket I got from the man I thought I loved. The exact locket from the man that left me that night 9 years ago. The exact locket that the man that goes by the name Dean Winchester gave to me. Hearing that name ring through my mind made me go into hyperdrive. I threw the locket back into the black box before throwing it back into the compartment, not caring about the box that was still in my lap and drove off.

A/N: Gosh that took forever it feels like I have been pushing back writing this chapter, but I still added some snippets here and there, as the weeks progressed. Again I promise that this story will have a normal posting schedule, but I still haven’t figured it out. I am only going to put the author’s notes at the end of the chapters, not whole chapters dedicated to them like previous books. Anyway, I hope you guys are enjoying this book as much as I enjoy creating and writing out these ideas. Again this has been in my head since I was on season 4 and now I am on the show has ended and I completed it. So this is like a farewell thing I guess. I think I started to come up with this stuff in March or April of 2020 crazy right. These chapters are going to be somewhat increasingly longer as ideas start to come back to me and pasted together. Anyway, that is all. See you in the next chapter my lovely bumblebees. Buh-bye!

#Angel #original writing #original character #bobby singer #supernatural #spn story #ongoing #fanfic #fandom #dean winchester #sam winchester #police officer #monster #creature #art #fanfiction #original story #ocs

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pynkhues · 5 years ago

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Since you're a writer, I'm hoping you can shed some light on this. IMO the writers were chasing viewers in S2 and trying not to get canceled. Personally, I hate when writers toy with their audience, it means they don't have a clear picture of their characters and narrative. How do you feel about writers making it up as they go?

Ah, this post got really long, anon! Since you asked me as a writer, I’m answering as one (I hope you don’t mind! I also hope this doesnt come out as too Creative Writing 101 for people either. This is just lessons I’ve learned and use in my own practice, so I’m applying them here.)

(Also I have drawn horrible diagrams on my very pink notebook paper - I am so sorry, haha)

So first thing’s first - no. I don’t think the writers were chasing viewers (at least not beyond the way any writer is wanting an audience), and I don’t think they were making it up as they go really, but I can understand why you would think that way!

It won’t be a surprise to anyone that I love this show a lot, but coming from it as both a writer and editor - this show does have narrative problems, and the biggest ones, particularly in s2, are in execution, escalation and pacing.

I think heading into the season they had certain character arcs they wanted to follow which married well with the story they wanted to tell. In particular, I actually think the writers have a very strong handle on the girls (I will say that I’ve had a few asks telling me Beth’s characterisation is all over the place, which I’m curious about, just because I personally find her very consistent, and when I’ve asked for clarification, I’ve never gotten any reply, so ¯\_(ツ)_/¯)

I mean, look at their s2 arcs on paper, right?

Ruby tries to negotiate Stan’s lowered opinion of her after the reveal of what she’s done, then has to negotiate him telling her to turn Beth and Annie in. She manages the situation painfully but pulls them through and they’re close again as Ruby navigates the increasingly lower depths of their crime life. When Stan acts to save Beth for Ruby and is arrested, it only escalates – the case on him driving Ruby to extremes to try and save him, including robbing a Quick Cash and using counterfeit money to bribe a lawyer. On top of that, she’s being targeted by an FBI agent who’s after her best friend who she gives up and then saves and then who tries to sacrifice herself for them. Ruby finishes the season the most morally compromised she’s ever been.

Annie gets back together with her ex only to find out that he’s gotten his not-quite-separated-wife pregnant. She splits up with him, but is heartbroken and it’s only amplified by the fact that they’ve been given a job by their Crime Boss to murder a man who tried to rape her but who’s grandmother she has a relationship with. Her sister can’t kill him, and Annie doesn’t get the chance as MP beats her to it. Upon disposing of the body though she endures a whole lot of pain as a result of both her ex’s new family and knowing she’s robbed a woman of her own. Annie goes on a guilt tour – tells her son, helps Marion, helps Nancy only to eventually find an absolver of her guilt in Noah, who builds her up and tells her she’s more than what life has given her. She lets herself have it for a while, before realising he’s FBI and there to trap her, and Annie tries to use him only to realise she can’t, and she finishes the season in a lot more hurt than she started it.

Beth struggles with guilt after getting Dean shot, gets the job to kill Boomer from Rio, can’t do it, gets support and encouragement from him (in various states of animosity), but in the end doesn’t have to find out if she can do it because MP does it instead. She’s rewarded by Rio in a way she probably never has been by anyone, her husband further subjugates her, so she has sex with Rio, starts to entertain a future with him, but he undermines her, so she seizes control from him. They work together. Dean forces her to break up with him due to jealousy, she struggles, goes back, but Rio’s stung, so unhelpful, and they play a little cat and mouse before he bails then kidnaps her and she shoots him.

With the exception of that very last sentence, I think all of those are narratively really strong pathways to have explored. Like I said above though, the issue is in execution, escalation and pacing.

But to talk about those things, I think I probably need to talk about story.

SO!

Stories have a shape.

Kurt Vonnegut talks extensively about this, and while he’ll talk about a few different types of story shapes, they really all boil down to this bad boy here:

Look at this guy.

What a beautiful thing.

He’s a story.

It doesn’t matter if you’re reading Dr Seuss or Charles Dickens, when you read a story – when you strip away its words and its characters and its settings – this is what it looks like.

Or, well.

Not quite.

Really, it’s this guy:

But we’ll talk about him in a sec.

Right now, let’s talk about that first little inch:

The Beginning

The fact that stories have a beginning is not a surprise to anyone. Stories need them. In some ways, they’re the most important part of your story. After all, the job of the beginning is to set up the world your protagonist is about to leave behind. That is essential in grounding a reader / viewer – orienting them to the world that they’re in, and getting them invested in the story you’re about to tell, if not the protagonist.

Lord of the Rings, Harry Potter, Star Wars, Game of Thrones are all excellent example of this (and frequently used in teaching) because in each of these cases it’s literal. Frodo leaves Bag End, Harry leave Privet Drive, Luke leaves Tatooine, the Starks leave Winterfell. There is a literal departure from the world before the crux of the story, and that departure is what signifies the start of the ‘hero journey’ aka the main part of your narrative.

Of course, it’s not always literal – in fact, it’s usually not. Usually that world is symbolic – it’s the single, uncertain world before the Bingley’s buy the house next door in Pride and Prejudice or the dry domestic sphere of Breaking Bad before Walt decides to make meth. It’s a marked shift, whether that’s internal or external.

In Good Girls, it’s internal.

The beginning is actually pretty perfect. The world it sets up that we’re about to (try to) depart is one of struggle and invisibility.

Beth’s in a loveless marriage promptly discovering that her husband is not only cheating but about to leave them destitute, Ruby’s getting ignored by the healthcare system and can’t afford to pay for her daughter’s wellbeing, and Annie is in a dead end job about to lose custody of her child.

Writing-wise – as a beginning, I honestly think 1.01 is close to perfect.

It sets up who these characters are, their personal conflicts, and the story world they share together, and the worlds they have on their own i.e. Ruby at the hospital and the diner, Annie at Fine and Frugal, Beth with Dean and Boland Motors.

Then:

BOOM

Inciting Incident.

The inciting incident is also often called The Point of No Return.

When I’m teaching, I personally like to call it the “You’re a wizard!” moment.

It’s when something happens that means everything set up in the beginning will be changed forever. It’s Romeo meeting Juliet, it’s Katniss volunteering for Prim, it’s Frodo deciding to take the ring to Mordor, it’s Jaimie pushing a child out a window, it’s Beth – deciding to take her little sister’s joke seriously and rob a grocery store.

(Again, I like to use Harry Potter because it’s literal – there is no return for Harry after hearing Hagrid tell him he’s a wizard. Everything is changed forever).

Inciting incidents are probably the most singularly important narrative moment, because they’re what everything else tumbles out of. Pretty much everything that happens in the story should be a direct or indirect result of the inciting incident. The inciting incident is ultimately the key of the story and what should unlock the overall arc.

When it comes to a series – whether that be a TV series, movie series or book series, each individual instalment (see: season of a show) should have its own inciting incident which – preferably – builds off the one established in the first instalment.

The Hunger Games does this really well. Katniss and Peeta being brought back into the games in Catching Fire is both an imitation inciting incident which allows the author to explore the story world further in an exciting way, and also an inciting incident that’s directly borne out of the first book / film – aka Katniss pissed enough people off during the first games that they’re going to try and kill her for real this time, which in turn gives us the opportunity to explore Katniss’ trauma, the ramifications of her actions in the first book on the broader story world, and to generate a new, compelling chapter based off of both.

Good Girls has a terrific inciting incident in s1 – which is Beth realising she’s about to lose everything.

That is our narrative point of no return.

And it works on a lot of levels – it establishes Beth as the driving engine of the story, fuelled by the chorus motivations of Annie and Ruby, rounding off both their collective and individual stakes, it sets us up for a strong narrative spine and solid characterisations.

Good Girls actually also has a terrific inciting incident in s2, which operates strongly on its own while also building firmly off the character arcs of s1.

The s2 inciting incident is Rio showing up on that park bench with Marcus, a gun and an order.

The story pivots here – giving Rio a lot of narrative thrust (get your minds out of the gutter kids), and making him a sort of secondary story engine. The core engine is still Beth, but her life is different now. She’s been traumatised and she’s exhausted, but Rio revealing his son to the girls (and tying their motivations up together in a neat little package) while forcing her to act, re-establishes her as the person who’s decisions are going to be the driving force of the narrative.

Ruby and Annie are, of course, story engines in their own right too, but they fall into line behind Beth usually, and their narrative push is actually usually away from the story throughline, but we’ll talk about that in a sec.

Rising Tension / The Middle

Okay, this is where things get a little tricky.

Do you remember this guy?

When we talk about stories, rising tension / the middle is the big guy. It’s the bulk of your narrative. It’s Where Things Happen. It’s where all the ugly stuff set up in your beginning and exploded by your inciting incident just - - grows a life of it’s own.

Or - -

Well.

Maybe not.

Forget about this guy.

Rising tension is this:

Rising tension is a series of ‘mini climaxes’ on the way to the main climax that raises the stakes, lets you know characters better, and pushes your characters onwards to the main climax.

Each of these little climaxes should be followed by a ‘narrative rest’. (that’s the dip after each spike)

Which - - I don’t know, might sound weird? I know when I started writing I was like ?? but it’s true! The closer you get to a big narrative climax, the more important rests are! Rests are – I personally think – one of the most important components of storytelling, because they re-ground an audience, remind them of what’s at stake, before thrusting everyone back into danger.

Again, Harry Potter is a gift in this sense because this is all really clearly paced out. Think about the first instalment – Harry Potter and the Philosopher’s / Sorcerer’s Stone.

Harry and Ron save Hermione and Ron from the troll!!!

Then they become friends and enjoy school and quidditch.

Harry loses control of his broom during a quidditch game!!!!

He’s okay and then it’s Christmas and Harry gets the invisibility cloak and feels connected to his parents for perhaps the first time in his life.

Harry, Hermione and Ron go through the trapdoor to get the philosopher’s stone!!!

And - - okay, you get the point.

Each mini climax ups the stakes, but we feel those stakes upped because of the time we spend with characters during the ‘narrative rest’. For instance, while Harry and Ron saving Hermione from the troll might have sparked an interest in her, it’s the narrative rest scenes between that and her setting Snape on fire during the quidditch game that makes us invest in her as a character.

This is where things get a bit hairy with Good Girls. Good Girls does a tremendous job of giving us both great climaxes and wonderful moments of narrative rest. The issue, for me at least, is that it’s not always the best at balancing them. When I talk about escalation and pacing, this is a big part of what I mean.

Remember how I said this was the shape of a story?

Well, I think Good Girls s2 looked more like this:

We had a lot of solid movement in the first half of the season that sort of flattened out into a lower stakes, more meandering middle (which gave us 2.08 through 2.12). Which - -

Look.

The story changed gear, and it didn’t work.

Think of it this way:

2.01 – mostly character-based fallout from s1 + inciting incident of Rio handing them the gun

2.02 – almost entirely rising tension culminating with the girls bribing Boomer and Beth lying to Rio

2.03 – which thrusts us straight back into rising tension with the girls trying to kill Boomer and ‘succeeding’ via Mary Pat

2.04 – which gives us a very satisfying narrative rest as we explore Rio and Beth’s relationship outside of an overall narrative thrust – he gives her a key, she shies away from him, only to fall entirely back into him culminating in sex which itself brings about a new climax (no pun intended!) in the scene with Beth, Rio and Dean at the dealership. It’s also a strong character episode in closing certain plot threads – ending Annie and Greg’s relationship + ending Ruby lying to Stan about what they’re doing – while establishing major new threads – i.e. really colliding Turner and Mary Pat.

2.05 – and after the rest, we’re back to almost entirely satisfying rising tension! Building off of the threat of finding Boomer’s body and the new tensions that Rio and Beth’s intimacy brings.

2.06 – a mix episode! Very much building to the strong climax of Beth seizing power, but also an episode that plays around with character, has a lot of strong ‘rest’ moments i.e. the girls sorting pills and talking which gives us a lot of information as to state of minds, etc.

2.07 – again, very strong mixed episode which is focused on one single, extreme climax – Jane being missing, but building a very character-centric episode around it. Also introduces Noah though? Which is a mistake. He should have been introduced - I think, in 2.05, but that feels like a whole other post.

2.08 – narratively speaking the same as 2.07 in the sense of a single climax (the girls failing to get the money back / the Beth-Ruby confrontation), but has the added bonus of flashbacks.

2.09 – we have a slight narrative thrust with the robbery of the Quick Cash but it proves very quickly to be low stakes. This is an alllll emotional stakes episode, which means narrative tension is slowing.

2.10 – again, a character-focused, narrative rest episode devoted to Beth struggling with getting square. A few small climaxes – Annie and Ruby in Canada and Turner at the dealership being the big ones, but both quickly prove toothless. The heft / strength of the episode again is in character moments, not narrative thrust. Again - slowing it down.

2.11 – oh, what do we have here? Another character-focused, narrative rest episode? I love this episode – it’s one of my favourites of the show, but it’s intensely character focused. Very much centred in waving away the smoke around both Noah and Rio for Annie and Beth respectively. No dramatic climaxes. Slowing the story down even further.

2.12 – another narrative rest episode. A lot of slow exposition of Mary Pat and Jeff, which is good to know, but I’d argue placed badly in the season. This season’s already been slowing down despite the narrative timeline tightening, but this episode only further pushes on the brakes for Dean’s new job, Beth and Dean’s divorce, Beth and Rio’s break up. Two very small climaxes - the lawyer telling Ruby he knows about the money and the Boomer reveal but - in the context of the season - actually pretty low stakes. Again. Slowing down the narrative.

2.13 – A BIG CLIMAX EPISODE WHAT IS GOING ON???

What I’m saying in this is that the pacing in the back half of the season was, to me at least, fundamentally off. They hadn’t steered a strong enough narrative spine to take us through the season, and got heavily invested in character moments and not-entirely-thought-out-fallout in the back half of the season – it didn’t understand it’s own narrative thrust well enough to get us through. It also established a certain pacing with us in the first half of the season and shifted gears halfway through.

You can’t have your first three or six episodes be high-stakes-high-action, and then make the back end of your season same-stakes-low-action and top it all off with an explosive, poorly built-up finale in the way that they did.

There wasn’t enough thrust to push us through to the scene in Rio’s loft – neither narratively or in a character sense, and as a result, those last few episodes fall apart. Even beyond that though, the season escalated quickly then - - didn’t really know what to do with those escalations? It plateaued, which is indicative of bad pacing across the season.

I actually do think it’d be a relatively easy fix? I’d bring the Noah arc forwards and actually fiddle with the Beth and Rio break ups - get one even closer the tinale and make it more painful. Make it a climax in itself.

But anyway, haha:

The Resolution

All stories have a resolution too of course.

The resolution can be 30 seconds or 30 minutes – it’s a time to tie up loose ends and to reassure your audience that the journey they’ve been on is worthwhile.

(After all – you’ll notice the story diagram is not symmetrical – we never finish where we began).

I’m not going to talk too much about resolutions because at the end of the day – resolutions should fall fairly naturally out of your beginning, your inciting incident, your rising tension. It should tumble out like the double wedding at the end of Pride and Prejudice, but I will say that the s2 resolution was...err, not good. In no small part because it didn’t fall out of what we’d been told all season. They’d established a certain throughline and then taken it back, and that was nagl to be honest.

On the plus side though - it wasn’t a finale, so I have my fingers crossed they can fix it!

But yes, back to your ask, anon.

No, I don’t think that the writers were pandering. I think they went in with a sketched outline and that they probably got lost in the back end of the season and weren’t quite sure how to drum up the final act, which meant that final act didn’t work.

Ah, this post got so long! I hope it wasn’t boring or too self-indulgent or silly, and that you got something out of it! I am, of course, always happy to answer writing questions, and I hope you liked reading my story ramblings ;-)

#writing posts #gg season 2 #welcome to my ama

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