#being able to stand completely on its own while expanding the same themes of the franchise is incredible

[jynjackets]

what kind of fucking job is expert movie critic helper 😂

[bakujho]

Another rant about some Shady Eels

So, back again to talk about the shady eels though this time focusing on how with the information we’ve been given we can pretty well confirm the Leech family are mafia. We’ve gotten a few solid gems of information the last little while, pretty well confirming what we always figured. Octavinelle has got that mafia theme, so everyone expected some shadiness, but the info we’ve been fed about the Leech parents really brings home that it’s not just the dorm theme, and that the twins and Azul aren’t just “cosplaying as mafia baddies for aesthetic”. 

So what exactly do we KNOW? 

The twins were taught self defense by their parents from a young age. (Jade voice lines)

When they were children their parents ‘associates’ would buy them luxury or rare  birthday gifts...then were made to sign waivers saying that the gift had no ulterior motives and wouldn’t constitute a favour in return.  (Jade birthday)

Their father has told them that appearances on land are important, and to pay close attention to the little details. (When Idia asks for further clarification, he cuts Floyd off before he goes further saying that any further and he feels like he’d be “ensnared by darkness”) (Floyd dance and wishes wish)

There were many parties back in the Leech household, but they were more formal in nature. (floyd birthday)

Eels have a “tough guy” image in the sea, and them being carnivores doesn’t help. (floyd birthday)

Mama leech worries about her babies and contacts them often (jade birthday)

That they have a family run business, that has contacts with a LOT of kinds of different people. Jade tells us it’s VERY normal. (jade birthday)

Leech parents have spoiled their kids before, so they’re likely fairly well off. (floyd birthday)

Floyd seems to have a bit of a sore spot regarding humans (floyd robes) 

So obviously, without 100% confirmation, it’s impossible to say MAFIA LEECH ARE CANON, but with everything we’ve been given I’m pretty confident in saying it’s damn likely. That’s not even the fun part, cause it’s so surface level obvious considering Octavinelles theme, I decided to jump into it more. @chillableu​ had posted a comment in a shared discord that really got my brain whirring about WHY the mafia fam is maybe a bigger thing than just aesthetic, and I haven’t been able to stop thinking about it since. Headcanon accepted, chilla. I thank you. (I took out your name in case you didn’t want anyone on discord to find you by it)

  I’ll put the rest of this under a cut since it’s really just me theorizing and head canoning a whole ton of shit about the Leech fam based on humans treating fish as lesser beings incapable of the same level of emotions and intelligence as themselves, adding in bits from other media that has mermaids, mythology, and a touch of the history of the mafia.

Not even really sure where to start with this, but here we go. So, What if the Leech fam (be it great grandpa/grandma leech or current Leeches) started the mafia as a way to protect themselves due to the mistreatment of merfolk that were more “monster” like than the regular human kind mermaids we’ve only seen up until now. Its reported that the original Sicilian mafia started as a way for certain families that were facing persecution from the rest of the towns that eventually spiraled into the crime syndicates we all know from various media today. Outside of the twins and Azul, all the other merfolk that have been shown in game have been the “fully human on top, fish bottom” type, and with Azul being bullied because we was a rare 8 legged mermaid, and the magicamonsters from the Halloween event seeing merfloyd and remarking how RARE it was to see one, so I’m thinking that maybe the Leech fam started as a way to protect themselves, since if carnivorous merfolk are seen as more brutish, they may have seen a lot of discrimination from other merfolk and humans alike. 

It’s no secret that Toboso has been covering a lot of heavy topics dressed up in Disney clothes, and has already addressed discrimination and fetishization with the scarabia, savanaclaw, and more recently Diasomnia boys (well, mostly Malleus in the halloween event being treated like an object). So what I’m thinking is that there’s an underlying problem in the twstverse, where non-humans are treated badly, and non-humans with monster features even more so. So the leech fam bands together with whatever other monster like merfolk families there are and create their own little area in the coral sea, and eventually expand out into other types of business until they’re in a comfortable enough position to not really worry about any backlash anymore. Floyd has shown some distaste before about being ordered around by humans, which could be an ingrained quality from his parents, or he himself may have experienced some form of mistreatment at the hands of humans before. If the leech fam has a lot of ‘associates’ I think it’s safe to say that they weren’t the only ones feeling abandoned by the normal merfolk and humans .

In Japanese folklore there are creatures called Ningyo (basically human fish), which were both feared as creatures that would bring calamity and misfortune, and prized as their flesh was supposed to be sweet tasting and grant near immortality if eaten. Mermaids in a lot of more modern media are also more nuanced than the “beautiful fish that sailors fall in love with”. Even in One Piece, there’s the mermaids that are captured and sold off to the rich as prize objects to collect and display, and the Fishmen, which are the strong brutes that are ostracised by nearly everyone in series for them simply being fish. If Toboso wanted to touch on the mythology in TWST it would make sense that the more monster-like mermaids have created their own sub-society separate from the regular merfolk. During the Halloween event, the children seem to be pretty scared by Floyd because he’s huge, so what if that’s nothing new for him and why he’s so good with kids? Cause as a mermaid they’re used to people being openly scared of them without any good reason outside of their appearance. I also suspect that Floyd and Jade have a few more siblings, since in one of Floyds home screen lines he says that he’s not the youngest nor the oldest, and tbh, eels lay thousands of eggs, so it wouldn’t be surprising that he knew how to deal with the kid without any struggle. 

What if, when the eels are first hatched they’re a lot smaller than they were and like in the original article that started all of this, humans were needlessly cruel to them and many of them died out of sheer neglect, or that humans just didn’t think merfolk as capable as having acute emotions and saw them as lowly fish rather than sentient beings. We saw with the Magicamonsters that there’s a complete disregard for the feelings of Malleus when they made it a challenge to touch his horns and get a picture, so I imagine that has to extend to merfolk as well when they’re actually seen. That same mindset could have extended to the regular mermaids as well, which is why mermaids like Azul were so tormented for being different, even though they’re all fucking mermaids at the end of the day. So bringing this back to the Leech fam, they decided that they weren’t going to stand for the same level of discrimination from humans and other merfolk alike and began building their own empire. They have contacts in the sea that extend to those on land (otherwise how would the twins get the rare land items for their birthdays), and have an extensive network of associates, with the added bonus of brilliant mermaid twins, one of which is incredibly cunning, the other quick to violence and both of them raised to defend themselves should the need arise. 

So basically, I’m fully on the “Mafia Leech Fam is canon for real” train and at this point it’s going to be very hard to change my mind. I feel like there were a few more things I wanted to touch on with this but they’ve poofed themselves into the depths of my mind somewhere, so I may have to come back to them later. If you have anything to add, please let me know cause brain rotting about the Leech fam is honestly one of my favourite past times right now.

[batwhimpix]

An Interview with Former Takarazuka Top Star Asumi Rio: The Laidback Personality Behind the Handsome Face

(Translated by me 8/19/2021)

While still a member of the Takarazuka Revue, Asumi Rio was known for her sensitive acting which digs deep into the heart of each role, her crystal-clear vocals, and her captivating stage presence. As the top star of Flower Troupe, she gained an immense level of popularity. Now, it has been one year since her retirement from the company. She has expanded her repertoire from stage to screen, and continues to showcase new sides to her talent. In her first name-bearing variety program, the Hulu Original "Asumi Rio's Atelier," Asumi-san learns new tips and techniques to "step up" both her lifestyle and her design sense. Totally different from her intense onstage aura, this program offers a chance to get to know Asumi-san's soft and relaxed offstage persona.

It's been a year and a half since you left the Takarazuka Revue. How would you describe that period of time for you, Asumi-san?

When I was in the Revue, because I had managed to enter the world of Takarazuka, which was my absolute favorite place, I felt strongly that I didn't want to have any regrets. So I was very motivated to work as hard as I could to polish my craft. I was completely lost in it, but within that, I always had my fans cheering me on, and the guidance of so many around me. In the last year and a half, I've realized all over again just how precious a thing that was.

Until I left, my only experience was on the stage, so stepping into the world on screen for the first time, a lot of totally new forms of expression were expected from me, and I felt a lot of anxiety. Parting from Takarazuka and living as just one individual human, every day is full of challenges. But that said, every day now is also rich with new experiences and new possibilities, so I've come to face that with a lot of gratitude.

While you were in Takarazuka, there was a very clear image, that of a perfect "otokoyaku," to aspire to. Now that you don't have that anymore, what kind of actress are you aiming to become?

There are a lot of qualities I have now precisely because I was an otokoyaku, and I think it's probably okay for me to just embrace that. As top [abbrev. "top star", the starring otokoyaku actress in each troupe], I was in a position where I had to lead the troupe, watch over and guide all the other actresses, and shape each production as the lead actress. I think I've picked up a lot of grit through that experience, and even as a woman, I think having a bit of a masculine edge in your lifestyle and how you deal with things can be a positive, right?

Even when I was playing otokoyaku roles, moreso than aiming for a particular ideal, I came at each role separately, like, this time I'm playing this kind of man, next time I'm playing this kind of man. It was like a gradual broadening of my horizons. Now I'm simply adding female roles to that roster, so it's kind of like the scope of roles available to me has doubled. When it comes to my outward appearance, as my hair grows out and I transition toward a more feminine look, I've been having all kinds of new discoveries, like, "Oh, this kind of styling makes me feel like this." Within my drama roles as well, I like those discoveries like, if I do it like this, won't it be interesting, or if I do this, I can get viewers to say, "Oh!" I want to keep digging to find those little moments where I can really surprise people within each role.

Since your retirement from Takarazuka, what overall on-set experience sticks out the most in your memory?

I think that has to be the first show I had the opportunity to take part in, "Ochoyan" [NHK serialized telenovella]. Until I was on that set, I always thought that the stage was the most incredible place in the world. I would never find anywhere else where every member is so unified in their vision, where everyone has so much pride in their troupe and so much love for the production they're building together, as in Takarazuka. Even now, I still think Takarazuka is a very special place, and my love for it hasn't changed.

But on the set of "Ochoyan," like Takarazuka, there were so many staff working to create this thing, who truly loved the work and brought all kinds of skills to the table to bring it to life. Among the cast as well, the atmosphere during recording, where all of us in the Tsurugame Family Theater [the name of the theater company employing main character Takei Chiyo as well as Asumi-san's character Takamine Ruriko] really did feel like a family, wasn't that different from Takarazuka at all. On the contrary, because our time together was limited just to the recording of this show, it felt like everyone valued that time all the more. Being on a set like that was a huge experience for me.

In Takarazuka, you had a very hectic schedule. As soon as one production closed you were already thinking about the next. I'm sure your lifestyle has changed in a big way since then. What kind of feelings do you have about that?

I retired and moved here to Tokyo right around the start of the pandemic. During the lockdown, when I was in my house all day, I realized how long the day really is. Suddenly it was up to me to decide how to spend all this time in the day. I could use it to rest or, if I had some area I was struggling with, I could use it for training too. I had a renewed realization that depending on my own feelings, I could choose to change myself in any number of ways.

These days, how do you find yourself spending the majority of your time?

These days, I'm doing a lot of types of work I'm totally new to, and working on sets with people I've only just met, so I'm still in a place where I spend a lot of time nervous. When I'm on a set I haven't gotten used to yet, my antenna is going in all different directions, so after I get home I try to relax as much as possible. In order to fully refresh myself and go into work the next day in high spirits and ready to face whatever comes, I've been making a conscious effort to be kind to myself.

What activities allow you to refresh your batteries the most?

Zoning out, and eating delicious food.

On "Asumi Rio's Atelier," you gave steaming rice in a donabe [TN: earthenware pot traditionally used to steam rice, supposedly more delicious than steaming in a rice cooker] a try for the first time, but what kinds of things do you eat most often?

As long as it tastes good, I'll happily eat anything. I like vegetables, meat, fish, and I love carbs, too. Ideally, I want to eat a good balance of a lot of different things.

Speaking of that program, how were the topics for each episode decided? Were you able to make requests?

For "Atelier" we had the general framework that I would be trying different activities I was interested in from the onset, so basically they asked me, "What kind of things are you interested in? What do you want to try?" And then...Yeah, first I had about 30, then we added about 30 more, so in total about 60, ideas that we pitched. The program staff wanted to include as many of my requests as they could, so actually, within each episode there are probably three or four different ones. In addition to that, there's an interview in each episode that relates back to that episode's theme. I enjoyed the chance to reflect on my Takarazuka era and memories from my childhood.

On the topic of your Takarazuka era, in your first interview for us, you said, "I wasn't necessarily aiming to become top star." But within the system of Takarazuka, to climb all the way to top star, you must have been aware of something within yourself that made you want to aim higher?

Let's see...Ever since I was an underclassman, I had a strong drive to improve as an otokoyaku. I wanted people to find my performance interesting, and I wanted to be seen as a necessary part of the production. I wanted to act a lot, and I wanted to sing a lot of songs that I love. I wanted to bathe in the spotlight, and I was happy when I got to wear more gorgeous costumes. If I really think back on those feelings now, first in the shinjinkouen junior performances featuring only actresses who have been with the company seven years or less, and then in performances at the smaller Bow Hall theater next to the Takarazuka Grand Theater, inevitably I started aiming for the lead roles that would allow me to stand on stage for the longest every time.

Somewhere along that road, when I was told I was being transferred from the troupe I was first inducted into, Moon Troupe, to Flower Troupe, this feeling that I had wanted to be the Moon Troupe's successor welled to the surface. And since that's the same as saying, "I wanted to be the top star of Moon Troupe," that was the first time I became aware of that goal. Every troupe in Takarazuka has its own character, though, so after my transfer, I was desperate to hurry up and become an otokoyaku befitting Flower Troupe first...

So as you worked to further your artistic development, there at the zenith was top star.

If you were to ask my underclassman self, the Top-sans are unbelievably incredible performers, and the more shinjinkouens you experience, the more closely you come to understanding just how incredible they are. Then as you spend more years with the company and find yourself in a position where you're working directly under the Top-san, you realize how much work they're really doing, and...The more you know, the more you lose the ability to say something like "I want to be the top star" carelessly.

And yet, you bore the heavy responsibility of a top star for five-and-a-half years. It's hard to imagine from your usual laidback attitude, but when it comes to your art, you're incredibly diligent and strong-willed. That gap is captivating.

When it comes to theater, I'm very picky. I mean, I'm way too stubborn for one thing. Especially in productions where I'm playing the lead role, I always have really strong feelings about how I want to perform things, and I'm not in a position where I can hesitate to convey that. It's important to listen to the opinions of various other people too, but when it comes down to it, if I have a clear idea of the direction I want things to proceed and direct things with that in mind, it makes things easier for everyone else, so I always tried to communicate my thoughts clearly and directly. If I'm delivering consistently good work, there's a persuasive power to that. Not only do the underclassmen naturally follow along, but the staff listen and respond to my requests as well.

But when you're making this kind of production, you do have to be pretty strict. But then, the real me is more of a people pleaser. I want everyone to like me, or more like, I don't want to be disliked. I didn't want the younger underclassmen to feel like I was unapproachable or like they couldn't talk to me because I was the top star. I wanted them to think of me like family. So outside matters relating to work, I tried to give off as relaxed a vibe as possible. Definitely, I think there was quite a gap between "on" and "off" for me.

Are there a lot of differences between "Asumi Rio the otokoyaku" and "Asumi Rio the actress?" How about between your stage name persona and your private self under your birth name?

I've lived under my stage name for so much longer than my birth name that I feel like, at this point, the parts of myself that belong to my real name are few and far between. I do have the feeling that, in some respect, I've grown up together with my stage name. In essence, while I was in Takarazuka, I didn't worry too much about creating a separate persona. Thanks to the kindness of my fans and the environment I was in, I felt like I could leave my otokoyaku persona on the stage and stay pretty close to my natural self everywhere else. I guess the only thing is, when I'm alone in my house, I revert to goblin mode. (laughs wryly) Like I'll have trouble getting myself to go take a bath, or I really should clean but my back hurts, etc., etc.

By contrast, now that I've graduated from being an otokoyaku, a lot of the things I'm doing as an actress are total firsts for me, so I think I feel more discomfort with my presentation now than I did then. There are times when I get really nervous, and then I get disappointed in myself for feeling that way. Like, until just a little while ago, I was in a position where I was responsible for keeping everyone's morale up. I would get up on that stage like, "It's alright, just leave it to me," so what am I all anxious for now? I often think about how much I still have to learn, and how badly I want to hurry up and learn it so I can show the results of my efforts.

Is there a particular ideal you're currently pursuing? What kind of actress do you want to become, and what kind of woman?

Since leaving Takarazuka, I've had a lot more opportunity to meet all kinds of new people. On every set I've been on, each of the actresses I meet has their own unique aura, and seeing their acting up close, I'm blown away by each of them. Among the staff as well, there are so many different kinds of professionals of all ages, and I often find myself inspired by their work ethic and lifestyle. I'd like to continue to enrich my life by learning from the amazing people I meet and experiencing many new things, and work to become a more fully rounded human being.

*Bracketed notes not marked "TN" (Translator's Note) were present in the original article.

[maggiecheungs]

atots as a disability narrative

finally posting my mini essay about atots and disability one (1) hour before episode 4 airs. putting this under the cut because it’s long. cw for discussions of casual ableism, suicidal ideation, death, disability, mental health.

(note: throughout i refer to tian’s disability, which we obviously don’t know the details of; i mainly mean it as a catch-all term for the health difficulties he faces, unlike most abled people, which continue on even after his transplant)

after episode 1 i remarked on how i read tian’s story as a disability narrative, but i wanted to wait to get a bit more info before i expanded on that. after episode 3, i think i can take a bash at outlining the main things that struck me--but there’s so much more i could say about this topic, so feel free to ask for clarification. also i obviously haven’t watched episode 4 yet, so that might change things! and of course, tian is filthy rich so his experiences with the practicalities of disability are somewhat mitigated/different from most experiences of disability... but in an ableist society, there are obviously some basic similarities in the way disability is perceived and experienced. so far, here are some of the main themes that i’ve noticed in atots:

the space between wellness and unwellness

in our society, wellness is constructed as part of a binary. one is either well (perfectly fucntional, capable of working) or unwell (ill enough to be incapable of functioning in a ‘normal’ manner). the default state is, of course, wellness; people get ill sometimes, of course, but they return to that default. however, people with disabilities and long-term health conditions can’t do that--and in the society in which we live, there aren’t accomodations for this sort of existence. 

tian has spent the past few years living in the space between wellness and unwellness. it’s the space of hospital waiting rooms and people treating you like you’re fragile. it’s the space of always waiting for something to happen; waiting for the other shoe to drop, waiting for the people around you to get tired of you. in tian’s case, waiting for death.

tian has spent the past years stuck in this liminal space: ostensibly well enough to live a fairly normal life, but not enough to do so properly. he--and everyone else around him--is just waiting, and it prevents him from forming any close emotional connections or long-term plans. even if he could forget about it for a while, others remind him through their behaviour and treatment of him. before his surgery, he isn’t allowed just exist on a day-to-day basis. his very existence is overshadowed by the threat of its end. 

being stifled by others

in episode one, we get a glimpse of the near-complete erosion of personal boundaries tian has undergone over the past few years. after his operation, his mother panics when he leaves the house; she and his father stifle his freedom. at the same time, their fixation on ‘keeping him safe and healthy’ prevents them from seeing what he actually needs on an emotional level, which can be just as dangerous.

tian doesn’t just have to deal with his own feelings; he has to deal with his mother’s anxieties about him. he has to act well to assuage her fears. (tbh, neither of them handled the situation in the best possible way but... there isn’t really ‘a best way’ for this sort of situation? it’s more just limiting collateral damage.) similarly, his father blames him (or appears to blame him) for the suffering his mother is going through. 

it turns into a thing where he feels as if he owes them wellness (or the appearance of it). he doesn’t feel like he can be vulnerable around them. he puts on a similarly blasé act with his friends, because he doesn’t want them to treat him the same way his parents do--like he’s made of glass. which leads to....

pushing himself beyond his limits

tian feels like he has something to prove. he wants to prove that he’s not a burden... which becomes the characterising theme of his stay in the village.

in going to stay at the village, tian’s managed to mostly escape the spectre of ‘unwellness’ that has haunted him for so long, as well as all the people who stifle him. now that he’s free, he wants to learn to stand on his own two feet; to prove it to himself and to everyone who doubted he could (his parents, phupha, etc.).

however, while this is great for him on one level, it’s not great on another. because in tian’s mind, his disability is equated with being a burden. (this is not unsurprising, given that we live in a hugely ableist society and given his own experiences with his parents.) now that he’s out of the stifling environment of his past, tian feels like asking for help or taking care of himself would be a concession of weakness/burdensome to those around him.

that means, when other people unthinkingly hold him to ableist standards which his body literally cannot accomodate, tian will push himself to the limit rather than admit that he ‘falls short’. this is something that could have grave--potentially fatal--consequences.

HOWEVER! this seems to be changing! he seems to be growing past his feeling that ‘disability = burden’. in episode 3, he voluntarily told kalae about his having to take medication, and actively equated taking care of oneself with maturity/strength (”kalae, i also take pills. grown-up men have no problem taking pills. do you want to be a child or a grown-up?”)

i’ll be interested to see how this progresses. hopefully when/if he discloses his condition to phupha, it will go some way towards helping him move past all the self-directed ableism he’s internalised. also it should stop phupha from inadvertently pushing him to exceed his limits. (i predict that one area of tension between them will be phupha’s worry about tian--if their relationship is to succeed, phupha needs to be aware and accomodating of tian’s needs without stifling him/treating him like he’s made of glass as his parents did)

survivor’s guilt

a lot of this might be unconscious, but... tian has, in his mind, done nothing with his life--unlike torfun. while tian was alive and being a burden on everyone around him, gambling his few remaining years away, torfun was being one of the best, kindest, most generous people in the world. inevitably, living in her house and interacting with her people, he compares himself to her at every turn. she could help the villagers where he cannot. she should be here, not him. her heart is wasted on him.

but this is changing! in the most recent episode (3) we can see him building bonds with the villagers on his own merits. in the first few episodes i was worried that tian’s journey would be represented as but a shadow of torfun’s, but he’s forging his own indivdiual journey. similarly, his relationship with phupha seems to be individual to him, rather than a copy of the relationhship with torfun (but i guess we’ll find out more in the next few episodes). 

suicidal ideation

as mentioned above, tian has spent his entire life waiting for death. now, that looming spectre has disappeared, but it’s still a part of his identity. for years, he’s shaped his sense of self around that fact: he is going to die, so it does not matter what he does or does not do (this post sums it up really well!) he’s reckless because why the fuck shouldn’t he be? even if he’s not necessarily actively suicidal, for a while he seems to be passively suicidal.

this is also starting to show signs of change--as he overcomes his survivor’s guilt, builds genuine connections with the people around him, and feels like he’s contributing to something bigger than himself.

which leads me to the overriding theme of the series: tian’s going to have to learn to love himself, disabilities and all. he’s starting to build himself back up in the village, but he can’t treat it only as an escape. at some point, he’s going to need to face all the things i’ve mentioned in this essay and work through them. hopefully phupha will be there to help him, but this isn’t a ‘love cures all ills’ situation. loving phupha won’t ‘fix’ him; tian needs to love himself.

but... honestly, i have faith. i was really cautious after watching the first episode, because i’ve seen so many shows handle disability badly. but atots has exceeded my expectations in every other way so far, and i am truly excited to see where it goes next <3

[develation]

SCP AU

So @emeraldtrainer1 (Ao3), @writingforfunandbecauseboredom (Ao3), and DarkstarWolf53 (<-Dunno if they have Tumblr) did an SCP AU three-way Convo fic some months ago. I really enjoyed the outline and concept and asked if I could expand on it. With their permission and about a month of research into what the actual SCP Foundation is (and holy cow there is so much, no wonder people are all over this) I've finally managed to get a start on this. There is a decent amount of things that are different from their original Convo (via their permission) but it will basically follow the same storyline that they created. Please go check their Convo out, it's a very long and fun read with a lot of good fluff and Angst mixed in.

I will hopefully be drawing some of my designs soon but for now, writing seems to be the way to go. Here is a link to it on Ao3 -> https://archiveofourown.org/works/33213928/chapters/82464553

I'll also have it below in case you would like to read it on Tumblr instead.

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Error: (The End Of All But Me.) There are too many unworldly traits that spiders have that I couldn't just not give to Error, so I've kind of combined their Puppetmaster concept to my design. He has 4 arms with clawed fingertips, his tail is prehensile and his jaw can split open. He has 5 tongues still, 2 of them are spear-like, and can shoot out and impale victims. The saliva produced under the tips of the barbs on the two tongues can liquidity a prey items insides so he can drink them up (still a clean freak, using the skin as a cup and drinking up any mess leaving a skin bag behind). His other three tongues are prehensile and can extend to an unknown length, they are barbed aswell but do not carry the venomous saliva. Strings wrap along his bones from his eye sockets, which he uses to create a nest atop the ceiling of his cell.

SCP-002's (Apollyon class) cell is a blank room (it ask for a TV later on) that goes up vertically 2 floors. The top half is required to be shrouded in darkness as it likes voids of either white or black. It has filled the darkness of its cell with a nest of strings that it spends all of its time in, even when feeding. It does not attempt to attack staff, when asked why it replied with, "Not yet." Personal have not been able to decipher what it means by that statement. In an interview via speakers and mics within containment cell, it was asked why SCP-002 stares off at seemingly nothing for extended periods of time and never touches the ground. Subject responded with, "Busy." When asked what it was busy doing- "Watching." When asked what it was watching- "The world. Everything." Due to this experience, it can be concluded that 002 can view any place in the world and perhaps beyond via "screens". These "screens" are unviewable to anyone but 002 and 001 as the latter SCP had called them so, hence their given name. SCP-002 has a strange relationship with SCP-001 and it can not be determined if 002 likes or dislikes 001.

Ink created Error on accident. In the beginning, Ink didn't know what he was doing, and the brutality of Earth's natural forces of destruction were uncontrollable. If he wanted to bring life to his chosen planet he needed a way to control the chaos. And so through the storm, a new force was born. And even if Ink didn't create it, he did wish for it.

Error is a ticking time bomb for extinction. He waits and watches until he decides it's time for a "spring cleaning" and starts his work. The Ordovician, Late Devonian, Permian, Triassic, and Cretaceous mass extinctions were all him. He deemed the human race ready for a "cleaning" a long time ago and Ink agreed with him, ready to see and make something new. But Nightmare threatened the both of them by stating that he would make the earth forever inhabitable and they would have to kill him before he stoped his rage. Nightmare fears that if another extinction event were to occur he'd lose his boys.

Ink: (God doesn't care about what's right or what's wrong. God just wants to watch interesting things happen.) His form is always changing, different traits from different animals and organisms he's created. Ink is basically Gaia. Born when Theia crashed into Earth around 4.5 billion years ago, he made everything that ever existed. Since he's made A LOT of organisms he has a ton of favorites and the traits from them are what mostly show up when he mutates. Sometimes it's Kaprosuchus with belonged snout and fangs. Sometimes it's Tylosaurus with its marine reptilian posterior. Sometimes it's Chital Deer and their antlers. More often than not though, his tail has consistently stated having bristle-like hair at the tip of it, which is basically his brush. The concept of paintbrushes is pretty new to him since the human race has been around for a short time compared to other species, so while he does have one, his tail is his broomie. If his next from doesn't have it then he just uses his hands and his blood.

Ink can't be contained. It's that simple, he just can't. He just sticks around because it's interesting and hilarious to see his creations so intelligent but so stupid. (remember how humans are still young in terms of Earth's age, so the fact that they're so smart... on a thought level that could almost match his own is so very interesting to see and watch. even if there ruining his planet.) The SCP foundation just has to let him do his thing and hope that he doesn't override 003's and 004's decision to not have an extinction event.

His cell is basically a mini-ecosystem, with all of his favorite organisms living within whether they are extinct or not. He loves his little sample of the world and it keeps him in his cell for a good amount of time so the foundation let him have it. If any of them even touch what is HIS without permission then he rips them apart and feeds them to the baby Rhamphorhynchus. Don't touch his babies.

...Cross though... he can touch his babies... and Dream... and maybe Error... That's it though!

SCP-001 (Apollyon Class) is a being older than all living things, despite his toddler-like mannerisms. Even more infuriating, within an interview, 001 openly admitted to being the cause of all SCP's and their anomalous effects. It stated that they were all just mistakes and/or experiments, testing the limits of their own abilities. 001's quoted response- "You don't get it do you? I made everything here! All of your little "SCP's" are just of my creation as all of you. Sure there all mistakes but, it just proves my point that it's time to start over again. A clean slate y'know? Pfft- wow you look mad! If it makes you feel any better, I don't like most of them either. They were cool at first but... it's like flicking black paint over a finished painting. Sure, you can try to get over it but eventually, it will just bother you so much that you just can't stand it! Well... I do kinda want some of them to stay... If I could just convince Ru..." -shows evidence to this conclusion. Termination trials were approved by the 05 Council, though have not been able to start since 001's creation of a barrier around its cell, preventing entry of anything that tries to pass.

[Note: Error, Dream, and Nightmare are not included in what Ink views as "mistakes". Y'know when you're trying something new and you don't know what you’re doing, yet it works somehow. That's them, happy accidents. Ink adores them.]

Ink finds the attempt of Termination trials on him to be absolutely hilarious. The fact that humanity's insecurity about their lifespan and control is so great that they'd try to KILL HIM. Amazing. He can't believe he's managed to make the simultaneously best and worst organism ever.

Dream: (When day breaks.)  Again he was accidentally created by Ink’s actions in an intense solar storm. The flare drifting over the earth in combination with Ink’s magic still working to bring life brought him to existence. Dream’s design is almost harpy-like, with beautiful golden, sun-like wings with a small feathery crest atop his skull. Two tail-like feathers sprout from the crest that can rise up and down depending on expression and mood. He also has bird feet and legs, and a tail.

Dream adores all life, his is the warmth and growth of the sun (original form being a ball of light and plasma that literally looks like a mini sun). He is basically like a piece of the sun on earth. His cell is kinda like Ink’s, only in the fact that there are just a couple of animal species. Some deer, birds, and insects mainly. Ink obviously just appeared in his cell one day and made it for him. While Dream could be considered to be a Safe SCP, his ability to damage or completely ruin the planet if inraged prevents that classification.

SCP-003 (Apollyon Class) has proven to be a relatively docile creature. It is elegant in nature (like that of a bird) and shows greater empathy towards all life in general. Unlike SCP’s 001, 002, and 004 who view it as more interesting and admirable, more like a pretty crystal than an actual being with its own consciousness. 003 can not be fully contained and has shown the ability to travel through light rays. Its aura has also shown to be some form of anesthesia, and exposure for prolonged periods causes victims to feel more at peace and calm. 003 does have the capability to travel through the “dreamscape”, what exactly that in tails is unknown.

Dream doesn’t agree with the extinction event thing because the Holocene period hasn’t lasted for nearly as long as it should. On the other hand, he does distaste humanity/monsterkind for all it has done to the planet. Even so, he feels like they deserve more of a chance.

Nightmare: (Does the Black Moon howl?)(Death) Complete with the theme of being Dreams opposite, Nightmare was born from a black moon and the combination of Ink’s magic bringing life to the earth. He isn’t an evil force or anything, just the night to the day. His design is pretty true to OG nightmare, although his legs and feet share the same digitigrade format. His tentacles are more ghostly than slimy and they drip upwards instead of towards the ground. His bones also have a ghost;y wisp to them, but it isn’t that noticeable. Instead of only having a turquoise glint in his magic, there are sparks of purple aswell. (His original form being a black sphere of what looks like smoke).

His cell is basically an entrance to a cave system that Ink had made for him. Inside is a galaxy of crystals and gemstones that glow and sparkle like the night sky. A small stream runs through, the light refracting off of the water, adding to the glow effect. It is a nice calm place for Nightmare to just chill in, his separate own little world.

Nightmare is kind of mysterious, in the realm of Error in which he likes to watch things happen. Just lurking in the shadows, a quiet observer. Though, he wasn’t as fascinated by life as the others. So to prevent his boredom Ink made him a present- Killer. Nightmare hated the little thing at first but it didn’t take too long to grow fond of the little guy. Not too long later Ink pronounced his joy in watching Nightmare sigh in frustration by sending 2 more bundles his way -Dust and Horror- and Nightmare had to threaten Ink to stop before any more joined the fray.

SCP-004 (Apollyon Class) is an entity whose intentions are completely unknown. A mysterious being that chooses to dwell in the cave system 001 made for it. The entity refuses to interact with personal unless in interview. And when it does respond, it does so in riddles and metaphors. It seemingly takes joy asking more questions than the interviewer, turning the conversation in its favor. On such question that has been repeated multiple times - “Does the Black Moon howl?” has puzzled personal. Though 004 states that if answered correctly and explained why, then it will share its secrets with that person and that person only.

004 proves to be uncontainable like its counterparts, able to travel through shadows. SCP’s 012, 032, and 024 seem to be “followers” of 004, and regularly go missing from their cells. Most likely 004’s doing.

[Ink created Killer, Dust, and Horror during the era where dinosaurs were still alive, so they have some traits from them.]

Killer: (War) Was created by Ink for Nightmare to keep him entertained. Killer was born as a baby in Ink’s very hands, a little skeleton with curved blades for hands and digitigrade legs and feet (and little quills on his back). Growing up under Nightmare’s care was an interesting experience, but he thought Kill’s everything he needed to know.

-[SCP-012, Keter]-

Killer is fast, very fast. And he enjoys killing things (what a surprise). He’s pretty much the same cocky boi as always. His more SCP side is that he doesn’t seem to ever feel pain and the black liquid that leaks through his eyes. That can be used as a type of venomous toxin to whatever he pleases.

Dust: (Pestilence) You know Epidexipteryx and Therizinosaurus? Those are Dust hands, long with even longer claws. He can also turn into literal dust, more of a phantom or wraith in nature. He can walk through walls, and turn others to dust and grow himself if he wishes.

He and Horror could be twins since Ink made them both at the same time. Holding his little creations in his arms as they wriggled and whined in confusion at suddenly being alive.

-[SCP-032, Keter]-

Dust is pretty quiet and tame. He has his episodes but he stays pretty much the same as bookwrym’s, writing’s, and Dark’s Dust.

Horror: (Famine) Since Horror is a vent crawler I based his design on that. Horror’s second set of arms are like a praying mantis with an extra joint, hands serrated blades almost like Killer’s. He used to sit in trees and wait for prey to walk underneath him, plucking them from the ground with his long arms and eating them alive.

Same thing when in vents, just waits over the openings and plucks a person off of the ground and into the vent (if personal don’t keep up with his feeding times)

-[SCP-024, Euclid]-

Other than his design Horror is pretty much the same as bookwyrm’s, writing’s, and Dark’s concept.

Outer: [SCP-044, Safe] His stardust makes him have luminescent galaxy and star patterns on his bones. He floats regularly without control over it and can sometimes make other objects float, in rare cases people, aswell. Ink made him a jacket where pieces of its hood and aglets float off like a sort of fluffy foam. The pieces orbit him like planets to a star before joining back, making a continuous cycle.

(And yes writingforFUN, he will still keep his anime sparkling eyelight’s).

Cross: [SCP-00X, Thaumiel] Was created by Dr. X to help contain and terminate Keter SCP’s. Being forced to kill his brother when he turned Keter, not completely in control of his actions. Dr. X’s “programing” making him see his brother no longer as such, just an object to be eliminated. When Cross became uncontrollable Dr. X put wiped his memory without the 05’s or administers permission and an MTF was sent after him that came back empty-handed. Cross was brought back soon enough and had his memory wiped.

They bring him back in as a staff member and that’s when the story kicks off, mostly following bookwyrm’s, writingforFUN, and Dark’s original outline/convo.

(I apologize for any typos)

[ajoblotofjunk]

Sorry for the unsolicited ask, but I remember seeing you said that Ned Stark was Lawful Neutral. What DnD alignments do you see for the rest of the characters at the beginning of their journeys and where they are now in the books? Also, what should have the TV adapted from the book and what should the book series take from the TV’s changes and pitfalls?

Hi! I love unsolicited asks, no apologies necessary. :) 

I’m going to pick a handful of some of the more interesting-to-me POV characters since it’s been a minute since I did a book re-read and also there are a ton of characters in this story. So. If there’s someone in particular you were hoping for, you can ask!

Ned Stark - Lawful-neutral from start to finish, ALTHOUGH. I think Ned’s great tragedy is that at the very end he bent and it didn’t do shit for him anyway. He still was killed, because he’d gone too far and he was too unwilling to bend when he had more power. Also my first D&D character ever was a LN gnome fighter and I just have a lot of feelings about LN fighters.

Catelyn Stark - Here’s a hot take: I think Cat is True Neutral at the beginning, and then when things start to happen to her family she slips a bit into Neutral-Evil, with the selfishness focused around her pain and her family’s well-being. (There’s an argument to be made that she’s chaotic-good/chaotic-neutral but I think Cat feels more strongly about authority than that suggests.)

Arya Stark (yes, my secret is out: I am a Stark fan) - Arya is very chaotic-good at the beginning of the story and where we’ve left her, I think she’s chaotic-neutral and poised on a tipping point where she could slip to chaotic-evil but I think she’s gonna go back to CG. Maybe True Neutral, but I don’t see her becoming the true Faceless Man archetype that requires in the books (in the show I think she did become TN).

Cersei Lannister - I think Cersei is Lawful-Evil, because Tywin is Lawful-Evil and she thinks she’s female Tywin. In reality she’s probably Neutral Evil, especially where we’re at in the books, though she still lets herself be bound by authority in a way that suggests she might still be LE.

Tyrion Lannister - Okay here’s the thing. I don’t like Tyrion. Which, if you’ve read my fics, is probably not a surprise to discover. I liked him in the early books! But as he’s gone on I’ve liked him less and less and now he just annoys the crap out of me in ASOIAF. I think Tyrion was probably True Neutral at the beginning; honestly there’s an argument that he might’ve been Neutral-Good, but he’s definitely Neutral-Evil now, MAYBE Chaotic-Neutral if I were being generous with him. Which I am not.

Jaime Lannister - Jaime has had I think the biggest alignment shift out of anyone in the entire series. I think he started life as Lawful-Good, and then when the authority he trusted betrayed him, he shifted to an outward Chaotic Neutral/inward Chaotic Good that’s struggling to reassert itself. I think where he’s at now in the series is transitioned into that Chaotic Goodness more outwardly, and I think by the end of the series he’ll be fully CG, POSSIBLY Neutral Good but I’m not sure I see him making that shift completely.

Brienne of Tarth - Brienne is maybe my all-time favorite character of anything ever, so I have a lot of Opinions about her and this one I hold dear: I think a lot of fandom thinks she’s Lawful-Good, but I think she’s Neutral-Good. She is extremely driven by keeping her promises, but not, IMO, because of the weight of authority but because of the weight of her own moral beliefs in making a promise. She wants to do good because it’s the right thing to do, not because any oaths she takes tell her to. It’s why she was willing to hear Jaime out about what he did to Aerys when others (like Ned) wouldn’t - because she recognizes that good is the choice, not the oath. BECAUSE HERE’S THE DEAL. If Brienne were Lawful-Good, she would have stayed and married someone on Tarth. But she’s not. So she didn’t. I think she will retain her Neutral-Goodness through the series. I could see her slipping to maybe Chaotic-Good, but honestly I think she’ll stay NG/return to NG by the end.

I am very curious if people disagree on any of these (even Brienne!) so discussion encouraged. :)

Whew, that was pretty long. And I still have more of this question to answer! So the rest I’m putting under a Keep Reading cut.

What should have the TV adapted from the book and what should the book series take from the TV’s changes and pitfalls?

This is a really complicated question, and I really like it, but I’m not sure I feel confident answering it.

I think the TV show suffered from trying to refine an unfinished story to its core themes without knowing where George was going to end (except I guess with Bran as King?). I used to think that the choices they made about what they left out where telling - all of the Targaryen nonsense limited just to Dany and not any of the other stuff, for instance - but given the finale, I think D & D both hyperfocused only on keeping the main points they needed for what they saw as the end while also only paying off the bones of what they’d adapted from the first three books and didn’t have room for the ways GRRM expanded the story after the third book nor for the ways his end will probably be more complicated than the one they were limited to by it being a TV finale.

All of which is to say: I would have loved them to adapt the Lady Stoneheart arc, particularly for Brienne, but that D&D had no idea how to make that work within the confines of what their limitations both of what they’d chosen to focus on previously and TV, and so I understand why they didn’t. I would have loved, as well, to have more depth and see more of the Dorne arc with Arianne and Myrcella and Tristan, but that adds a whole season’s worth of episodes that the show just could not absorb. The show was forced to choose early to focus on the Starks and the Lannisters, with Dany as a third party, and they never were able to sway from that.

If I were starting over from scratch, I would have to have a long talk with GRRM and figure out what his point is, and work backward from there. I don’t get the sense D & D worked backward from anything but the Red Wedding.

(To be honest, if I were writing the show, I’d do everything the same up to season 6, at which point I’d separate Jaime and Cersei, and make it all about setting up the War of the Five Queens in s6, then we deal with the threat of the White Walkers as a serious, full-season arc for season 7, and then spend season 8 paying off the Queens War and ending with whatever thematic ending it is GRRM is going toward (humans are the ultimate monsters! Women make it work! Women fuck it up just as badly as the men did! Democracy for everyone! Peace is tentative and must be fought for in a tense standoff that all of these older, weary women now understand! Which is what I would have chosen. heh.)

As for the other way, what do I think GRRM should learn from the show. I mean I love the tent scene and would love to see something like that adapted somehow to the books (when Jaime comes to Winterfell to fight, would be my personal suggested placement; imagine the drama and romance!). I think GRRM could also stand to learn from streamlining to key characters and plots, which is what I hope he’s doing in TWOW. But where we’re at in the story in the books is so different from where the show went that I think it’s hard to make any specific suggestions. Mostly I just really want him to look at the story he’s telling and understand it, and recognize that it may have changed certain endings he may have considered previously before his story unfolded itself and he realizes that Jaime and Brienne living on Tarth can be the sweet part of the bittersweet. Ahem.

[rpgmgames]

April’s Featured Game: Nobody's Home

DEVELOPER(S): oates ENGINE: RPG Maker MV GENRE: Survival Horror SUMMARY: After a night of extreme drinking and partying, you wake up in stranger's bed to discover... Nobody's Home.

Buy the game here! Our Interview With The Dev Team Below The Cut!

Introduce yourself! *oates: Hi, this is oates! I'm a pixel artist and game developer, I've started making games with rpgmaker in 2016 with VX Ace and now currently using MV for recent projects. Previous projects I've worked on were the FNaF-inspired Souls-like One Night at the Steeze, my first rpgmaker game and it's prequel, the FNaF-inspired roguelike No Delivery. Other games I've worked on include the fangames Day Dreaming Derpy, made in VX Ace and Spike's Day Off, made in MV and the latest in a series of previous fangames previously developed on Adobe Flash.

What is your project about? What inspired you to create this game initially? *oates: Nobody's Home is largely based on my experiments to find and apply horrific elements in modern situations or phenomena. The scenario being explored here in Nobody's Home is the aftermath of some crazy party. Sound design is especially important when crafting a horror scenario, so I often look to music to draw inspiration. Much of the atmosphere and house design was inspired by music and imagery associated with '70s yacht rock (a sub-genre of soft rock). Another important note is a lot of the general mood and 'weirdness' was inspired by a band I listen a lot to, Dance Gavin Dance, specifically their "deathstar" album. However they have a tendency in all their albums to switch genres mid-song, often going from their post-hardcore sound to funk, pop, and even rap; aside from that, some of the subject matter covered can range from disturbing to unpleasant to nonsensical, but combined with the amazing music, it creates an experience that pulls the listener in all different directions. It got to the point that I was naming events in the game after some their tracks so I had to be careful not to inadvertently make a fangame haha But there are some easter eggs in Nobody's Home that were intentionally left in, and I'm fairly certain players have identified it already.

How long did you work on your project? *oates: I used much of the same framework left over from my previous project No Delivery for this development cycle, so the hassle for setting up asset pipelines was very much mitigated. I started in earnest, making assets back in January this year so it took roughly 2+ months to finish development for this project.

Did any other games or media influence aspects of your project? *oates: Aside from the previous music inspirations, I was really intrigued with the way Resident Evil 7's Beginning Hour demo was able to pick up where Konami's cancelled PT left off in terms of survival horror games to look forward to back in 2017. Prior to later updates, the initial demo really only included a few set pieces, basic item interaction, and almost no puzzles from the full game. It was largely able to pull off scaring players from almost atmosphere alone (if you exclude the Jack Baker and ghost encounters). It was later in the full game that it was able to show off it's metroidvania-esque design to its fullest. After my previous project, I wanted to step away from roguelike design for a bit and focus a little more on an exploration-based experience, so I took a few notes from the way RE7 and RE2: Remake handled map design and progression.

Did you come across any challenges during development? How did you overcome or work around them? *oates: I was coming off a severe cold last year and it took most of January for me to recover, so it was a little hard to start full-on development immediately like I normally would on top of other career matters. And looking at events today, it's even more imperative that developers practice healthy habits during development.

Did any aspects of your project change over time? How does your current project differ from your initial concept? *oates: I've had the idea for Nobody's Home as a concept for a while, but filling in those gaps with actual gameplay between centerpieces was a big variable. I went back and forth between the turn-based item combat from the previous project to cutting out combat entirely. While I didn't implement it, I also brainstormed a few concepts for overworld action and combat ala Zelda, but it seemed too complex given the time frame I set for myself. Eventually I settled on a middle ground between full combat and separate encounters, with "enemies" acting as essentially a toll gate. The rest of the game followed suit with various tolls and "mouse traps" for the player to trigger at their own behest. This wasn't necessarily the design I had in mind at first, but it helped to concisely fill a relatively small location with specifically "deadly" content.

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *oates: I largely work solo for both development and art, but I do regularly work with a few musicians for an original soundtrack. I first started working with other composers for the fangame Day Dreaming Derpy, where after the initial demo was released, I received emails from a few musicians volunteering to contribute some tracks for the game. In all, the original soundtrack contained 9 tracks in total, with 3 tracks from each composer; each of them doing an amazing job and, in my opinion brought the project back then to a higher degree of quality. This was how I met some of the composers I still work with today and they all have some really great work! TheNGVirus @NGVirusNG1 Kaminakat @thekaminakat dRedder @HornyGremlin

What is the best part of developing a game? *oates: It's a toss up between the initial brainstorming/research and the first run-through when you have your desired maps linked together. For the brainstorming, it's pretty fun to learn about subject matter you want to do justice to as well as stretching your creative muscles for the first time in service to a certain concept. However this obviously wears off when you devote too much time to a particular concept, but it's still enjoyable nevertheless. For making that run-through, it doesn't necessarily mean to have all the events implemented, but to experience your game the way players will experience it for the first time does give a sense of completion/cohesion to what you, as a developer, are trying to accomplish. It essentially puts what you're working on into a different perspective for you.

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *oates: I do keep an eye out for what other rpgmaker projects are doing, and to see what others can do with the engine helps get the creative juices flowing; it's also fun to try to mentally reverse engineer how certain mechanics or effects were made. And it's always great to see fellow devs showcase what's possible with the engine.

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *oates: Nobody's Home has a relatively small cast of characters, whom you do interact with but never see, this is largely to done to create a sense of "un-relatability", but if I had to pick a character, it'd be "car guy", the guy you find stuck in the car. They have a good line, " ...there'd be a good reason for this, but there isn't..." Story of my life.

Looking back now, is there anything that regret/wish you had done differently? *oates: There were a few areas I would have liked to expand on or add, specifically- the attic + roof, the front lawn, behind the walls, and an entire second floor. Unfortunately that meant potentially adding more questlines and NPCs while the first set of questlines were pretty interwoven so it would have been way more complex, also again, given the time frame I set, it would have extended the development cycle way beyond what I had time for. But if I had implemented those extra areas, the game's length would also go way beyond the 30 min - 1 hr it takes to complete the game as it is now.

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *oates: I'd like to do both really, each installment of the VCRPG line of games is definitely a stand-alone story, or an isolated incident, but I would love to explore the aftermath of the game's events and how the passage of time ravages and twists the story into urban legend. I like to treat places and environments like characters as well, capable of making memories, being misunderstood, preserved, destroyed, and ultimately capable of change.

What do you most look forward to upon finishing the game? *oates: Both the fan reaction and free time honestly speaking. Once the development cycle finishes and the game is published, your work isn't really finished as there's always a chance someone's feedback can apply to immediate changes or patches you can implement, even during the release period. Marketing is also another large step to take into consideration after release, this includes tweeting, sending keys for lets plays, etc. Watching playthroughs is also a really good way to collect data on what parts of your design fall through and what fail to land. But after all that is said and done, some free time really helps the brain recuperate.

Was there something you were afraid of concerning the development or the release of your game? *oates: Just whether or not I handled the game's subject matter tastefully. Like horror cinema, everything done is in service the the themes and message of the piece as a whole.

Do you have any advice for upcoming devs? *oates: The game engine is essentially a tool, and like any tool you can find plenty of creative ways to get the same result. And don't be afraid to research whatever it is you need help with, it also helps to be specific with what you want.

Question from last month's featured dev @moca-pz: If you can collaborate with any game developer in the world, who would it be? What would be their role(s) and what would be your role(s)? *oates: Game developer I'd like to work with: Hidetaka Miyazaki His role: Story Lead and Director My role: Drinking buddy Game we're working on: SciFi Souls

We mods would like to thank oates for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out Nobody's Home if you haven’t already! See you next month! 

- Mods Gold & Platinum

[bewitching-elizabeth-olsen]

Press: A Thorough Breakdown of All the Marvel Easter Eggs on WandaVision

POPSUGAR: WandaVision has finally arrived, and it’s chock-full of hidden goodies for Marvel fans to devour! While the series is built upon a mystery that we’ll be spending a reported nine episodes trying to figure out, the smallest details in each episode provide clues on where the show is heading. From supermarket banners to foreboding commercials, viewers have an abundance of references and callbacks to classic comic lore and pivotal MCU moments. Are they setting the stage for a big reveal at the end, or are they just fun details included for fans to enjoy? While we try to figure it all out, scroll through to see what we’ve gathered! And check back every week for an episode-by-episode breakdown as WandaVision progresses.

WandaVision Episode 7 Easter Eggs

The episode opens the morning after Wanda has expanded the border of the Hex, finding the Avenger hiding from the world under her comforter. The comforter in question has a hexagon pattern, which is both a nod to the overall theme of the show as well as a metaphor for how Wanda is literally hiding away under a hex.

Billy and Tommy run into the room to reveal that their video game console has been messing up. Everything in the house is glitching, trying to transform back to earlier versions of themselves.

Billy also tells his mother that his head hurts and things are “noisy.” Since the twin inherited his mother’s ability to read minds, it seems he’s able to hear the thoughts of everyone in the bubble (and near it on the outside, since he was able to hear his father when he was dying). It’s a sign that Billy’s powers are growing, which means we could see the little boy reach his Wiccan potential before the end of the season.

Wanda wanders into the kitchen as the news drones on in the background. The news station is called W.N.D.A. or Wanda. The newscaster makes pointed comments, noting that there’s “not a thing weighing heavily on your conscience,” and that they “hope your little ghosts arrived home safe last night. It’s always such a treat to see those creepy kiddos out and about once a year.” The comments refer to Wanda’s building guilt at her actions in the previous episode and the rare appearance of children during the Halloween episode.

As Wanda makes her breakfast of “Sugar Snaps,” a nod to the big Snap of the universe, her milk carton reverts from its modern design to the old school glass bottle and back. The carton has a missing person’s ad on the back with a picture of a little boy on the back. This could be a reference to the oft-mentioned absence of children of Westview, and what could have happened to them.

Wanda and the twins “break the fourth wall” frequently to talk to the camera in the same vein as Modern Family.

This week’s theme song sounds similar to The Office’s, which also usings talking head segments like Modern Family. The opening credits are similar to the show Happy Endings and allude to the show’s focus on Wanda, even attributing the creation of WandaVision to her with the title image. Vision is notably completely absent from the opening credits, but there’s a clue that someone else is watching in a message that reads, “I know what u are doing Wanda.”

Agnes stops by to take the boys off of Wanda’s hands, which the exhausted mother is exceedingly grateful for. The twins are visibly uncomfortable with the idea, with Tommy asking Wanda if they have to and Billy telling his mother that someone has to stay to take care of her. It seems like they can sense that something is off with their “kindly” neighbor.

Wanda sends them off with Agnes, but once they’re gone, her magic goes incredibly haywire. All the furniture begins glitching again, with the stork from the painting in episode three making a reappearance. “I don’t understand what’s happening,” Wanda laments during a talking head segment. “Why it’s all falling apart and why I can’t fix it.” The off-screen interviewer responds, “Do you think maybe it’s what you deserve?” which visibly unnerves Wanda, who notes that they aren’t supposed to speak. It’s another sign that Wanda does not have as much control as she’s been led to believe.

Cue the sixth commercial, and it’s even more pointed than any of the others have been. It’s an ad for the antidepressant Nexus, for “when the world doesn’t revolve around you. Or does it?” The drug allows people to anchor themselves to the reality of their choice with side effects that include “feeling your feelings, confronting your truth, seizing your destiny, and possibly more depression.” Whew, the pointed commentary is even making me sweat. Nexus is a nod to two things: Wanda’s crippling inability to deal with the trauma she’s been through and her depression that’s pushed her into the creation of Westview, and two Marvel comics concepts. The first is the Nexus of All Realities is a kind of gateway point between dimensions from which all universes in the multiverse can be accessed. (Remember, Wanda’s next reported appearance is in Multiverse of Madness.) The second concept is the existence of Nexus beings, people who have powers that can alter reality, probability, and the Universal Time Stream. Guess which two Westview residents are considered Nexus beings? That’s right, Wanda and Vision! The commercial can either be just a cheeky nod to the couple’s seemingly infinite power or an allusion to the bigger picture that WandaVision is leading to.

While Darcy and Vision are attempting to make their way to the house, the doctor gives the synthezoid a brief rundown of his origin story, explaining how he died twice in an attempt to save the world. Vision points out that it seems like someone is trying to keep him from getting home, which spurs him to fly off, leaving Darcy behind in the blocked truck.

Billy and Tommy are watching Yo Gabba Gabba in Agnes’s lowkey creepy home. (It tickles me that Yo Gabba Gabba is more canon in the MCU than the X-Men or Fantastic Four right now.) While Billy pets Agnes’s bunny Señor Scratchy, he notes that he likes being around the older woman because he’s unable to hear any of her thoughts. “You’re quiet inside,” he says, an allusion to the idea that Agnes can hide her thoughts from him because she has magic.

Back outside the Hex, after the super-rover isn’t able to penetrate the field, Monica decides to run through it again. As she struggles through the barrier and we watch her, a montage of dialogue from Captain Marvel plays. The voices of Maria, Nick Fury, and Carol play over Monica getting through, and as Captain Marvel says “when they were handing out little kids, your mom got the toughest one,” Monica she pushes through to the other side. She lands in the stereotypical three-point-stance of all Marvel heroes, and her eyes glow, showing that she can see energy. We just witnessed the rise of Photon, folks! (Or Spectrum or Pulsar.)

Monica confronts Wanda in her home, and as their fight spills onto the lawn, the residents of Westview watch from their own homes. The delivery man is wearing a “Presto Delivery” uniform, a reference to the magic words said by magicians before they pull a magic trick.

In the first blatant show of Agnes’s ulterior motives, the older woman stops the fight when she realizes Monica is getting through to Wanda and pulls the young mother into her home. But when Wanda gets there, she notices the green bug and rabbit in the living room and the lack of her sons’ presence. When she asks Agnes where the boys are, she’s told to head to the basement, where the big showdown occurs. The scene hints at the eventual disappearance of Billy and Tommy.

Wanda notices a book on an altar, which could be the Darkhold, also known as The Book of Sins, The Shiatra Book Of The Damned. Originally a collection of papers known as the Chthon Scrolls, the book contains all the spells and ideas of the evil Elder God known as Chthon. The book is a conduit for Chthon’s power and can open a doorway from Earth to Chthon’s dimension. If that book is in Agnes’s basement, it stands to logic that she may be working with the evil god. The Darkhold emits an orange glow, which is a distinctly different color than the purple of Agatha’s magic.

Speaking of magic, Agnes finally reveals herself as the witch we’ve known her to be. Although the show tells us that “it’s been Agatha all along,” it still doesn’t ring completely true. There’s definitely more at work than just Agatha’s magic.

In the mid-credits sequence, Monica is caught snooping in Agnes’s backyard by Pietro. Her eyes seem to glow purple, the same color that signals Agatha’s magic. Does this mean she’s now under the witch’s spell?

  WandaVision Episode 6 Easter Eggs

The opening credits for episode six seem to be a tribute to Malcolm in the Middle, which ran for seven seasons between 2000 and 2006.

The entire Wanda and Vision family wear their comic book character costumes for Halloween.

There’s another reference to Thanos’s snap as Director Tyler Hayward talks about dealing with the repercussions of all the people “who left.”

The terrifying Yo-Magic commercial seems to foreshadow Vision’s future. Even though Wanda was seemingly able to bring Vision back to life, it looks like he won’t stay alive for long as it’s implied that he can’t exist outside of the Hex later in the episode.

Blink and you’ll miss the fun Disney movie Easter egg on Westview’s movie theater. The sign outside the theater shows a double feature of The Incredibles and The Parent Trap. Connecting right to Wanda’s family, The Incredibles is about a family of superheroes, while The Parent Trap is about a pair of long-lost twins reuniting.

Wanda’s changing accent has been brought up countless times by fans, and in episode six, Pietro makes a slight reference to it when Wanda asks, “What happened to your accent?” to which he quips, “What happened to yours?”

There is another reference that Agnes is actually Agatha Harkness as she is spotted wearing a witch costume on Halloween.

It appears that Vision has no memories pre-Westview, as a conscious Agnes tells him he’s one of the Avengers, and he has no clue what she’s talking about.

The episode further hints at Monica���s powers as Darcy confirms that the Hex rewrote her cells on a molecular level.

A few interactions between Pietro and Wanda have fans wondering if he might actually be Mephisto in disguise. Not only is he fully aware about Wanda creating Westview, but he makes several references to the devil and hell throughout the episode.

  WandaVision Episode 5 Easter Eggs

Wanda and Vision’s brand new house, suitable for a family of four, is reminiscent of homes in ’80s sitcoms such as Full House and Growing Pains.

When Agnes comes in to offer her babysitting help, she refers to herself as “Auntie Agnes,” which is eerily close to her comic counterpart’s nickname, Auntie Agatha.

An uncomfortable break in conversation leads Agnes to ask Wanda if she wants her to “take it from the top.” Though Wanda appears confused for a moment, she readily smoothes the conversation and carries on. Vision is visibly perturbed, though Wanda attempts to redirect his attention. It seems like the facade is fading all around.

To the surprise of their parents, Tommy and Billy age up five years while the two argue over Agnes’s break in character.

This episode’s opening sequence shows Wanda and Vision growing up, which we know didn’t happen in real life for the synthezoid. The theme song sounds very similar to those from Family Ties and Growing Pains, and consists of lyrics noting that “we’re just making it up as we go along.” Sounds pretty close to how things are going with Wanda and Vision!

When Wanda’s scans come back, they’re inconclusive and show up blank. Considering Monica gains her powers due to bombardment by extradimensional energies in the comics, it’s entirely possible that the blast from Wanda back in episode three, coupled with passing through the forcefield around Westview twice, have given her those abilities. We could be seeing the rise of Photon!

While Jimmy Woo is explaining Wanda’s backstory to the agents of S.W.O.R.D., Director Hayward asks if she’s ever used a “funny nickname” like the other Avengers. She hasn’t, in fact, she’s never been referred to as Scarlet Witch in the MCU ever. Since her powers are different from her comic book counterpart, there’s never been a reason for anyone to call her a witch.

That never-before-seen post credits scene from Infinity War has officially made its debut. Director Hayward reveals footage of Wanda entering S.W.O.R.D. headquarters to steal Vision’s disassembled body. The video harks back to a moment in the comics where Vision was kidnapped and taken apart — but still very much alive. Much like that Vision, the one in Westview has his memory wiped and doesn’t remember anything before he woke up in his new world. So, the question is whether Vision is actually alive or not. Wanda’s hallucination from episode four might suggest he’s a walking corpse, but there’s more to the story.

Jimmy mentions that Wanda’s stealing of Vision’s body violates the Sokovia Accords, which haven’t been mentioned since Captain America: Civil War. Unfunnily enough, the Accords were a direct response to the mission gone wrong in Lagos where Wanda lost control of her powers and caused the death of many civilians.

Darcy mentions that Vision is playing “Father Knows Best in Surburbia,” referencing the ’50s sitcom.

Tommy and Billy find a dog that, with the help of Auntie Agnes, they name Sparky. The Vision family has a dog with that exact name in the King and Walta comics, but he’s green. Sadly, he meets a similar fate as his live-action counterpart.

Wanda blatantly uses her powers in front of Agnes, who has seemingly handled the magic around her with ease. It’s almost as if she’s used to magic.

Darcy calls the Westview anomaly the “hex” because of its hexagonal shape. Although the magic has been taken out of the phrase, Wanda’s powers are known as hexes in the comics.

Jimmy, Monica, and Darcy try to understand how Wanda can revive Vision and control the Hex, which takes much more power than she’s ever displayed before. Monica notes that Wanda has always been powerful, being the only Avenger who was close to taking down Thanos singlehandedly, which Jimmy interjects to note that Captain Marvel could as well. Both are empowered by Infinity Stones, with Carol’s Kree biology giving her a power boost.

When Jimmy brings up Captain Marvel, Monica is visibly uncomfortable and changes the subject back to Wanda. What happened there?

Vision’s office mates learn about the sweet glory that is dial-up internet! But when he and Norm open their first bit of electronic mail, it’s a transmission picked up from S.W.O.R.D. talking about the Maximoff anomaly.

Vision breaks through Norm’s conditioning, revealing that he’s under the control of a woman (alluding to it being Wanda). He directly references his family, a conversation that Jimmy mentioned in his notes in the last episode.

The twins have aged themselves up to 10 by this point and are seemingly completely aware that Wanda has control over certain aspects of life, like time. They point out that it was Saturday when they woke up, but Wanda says it’s now Monday. She apparently changed the day to send Vision to work. Is their awareness because they also have magic or because she doesn’t control them?

Monica sends an ’80s drone into Westview after working out that Wanda’s Hex is rewriting reality to suit each era occurring in the bubble, and the drone would need no era-appropriate change. Though she attempts to speak with Wanda through the drone, Director Hayward commands agents to fire a missile at Wanda instead — directly ignoring that Monica said she doesn’t see Wanda as a danger. The action results in Wanda leaving the Hex and confronting the S.W.O.R.D. agents outside. She’s wearing the suit we last saw her wearing in Infinity War and Endgame and has her accent back, although it’s much thicker than it’s been since Ultron.

Episode five’s commercial is more pointed than any of them have been. Lagos brand paper towels directly reference the city in which Wanda accidentally killed several people in Civil War by blowing up a building. Thus, the Sokovia Accords were born.

While Wanda and the twins are searching for a missing Sparky — with no one calling out the fact that Wanda disappeared for some time — the mailman tells the boys that their mom “won’t let him get far.” It seems almost like a dig at how no one can leave Westview, like the doctor mentioned during episode three.

When Agnes reveals that Sparky died after eating too many azalea bush leaves, the boys ask their mother to reverse his death. Agnes seems particularly surprised by the idea of Wanda having that ability despite having seen other displays of her power and watching the twins age up rapidly twice. Wanda tells the twins that they can’t reverse death as there are still rules to things, which almost seems hypocritical considering her circumstances. Is she trying to say that she hasn’t revived Vision? Or is she simply trying to keep her boys from expecting too much from her?

Later that night, Vision reveals that he unearthed Norm’s repressed memories and demands to know what’s going on. He tells Wanda that she can’t control him, which she cooly responds asking him, “Can’t I?” Although the credits start rolling, their argument continues as Vision unleashes his frustration with not knowing his past and his confusion over their circumstances. Wanda tells him that she doesn’t control everything, saying, “I don’t even know how all of this started.” Vision believes it began subconsciously, but chastises Wanda for letting it get that far. Wanda reiterates that she isn’t controlling everything, which gives weight to the theory that there’s someone else behind the scenes. But who could it be if Wanda isn’t the “she” that Norm was referring to?

Mid-argument, the Vision family doorbell rings, which Wanda states she didn’t do. I’m inclined to believe her because when she opens the door, she is genuinely shocked speechless. At the door is her “brother” Pietro, now sporting the face of Evan Peters. Darcy asks the question we were all thinking as the episode closes, “She recast Pietro!?”

  WandaVision Episode 4 Easter Eggs

This episode opens with the heartbreaking reveal that Monica Rambeau was one of the people lost to the Snapture from Infinity War. She returns from Endgame’s Reverse-Snap in a hospital where she had been awaiting news after her mother Maria’s surgery.

As Monica is waking up, we hear familiar voices echoing in her head. It’s Captain Marvel calling her by her childhood nickname, Lieutenant Trouble.

As Monica weaves through the chaos of people reappearing in the hospital post-Reverse-Snap, she finally locates someone who recognizes her. Although Maria survived the surgery five years ago, she died from cancer three years ago in real time, having not been blipped with her daughter.

We finally have some information on S.W.O.R.D.! The acronym stands for Sentient Weapon Observation Response Division, rather than the meaning in Marvel comics, which is Sentient World. It sounds a little more ominous, right?

Maria’s badass legacy continues well past her friendship with Captain Marvel; according to S.WO.R.D.’s acting director, Tyler Hayward, Maria helped build the agency during its inception. She was the acting director until her death.

Tim gives Monica a mission to help out the FBI in the town of WestView, NJ, where something super freaky is going on with a missing person’s case. This confirms that WestView is, indeed, a very real place.

Welcome back, Jimmy Woo! Monica’s FBI contact is none other than Scott Lang’s parole officer and semifriend, Agent Jimmy Woo.

Jimmy reveals that a person in witness protection has somehow dropped off the map in a town that no longer seems to exist where no one recalls anyone who lived there. In an attempt to figure out what’s going on, Monica sends in a S.W.O.R.D. drone that vanishes inside the forcefield. It’s revealed to have transformed into the retro-style helicopter that Wanda picks up in episode two! We can only assume that since it’s an item from the outside world, it gained color when it entered Wanda’s reality to show that it doesn’t belong.

Darcy Lewis is back! Now a doctor in astrophysics, Darcy is called to help figure out what’s gone wrong with WestView. She’s the one who figured out a signal for the broadcast and is the owner of the hand we saw watching Wanda and Vision in episode one.

The mysterious beekeeper from episode two is revealed to be S.W.O.R.D.’s Agent Franklin, who journeyed through Westview’s sewers to investigate. His hazmat suit became a beekeeper’s uniform, and the cable around his waist becomes a jump rope as he travels through the tunnels.

Darcy explains that the sitcom that’s become Wanda and Vision’s life is literally being broadcast through the signals that S.W.O.R.D.’s viewing, with an audience and everything. There’s no explanation for how this is happening, but Darcy and company watched those first three episodes just like we did, credits and all.

Darcy also points out that Vision is supposed to be dead-dead, which leaves his presence in WestView still unexplained.

While Darcy and Jimmy can identity a majority of the neighbors we’ve met in WestView to their real-life counterparts, Dottie and Agnes are the only ones who are missing real information.

It’s revealed that Agent Woo was the voice behind the radio disruption, just as we suspected! But while we can see Wanda and Dottie’s reaction to the call, Darcy’s broadcast didn’t show the same thing. She explains that someone is “censoring” the visuals they’re receiving, which means someone knows they’re watching.

Back in the sitcom WestView, we see that Monica’s slip-up resulted in Wanda blasting her through the house and the energy field. It’s the first time we physically see Wanda using her powers again, so she still has them. But the lapse in her facade has consequences — when Vision returns from his talk with Agnes and Herb outside, Wanda hallucinates him as she last saw him in Infinity War, a corpse with his head crushed in.

It’s important to note that Vision seems to become more aware of the strangeness of their world with each episode. It makes sense because no matter how human he may seem, he’s still a synthezoid who has always been able to see beyond the superficial. It harks back to his “birth” in Age of Ultron. He’s omnipotent and always learning.

When Monica lands back in the real world, all she says is, “It’s all Wanda.” That seemingly serves as an answer to what’s going on in WestView, but it’s not a whole answer. Wanda seems just as confused and unaware as everyone else, but she is willing to stay in her “perfect” world. The question is, who put Wanda in the position to have her perfect world?

  WandaVision Episode 3 Easter Eggs

Much like the comics, Wanda magically becomes pregnant! But this time around, things are progressing much more quickly, and her doctor isn’t Dr. Strange.

The first of the episode’s weird glitches happens with Wanda and Vision’s neighbor Herb, who is attempting to saw through the brick fence separating the two houses instead of trimming his hedges. When Vision points out that his aim has gone a bit askew, Herb’s detached reaction is a bit creepy. He thanks Vision but keeps sawing through the wall! And unlike the previous weird behavior, there’s nothing that triggers the moment, especially not from Vision or Wanda.

Wanda and Vision contemplate what to name their baby boy, with Vision suggesting Billy and Wanda throwing out Tommy. (The argument becomes moot when they have twins!) These are the names of the pair’s sons in the comic, who later become members of the Young Avengers. In the show, Wanda chooses her name because it’s “all-American,” which is also a fair indicator of why her perfect reality is framed around sitcoms. Vision cites William Shakespeare as his inspiration and uses a quote from As You Like It that seems pretty on the nose. “All the world’s a stage, and all the men and women merely players” seems like a pointed reference to the fact that WandaVision is, in fact, all a show.

Wanda decorates the nursery using Simser brand paint, which is most likely a nod to Jeremy Simser, a storyboard artist for Marvel Studios and WandaVision.

The second glitch appears when Wanda says the residents of WestView always seem “on the verge of discovering our secret.” Vision has a moment of sobering clarity where he notes that something is wrong in WestView, citing the incidents with Mr. and Mrs. Hart and their neighbor Herb. A second after his says this, reality glitches and the scene starts over with Vision seemingly worry-free. The last time this happened with the beekeeper, it was clear Wanda was the culprit in turning back time, but in this case, she doesn’t seem to do anything to force the change. This suggests someone else is pulling the strings.

Wanda mentions that their child could be human or “synthezoid,” a term that originates in the comics. Although fans like to joke that Vision is an android, he’s technically a synthetic human. He’s not made of metal or machinery — in the comics, his body is composed of the bioengineering tech of Dr. Helen Cho, while in the MCU, he’s made of organic tissue mixed with vibranium and “powered” by the Mind Stone.

Vision jokes that Billy will be just like his mom, which is funny because, in the comics, Billy has magical abilities similar to Wanda’s powers. Tommy ends up having superspeed abilities like his uncle, Pietro.

It’s time for the third commercial! Much like the previous episode’s watch promotion, this break references Hydra — though a tad more directly. It’s all about Hydra Soak, and the message is decidedly more pointed than we’ve had before. “Escape to a world all your own, where your problems float away,” the announcer says. “When you want to get away, but you don’t want to go anywhere: Hydra Soak.” Marvel: Agents of Shield fans will recall that Hydra Soak HAS been mentioned on the show. During the series’s Framework arc, Phil Coulson claims that Hydra is brainwashing people using soap, so he makes his own. Is the commercial another sign that Hydra is behind the mystery of WestView? Is it a warning that no one in the town will be able to get away? And what’s that about finding the goddess within?

The actors in this ad are the same ones as the previous ones, Victoria Blade and Ithamar Enriquez. Their recurring presence might mean they have some significance in Wanda’s life. Maybe they’re her parents?

In what feels like an ominous follow-up to the Hydra Soak commercial, the doctor reveals that he and his wife won’t be taking their trip away after all. “Small towns, you know, so hard to escape,” he mutters, pointedly. I think we’re starting to get the hint, folks! Wanda mentions she is a twin and that her brother was named Pietro. It’s been a hot minute since anyone has talked about MCU’s Quicksilver — he made his debut back in Age of Ultron, the same film in which he was shot and killed.

When Geraldine lets it slip that she knows about Pietro’s death at the hands of Ultron, Wanda interrogates her and discovers her necklace bears a familiar symbol — it’s that damn S.W.O.R.D. logo, and Wanda is apparently not a fan.

In another sign that something is UP, Agnes and Herb seem to warn Vision about Geraldine. They note that she’s “brand new” to town with no family and start to say that “she came here because we’re all —” before they’re cut off. It’s worth noting that the two figures that may be MCU versions of formidable Marvel characters are the ones who seem to understand that strange things are going on in WestView. If Agnes and Herb are the MCU’s Agatha Harkness and High Evolutionary, they would definitely be the ones in the know. But why would they try to warn Vision about Geraldine if WestView is a trap?

Agnes is wearing her infamous brooch as a necklace that could be referencing an MCU supervillain mentioned before. The necklace has three figures close together, with the center figure holding what looks like a giant scythe. Is it another clue that the Grim Reaper is on his way?

Wanda literally throws Geraldine out of town — though she tells Vision that she had to run home — and Geraldine passes through what seems like a magical forcefield. While fans have been assuming WestView is a fake town, this shows us that physically, it’s a very real place. But it’s currently bubbled off with a barrier that Wanda can apparently allow people in and out of. And the song that plays as Geraldine finds herself outside the barrier? “Daydream Believer” by The Monkees. It seems pretty appropriate for a situation that feels like a surreal dream.

When Geraldine lands on the outskirts of real WestView, she’s instantly swarmed by cars and agents all bearing the S.W.O.R.D. logo. Since we know Teyonah Parris is playing the adult Monica Rambeau, it’s safe to assume Geraldine was an alias she used to go undercover in WestView. Combined with the mystery agent watching the show within the show from episode one, we can conclude that Wanda and Vision are being closely observed by S.W.O.R.D. for some reason. But they clearly aren’t the ones in control, since Monica is so easily forced out. What will they do next?

While the opening credits of this episode are a reference to The Brady Bunch, it’s the end credits that give us another clue about the big bad coming our way. Just like the previous episodes, Wanda and Vision are framed in a hexagon as the end credits roll. The symbol is so important because it’s the preferred shape of the creators at Advanced Idea Mechanics, or AIM, who are last seen in Iron Man 3. Remember the beekeeper suits that resemble AIM agents’ clothing? It seems like the evil organization might be making a comeback.

  WandaVision Episode 2 Easter Eggs

The opening credits for this episode aren’t just an adorable homage to Bewitched but a whole bevy of Marvel Easter eggs! The illustration of the moon happens to be surrounded by six stars, and we can’t help but be reminded of the Infinity Gauntlet.

When Vision phases through the floor, there’s a dark shape that looks exactly like the helmet worn by Marvel supervillain Grim Reaper hidden in the space. In the comics, he’s the brother of Wonder Man, whose brainwaves were used in Vision’s creation.

When Wanda goes to the supermarket in the opening, three references hang above the aisle! Bova Milk refers to Bova, the humanoid cow who raised Wanda and Pietro on Mount Wundagore. Auntie A’s kitty litter is a witchy reference to Auntie Agatha or Agatha Harkness, whom we’ve discussed before, and her cat-like familiar named Ebony. And Wonder Mints is most definitely a cheeky reference to Wonder Man, aka Simon Williams, the superhero who Vision’s brainwaves are based on in the comics!

When animated Wanda and Vision settle on their couch, the small figure on their side table is a statue of the Whizzer. Featured in 1982’s Vision and the Scarlet Witch, the Whizzer thought he was Wanda’s father but later discovers he was wrong. Whizzer and his wife were offered the chance to adopt Wanda and Pietro when they were kids on the mythical Mount Wundagore, but they declined.

When Wanda hears a crash outside the house, she heads out to the front, where she finds a colorful toy helicopter in an otherwise black-and-white world. Not only does the red-and-yellow helicopter have the number 57 stamped on it, but it also bears the S.W.O.R.D symbol! The number is likely in reference to Vision’s first appearance in Avengers #57, while the symbol hints to the presence of S.W.O.R.D outside Wanda’s perfect world.

The creepy, cult-like refrain spoken by the fundraiser organizers of it all being “for the children” seems to be a reference to Wanda’s involvement in the comic event The Children’s Crusade. The story follows her son, Billy, who’s trying to gain control over his reality-warping abilities by looking for a missing Wanda.

Well, here’s another blast from the angsty past! The Strücker timepiece is a very obvious callback to Hydra and Baron von Strücker. The watch bears the unmistakable octopus skull symbol of Hydra, and Strücker is the Hydra leader who recruited Pietro and Wanda for the experimentation that gave them powers. He was later killed by Ultron in his prison cell. Does anyone else hear that ticking noise? Remember good ol’ Herb? In the comics, a character named Herbert is also the High Evolutionary who runs Mount Wundagore, the very same safe haven where Bova delivered the Maximoff twins. Time will tell if the super-scientist is the same character, but it can’t be a coincidence.

Wanda and Vision’s magic show has two gems that we’ve noticed! First thing, the literal Mind Stone happens to be the design on the doors of the Cabinet of Mystery that plays a huge part in their act. Second, Wanda and Vision use the names Illusion and Glamour for their actor, which are also the names of the magicians that Vision goes to see in an issue of The Vision and the Scarlet Witch.

Though we all enjoy a good jam, The Beach Boys’ “Help Me, Rhonda” gets interrupted by someone asking, “Who’s doing this to you, Wanda?” And doesn’t that voice sound an awful lot like Randall Park’s Jimmy Woo?

While it may seem weird that Wanda shows her pregnancy in an instant, it’s in line with what goes on in the comics. Wanda uses magic to help her have children, which checks out since her husband is a synthezoid.

Oooh, that mysterious beekeeper! Not only does their presence lead to the reveal that Wanda has some control over the reality they’re in, but it also sets off some alarm bells. Even though the beekeeper’s suit bears the S.W.O.R.D logo on the back, the costume is reminiscent of the yellow costumes worn by A.I.M., a military science organization founded by Baron von Strücker. Could this be a sign that Wanda is being watched by more than one organization? And is this a hint that Hydra is back!? (Obviously, it is.)

  WandaVision Episode 1 Easter Eggs

When Wanda accidentally smashes a plate into Vision’s head, he jokes about his wife and her “flying saucers,” and she comments back about his “indestructible head.” Considering that Vision died after having the Mind Stone ripped from his head, it’s a dark joke to kick off the series.

Vision’s work tie has a visual reference to his comic-book alter ego! In Tom King and Gabriel Hernandez Walta’s Vision, whenever the character dresses as a human, he wears a tie clip that emulates the diamond pattern on his chest.

Vision’s boss, Mr. Hart, is likely named after comic creator Steve Englehart, who created 1985’s The Vision and the Scarlet Witch with Richard Howell, a miniseries that heavily influenced WandaVision. It’s been heavily implied that Kathryn Hahn’s Agnes is the MCU’s Agatha Harkness, a witch who helped train Wanda’s magic back in the ’70s and ’80s.

When Wanda magically saves dinner, the bottle of wine she pours from is Maison du Mépris, which translates to house of contempt or scorn. As fans have pointed out since the trailer drop, this seems like a reference to the House of M comics storyline in which Wanda bends reality into a new world ruled by her family.

The Stark commercial break refers to two things: Avengers icon Tony Stark and his part in Wanda’s dark past. As Wanda and her twin brother, Pietro, explain in Avengers: Age of Ultron, their parents were killed by an explosive Stark Industries device, leaving the twins trapped under rubble. The Maximoffs were trapped by a Stark Industries shell for two days, expecting it to detonate before they get rescued. Even though Wanda eventually fights beside Tony in the future, there’s still some trauma from that experience and her brother’s death. If it weren’t for the Starks, Wanda could have been a completely different person.

The episode closes with a mysterious observer watching the “show” and taking notes on a pad with the logo of S.W.O.R.D. on the cover. For those who don’t know, S.W.O.R.D stands for Sentient World Observation and Response Department and is a subdivision of S.H.I.E.L.D. It’s a counterterrorism and intelligence agency that deals with extraterrestrial threats to world security. Expect to see them around more.

  Press: A Thorough Breakdown of All the Marvel Easter Eggs on WandaVision was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen

[mylordshesacactus]

1, 3, 15 and 23 for the askmeme?

What themes would you like to write about that you feel don’t get explored very often?

Hmm. See, I feel like it’s fairly self-evident from my writing what themes I care about and want to explore, and since 99% of that writing is already embarrassingly niche, it goes without saying that I don’t think those themes get enough love XD

Found family is, thankfully, a very popular trope. The slightly more niche themes that I enjoy exploring are...hmm. How to phrase this.

The (inherent eroticism of the) loyal lieutenant trope; that not only is it okay to not want to lead, but that people can want to be a natural second-in-command without feeling resentful or having that itch of ambition. That being the loyal, quiet support and standing back and watching someone you trust implicitly lead can be what you aspired to in the first place.

The idea of kindness and respect being about what the other person needs to feel safe, not what feels right to do.

The bright, dramatic, larger-than-life fantasy realm is primarily populated by ordinary people. This does not have to be a “deconstruction” or “commentary” on fantasy tropes or on the larger-than-life canon characters; they can and should coexist, because they’re part of the same world.

Asskicking =/= authority. Authority =/= leadership. Leadership in its purest form is soft-spoken and sure, with nothing to prove and no need to posture. Authority only requires certainty that the people under your command can be trusted to do their jobs. Leadership requires certainty that the people under your command can be trusted, fully and completely.

Animals Don’t Work Like That, Actually

Canine Body Language Is Completely Different From That, Actually, You’re Thinking Of Cats.

Loyalty requires you to challenge the people you love outright. Anyone worthy of real loyalty might be angry at first, but will ultimately trust you more as a result.

True love means trusting one another to do the right thing, and knowing for a fact that the other person will not betray their greater responsibilities for your sake no matter how much it hurts them. Anything less is not love; it’s selfish obsession.

What loves do you tend to write about?

Oops I kind of gave that one away with #1 huh. Well, a quick summary then: Agape, philia, storge, pragma, are going to feature most heavily. 

Which isn’t to say there’s less of eros. And if you’ve read my smut you know I LOVE playfulness in sex and romantic relationships; all intense passion is exhausting, you should be able to laugh together, and honestly it’s healthy to still have the hallmarks of ludus show up sometimes. Especially when my faves have such fucking awful lives, letting them just kind of...be grinning, giggly young women who like each other a lot is nice.

Mania (as in, the term for obsessive love in the Greek tradition and not like, the psychological condition) is such an intensely terrifying and deeply unpleasant force--writing it makes me feel so dirty--that it doesn’t show up very often if at all. It’s always an antagonist, if it does, because it’s so incompatible with love.

And all my fanfic faves are like no philautia we hate ourselves like wlws.

What physical quirks do your characters tend to have?

Oooo, I LIKE this one.

This is pretty clearly OCs, since with fanfic characters I at least TRY to just accurately recreate what their physical quirks onscreen seem to be. So, my OCs...

One linguistic quirk that I like to give to OCs is an oddly specific one--you can get a LOT of characterization into a small package by creating characters who are extremely laconic--writing their dialogue by trying to get across their idea in as few words as you possibly can, and using body language for the rest. The most recent version of this is my WoW character Talet, who I actually write as mostly nonverbal. In her case, this is the result of long-term isolation and partially due to trauma; she can and does speak, but she communicates mostly through lupine nonverbal signals to the point where her ward (officially her “apprentice” but in practice, her adopted daughter) openly describes herself as Talet’s “translator”.

I also have a weakness for characters with extremely still body language; not necessarily stiff or tense, just....still. No fidgeting or wasted movement. And for characters who can be described as soft-spoken--often as surprisingly soft-spoken, like my blunt and impolite mule handler with a low, rough voice...who has a completely contradictory tone, very gentle, very calm. Only with her beasts, of course. Or trauma victims. Or children. Or--

Do you prefer reading series or standalone novels and does that reflect on how you write?

Oh that’s also a good one. I like both! Honestly, SHOCKING information from a fanfic author--I love stories that set up a unique and interesting universe with like...rules? Especially when that universe feels bigger than the one story we get to see in it. 

And I’m a sucker for the IDEA of spinoffs, I’d normally adore big sprawling universes that allow for lots of stories to be told in the same basic world. It’s a shame that expanded universes get so bloated and that the writing gets so bad--and I think a major failing of that format is that they so quickly lose sight of the POINT of an expanded universe and try to make every goddamn thing interconnected. The whole POINT is that you can just....read or watch the stories that appeal to you, and while knowing other stories might enrich that experience not knowing them doesn’t detract from it.

(Discworld. The perfect model for how to do this is Discworld. Not interested in the Watch? Cool, here’s a pile of books about other characters. Not interested in Granny Weatherwax? Cool, have fun being wrong but also have fun reading all these witch-free books while doing it. Not interested in Death? Tough shit and have I got news for you about the degree to which not being interested in Death affects its presence in your life, but you don’t have to read books ABOUT Death.)

However, I do have a firm policy about series, and ESPECIALLY about the first book in a series: Cliffhangers are cheating, and they’re weak writing, and they’re only allowed if they’re setting up the actual finale. 

(It’s a mark in Rise Of Kyoshi’s favor that I didn’t....entirely....mind the cliffhanger because the rest of the book was so good. And since the Kyoshi novels are a duology, it’s TECHNICALLY allowable)

You CANNOT use a cliffhanger at the end of your first book. That’s a horrible sign in the author’s faith in their own story. If this is your FIRST IMPRESSION, and you don’t think the story you told is good enough, you don’t think your world and your characters are compelling enough, to get me to come back without straight up leaving the story unfinished in order to make me come back if I want to find out basic information?

Cool. You’re probably right. I don’t care anymore.

Your first installment HAS to stand on its own. The penultimate book can end on a cliffhanger if you really must, because at that stage in the plot it’s normal to assume there’s lots of things happening quickly, and it feels like less of a cheap trick; if I got four books into a five-book series, or two-thirds of the way through a trilogy, I was probably already planning to come back for the finale. But the first installment has to tell its own story, whole and entire, or I’m probably not gonna care enough to stick around.

Open endings are not the same as cliffhangers. Open endings are great.

So, yeah. A well-written standalone novel and a well-written series are basically the same, and the initial book in a series at least should also serve as a well-written standalone novel in the first place!

[dukeofonions]

Deceit’s Somewhat Acceptance Arc (And Why It Feels Off)

So I was gonna do the video game post first, but then I remembered I’d started this one before I left for the weekend and decided to finish it. As a result, it’s kinda messy and my thoughts are all over the place, I had to delete and rewrite is several times, but I think I managed to get my overall thoughts there. 

As always, this is just my opinion. You are free to agree, disagree, or feel completely indifferent towards a random person who spends their free time dissecting fictional characters. 

We all good? Let’s go then. 

I won’t lie, Deceit was the best part of this video. I didn’t think he’d be included as much as he was. Originally, I thought he’d be content to lurk in the shadows and let Thomas deal with the repercussions of not heeding him in the first place and leave him to sort through the mess himself without his help. Possibly having a cameo in the end, foreshadowing some major event that’s soon to take place, but I was completely wrong and he got the best freaking entrance and completely owned the episode. 

It was great, seeing him take on his role of self preservation and defend Thomas, who was being harmed unknowingly by Patton with how far he was taking things. He encouraged Thomas to start taking better care of his mental health, was given a seat at the table, and even showed they could trust him by revealing his name: Janus

It was wonderful, beautiful, and I have a lot of issues with this. 

Let me explain, on its own, the whole scene building up to Deceit revealing his name, and the following aftermath, is perfect. 

What feels off to me is Janus himself, he feels like a completely different character compared to the Deceit we met in Can Lying Be Good? and saw in action during Selfishness vs Selflessness 

To start, let’s briefly go over Deceit’s character throughout the first 5 episodes we see him in before we get to POF. 

In his debut, Can Lying Be Good? He spends a majority of the episode disguised as Patton. Pushing Thomas to lie to his friend in order to spare their feelings and to avoid the possibility of Thomas being hurt. He’s shown to enjoy the distress the others are going through as the situation becomes more and more uncomfortable, and even gets close to being aggressive when Thomas decides he needs to be honest in this situation. Once it becomes clear Thomas won’t listen to him as Patton, he drops his act and reveals himself. 

Immediately, we are given the impression that this is not someone we can trust. From the music, to Deceit’s entire demeanor, even the Sides’ reactions to him are enough to enforce that idea, as well as Deceit’s reactions to them. 

With Logan, he immediately silences him, growling almost as if he’s annoyed and has had to do this before. He doesn’t really pay Logan any mind after his reveal and ignores him for the most part and Logan is more than eager to expose him for what he is. 

Roman states that he “Hates this guy and his creepy snake face” while adding that he’s “Very kind” which Deceit responds to by giving him a false compliment. Showing right away that this has also happened before with these two (Logan is about to comment on the exchange but decides not to bother)

Virgil clearly has some deep rooted animosity towards Deceit. With the glare he shoots him and the two immediately throw insults at each other which comes back to play in almost all of their interactions. 

We don’t really get much in terms of what Deceit’s character is really like with this first episode. We know he can be a threatening presence, but also has a bit of a goofier, dorky side to him as well. At this point, we’re not sure what his goals are or what his relationships with the other Sides are like (It’s obvious they all don’t like him) but for a while, this was all we got. 

His next appearance was a brief cameo in Logic vs Passoin where he showed up after Logan exclaimed “I won’t have you lying to yourself!” Where he gave an evil chuckle, flipped Thomas off, then sank out without a word. This still didn’t give us much in regards to Deceit’s character, other than enforcing the fact that he didn’t like Thomas and showing that he had a bit of a mischievous side as well. It did, however, show that Thomas was easily distressed by him and wasn’t entirely on board with having Deceit for a Side yet.

 After that, he disappears for 2 episodes before showing up during the end card of Embarrassing Phases, which is one of my favorite scenes in the series, and one that now causes a bit of problems which I will get back to later. Just note that this scene once again reinforces these things about Deceit: He is a threat, he can’t be trusted, he still has a bit of a goofy side, and on top of that his rivalry with Virgil is expanded upon and the idea that these two have a history is put up front and center. 

Then finally, we get our first official episode that takes all we’ve learned about Deceit and amplifies them in Selfishness vs Selflessness. What we get is a character that can be cool and charismatic, but can also be silly. It’s still unclear what his overall goal is, and he delights in being proved right and winning against the others. 

An interesting thing to note here is that all of the interactions Deceit has with the other Sides in CLBG Come back into play here. 

He ignores Logan and keeps his input limited, he uses flattery on Roman to sway him to his side, and of course him and Virgil still have their rivalry, revealing more and more just how much Virgil hates Deceit. We also finally get to see his relationship with Patton, and see that he seems to hold almost the same amount of animosity towards Deceit as Virgil does. Thomas himself isn’t as frightened by him anymore, and is willing to hear him out, but he still doesn’t trust him. 

Throughout the “trial” Deceit openly mocks the others, discredits them, and when he “wins” he rubs that victory in Thomas’ face and is shown laughing and celebrating while the others are at the lowest they’ve been. Things then take a turn when Roman decides to sentence Thomas to go to the wedding and give up the callback, which clearly distresses Deceit to the point where he nearly has a breakdown due to the others not being able to comprehend what he’s trying to say. Which is basically, selfishness isn’t always a bad thing, which he articulates a lot better in POF, but we’ll get back to that. 

He leaves the episode shortly after Logan shows up, but not before delivering this rather ominous line: “It’s clear you all don’t want to listen to reason (while the embodiment of Thomas’ logic and reasoning is standing right next to him) but hear this: I’ll always be a part of you. I’m not going anywhere, and there are smarter ways to get people to do what you want anyway.” 

Does that sound like a threat to anyone else? Or is it just me? Keep in mind at this point, everyone is still very much against Deceit, and he clearly is about to change tactics when it comes to dealing with them and getting what he wants. Another important thing to note is that this is the last time Thomas sees and deals with Deceit directly before we get to POF.

I should probably bring up Dealing With Intrusive Thoughts because while Deceit isn’t in the episode, he is mentioned a couple of times by Remus, who implies that it was Deceit himself who’s responsible for sending Remus out to antagonize the others. While this can’t be confirmed, Remus claims that Deceit said “You’re wanting to be more honest and be direct dealing with your issues, no longer will you deceive yourself about the ugliness within you.” 

(Admit it, you all sang that and added the little “Neat!” at the end. If you don’t, I’ll know you’re lying.) 

This shows that Deceit is switching things up and making good on his “promise” that he made at the end of SVS by forcing Thomas to accept yet another part of him that he doesn’t like. One that, by comparison, is much worse than anything Deceit could bring to the table. 

His next actual appearance is another cameo in Are There Healthy Distractions? where all he does is take his hat back from Roman and berates him for it. The only significant thing to happen here is Virgil’s reaction to seeing him, which again, I’ll get back to in a moment. 

This was the last time we saw Deceit for awhile, we were then subjected to a long drought between episodes as people waited to see the aftermath of the wedding that was the main conflict of SVS. Keep in mind again that so far, Deceit has remained relatively the same mysterious, slightly villainous character that we’ve seen throughout his 5 appearances thus far in the series. 

So you can see why some people would be shocked when he suddenly does a complete 180 and is going about promoting mental health while acting silly around Thomas and befriending Patton, the Side he went head to head with during his last main appearance, and is now being offered a seat at the table while showing genuine concern for Thomas and aiming to protect him, which goes to show that he cared all along.

Right?

Uh, yeah, I’m not buying it. 

Well let me clarify, do I think Janus is evil? No. Is it impossible for him to actually care about Thomas? Of course not. 

And do I think it’s possible for him to change from his villainous persona to a more friendly one? Absolutely. 

The problem here is that it doesn’t feel earned. We’ve only had one full episode with Janus before this, and even in the brief appearances we got his character remained consistent throughout them all. It’s almost like there’s a piece of this puzzle missing, and I have a theory as to where it is. 

In short, Janus has not been fully accepted yet. Thomas trusts him, and even Patton does now, but does Roman? Don’t make me laugh. 

Logan? He was once again removed from the discussion by Janus, which is a running theme with these two, so I doubt he’d be quick to accept someone who continuously silences him unless it benefits him. 

And the biggest factor of them all, Virgil. 

He hates Janus, every interaction these two have had is filled with insults, glares, and Virgil becoming more aggressive than he’s ever been towards anyone in the series. 

Just look at him in ATHD, when Janus shows up hardly anyone pays him any mind. Heck, Remus has continuously popped up throughout the episode and no one has batted an eye, not even Virgil. But as soon as Janus shows up he goes feral, hissing at him while Janus pays him no mind. 

What is going on here? 

It’s glaringly obvious that something has happened between these two, something that won’t be easily swept under the rug when it comes up. 

For one thing, just compare Virgil’s relationship with Janus to his relationship with Remus. We see at the beginning of DWIT that, of course, Virgil is hostile towards Remus and hates him, while being distressed by him. The two know each other and seem to have a bit of a history of their own. 

What’s the difference between Remus and Janus? 

Well, Virgil gets over his fear of Remus in just one episode. By the time it ends, he isn’t bothered by Remus anymore and tells him as such. Remus even seems to be kind of fond of him as well. And when Remus appears again in ATHD, Virgil doesn’t acknowledge his presence at all. Yet when Janus shows up just to retrieve his hat from Roman, he goes into fight mode and probably would have attacked if he’d stayed for even a minute longer. 

And if you need further proof, look no further than the end card of Embarrassing Phases and Janus’ parting words to Virgil: “Just be sure to keep up that personal growth Virgil. Who knows? Maybe soon you could be rid of us all.” 

Again, does that not sound like a threat to anyone else? And why would he say that to Virgil? Is he implying that Virgil is trying to escape from them? Actually get rid of them? There’s so much that this could mean in regards to Janus’ character and what his motivations are, but then POF comes around and suddenly this doesn’t line up with his character at all. 

Don’t tell me you could look at Janus at the end of this episode and say that this is the same guy. He’s gone from leaving an episode with a threat: “You’ve seen the last of me” “You could be rid of us all” “There are smarter ways to get people to do what you want anyway” 

To this: “Take some time for yourself, Thomas.” 

As well as rejoicing in being told he was right and advising Thomas to stop overthinking everything since, as we’ve now seen, it does not help him in the slightest. 

So… What are we missing? What the heck is going on? 

Well, I said it before and I’ll say it again: Janus hasn’t been fully accepted yet. 

Really, only one Side out of the four main Sides has accepted Janus. This Side just happens to be Patton, Thomas’ morality, and the one thing that stood in the way of Janus getting his voice heard. Because as long as Thomas viewed lying as wrong, he’d never listen to him. 

Now that he’s proven that isn’t the case, and that he can help, Patton (and therefore Thomas) no longer sees him as evil. 

But again, Roman, Logan, and Virgil have yet to do so. We know how Roman and Virgil feel about Janus, but we have yet to get Logan’s clear view on him since every time Janus has shown up, he’s been left out of the conversation. Though it’s safe to assume he’d be somewhat bitter about that. 

The main thing is that something has been set up between Virgil and Janus. Something happened to make them enemies and that can’t be ignored, and I believe this will be addressed soon. 

Because if it isn’t, and Janus is accepted immediately by Virgil, then all this would just be explained through bad writing. Which, again, I don’t believe the team is incompetent by any means. However, I do think that this all happened way too fast. 

Let’s look at Virgil for a moment, we got plenty of time to know him throughout season one. We got to see him in more of a villain role, and saw him gradually become closer with the group. We saw hints of him wanting to get along with the others and be a part of them, but ultimately, decided for himself that he was doing more harm than good and so, ducked out. 

We had 12 episodes to get to know Virgil before Accepting Anxiety came out. 12 episodes as opposed to Janus’ 5, two of which were nothing more than brief cameos and one his introduction where he was only truly himself for the ending. 

Really, Janus only had 3 episodes where it was relevant to the plot, and only 1 of those was a full episode, which was immediately followed by him being accepted and acting more like a good guy who just has a bit of a chaotic streak in him as opposed to the mysterious, charismatic Side who works in the background. 

Now, the way I see, there are two ways to justify this sudden change. The first is what I said before, that Janus hasn’t been fully accepted yet and needs to be accepted by Roman, Virgil, and Logan first before this can be achieved. 

And the other thing, which I hate to consider as a possibility, would be that Janus is putting on an act. 

Think about it, Janus realized at the end of SVS that his methods were not working. So he changes his approach, ditching the villain and becoming a hero. He literally appears at the end during a boss battle and puts himself into the role of a protector, defending Thomas from Patton’s harmful behavior. He acts more silly, loosening up, showing genuine care for Thomas. 

Then the biggest red flag, his name reveal. 

As I watched the scene I couldn’t help but find it oddly reminiscent of Virgil’s own name reveal. From the build up, to the delivery, it all felt strangely familiar, almost as if it’d been rehearsed. Manufactured to get the exact reaction from the others (in this case Thomas and Patton) that he wanted. 

Virgil revealing his name was a sign that he trusted the others, and I believe Janus knew this and thus, used it to his advantage. 

And guess what? It worked like a charm. Thomas and Patton immediately began trusting him, Patton even went to him for advice after Roman left. Could you see Patton doing that at the end of SVS? I certainly couldn’t. 

Now I’m not saying this is actually what happened. For all I know, Janus was being completely sincere when he shared his name, and it really was a personal moment. The only reason I have such a hard time accepting it as genuine is because, as I keep saying, none of it matches up with how Janus was before POF. 

Until this point, his character has been consistent and stayed pretty much the same, but now he’s completely changed. And I know it’s normal for characters to grow and change as a story progresses, but again, it just happened way too fast for this character in particular. 

This isn’t helped by the fandom’s complete 180 in regards to Janus. Before this episode, it was still pretty common for him to be seen in a mostly negative light. People outright hated this character, and attacked people who liked him. Then Remus came and wasn’t shown nearly as much hate or negativity as Janus was. Now all of a sudden Janus is a “Good uwu boi” and everyone loves him. I haven’t seen one person doubt Janus’ change of heart. Which is surprising because given the fandom’s treatment of him in the past, I’m surprised this hasn’t been more common. 

But then I remembered that another Side is currently being thrown into a negative light, which is Roman. He’s been thrown under the bus after his recent actions at the end of POF, all while Janus is now being held up on a golden pedestal. 

Honestly, I’m debating ending this post right here because this next part delves way too much into conspiracy territory, but since this would be kind of an awkward ending I’ll go ahead and just throw the idea out there anyway. 

So, it’s been established that the Sides are aware that what they’re doing is being viewed by an audience. Roman, Logan, and Patton have all addressed the audience directly before. Virgil has given direct glances into the camera, and of course Thomas greets the audience in every episode and closes each one out with a message at the end of every one. 

In Crofters: The Musical Roman outright addresses the fact that Logan has become more popular than him. Implying that somehow, he has access to that information. So if Roman does, then why wouldn’t Janus?

Why wouldn’t Janus be aware of Roman’s insecurities? Why wouldn’t he use this to his advantage and spend the entirety of SVS boosting his ego since he knew that’s what he wanted? 

What if Janus, being aware of the audience and how they view the Sides, knew that all he needed for his plan to succeed was not only to convince Thomas that he could be trusted, but the audience. He knows that they don’t like him, so what does he do? He puts himself into a much more positive light, while Roman is put into a position where he’s made out to be the bad guy?

And if this was the case, then it worked. A majority of the fandom now loves Janus while Roman is being left behind. He’s the perfect scapegoat, a distraction from the real plans Janus has in store. 

But that idea is so far out there and paints Janus as more of an actual villain when really, I don’t think he is at all. 

What’s most likely is that we’re going to learn what happened between him and Virgil, and then watch as Thomas and the others rethink their decision to trust him. 

I don’t think Janus is evil, this series is constantly pushing the message that everything isn’t all black and white. Janus, like everyone else, just wants what’s best for Thomas but has a different way of achieving that goal. 

My hope is that the writers are aware of this and have a plan for Janus’ character to develop more. Because if that isn’t the case and Janus remains a “good guy” from here on out then all of Janus’ previous appearances would be rendered meaningless. 

He’d might as well be a completely different character at that point, because the Deceit that I (and many others) became invested in and loved since his first appearance would be gone. Replaced with a softer, less complex, less engaging “uwu soft boi” that now seems to be the fandom favorite. 

Which makes me curious, if Janus is revealed to be lying to some degree, and was tricking Patton and Thomas, would everyone go back to hating him again? Would they give him a chance to explain himself and grow, or would they go right back to seeing him as nothing more than the evil villain they believed they were introduced to back in CLBG

Okay, that’s pretty much all I’ve got on this topic. It’s kinda messy by my standards and I’m sure I repeated myself a lot. So you are more than welcome to critique my points and debate them with your own. Just to clarify, I still love Janus. And I stand by the fact that he was the best part of this new episode. I just hope that this isn’t all the development he gets and that he continues to have his ups and downs. 

And come on, how could they possibly pass up the opportunity to do the “Liar revealed” trope with the literal embodiment of Deceit? 

[letterboxd]

Best of Sundance 2021.

From pandemic-era stories, via portraits of grief, to the serendipitous 1969 trilogy, the Letterboxd crew recaps our favorite films from the first major festival of the year.

Sundance heralds a new season of storytelling, with insights into what’s concerning filmmakers at present, and what artistic innovations may be on the horizon. As with every film festival, there were spooky coincidences and intersecting themes, whether it was a proliferation of pandemic-era stories, or extraordinary portraits of women working through grief (Land, Hive, The World to Come), or the incredible serendipity of the festival’s ‘1969 trilogy’, covering pivotal moments in Black American history: Summer of Soul (...Or When the Revolution Could Not Be Televised), Judas and the Black Messiah and the joyful Street Gang: How We Got to Sesame Street.

The hybrid model of this year’s Sundance meant more film lovers across the United States—a record number of you, in fact—‘attended’ the prestigious indie showcase. Our Festiville team (Gemma Gracewood, Aaron Yap, Ella Kemp, Selome Hailu, Jack Moulton and Dominic Corry) scanned your Letterboxd reviews and compared them with our notes to arrive at these seventeen feature-length documentary and narrative picks from Sundance 2021. There are plenty more we enjoyed, but these are the films we can’t stop thinking about.

Documentary features

Summer of Soul (...Or, When the Revolution Could Not Be Televised) Directed by Ahmir-Khalib Thompson (AKA Questlove)

One hot summer five decades ago, there was a free concert series at a park in Harlem. It was huge, and it was lovely, and then it was forgotten. The Harlem Cultural Festival of 1969 brought together some of the world’s most beloved Black artists to connect with Black audiences. The star power and the size of the crowds alone should have been enough to immortalize the event à la Woodstock—which happened the same summer, the film emphasizes. But no one cared to buy up the footage until Ahmir-Khalib Thompson, better known as Questlove, came along.

It would have been easy to oversimplify such a rich archive by stringing together the performances, seeking out some talking heads, and calling it a day. But Questlove was both careful and ebullient in his approach. “Summer of Soul is a monumental concert documentary and a fantastic piece of reclaimed archived footage. There is perhaps no one better suited to curate this essential footage than Questlove, whose expertise and passion for the music shines through,” writes Matthew on Letterboxd. The film is inventive with its use of present interviews, bringing in both artists and attendees not just to speak on their experiences, but to react to and relive the footage. The director reaches past the festival itself, providing thorough social context that takes in the moon landing, the assassinations of Black political figures, and more. By overlapping different styles of documentary filmmaking, Questlove’s directorial debut embraces the breadth and simultaneity of Black resilience and joy. A deserving winner of both the Grand Jury and Audience awards (and many of our unofficial Letterboxd awards). —SH

Flee Directed by Jonas Poher Rasmussen

Flee is the type of discovery Sundance is designed for. Danish documentarian Jonas Poher Rasmussen tells the poignant story of his close friend and former classmate (using the pseudonym ‘Amin Nawabi’) and his daring escape from persecution in 1990s Afghanistan. Rasmussen always approaches tender topics with sensitivity and takes further steps to protect his friend’s identity by illustrating the film almost entirely in immersive animation, following in the footsteps of Waltz With Bashir and Tower. It’s a film aware of its subjectivity, allowing the animated scenes to alternate between the playful joy of nostalgia and the mournful pain of an unforgettable memory. However, these are intercepted by dramatic archive footage that oppressively brings the reality home.

“Remarkably singular, yet that is what makes it so universal,” writes Paul. “So many ugly truths about the immigration experience—the impossible choices forced upon people, and the inability to really be able to explain all of it to people in your new life… You can hear the longing in his voice, the fear in his whisper. Some don’t get the easy path.” Winner of the World Cinema (Documentary) Grand Jury Prize and quickly acquired by Neon, Flee is guaranteed to be a film you’ll hear a lot about for the rest of 2021. —JM

Taming the Garden Directed by Salomé Jashi

There’s always a moment at a film festival when fatigue sets in, when the empathy machine overwhelms, and when I hit that moment in 2021, I took the advice of filmmaker and Sundance veteran Jim Cummings, who told us: “If you’re ever stressed or tired, watch a documentary to reset yourself.” Taming the Garden wasn’t initially on my hit-list, but it’s one of those moments when the ‘close your eyes and point at a random title’ trick paid off. Documentary director Salomé Jashi does the Lorax’s work, documenting the impact and grief caused by billionaire former Georgian PM Bidzina Ivanishvili’s obsession with collecting ancient trees for his private arboretum.

“A movie that is strangely both infuriating and relaxing” writes Todd, of the long, locked-off wide shots showing the intense process of removing large, old trees from their village homes. There’s no narration, instead Jashi eavesdrops on locals as they gossip about Ivanishvili, argue about whether the money is worth it, and a feisty, irritated 90-year-old warns of the impending environmental fallout. “What you get out of it is absolutely proportional to what you put into it,” writes David, who recommends this film get the IMAX treatment. It’s arboriculture as ASMR, the timeline cleanse my Sundance needed. The extraordinary images of treasured trees being barged across the sea will become iconic. —GG

The Most Beautiful Boy in the World Directed by Kristian Petri and Kristina Lindström

Where Taming the Garden succeeds through pure observation, The Most Beautiful Boy in the World relies on the complete participation of its title subject, actor Björn Andrésen, who was thrust into the spotlight as a teenager. Cast by Italian director Lucino Visconti in Death in Venice, a 1971 adaptation of Thomas Mann’s novella about obsession and fatal longing, Andrésen spent the 1970s as an object of lust, with a side-gig as a blonde pop star in Japan, inspiring many manga artists along the way.

As we know by now (Alex Winter’s Showbiz Kids is a handy companion to this film), young stardom comes at a price, one that Andrésen was not well-placed to pay even before his fateful audition for Visconti. But he’s still alive, still acting (he’s Dan in Midsommar), and ready to face the mysteries of his past. Like Benjamin Ree’s excellent The Painter and the Thief from last year, this documentary is a constantly unfolding detective story, notable for great archive footage, and a deep kindness towards its reticent yet wide-open subject. —GG

All Light, Everywhere Directed by Theo Anthony

Threading the blind spots between Étienne-Jules Marey’s 19th-century “photographic rifle”, camera-carrying war pigeons and Axon’s body-cam tech, Theo Anthony’s inquisitive, mind-expanding doc about the false promise of the all-seeing eye is absorbing, scary, urgent. It’s the greatest Minority Report origin story you didn’t know you needed.

Augmented by Dan Deacon’s electronic soundscapes and Keaver Brenai’s lullingly robotic narration, All Light, Everywhere proves to be a captivating, intricately balanced experience that Harris describes as “one part Adam Curtis-esque cine-essay”, “one part structural experiment in the vein of Koyaanisqatsi” and “one part accidental character study of two of the most familiar yet strikingly unique evil, conservative capitalists…”. Yes, there’s a tremendous amount to download, but Anthony’s expert weaving, as AC writes, “make its numerous subjects burst with clarity and profundity.” For curious cinephiles, the oldest movie on Letterboxd, Jules Jenssen’s Passage de Vénus (1874), makes a cameo. —AY

The Sparks Brothers Directed by Edgar Wright

Conceived at a Sparks gig in 2017 upon the encouragement of fellow writer-director Phil Lord, Edgar Wright broke his streak of riotous comedies with his first (of many, we hope) rockumentary. While somewhat overstuffed—this is, after all, his longest film by nearly fifteen minutes—The Sparks Brothers speaks only to Wright’s unrestrained passion for his art-pop Gods, exploring all the nooks and crannies of Sparks’ sprawling career, with unprecedented access to brothers and bandmates Ron and Russell Mael.

Nobody else can quite pin them down, so Wright dedicates his time to put every pin in them while he can, building a mythology and breaking it down, while coloring the film with irresistible dives into film history, whimsically animated anecdotes and cheeky captions. “Sparks rules. Edgar Wright rules. There’s no way this wasn’t going to rule”, proclaims Nick, “every Sparks song is its own world, with characters, rules, jokes and layers of narrative irony. What a lovely ode to a creative partnership that was founded on sticking to one’s artistic guns, no matter what may have been fashionable at the time.” —JM

Narrative features

The Pink Cloud Written and directed by Iuli Gerbase

The Pink Cloud is disorienting and full of déjà vu. Brazilian writer-director Iuli Gerbase constructs characters that are damned to have to settle when it comes to human connection. Giovana and Yago’s pleasant one-night stand lasts longer than expected when the titular pink cloud emerges from the sky, full of a mysterious and deadly gas that forces everyone to stay locked where they stand. Sound familiar? Reserve your groans—The Pink Cloud wasn’t churned out to figure out “what it all means” before the pandemic is even over. Gerbase wrote and shot the film prior to the discovery of Covid-19.

It’s “striking in its ability to prophesize a pandemic and a feeling unknown at the time of its conception. What was once science fiction hits so close now,” writes Sam. As uncanny as the quarantine narrative feels, what’s truly harrowing is how well the film predicts and understands interiorities that the pandemic later exacerbated. Above all, Giovana is a woman with unmet needs. She is a good partner, good mother and good person even when she doesn’t want to be. Even those who love her cannot see how their expectations strip her of her personhood, and the film dares to ask what escape there might be when love itself leaves you lonely. —SH

Together Together Written and directed by Nikole Beckwith

Every festival needs at least one indie relationship dramedy, and Together Together filled that role at Sundance 2021 with a healthy degree of subversion. It follows rom-com structure while ostensibly avoiding romance, instead focusing on how cultivating adult friendships can be just hard, if not harder.

Writer-director Nikole Beckwith warmly examines the limits of the platonic, and Patti Harrison and Ed Helms are brilliantly cast as the not-couple: a single soon-to-be father and the surrogate carrying his child. They poke at each other’s boundaries with a subtle desperation to know what makes a friendship appropriate or real. As Jacob writes: “It’s cute and serious, charming without being quirky. It’s a movie that deals with the struggle of being alone in this world, but offers a shimmer of hope that even if you don’t fall in fantastical, romantic, Hollywood love… there are people out there for you.” —SH

Hive Written and directed by Blerta Basholli

Hive, for some, may fall into the “nothing much happens” slice-of-life genre, but Blerta Basholli���s directorial debut holds an ocean of pain in its small tale, asking us to consider the heavy lifting that women must always do in the aftermath of war. As Liz writes, “Hive is not just a story about grief and trauma in a patriarchy-dominated culture, but of perseverance and the bonds created by the survivors who must begin to consider the future without their husbands.”

Yllka Gashi is an understated hero as Fahrjie, a mother-of-two who sets about organizing work for the women of her village, while awaiting news of her missing husband—one of thousands unaccounted for, years after the Kosovo War has ended. The townsmen have many opinions about how women should and shouldn’t mourn, work, socialize, parent, drive cars and, basically, get on with living, but Fahrjie persists, and Basholli sticks close with an unfussy, tender eye. “It felt like I was a fly on the wall, witnessing something that was actually happening,” writes Arthur. Just as in Robin Wright’s Land and Mona Fastvold’s The World to Come, Hive pays off in the rare, beaming smile of its protagonist. —GG

On the Count of Three Directed by Jerrod Carmichael, written by Ari Katcher and Ryan Welch

It starts with an image: two best friends pointing guns at each other’s heads. There’s no anger, there’s no hatred—this is an act of merciful brotherly love. How do you have a bleak, gun-totin’ buddy-comedy in 2021 and be critically embraced without contradicting your gun-control retweets or appearing as though your film is the dying embers of Tarantino-tinged student films?

Comedian Jerrod Carmichael’s acerbic directorial debut On the Count of Three achieves this by calling it out every step of the way. Guns are a tool to give insecure men the illusion of power. They are indeed a tool too terrifying to trust in the hands of untrained citizens. Carmichael also stars, alongside Christopher Abbott, who has never been more hilarious or more tragic, bringing pathos to a cathartic rendition of Papa Roach’s ‘Last Resort’. Above all, Carmichael and Abbott’s shared struggle and bond communicates the millennial malaise: how can you save others if you can’t save yourself? “Here’s what it boils down to: life is fucking hard”, Laura sums up, “and sometimes the most we can hope for is to have a best friend who loves you [and] to be a best friend who loves. It doesn’t make life any easier, but it sure helps.” Sundance 2021 is one for the books when it comes to documentaries, but On the Count of Three stands out in the fiction lineup this year. —JM

Censor Directed by Prano Bailey-Bond, written by Bailey-Bond and Anthony Fletcher

The first of several upcoming films inspired by the ‘video nasty’ moral panic over gory horror in mid-’80s Britain, Prano Bailey-Bond leans heavily into both the period and the genre in telling the story of a film censor (a phenomenal Niamh Algar—vulnerable and steely at the same time) who begins to suspect a banned movie may hold the key to her sister’s childhood disappearance. Often dreamlike, occasionally phantasmagorical and repeatedly traumatic, even if the worst gore presented (as seen in the impressively authentic fictional horrors being appraised) appears via a screen, providing a welcome degree of separation.

Nevertheless, Censor is definitely not for the faint of heart, but old-school horror aficionados will squeal with delight at the aesthetic commitment. “I’m so ecstatic that horror is in the hands of immensely talented women going absolutely batshit in front of and behind the camera.” writes Erik. (Same here!) “A great ode to the video-nasty era and paying tribute to the great horror auteurs of the ’80s such as Argento, De Palma and Cronenberg while also doing something new with the genre. Loved this!” writes John, effectively encapsulating Censor’s unfettered film-nerd appeal. —DC

CODA Written and directed by Siân Heder

A film so earnest it shouldn’t work, with a heart so big it should surely not fit the size of the screen, CODA broke records (the first US dramatic film in Sundance history to win all three top prizes; the 25-million-dollar sale to Apple Studios), and won the world over like no other film. “A unique take on something we’ve seen so much,” writes Amanda, nailing the special appeal of Siân Heder’s coming-of-ager and family portrait. Emilia Jones plays Ruby, the only hearing person in her deaf family, at war between the family business and her passion for singing. While Heder is technically remaking the French film La Famille Bélier, the decision to cast brilliant deaf actors—Troy Kotsur, Marlee Matlin and Daniel Durant—makes this feel brand new.

But it’s not just about representation for the sake of it. A sense of authenticity, in humor as much as affection, shines through. With a script that’s 40 per cent ASL, so many of the jokes are visual gags, poking fun at Tinder and rap music, but a lot of the film’s most poignant moments are silent as well. And in Ruby’s own world, too, choir kids will feel seen. “I approve of this very specific alto representation and the brilliant casting of the entire choir,” Laura confirms in her review. Come for the fearless, empathetic family portrait, stay for the High School Musical vibes that actually ring true. —EK

We’re All Going to the World’s Fair Written and directed by Jane Schoenbrun

Perhaps the most singular addition to the recent flurry of Extremely Online cinema—Searching, Spree, Host, et al—Jane Schoenbrun’s feature debut ushers the viewer into a haunted, hypno-drone miasma of delirium-inducing YouTube time-suck, tenebrous creepypasta lore and painfully intimate webcam confessionals. Featuring an extraordinarily unaffected, fearless performance by newcomer Anna Cobb, the film “unpacks the mythology of adolescence in a way that’s so harrowingly familiar and also so otherworldly”, writes Kristen. Not since Kiyoshi Kurosawa’s Pulse has there been such an eerily lonely, and at times strangely beautiful, evocation of the liminal spaces between virtual and real worlds.

For members of the trans community, it’s also a work that translates that experience to screen with uncommon authenticity. “What Schoenbrun has accomplished with the form of We’re All Going to the World’s Fair is akin to catching a wisp of smoke,” writes Willow, “because the images, mood and aesthetic that they have brought to life is one that is understood completely by trans people as one of familiarity, without also plunging into the obvious melodrama, or liberal back-patting that is usually associated with ‘good’ direct representation.” One of the most original, compelling new voices to emerge from Sundance this year. —AY

Judas and the Black Messiah Directed by Shaka King, written by King, Will Berson, Kenneth Lucas and Keith Lucas

It was always going to take a visionary, uncompromising filmmaker to bring the story of Fred Hampton, the deputy chairman of the national Black Panther Party, to life. Shaka King casts Daniel Kaluuya as Hampton, and LaKeith Stanfield as William “Wild Bill” O’Neal, the FBI informant whose betrayal leads to Hampton’s assassination. Both actors have never been better, particularly Kaluuya who Fran Hoepfner calls “entrancing, magnetic, fizzling, romantic, riveting, endlessly watchable.”

Judas and the Black Messiah is an electric, involving watch: not just replaying history by following a certain biopic template. Instead, it’s a film with something to say—on power, on fear, on war and on freedom. “Shaka King’s name better reverberate through the halls of every studio after this,” writes Demi. A talent like this, capable of framing such a revolution, doesn’t come around so often. We’d better listen up. —EK

Pleasure Directed by Ninja Thyberg, written by Thyberg and Peter Modestij

A24’s first purchase of 2021. Ironically titled on multiple levels, Pleasure is a brutal film that you endure more than enjoy. But one thing you can’t do is forget it. Ninja Thyberg’s debut feature follows a young Swedish woman (Sofia Kappel) who arrives in Los Angeles with dreams of porn stardom under the name ‘Bella Cherry’. Although Bella is clear-eyed about the business she’s getting into, Thyberg doesn’t shy away from any of the awfulness she faces in order to succeed in an industry rife with exploitation and abuse. Bella does make allies, and the film isn’t suggesting that porn is only stocked with villains, but the ultimate cost is clear, even if it ends on an ever-so-slightly ambiguous note.

Touching as it does on ambition, friendship and betrayal in the sex business, Pleasure is often oddly reminiscent of Paul Verhoeven’s Showgirls. Or rather, the gritty film Showgirls was claiming to be, as opposed to the camp classic it became. There’s nothing campy here. Kappel is raw and fearless in the lead, but never lets the viewer lose touch with her humanity. Emma puts it well: “Kappel gives the hardest, most provocative and transfixing performance I’ve seen all festival.” “My whole body was physically tense during this,” writes Gillian, while Keegan perhaps speaks for most when she says “Great film, never want to see it again.” —DC

Coming Home in the Dark Directed by James Ashcroft, written by Ashcroft and Eli Kent

A family camping trip amidst some typically stunnin—and casually foreboding— New Zealand scenery is upended by a shocking rug-pull of violence that gives way to sustained terror represented by Daniel Gillies’ disturbingly calm psychopath. The set-up of this thriller initially suggests a spin on the backwoods brutality thriller, but as Coming Home in the Dark progresses and hope dissipates, the motivations reveal themselves to be much more personal in nature, and informed on a thematic level by New Zealand’s colonial crimes against its Indigenous population. It’s a stark and haunting film that remains disorientating and unpredictable throughout, repeatedly daring the viewer to anticipate what will happen next, only to casually stomp on each glimmer of a positive outcome.

It’s so captivatingly bleak that a viewing of it, as Collins Ezeanyim’s eloquent reaction points out, does not lend itself to completing domestic tasks. The film marks an auspicious debut for director and co-writer James Ashcroft. Jacob writes that he “will probably follow James Ashcroft’s career to the gates of Hell after this one”. Justin hits the nail on the head with his description: “Lean and exceptionally brutal road/revenge film … that trades in genre tropes, especially those of Ozploitation and ’70s Italian exploitation, but contextualizes them in the dark history of its country of origin.” —DC

The World to Come Directed by Mona Fastvold, written by Ron Hansen and Jim Shepard

Mona Fastvold has not made the first, nor probably the last, period romance about forbidden lesbian love. But The World to Come focuses on a specific pocket in time, a world contained in Jim Shepard’s short story ‘Love & Hydrogen’ from within the collection giving the film its name. Katherine Waterston and Vanessa Kirby are Abigail and Tallie, farming neighbors, stifled by their husbands, who find brief moments of solace, of astonishment and joy, together. What shines here is the script, a verbose, delicate narration that emanates beauty more than pretence. “So beautifully restrained and yet I felt everything,” Iana writes.

And you can feel the fluidity and elegance in the way the film sounds, too: composer Daniel Blumberg’s clarinet theme converses with the dialogue and tells you when your heart can break, when you must pause, when the end is near. “So much heartache. So much hunger. So much longing. Waves of love and grief and love and grief,” writes Claira, capturing the ebb and flow of emotion that keeps The World to Come in your mind long after the screen has gone silent. —EK

Related content

The 2021 Sundance Film Festival lineup by Letterboxd rating

Letterboxd’s ‘Official’ Top 50 of 2021

Awards Season 2020-2021: our awards-tracker list

Letterboxd’s Festiville HQ: our home for up-to-the-minute festival coverage

[danwhobrowses]

One Piece: Mini-Theory Mashups (Part 3, Wano Edition)

So, I’m bored XD And it’s been almost 8 months since Part 2, so why not do another theory dump huh? Before we were at 958 and since then 26 Chapters and a Pandemic have happened, so that has been plenty of time to theorycraft some new stuff, this one being all specific to the Wano arc and potential aftermaths from it.

Part 1 -> Here Part 2 -> Here None have been confirmed so far, but I still believe all of these can happen, but onto the newer stuff

Spoilers leading up to Chapter 984, just so you know

Hawkins Joins the Marines or Big Mom

So, yes, I still think Hawkins is alive, you can fight me on that all you like! And I would love for Hawkins to be on Luffy’s side 100%, for the notion of him being a man of chances and Luffy just trampling all over that so he can also experience Law’s eternal headache. But in reality I think it’s doubtful, we do still underestimate the full extent of his strength, and why he went out to sea is still a mystery, but knowing what we know of Hawkins I don’t think he could handle the energy that emit from the Straw Hats for long periods of time. The flaw he also has is that he never takes unnecessary risks, which is why he’s a Headliner for Kaido despite hating it. But, if Kaido’s defeated then what is left for him? I don’t think he can be direct opposition for Luffy to be King, he was already jumped by Law (despite proving his tactical skills) so he would have to find a safer situation for him and his crew, and for me that’s either the Navy or Big Mom. For the Navy it comes down to any solidarity he has with X Drake, the SWORD infiltrator seems to get along well with his Worst Gen member at the least, and Hawkins hasn’t said anything bad about him, maybe he does pull a Jango and become an interrogator. I would see him more on Big Mom’s side though, like Hawkins BM likes to plan out her actions so the conclusion is inevitable, they are both overly patient in a way so their strategies fit, also being a Straw Man would entice Big Mom’s collecting nature. This way if BM’s crew does become a begrudging ally with the Straw Hats there’s still an option for Hawkins to return into view.

Yamato is not Nakama, but can be Grand Fleet

I know everyone’s excited by Yamato, and also excited by Yamato. But I am not one of those ‘Yamato 4 Nakama’ people. Nothing against them at all but Yamato’s purpose does not fit the crew at all. I still stand by Team Carrot, since her goals offer more space to sail at sea and she has already established herself a position on the Sunny as the Crow’s Nest (hinted already with her being a Kingsbird in Zou), all of which Yamato has yet to demonstrate. Yamato’s primary goal is to be Kozuki Oden, which means opening Wano’s borders. But with being Oden would also be to feel cramped by the stationary lifestyle of Wano, so after the dust clears I do believe that Yamato will take to sea, just not with Luffy. Instead I can see them either commit to the remnant Whitebeard Pirates - since Oden promised Whitebeard to return to them after completing Roger’s voyage, or to set up their own crew, being one of Luffy’s allies/Grand Fleet. This theme with Yonko kids is also one I see with Katakuri as well, either by smoothing things with Big Mom or breaking off themselves (as hinted when the kids fractured a little over who BM’s successor would be).

Kin’emon is the Next Shogun of Wano, Proven by Fighting Kaido

This one is a deep take, because many have their eyes on the Kozuki children for this one; either Momo by bloodright, Hiyori for female empowerment or Toki because we didn’t see a body. But my bet for Shogun of Wano is actually Kin’emon, one of the few Wano characters we have the most exposure of, it’s through finding Kin’emon did the Straw Hats become embroiled in Wano affairs. Additionally, Kin’emon’s history is quite a storied development from the delinquent he was to the noble warrior he is now. Sure he is a tad perverted still, but current Wano perception is that Kin’emon is a master strategist, one of Oden’s oldest confidants and the man entrusted with the protection of Momonosuke. But what will establish him as the future Shogun will be near the conclusion of the raid, when Kin’emon helps the pirates fight Kaido. It may just be a single opening, but Kin’emon has one thing that can factor in as an edge against Kaido: he can cut fire. If his Kitsune-Ryu can negate Kaido’s super-destructive dragonfire, then Kin’emon may indeed be seen as a legend worthy of leading Wano as an open country, all while the Kozuki either remain in Kuri or rebuild until they are ready and/or willing to be Shogun themselves.

CP-0 freed Law, because they need Kaido distracted

This panel mostly sells it for me. CP0 are of course the most secretive but also the most underhanded group of the World Government, they only have to face Orochi to request weapons because the Shichibukai system has put Buggy out of option and Wano is more technologically advanced. But Orochi is cocky, he thinks himself untouchable with Kaido by his side, so wouldn’t it be a ‘shame’ if Kaido was somehow incapacitated? That the alliance’s plans came to fruition and Orochi and Kaido fell to them? This plays into CP0 hands nicely, because while Kaido and co are preoccupied with the raid, CP0 can steal the blueprints for all their new and deadly technology Kaido has spent decades working on, saving Law also means he owes them a favour, and Law is definitely someone you’d want one day to request a favour from.

Kaido saves Momonosuke!

The general story between Kaido and Momonosuke seems to be that Kaido expects more from Momo and is thus disappointed to find him to have no goals, no strength and no courage. Right now Momo is about to be crucified so Orochi can feel at ease, but interestingly Kaido (nor Black Maria) seem all to enthusiastic about this. I do think that many people can kill Orochi; Zoro, Hiyori and Denjiro being the top 3 options, but I think Kaido is also an option himself and the reason will be Momo’s Devil Fruit. It doesn’t feel like coincidence that Momo can turn into a dragon, nor that Momo’s dragon form has never been seen to Kaido or the wider public, right now Momo would be a goner because the mere presence of Kaido negates the number of infiltrating Samurai, Robin, Jimbei and the Momo Rescue Squad, but if Momo - like he often does when he’s scared - turns into a dragon, his tough hide would spare him from any blade or bullet Orochi has. The mere sight of a fellow dragon may be the trigger as well for Kaido to change his mind on Momo and finally, FINALLY toss aside Orochi, killing him or at least leaving him at the mercy of the nine shadows Toki prophecised.

Wrath of the Queen of Beasts: The Bewitching Kunoichi, Tama!

Tama is of course not present in the raid, and there is good reason for that. The battlefield is no place for her to be endangered, but she may also be a decisive key to Luffy and co turning the tides. Tama’s Devil Fruit works on SMILEs and normal animals, so far she’s been able to turn Headliners such as Babanuki and Speed to her side, all of Udon’s SMILE guards are under her control as well as Hihimaru and Komachiyo. Add on the also-absent Caribou, Hitetsu and Onimaru and we may still have a vast army primarily populated by Tama’s new subordinates waiting to also raid Onigashima. It’d also be quite fitting that the ‘Animal Kingdom’ Pirates would be forced to fight actual beasts, one other beast that can be fought that Tama may’ve been seeking are the Mountain Gods, I’m unsure if the main god is still alive (I mean, Nola made it and she’s much older) but its son at least must have a part to play, and if Tama was really tactical the dango from the O-Shiruko would be her Kibi Dangos. The final cap to Tama’s importance to the raid and Kaido’s downfall can also be her friendship with Big Mom back when she had amnesia. Big Mom was angry in Udon because there was no O-Shiruko to share with the leftover towns, it’s this waste of food that also sets Luffy off to blow his cover in Onigashima, so if Big Mom also notices the waste of food with Tama in mind, this could also trigger her in the same way. She may not be directly involved, but Tama’s lasting effect on the characters themselves can still provide a key impact to the story.

And with that I’ll stop, I do have others but not really Wano-exclusive, and those that are can quickly be debunked within the next 2 or 3 chapters, so I’ll keep those close to the chest XD  As with Parts 1 and 2 feel free to expand on this for other theory videos/posts, I’m sure more digging can be found. Until next time!

[arlingtonpark]

SNK 128 Review

Attack on Titan/Terminator crossover when?

The last two chapters were an inexplicable low point for the series. Quality storytelling zoomed by us and jumped right out the window.

It was like the opposite of how most fans viewed the early days of the series. In those days, the story was good, but the art was atrocious. Now the art is great, but the storytelling is atrocious.

Characters said things without explanation, events happened without explanation, there might have been a teleporting horse or two at some point. I don’t know, but it was bad.

Now, I’m happy to say this chapter is SNK back in full form. This was peak Attack on Titan.

…For good and ill.

Let’s start with the good.

One of the best things about this series is the action. The action is almost always great, and a big reason why is that Isayama isn’t afraid to go big.

There were lots of big moments in this fight sequence.

Mikasa crashing through the window, Armin shot full of bullets, Annie and Reiner, Kiyomi beating Floch’s ass. It all made for an exhilarating read.

Isayama also understands how to pace an action scene.

Unlike every other part of his story. This was an obligatory potshot sorry not sorry.

There’s a beat to the sequence. Big moments punctuate lengths of relatively calmer action.

Mikasa crashes through the window and saves everyone. Next big thing is Armin getting shot down, but in between the two moments is Mikasa and everyone fleeing the thunder spears. It’s something of a reprieve between major plot beats.

There are reprieves like that between all the major moments. Isayama is inexplicably uneven with applying these principles to the whole story, but he typically does it well in action sequences.

See: the last two chapters.

Relatedly, another great thing about the chapter is the stakes. This is also to do with the pacing.

There’s a great escalation to this chapter.

Armin and Connie try to trick Floch because they want to avoid a fight, Floch doesn’t take it, Kiyomi fights back unexpectedly, Mikasa steps in, they flee for their lives, Armin is taken out, Annie and Reiner step in with their titans, and Connie kills in cold blood.

The stakes get higher and higher. That’s what good pacing looks like.

And on a more macro scale, we get an update on Eren’s progress and it’s worse than we thought. He’s already reached the mainland. Millions are probably dead.

That’s a big thing to drop on us just before a make or break action sequence.

Stakes have been risen.

Ok, now for the bad.

First off, Magath.

I mean, he’s saying things that make sense, but you can’t just have a character do a 180 with no build up.

Magath is talking like he’s thought a lot about this. Sure would have been nice to see some of that thinking.

The fatal flaw for this chapter is that it’s just a retread of the Uprising arc. All this action is cool and well done, but at base, it’s all stuff we’ve seen before.

Once again, we’re faced with a brother vs brother kind of conflict. People who should be comrades in arms are forced to turn their arms against each other. The only difference is that this time the government our heroes rebel against is a bit too in love with fighting for survival.

This could have been an interesting contrast. Attack on Titan has usually been emphatically supportive of fighting for survival. The OG Uprising happened because the government refused to fight and the Survey Corps decided they had to overthrow them.

This time, the government is so in love with fighting that death means nothing to them. Floch kills people just for talking back to him. I’m sure he’ll gladly die if he thought it’d help his race.

This was a great opportunity for the series to explore a new angle on its usual themes.

To some extent, the series has already touched upon this. That’s why Eren is a 3000 lbs. dino-titan right now. He took the SNK mantra too close to heart; now he’s a lumbering monstrosity bearing down on innocent lives.

So put this down as a missed opportunity to expand on that.

Instead of that, this chapter is spinning its thematic wheels, stuck in Uprising-era thinking.

“O, woe is me, must I really turn thine arms on my fellow countrymen? Must the world be so cruel?”

That is the conflict of this chapter in a nutshell.

Totally a retread of the Uprising arc.

The final scene, where Connie has to kill a compatriot in order to save Armin’s life, is exactly the same as the scene in Uprising where Armin had to kill the soldier threatening Jean.

Same setup. The killer, Armin in Uprising and Connie in this arc, has expressed reservations about harming his compatriots even to achieve his goals.

That person finds themselves in a situation where the life of a comrade is threatened by a compatriot.

They have no choice but to take a gun and shoot the compatriot in the head, killing them in cold blood.

The moral is the same too: sometimes, you have to kill to survive.

The character writing suffers because of this.

For some reason, Isayama decided be wanted to make the exact same point again, but he didn’t want to put any fresh spin on it.

Thus we are served with the absolute disservice of Jean, Connie, Armin, and Mikasa forgetting the Uprising Arc ever happened, and the lessons they learned from it.

Their experiences from Uprising are directly and obviously applicable to this current situation, but it never occurs to them. It’s honestly stupid of them.

That’s a problem with Isayama. It’s really hard for him to present a viewpoint genuinely opposed to his own in good faith.

There is no debate in this manga. Characters disagree sometimes, but one side is always obviously wrong and one side is always obviously right, and you can tell because the wrong side is always struck silent when confronted by the right side’s #truth.

I get that the point is that they don’t want to kill their compatriots, but still, Jean, Connie, Armin, and Mikasa…are adults, right?

They should be able to articulate a strategic vision that doesn’t entail killing people, even if it’s just to avoid doing something they don’t want to do, shouldn’t they?

In fact, I’ll do that right now.

“We want to be at full strength when we face Eren, so we should avoid a fight at all costs.”

I came up with that on the fly! -flexes-

When Reiner tells them to just hang back and let the warriors fight, Connie rightfully points out they’re basically being infantilized, so I guess that Isayama’s point is that they are being childish, but still, their characters should be past that point.

(Mikasa gets points, though, for coming closest to a smart rationalization.)

The strongest example of this character regression is Connie’s outburst. Connie is pressed on avoiding a fight and he explodes on them.

“You know we’re here in order to save people, right?! So, why are you making it sound like we’re going to have to slaughter all these people on the island?! How did it turn into this?!”

Da fuck is he talking about?

How, indeed.

No one is talking about slaughtering everyone on the island. Where is this even coming from?

Well, maybe that’s the point. Isayama, flawed writer that he is, can only think of Connie’s reluctance to kill his compatriots as deranged, so he’s having Connie talk like a deranged man.

Yeah, that would make sense, if only…

Annie: You’re right.

No, he’s not! What are you doing!?

Look, maybe I just have the wrong perspective on this, but I think Annie is completely fucking wrong.

It’s true the warriors are the only ones with a personal stake in this. They’re fighting for their homeland’s survival; the 104th is not. So she’s right, the warriors have no right to make them kill their fellow countrymen.

But that lack of a right goes deeper than that. The warriors have to right to force the 104th to help them at all.

And you know what that means?

It means no one is forcing the 104th to be here.

The warriors can’t ask them to fight their compatriots because more broadly they can’t ask them to fight Eren. They chose to stand against Eren anyway.

Choosing to fight Eren very clearly extends to fighting his pissant lackeys.

The warriors cannot ask them to fight the Yeagerists because that is an extension of not being able to ask them to fight Eren. Naturally, them choosing to fight Eren means they’ve chosen to fight the pro-Eren Yeagerists.

So, ok, our heroes are forced to dirty their hands, and the series wants us to think about why that is. Why did it have to come to violence?

K, I’ll bite. Let’s think about this.

Let’s dive in deep on this. Why does this violence keep happening?

And don’t say it’s because of the cycle of violence Isayama talks about.

I’m talking even deeper than that.

Why does the cycle happen in the first place? And what perpetuates it?

It happens because people always forget the past. They don’t remember history.

Ok. And why don’t they remember?

They don’t remember because of a complex web of factors, some personal and others structural.

Think about it this way:

Right now, brothers are killing brothers. Why? To get an answer, why don’t we look at another time when brother killed brother.

In the 1860s, a war was fought in the United States. Many states tried to destroy the country to preserve their fundamentally racist way of life.

Brother killing brother. Why did it have to come to that?

I think Abraham Lincoln said it best.

“On the occasion corresponding to this four years ago [1861] all thoughts were anxiously directed to an impending civil war. All dreaded it, all sought to avert it. While the inaugural address was being delivered from this place, devoted altogether to saving the Union without war, insurgent agents were in the city seeking to destroy it without war—seeking to dissolve the Union and divide effects by negotiation. Both parties deprecated war, but one of them would make war rather than let the nation survive, and the other would accept war rather than let it perish. And the war came.”

This is from a speech he gave in 1865, a month and a half before his death, and a few weeks before the end of the war.

The war happened for structural reasons and personal ones.

For both sides, war was acceptable as a means to an end because of the incentives of the moment. The situation was structured to make war an option.

At the same time, there were personal factors involved. It’s not that the war would have happened no matter what personalities were involved. Indeed, the right man at the right time can make a big difference.

Why did Connie and Samuel have to fight?

Part of it is because there’re hotheads like Floch calling the shots.

Floch is the absolute worst man for this moment.

But so far, this has been purely descriptive. Ethically speaking, one side is clearly in the right.

Lincoln nailed it in his speech:

“Both parties deprecated war, but one of them would make war rather than let the nation survive, and the other would accept war rather than let it perish. And the war came.”

One side countenances war, while the other merely tolerates it.

So why do you think this had to happen?

I’ll tell you what not to think.

“Violence is one thing you can’t take from humanity.”

Thinking about it in terms of violence and being violent, as Yelena does, is lazy.

There are reasons why the world is cruel, but that’s actually a good thing, because if the world is so cruel for a reason, that means we can change the world and make it less cruel.

And that, if you squint really hard, is another theme of Attack on Titan.

[ginnyzero]

Completely Harmless Ch. 49

Completely Harmless An SSO SilverGlade Re-imagining Story (Or Fix it Fan Salt fic) By Ginny O.

When Lily and her friends wanted to buy horses and were directed to the Silverglade Manor and its myriad of problems, they didn’t expect to start a revolution. They were just a bunch a stable girls. Completely harmless. Right?

A/N: Things are only canon if I say they’re canon. Pre-Saving the Moorland Stables compliant for the most part. Posted in its entirety on my website. Posted in 2000 to 4000 word bits here. Rated T for Swearing Word Count 177,577

Chapter Forty-Nine The Lull Before The Storm

The food was proving to be very popular. (As were the floating lanterns, Kylie had to set up more stands at each beach party and recruit her friends to man them. She was making a killing.) So popular, that they had to get more supplies as the days went on. Loretta complained about having to go to Jorvik City to shop, but Lily just gave her a look. Loretta had volunteered for that part of the food.

That wasn’t all Loretta complained about. Justin and Alex also happened to be her next complaint. Loretta was trying to be the better person. Alex was just a phase. Justin would get over and come back to Loretta. Loretta loved him and always had.

Lily exploded. “You two were never together for him to come back to you.”

Loretta looked taken aback.

Lily took a deep breath. “Loretta, you’ve known Justin for a long time now. If anything was going to happen, it would have happened already.”

“You’re saying I don’t have a chance against Alex.”

“I’m saying that if you love him, truly love him, you’ll want him to be happy. Even if him being happy takes him away from you and to Alex.” Lily raised a brow at Loretta.

Loretta frowned. “But I want him to be happy with me?”

“Loretta, are you really in love with Justin? Or are you in love with the idea of Justin? Or even the idea of love?”

“We’re perfect for each other!”

“How?”

Loretta sputtered and rattled off a few superficial things about their riding capabilities, their looks, how they could be the Moorland riding power couple and win the Claymore Challenge and so on and so forth. Plus, Catherine Moorland had done the books like Loretta was doing now.

“That says nothing about Justin as a person.”

Loretta blinked. “What does that have to do with it?”

“Ohkay, your character is severely deficient. You aren’t bad, Loretta. You’re shallow. You don’t love Justin. You love the idea of being popular and being on top. You can be popular and on top by yourself. You don’t need Justin for that. You just need to be nice.”

Loretta looked at her blankly.

“You need to stand for something. Because right now, you don’t stand for anything at all. You don’t have any substance. You don’t care about Moorland Stables for more than it can give you, which is a tiny amount of power. The same goes for Justin, because he’s a symbol of the stables.”

“I don’t like you.”

“Mutual.”

The last day of the party came far too quick. A huge crowd gathered on the beach at the Dews Farm in Epona.

Maya had managed to drag her family from the Forgotten Fields for the event. Everyone was there, all the corporate sponsors, the Baroness. Even the Winterwell family and the Buttergoods had deigned to show up. The Li Family was hugging the Dews and chiding them for running off without explaining the situation to anyone.

Luciana had invited Ms. Drake of G.E.D. to come to Epona. She didn’t want Amelia’s cover blown.

Amelia and her club were making sure to not stick out in the crowd by wearing hats, sunglasses, and civilian style clothing they’d picked up over the week.

The atmosphere was jubilant.

Ms. Drake was brought up to the stage to join Luciania (proudly decked out in her Flying Fox Dressage Uniform), the Dew Family, Baroness Silverglade, and Baron Winterwell. The blonde woman in her sharp blue suit didn’t look pleased.

Not that the Baroness cared. She smiled sweetly at the younger woman. “Ms. Drake, on behalf of the Dew Family Race Challenge Sponsors and Event staff, we wish to present to you this money on the behalf of the Dew Family to cover their loans including interest towards the G.E.D. with the understanding that in taking this money that their debt to you is clear and their land is their own again.”

The crowd waited with bated breath as Luciana stepped forward with huge check to her.

Ms. Drake surveyed those on the stands and the crowd. She had no choice and been outmaneuvered. “I accept it gladly on behalf of the G.E.D.” she said her tone conveying that she wasn’t glad at all.

“This is the woman who sent a Rainbow Week card to herself,” Lily muttered.

Regina elbowed her.

Luciana handed the check over.

The crowd cheered.

Mrs. Dew burst into tears as her husband wrapped his arms around her to rock her back and forth.

Luciana grabbed another check.

“Mr. Dew,” the Baroness said kindly. “Not only were we able to raise enough money to cover your debts. We have enough to help you re-establish you in your rightful home.”

Luciana held the check out to them.

Mr. Dew took it with shaking hands. “I, I, don’t know what to say. You,” he gulped. “You didn’t have to do any of this. This is beyond any helped we cared to dream for our foolish actions.”

The Baroness sniffed.

“Thank you,” Mrs. Dew said hoarsely slapping her husband’s arm. “What he means is thank you.”

A group of girls ran up the stage. “Mr. Dew, Mrs. Dew,” they said together.

“We can help you. We want to be the riding club at your lovely farm,” they said. “Please?”

Mr. Dew looked overwhelmed.

Another group bounced up and down. “And we know animals, Mr. Dew. We can help at the other farm!”

The Baroness’ lips twitched. “What do you say, Matthew? I can tell you from experience these girls once they get the bit in their teeth give it their all and will do more than you ever thought possible. They also aren’t going to take no for an answer.”

Mrs. Dew beamed.

Mr. Dew swallowed hard. “We’d be honored to have help.”

The girls cheered jumping up and down. They smacked hands and hugged.

“Astro Monkeys!”

“Snoop Dogz!”

“Go!”

The Baroness leaned over. “I think the phrase is, roll with it.”

Mrs. Dew burst into laughter.

“All right everybody,” DJ Kai said through her microphone. “It’s time to celebrate!” She turned up the music. “Everybody dance now!”

It was an auspicious end to an auspicious week.

--

It didn’t take quite as long to take the decorations down as it had the last time during Rainbow Week. They were figuring out the routine. Everyone had so much fun with the Dew Family Race Challenge that there was talk of making it a permanent part of the Midsummer Beach Party.

Mr. Dew and Mrs. Dew were all right with that, but they were going to find some charities to give the money to instead of keeping it for themselves. The Astro Monkeys and the Snoop Dogz were working hard on cleaning up and opening up the two different farms.

“Not that they’re going to sell any horses,” Pauline said. “They don’t have the money to invest in stock like that right now.”

“I think we have enough options to choose from,” Lily rolled her eyes. She leaned against the fence and rubbed her neck. “Well, now what?”

Tyra leaned against the other side kicking her foot up lazily. “Agnetha says that we can’t put in the gardens for the race track until it’s done. And that looks like it won’t be done until after Happy Horse Week.”

“Which we need to plan for,” Lily said.

“Right. It’s a big event, but a completely different type of event,” Pauline nodded. “We celebrate Jorvik’s horses and Jorvik’s founding by Jon Jarl.”

Lily snorted. “As long as we aren’t celebrating that blowhard.”

Pauline’s brow furrowed. “How do you, no, never mind. I don’t want to know.”

“Jorvik Stables always has an open house.”

“Right, and we’re expanding that for every stable in the county.” Lily nodded.

“All the races are special races to show off the eventing capabilities of the county horses,” Pauline spun the shovel by the handle.

“Maybe we should do something educational? Like, do a lunging event while someone gives a talk about the history of the Jorvik Warmblood Sport,” Lily toed the ground with her boot.

“Ohhh, good idea,” Tyra nodded. She reached over and slapped Pauline’s shoulder. “Notes.”

“We’re going to need horse themed decorations,” Lily cracked her neck. “And we’ll need a cross country style event. Did we ever set up your races around Grape Mountain?”

“Nope,” Pauline popped her lips.

“Hmm, sorry.”

Pauline grinned. “We’ve been super busy, you know.”

“It’s important to you. So, thus, I’m sorry. Okay, a lunge event in the paddock to talk about the Jorvik Warmblood Sports, a dressage event and a showjumping event in the Riding Arena.”

“Since we have one.”

“And then we’ll set up some special cross country races around the Manor that won’t interfere with the Rose Garden Trail Ride too much, I hope.”

“At Jorvik Stables, they give beginning riding lessons.”

“We can use the Rose Garden Trail Ride for that then,” Lily waved her hands. “I take it this is going to be more hands on.”

“We can rotate shifts,” Pauline said her fingers flying over her phone as she leaned against the shovel.

“We’ll have to take pictures for Jorvikgram, and have a lost and found.”

Lily nodded.

“Moorland usually has another big feast and a huge cake,” Pauline said. “And we hide Golden Horse shoes all over the county.”

“And there’s the Light Ride over in Cape West.”

“We should do that together as a Club and include Linda and Alex,” Lily said.

They nodded.

“Okay, but this is in August and it’s June now.” Lily stretched her foot. “What are we going to do until then? I mean, we’re suddenly bereft of things to do and I don’t want to step on any toes by interfering with the other club’s domains.”

Tyra and Pauline just gave her looks down their noses.

“I like keeping busy.”

Tyra snorted.

Pauline raised a brow. “We could, I don’t know, train our green horses for the Claymore Challenge.”

Lily blinked. “Oh, right,” she blushed. “Um, how does one go about that?”

“Well,” Tyra drawled. “We have to earn ribbons.”

“There are three areas to the county,” Pauline said. “And every area has their events. In order to qualify for the Claymore Challenge, you need to beat a certain number of events in what they call the gold medal time.”

“I mean, for faults for showjumping it’s by not making any mistakes and under a certain time.”

Lily licked her lips. “So, we travel around the county earning ribbons and training our horses and if we have enough we make it to the Claymore Challenge?”

“Herman keeps track of it.”

“Or he’s supposed to,” Tyra muttered.

“We should um, make a route,” Lily scratched her head. “And a schedule so we don’t over extend the horses. Does that make sense?”

Pauline laughed. “Total sense,” she nudged Lily.

“Then let’s adjourn to the library and figure this out,” Lily rubbed her hands together.

They laughed and sent a text about a club meeting to the rest of the girls.

--

They were spending their time training around Jorvik for a couple hours each day and that meant they could check in with the other clubs, ask if they needed anything, or pitch in if the others seemed overwhelmed. Most the other clubs were doing the same. It was the Northern Golden Hills Valley, Firfall, and the Dews Farms that were rushing around trying to get things ready to show by Happy Horse Week.

They were grateful for the help.

It felt like a lull though before, something. No one was sure what. A shoe to drop, a storm. Something was coming.

Lily rode about with Alex to check the rune stones sometimes. Alex’s mother wasn’t doing so hot. She needed therapy and probably meds. Both of which were hard to get her.

“It’s why we all try so hard,” Alex sighed. “But she doesn’t want to accept the help.”

“You can’t force her. She has to want to do it. That’s the difficult thing. All you can do is love her and be there for her when she needs it,” Lily said.

“Are you speaking from personal experience?”

Lily shrugged. “I’ve seen it a lot growing up.”

“You don’t like to talk about it.”

“You don’t like talking about your childhood either.”

“Growing up poor on the wrong side of Jorvik City,” Alex snorted. “You don’t need to hear about that.”

Lily glanced over. “Alex, I’m a military brat. I’m lucky if I stay in a school two years. Stable doesn’t exactly describe my life and the towns that grow up around military bases aren’t known to be the safest.”

Alex’s eyes widened. “Woah. I mean, I guess I should have guessed or, I dunno.”

“By what? My love of legalism. My tendency to take charge, have schedules, or the love of mystery books and bad cop shows?” Lily laced her voice with sarcasm. “Dad’s an MP. Mom’s a nurse and works the military hospitals so that she’ll at least always have employment wherever dad is deployed. I’m lucky. They’re still together and don’t cheat. At least, as far as I know, they don’t.”

“The book thing?”

“You never know what you’re going to find drifting around a military base,” Lily shrugged a shoulder.

Alex turned back to the rune stone and concentrated taking the energy into herself. “Sorry, I assumed too much.”

“Because we don’t like to talk about it and most my clothes I’ve picked up here,” Lily rolled her eyes. “No offense taken, Alex.”

Alex finished with the stone. “I wish she’d get help.”

“She’s an adult,” Lily said. “And we teenagers aren’t supposed to be the ones with all the common sense.”

“Since when were we ever teenagers,” Alex drawled.

Lily nodded.

They rode in companionable silence.

“Thanks for listening, it helps.”

“Hey, if you can’t rant at me about Elizabeth, your crazy siblings, and your mother, who can you rant to? Linda? Maya? Justin?”

Alex huffed. “All right. All right. I get it.”

“Thanks for trusting me,” Lily nodded at her. “That means a lot. I mean, we weren’t predisposed to liking each other back when we first met.”

“I was worried you might be a stuck up like Loretta,” she paused. “Or Anne.”

“And I thought you were being a bit too hard and dismissive of your brother,” Lily sighed.

“As long as you didn’t think I was as conniving as he was!” Alex widened her eyes.

They both laughed.

“He’s a little shit,” Lily said. “But, he’s getting better.”

“Having his own horse that doesn’t take any excuses, helps a lot,” Alex grinned. “He adores that horse.”

“You think that they’re going to have all the hunting stuff ready for Happy Horse Week.”

“Definitely,” Alex nodded. “He’s even got these cute horse and dragon plushies on order.”

“I think the girls that like spiders have found most the babies,” Lily shuddered. “And tagged them with a GPS chip and IFRD chip tag, or whatever that acronym is. Just, no thank you.”

“The three of them are pretty driven about all these hunts,” Alex stretched out her legs. “All for the good, I think. It will give people who love exploring the area something to do and search for.”

Lily nodded.

Alex’ phone buzzed. She lit up in a huge grin. “Justin’s off work. See yah!”

Lily laughed. “Later alligator,” she called after Alex. She rolled her eyes. At least that seemed to be working out.

FOR THE ACCOMPANYING IMAGES PLEASE DO NOT REMOVE MY WATERMARK AND CONTACT INFORMATION. THANK YOU. I get it. Some of you might get excited and want to see this stuff in the game, especially the clothes, tack, and pets. However, the only way I want to see this in the game is if I get paid for it. If I see it in the game and I’m not paid for it, there will be hell to pay. You think I’m salty. I’d be angry. Personally, I’m not going to send this info to SSO. If you do, leave my contact information there! Don’t give them any excuses to steal.

Now, I’ll know you haven’t read this note if you leave me comments about how ‘salty’ I am about the game and if I hate it so much I should do something else. I am doing something else. It’s called Mystic Riders MMORPG Project. Mystic Riders however is a very baby phase game. You can check out our plans on the game dev blog. (Skills, Factions, Professions, Crafting, Mini-Games, 25+ horse breeds!) If you know anyone who would be interested and has money or contacts about game making, direct them to the blog.

[sesskagarchive]

Dark/Tragedy

Fics that have a darker tone and/or plot, where really bad things happen and the endings might not always be happy.

‼ Please note that these themed lists may always be expanded based on the suggestions and recs we get, so the lists might change at any given time, even after they’ve been reblogged ‼

A Demon Lord's Cry by Kagome Yuki Niwa

Posted on: Dokuga, FFnet Rating: MA Summary: His howls haunted his castle and with nothing else to do, his subjects call upon Kagome to subdue their lord. Rin has died and her death causes Sesshoumaru to loose himself to his raging beast. While subduing the Western Lord, Kagome inadvertently binds herself to the taiyoukai, making herself Lady of the House of the Moon, and suffers all the perks and downsides of being human royalty among a demonic court. **Winner Joint 2nd Place Drama for the 2010 3rd Quarter Awards**Nominated 1st Quarter 2011 Best Drama, Best Canon**Winner 3rd Place 1st Quarter Best Darkfic/Horror**Winner 2nd Place 2nd Quarter Best Drama** Status: Hiatus/Abandoned

A Self Called Nowhere by Noacat

Posted on: FFnet, Spark Rating: MA Summary: Minor Edits to ch. 14. Six years after leaving the feudal era, Kagome contemplates her choices. She looks to the stars for answers and finding nothing, looks inward. Status: Abandoned

A Woman! by Sugar0o

Posted on: Dokuga, FFnet Rating: MA Summary: Loosely based of off 'Mulan.' Kags decides to take her fathers place in the war for the West, but gets caught unexpectedly. AU, S/K, evey1s a demon mostly **COMPLETE**

Alpha by Lyra

Posted on: Dokuga, FFnet Rating: MA Summary: Kagome mates Inuyasha...but Inuyasha was reluctant. Why? Pack politics...and his brother, who is Alpha. What that means will take time to learn, if Kagome can only live long enough for the lessons... Finally Complete!

Behind the Curtain by MissKatt

Posted on: Dokuga, FFnet Rating: MA Summary:  Unable to pay for her brother's cancer treatments once the insurance no longer covers it, Kagome is presented with an opportunity to pay off the debt. After being thrust into a world she never thought she would be a part of, she is presented with several new opportunities; some which are good and some not so much.

Beneath the Light of the Moon by Inari24

Posted on: Dokuga, FFnet Rating: MA Summary: Kagome returns to the Feudal Era and finds that the past has fallen victim to the Dark. An ancient evil has escaped its prison and it seeks to extinguish the Light and Kagome finds herself a target. The Western lord stands at her side, unwilling to allow the Darkness to possess the beautiful priestess or destroy the future he intends for them. Status: Hiatus/Abandoned

Blood Stained by Madison

Posted on: AO3, Dokuga, FFnet Rating: MA Summary:  COMPLETE! A sudden loss of control intertwined their fates. It dragged her through hell and he couldn't have cared less. She tried to escape her fears but the only way to do it was to face him through time and love.

Broken Promises by Oroyukae

Posted on: Dokuga Rating: MA Summary:  She had believed all he had said , whispered at the most intimate of moments in their life together. No, he hadn't lied to her, he couldn't do that . He just repeatedly made promise after promise that he found hard to keep. [ FIN ]

Capital Offense by Oroyukae

Posted on: Dokuga Rating: MA Summary: It was wrong; it was illegal...it was reciprocated. Like his father before him, he could not deny what he felt for the human female. For that, he would pay dearly. He found himself faced with the question he had asked his father numerous times...was it worth it? {Complete}

Captured and Trapped by sweetest angel

Posted on: Dokuga, FFnet Rating: MA Summary: Kagome woke up in a cell...and not alone. Will she survive her ordeal? Will she be able to escape? SessKag pairing. Rating for later chapters. Sorry, bad summary.*Last Chapter*

Dragon Dancer by Scar

Posted on: Dokuga, FFnet Rating: MA Summary: Beaten into giving up her pink ballet shoes. Beaten almost to death, Kagome swore she would never come back. Yet here she was years later back in Japan, surrounded by her future. In the middle of striking business deals something darker then an abusive ex boyfriend is lurking. Sesshomaru has agreed to help her, it was supposed to be just business but it turns into something else. (UNDER REVISION)

Dragon's Prey by CiraArana

Posted on: FFnet, Spark Rating: MA Summary:  A new kind of dragons invades Japan, dragons from the Far West whose prey are virgins. What is the best way for a girl to protect herself against these dragons? Well, it is obvious, isn't it ...? COMPLETE  

Elsewhere by flowers

Posted on: Adult fanfiction, FFnet Rating: MA Summary:  With the medicine of time healing has begun. The well is sealed yet he is hesitant. A promise long ago binds him to his acitons. How will she react to this monster from the past? SessKag. Content somewhat dark.

Fugue by Resmiranda

Posted on: FFnet, Spark Rating: MA Summary: The present revolves around the past; truth and remembrance are two different things. After the well closes forever, Kagome finds a familiar face in the present era. [SessKag] [COMPLETE]

Golden by acediadono

Posted on: AO3, Dokuga, FFnet Rating: MA Summary: War has broken out between the Demon Lords of Feudal Japan, the Lord of the West enlists Kagome to fight on the front lines as his spiritual weapon. Trying to juggle the demands of two time lines and attempting to save the demon way of life is not an easy task. Not everything is as it seems. SessxKag MA Lemon/Smut.

Golden Veil by BelovedStranger

Posted on: Dokuga, FFnet Rating: MA Summary: A 100 word drabble series: Sesshomaru suffered an unfortunate loss; though, he hid the pain inside, but Kagome was a kindred spirit who understood the feelings he refused to acknowledge, knowing without seeing that they were there.

February Lullaby by kaoruhana

Posted on: Dokuga Rating: MA Summary: Kagome and Sesshomaru meet when their respective spouses are in a car accident. The event changes both their lives as they come to learn of the reason for the accident and get to know each other in the period that follows. Loosely bad off the Korean movie "April Snow". Status: Hiatus

Make Up Your Mind!! by Koishii_Beloved

Posted on: Dokuga, FFnet Rating: MA Summary: Sesshoumaru and Kagome, both, have agreed to a divorce. Kagome is all ready for it, but what happens when Sesshoumaru decides to back out?

Moonstruck by Aiwendil Amaurea

Posted on: FFnet, Spark Rating: MA Summary: Sesshoumaru, driven by his pride and arrogance, kidnaps Kagome for his own purposes. In the moonlight, the line between friend and foe blurs, and confusion reigns. Trapped in a deadly countdown, two lost souls wait for the darkness to wane. {Completed}

Never Forget by BelovedStranger

Posted on: Dokuga, FFnet Rating: MA Summary: A man unwilling to commit, a woman whose heart has shattered. Love can so easily turn to hate. Kagome vows to make Sesshomaru feel the same heartache he has inflicted upon her, but will her vengeful schemes backfire when, finally, Sesshomaru realizes how much Kagome means to him and vows to mend her broken heart? Or was he too late?

Of His Blood by OnyxIvyStone

Posted on: Dokuga Rating: MA Summary: This is only a moment. It's’ only a fraction of your life, Kagome. And you’ll go on now and be stronger because of it. You’ll live and be happy, love and grow and forgive. You will because you are loved.

Priceless by Cassie

Posted on: AO3, Dokuga, FFnet Rating: MA Summary: Sesshomaru is the CEO of his father's company. On his way home from work one night, Sesshomaru's beast stirs, which hasn't happened in over 200 years. What could this mean? Sesshomaru had kept it locked up for so long, why is it coming back to the surface now of all times, and what is with this odd sense of urgency? Rated mature for graphic depictions of self-harm and abuse, as well as some strong language. Be warned! Status: WIP

Red Lotus by Maddie-san/Madison

Posted on: AO3, Dokuga, FFnet Rating: M Summary: Five hundred years later, an obligation brought him to her when the end was near. He could watch her die, or he could vow to look after her until death do them apart. Status: Hiatus/Abandoned

Rise Again by Catalina

Posted on: Dokuga Rating: MA Summary: Youkai have become weak and feeble but are attempting to strengthen their population. Sesshoumaru leads them, and discovers the solution to their problem in an unwilling human. VERY non-consensual stuff happens. Frequently.

S t a s i s by wonderbug

Posted on: AO3, Dokuga Rating: MA Summary: Love, he tells her, as he trails a claw along the pathway of her shivering spine, is only a human notion. [VERY dark; drabble-ish CU/AR]

Stealing Heaven by Freya Ishtar

Posted on: Dokuga Rating: MA Summary: COMPLETE! Higurashi Kagome thinks it a dream come true when she gets an internship on an archeological dig, but finds that her life is in another's hands after her professor, Taisho Sesshomaru, becomes possessed by an entity that considers his prize pupil quite the delicacy. *2nd Place Best Angst Fiction at the Feudal Association, Sept. 2011* *1st Place Best Darkfic/Horror, 1st Place Best Lemonfic, 2nd Place Best AU/AR, Nominated Best Drama~ 4th Qtr, 2010; 1st Place Best AU/AR, Nominated Best Drama~ 1st Qtr, 2011; 1st Place Best Lemon~ 2nd Qtr, 2011* *1st Place Best AU/AR & 2nd Place Best Darkfic/Horror~ 1st Qtr, 2012*

The Broken Miko by RosieB

Posted on: FFnet Rating: MA Summary: New summary: After a tragic battle and a wish with unexpected consequences, Kagome finds the infamous taiyoukai. He has the power to help her, but will he? KagomeXSess COMPLETE WITH EPILOGUE!

Unforgivable by Walter205

Posted on: Dokuga Rating: MA Summary: What had happened to her was no excuse. What she had done was unforgivable and now, ten years later, she would finally have the chance to pay for her mistake. (Content Warnings include Gang Rape, Victim Blaming, and Suicide). Status: WIP

Unworthy One… by Vyncent

Posted on: Dokuga, FFnet Rating: MA Summary: They all were dead, but one. Yet the lone survivor was not alive either. **Not for Kikyou Lovers! This story contains violence, sexual content and rape! You are WARNED**

Violation of Honor by Rinseternalsoul

Posted on: Adult fanfiction Rating: MA Summary:  Post Naraku-Canon: Sesshomaru faces a vindictive female youkai that holds a weapon that controls the mind, and he becomes her slave to all things carnal. Used and broken, can a miko's gentle touch save him? Lemon, N/C, Slav

Virginity of the Soul by Madison/Maddie-san

Posted on: Adult fanfiction, AO3, Dokuga, FFnet Rating: MA Summary: Fresh from a betrayal that shattered her world, she was lured into getting even. Alas, the ones we trust and love aren’t always the ones we should. Semi-PWP. COMPLETE

When the Belladonnas Bloom by NovemberDoll

Posted on: Dokuga Rating: MA Summary: Cursed upon birth, exalted as the most notorious puppet of the Warlord Onigumo, his first and beloved consort finally turns sixteen. A gift from her generous lover: a harem of her own, to quell her insatiable lust. But many a man that stepped in her bedchambers were never seen alive again. That would change tonight, when a golden-eyed concubine accidentally unravels a most hidden secret. (AU) Status: WIP

Winter Hearts by Scarredbride

Posted on: Spark Rating: MA Summary: Complete..Dark Sesshoumaru/Kagome fanfiction. Starts out with sexual violence and abuse. Things do run a little smoother later on.

[jordm]

Heartland 13x06 - A Time to Remember review

Guuuuuys, we have a Lisa and Amy scene and a glimpse of Fairfield! What is this alternate universe we live in?!

Also, Georgie got into Mount Royal University! But like, I’m still confused because you usually have to accept/decide where you want to go by the first week of June, and graduation is the end of June usually.... sooo um okay?!

I also didn’t even realize that the girl with the brown hair was Olivia... like truly, I didn’t recognize her it’s been so long.

Graduation aka the end of Wyatt and Georgie

ITS GRADUATION DAY! As Adam says his valedictorian speech, we get flashbacks of the three of them and their flashbacks, and I’m left wondering how in the world we got to this universe where the three of them are friends when Georgie dated both of them. Y’all it’s been a journey, even if I think that Wyatt isn’t completely over Georgie with the way he reacted when he saw her go off with Quinn and the way he asked if anything was going on. AND THEN, the fact that he left when he saw Georgie and Quinn kiss, even if it was total offside and she sent him away. 

Anyways, Wyatt deciding that Georgie coming on the road trip is probably a bad idea because SHOCKER, he still has feelings for her is probably one of the most mature decisions he’s made. Never-mind the fact that their parents are dating... how about no? It only took Quinn kissing Georgie to make him realize that he cannot be friends with her if he truly wants to move on from her, and given that he truly seems to still like her and Georgie doesn’t (and really does just wants to be friends), this really is the best decision for both of them. Wyatt isn’t listed as being in the next 4 episodes, so I suppose this really is the end of Wyatt/Georgie, however how awks are those fam dinners gonna be if Jen and Peter ever get married?

Jade, being the great friend she is, decides to throw a party in Georgie’s place, since she has her own place. Nothing super eventful happened beside the Quinn thing and Georgie not being able to enjoy the party because she’s worried the place may be trashed (although everyone was acting responsible and mostly seemed to be standing around drinking and talking), but I will say that the loft is the perfect place for the party. So shout out to Jade for trying to keep the party alive, I guess.

OK wait, I retract the point above. The last we saw, they were just slow dancing and the place was fine, and suddenly it’s morning and the place is trashed. Alright, so we definitely missed something but in any case, it doesn’t look that bad and at least nothing is broken?

Minor point - Jade decides that in exchange for cleaning up (in which she promptly leaves to get her stuff), she’s can stay in the loft since her mother’s boyfriend moved in with their teenage daughter/son. Um, I guess?

Quinn and Georgie

We first open with Georgie dreaming about her summer in Europe, perhaps an ominous scene of things to come as we see a guy on a horse and Georgie seemingly trying to follow him. We come to learn that this same guy is looking to buy a horse from Lisa, and his name is Quinn - Quinn McGregor (aka that guys son). 

In an ironic twist, he also meets Amy, Georgie’s niece and Lisa (who wishes him good luck on his second goal to be reacquainted with “a girl”, not knowing he’s talking about her great-grand daughter) before he finally shows up at Georgie’s graduation.

“I knew Hudson was small but this is crazy” - Quinn

Yes Quinn, it is. How awkward he must have felt when her entire family was staring at him. To his credit, he doesn’t deny that he’s here for “all three reasons” - watching Amy train Shooting Star, buying a horse from Lisa and trying to be reacquainted with Georgie, however I have little doubt that being reaquaintec with Georgie was his main motivation. I mean, you can buy a horse anywhere.

We finally get intel on something that happened in Europe and that something is that Georgie and Quinn had “something - whatever it is” and that she ghosted him. Whatever it is they had, Georgie broke off because he lives in Florida, and she doesn’t do long distance, but whatever it is; was clearly romantic because he plays “their song” and kisses her and admits he came back because she’s a great jumper and a great person. Both true points.

When Georgie gets the job working at Fairfield with Lisa learning management, but starting from the bottom, she sees Quinn working with Amy to help turn Shooting Star into a jumper. Quinn so far seems genuinely nice and wants to be there for her, aka not Ahmed 2.0 and it was nice to see Amy acknowledge her time in Europe. Lisa and Amy have nary a bad word about him except he’s a charmer, and unlike Wyatt, he is listed in future episodes and given that Georgie and Quinn (who seems to be sticking around) will both be frequenting Fairfield now, I think we have officially met a future love interest for Georgie. AND this might mean more Lisa + family scenes!

One more thing: her family knowing nothing about Quinn just emphasizes that she really did keep her European experience under wraps. No one knew who Quinn was, and it’s possible no one knows why she really changed her mind about jumping. Her parents were right to be wary about it, given he’s three years older and I do look forward to seeing where this goes.

Mitch

Mitch catches Lou and Peter reminiscing about the best decision they ever made (adopted Georgie), now that she’s finally graduating; but Mitch is also occupied with trying to find the time and words to convince Jack to expand the herd. Seriously, how long has this herd storyline has been going on for? Answer: ever since they first went into business together.

Anyways, Jack - surprisingly, isn’t down for it, so Mitch decides to try to buy the herd himself... after figuring out a bunch of loop holes like, getting a bank loan and deciding if he’s going to live on their “vacation property” full time to raise the herd (to the dismay of Lou). Luckily, he has Garland on his side, to the dismay of Jack and Tim, who insists, it isn’t about the money... but like, isn’t it?

And anyways, Mitch finalizes it - all in one episode so how efficient is that?! - and now it has a name, Aspen Grove. I kind of like the name - and while I get Jack’s hesitation to expand the product so to not compromise product, given how long Jack has known Mitch has wanted to expand, it kind of is on him that Mitch finally had enough and decided to strike out on his own. I don’t blame Mitch for having enough of Jack not wanting to expand or even compromising a little and finally giving in and deciding to risk it; and Lou did have a good point that this means more profit for them. However, I do kind of feel bad for Jack because his refusal for change (even if it was to keep the quality) or even to entertain the idea that they can maintain quality AND have higher production drove away business, created competition and honestly, is going to create awkward family dinners if Lou and Mitch’s relationship.

I’m curious to see how this affects Mitch and Lou’s relationship. Last time someone sued her family, Lou broke up with him (I think that was Lou... or was it another TV show? I can’t remember) so I just don’t see this ending well if they aren’t strong. 

Lou and Peter

Guys, it’s awkward. I’m still not convinced Peter is over Lou, yet we see them together at the ceremony, discussing post-graduation plans with their s/o’s... but i’m still not sold. If he was truly over Lou, why is he still staying at Heartland when he can stay at his girlfriends place?

Seriously, is the theme of this episode “WE AREN’T OVER THE FLEMING-MORRIS GIRLS” because I don’t think Peter is over Lou with the way he reacted that Lou & Mitch bought a ranch (something they never managed to do as a married couple, fyi so that must’ve stung) and their friendly banter about his tolerance to spicy food and how Mitch stood her up again.

Perhaps Peter should you know... stay at Jen’s when he’s in town instead of Heartland? You know, his actual S/O’s place? I digress.

Songs in this Episode

This Little Town - Chloe Collins

There Goes My Heart - Apulsa

Never Enough - Jayme Davis