#but it could also happily be

[yuwuta]

JJK OLYMPICS OHHH YOURE A GENIUS

head spinning w sooooooo many athlete aus rn….. 

satoru honestly isn’t half as cocky as the media makes him out to be but he could be because you bring up world champion men’s freestyle swim times and it’s his name on the scoreboard ten times before someone else shows up. he’s faster than himself by fifteen seconds all around, he’s earned a bit of cockiness. mentioned in the last post that whenever he’s at a competition and he finishes a race, he looks at the camera and signs a little infinity sign and then blows a kiss to you. some bitter old coach always calls him out on it, and gets him fined for unsportsmanlike conduct, and he’s happy to pay the fees if it means getting a message home to you, but eventually you two come up with a new code; and at his next race, he places gold, turns to the camera, crosses his middle finger over his pointer finger and smiles. when he’s in his post-race interview, he makes sure to explain that he does it for you with the widest smile on his face.

megumi nepotism baby but not in the same sport. toji was a multi gold medalist back in his heyday for shooting, so it’s not really a surprise to anybody that megumi has scary good aim, but he takes to archery instead of shooting. actually the idea of megumi being an emo little kid and throwing rocks at a tree when his dad pissed him off his hilarious, and even funnier is toji watching him, slightly amused and a little scared because megumi is maybe six and hitting the exact same spot every single time. he grows to be very blase about it—it’s more of a release/hobby for him that he happens to be really good at, and well, now good enough to earn a few olympic medals. megumi is not a fan of having his dad ruffle his hair on international television after he’s won, but he supposes it can’t be helped.

i don’t know where to put yuuta…. tennis…. tempting….. him in his little white shorts…. little grunts after he serves…. cries….. a complete 180 in his personality when he’s playing vs doing anything else. so charming and sweet and kinda shy when he’s being interviewed, and the second he steps on the court his eyes are so cold it’s scary…. need him… extremely nerdy about his rackets, and shoes, and clothes, and rambles to you about aerodynamics and posture and torque whenever you ask him to teach you, and you always have to shutup him up with a kiss and remind him that yeah you sort of want to learn to play tennis for him, but mostly you came bc he looks hot doing it. once he got asked in an interview if he ever thinks about you while he’s playing and his response was very concise, “no, never. it would be a big distraction,” and did not realize the implications of his heavily televised words. 

also…. not to make this post 40% yuuta but we could pull from canon a bit and make his sport fencing. he doesn’t excel because he’s the strongest, it’s because he’s learned to treat the sword as an extension of himself and a good strategist… also because i like the image of him pulling the helmet/mask off and shaking his hair out………..

don’t even know where to put yuuji…. volleyball? basketball? track and field??? the irony of him easily being the most athletic but canonically does not want to play sports 😭 but i can see him playing a sport because someone scouts him and it turns out to be a way to make steady money to support himself and his grandpa :( by the time he’s qualified and made it to the olympics, wasuke is doing much better (thanks to yuuji having landed some preemptive sponsorships and being able to afford better medical care), but not so well enough that he can travel across the world to watch yuuji play. wasuke tells you that you should travel and be with yuuji, but yuuji is so touched by the idea that you would stay with his grandpa and be by his side when he’s away :(( he wins gold, of course, and he doesn’t even wait until the closing ceremony—which, he’d mentioned in all of his interviews, so nobody can be too upset. he’s on record saying, “i’m excited to play, but i’m even happier to be going home. my girlfriend and my grandpa are watching me and i miss them!” several times— he’s on the first flight home with flowers, and tears in his eyes. puts his gold medal on his grandpa’s neck as a thank you, and spends probably thirty minutes straight hugging you and kissing you and honestly don’t put it past him to propose now that he’s got nike ambassador money 

nanami started judo as a way to relieve the stress of his overbearing job, and someone at the gym/training center notices he seems to be a natural despite being a beginner. he starts to draw a crowd, which annoys him at first because the point of judo was discipline and release from having to deal with too many people at his office job, but nanami supposes he can’t be too mad when you introduce yourself as a talent scout and offer him professional training. there’s irony in him accepting your offer, because it was definitely not based in professionalism at all… quitting his job as a salaryman to become a professional athlete in his mid-twenties was not on his bingo chart, but if it means he will have met you, then so be it. you’re with him all the way, through his training, competitions, world championships, qualifiers, all the way until he’s on the podium. you’re the first to congratulate him, but he interjects by telling you he’s quitting. you ask him why—he just won at the olympics for crying out loud, but nanami just shakes his head, puts down his flowers and his medal so his hands are free to hold your face and tell you, “it would be unethical to kiss my manager, so i am quitting.” (later, when everything is said and done, and you two are cuddling, you mention to him that he could just hire a new manager, and not quit his new career, to which he blushes because yeah… that’s probably more rational, but rational was not in his train of thought at the time)

[nite-puff]

this was what their dr:s interaction was originally gonna be. trust me. i’m mr. danganronpa

(no cuz seriously. how are you gonna have them interact and then forget that hiroko canonically has a bit of a thing for takaaki?) (i say this like the dr:s writers even knew who the other captives were)

[markantonys]

POLYSHIP WEEK 2024

→ Day 4: promises “I made a promise, too; I promised to keep the pair of you alive. If Moghedien shows up, she’ll go after you two. Now, here.” [Mat] pushed the medallion at her again. Elayne reached up to pull his hat off and slip the cord over his head. She actually tucked the foxhead into his shirt and patted it before handing him his hat. [...] “You wear it. After all, you can hardly keep your promise if Moghedien kills you.”

[andromeda-nova-writing]

Hate at first sight - Alhaitham Requested by @isekyaaa

Contains suggestive lines for the sake of a joke

“Tighnari, You know anyone who could translate this?” She brought over the book to him. It was an old book she found while cleaning up her grandpa’s house. A book in a foreign language that her grandpa had forgotten over the years leaving its contents unknown to his family. “It’s supposed to be an heirloom.”

Tighnari looked over the book she had handed to him. A language that was unrecognizable to him but recognizable in that he had seen one of his friends reading a book in what looked to be a similar language. “I know a guy. If you're free tonight you might have a chance to get it translated or at least be pointed in the right direction.”

“Why tonight?"

“Cyno made a new deck again. Your translator should be there.”

“I forgot you have game nights with the General Mahamatra. I shouldn't take up too much of your time. Well as long as this translater of yours is good at their job.”

“He is. Just know he can be a little blunt. Though little may be an understatement. And with Kaveh there, don't be surprised if you see some sort of argument.”

“You're friends must be a lively bunch. Wait Kaveh is the one with blonde hair right? He was the one who was here two weeks ago?” She asked making sure her memory was correct.

“He was. Why?”

“He gave me advice on what rug I should pick. He didn't even see where it would go and gave me perfect advice. I really would like to thank him. My living room actually feels like a separate room even though it's an open floor plan.”

“I'm sure he'll appreciate it.”

-

It was nice to say hello to Cyno even though she didn’t know that super well. Most of her knowledge came from Tighnari mentioning him. But that and the fact she didn’t talk to him much meant that she really didn’t know him. It was entertaining to hear a few of his jokes though. The juxtaposition of the wordplay with how stoic his delivery was may have been the only reason she enjoyed them though.

While Kaveh acted as if he had known her for their entire lives. He was warm and welcoming. But also the moment she thanked him it was like he became a second sun in the room. He was extremely giving, offering to give her home interior design advice any time. It was evident in his face and how he spoke how much he appreciated the thanks even if it was just over what shape of rug to get.

It was enjoyable to be around all three of them. Though as nice as their company was it wasn't the reason she Had followed Tighnari along to his game night With his friends at the tavern. She still had a book in her bag that needed to be translated and there was no translator in sight.

“Tighinari, are you sure your translator is supposed to be here?”

“I’m sure he’ll show.”

“Translator?” Kaveh asked before his smile evaporated away. “You’re here for Al Haitham?”

“That’s a first,” Cyno commented.

“Well, now my translator has a name. But yes.” She pulled the book out of her bag. “My grandpa said it’s a family heirloom but no one in my family can even read it. Tighnari said that he’d be able to translate it for me.”

“At a horrible cost though. You couldn't have just sent her in the direction of the Akademiya?” Kaveh asked, being quite dramatic about the situation.

“I'd rather have someone that Tighnari trusts than some I don't know who. The book is an heirloom after all.”

“It will be fine,” Tighnari reassured, he pointed at the door. “Even then, he’s here.”

Al Haitham made his way over to their table. He sat down at the table already looking annoyed at who knows what.

Tighnari was kinda enough to briefly explain the situation to him along with a basic introduction. Even though Al Haitham had agreed to translate he looked as if Y/N's simple request was asking too much. Maybe a frown was just permanently etched into his face.

Al Haitham held the book looking over the cover. “To count the ways.” He translated the cover before flipping through the pages. His eyes widen skimming through the contents. He looked over at Y/N who looked brimming with excitement to learn what was in the book. “This is just erotica.”

Cyno slowly placed the cards in his hands on the table now fully paying attention to what was unfolding in front of him. Kaveh choked on his wine only for Tighnari to pat his back as he coughed. 

Y/N’s face dropped. “It's a heirloom. It’s been in my family longer than my grandpa has been alive. It can’t be. You must be mistranslating it.” She reasoned.

“Your heirloom is in an old form of a Fontaine language. A language I’ve been reading since I was 17. Do you want me to translate it aloud for you?” His words were an insult and a challenge to her.

“If you know it so well then could you give me a real translation.”

Al Haitham rolled his eyes opening the book back up. “Her eyes widen at the sight of his toned chest. In a frantic haze of want she quickly moved to help remove his belt excited to see the sight of his-”

Y/N snatched the book from his hands. Her face was warm with embarrassment. “It was nice talking with you three but I have to go.” She politely excused herself from others before turning to face Al Haitham. “You could drown in a ditch for all I care.”

[mamawasatesttube]

i think martha kent should get to threaten rex leech with a shotgun tbh

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[ariadne-mouse]

Alert: this is a very stupid post and not to be taken seriously.

So when it was revealed the first attack on Keyleth was Ludinus trying to test drawing out Vax, folks were pointing out that Ludinus would have had to stay up to date on Vox Machina romances in order to have the information to make that plan, which is very funny. I posit an additional hypothetical: if the preliminary attack had accidentally been fatal for Keyleth herself (I say accidentally because Ludinus would want to wait to execute the plan in full later, so wouldn't have killed her then) then Ludinus would have lost his bait and would have to figure out another way to draw out Vax.

And you know what that means. Matchmaking. Get the sad bird man to fall in love again so he can threaten the new person. Ludinus using every iota of his skill in manipulation and patience and influencing of events to set up Situations, and he needs it because as a celestial champion Vax is not just walking around into your average coffee shop. He becomes the king of tropes. He reads trash romance to get ideas and runs into Caleb at a naughty book store in Rexxentrum and it's very awkward for both of them. With centuries of experience and villainy, HOW has it come to this-

[completeoveranalysis]

[4]

OOF, Fai clutches the crystalised magic and it too shatters like glass, just like Syaoran did, the crystal breaking between his hands just like Syaoran did in Lava Lamp’s

And Fai clutches his hands in front of his face, hands pressed together like in prayer, surrounded by a dark circle that looks so much like an eye (the thing he lost to Syaoran) with Fai’s hands acting as the pupil

EXACTLY THAT

Fai theorising that Syaoran (the Syaoran that came back, when he was Syaoran with Soul, after he left Nihon), kept using the magic and getting far stronger than necessary on purpose so that when the magic went back to Fai it would be enough to sustain him on its own. 

And it worked - Fai takes off his blindfold and has his eye restored as well as his magic (and grown far stronger than we’ve ever seen it)

But none of that is even slightly comparable to having Syaoran

[kyouka-supremacy]

(˶ᵔ ᵕ ᵔ˶)

[tsugaruu]

Y'know i was thinking just how IMPULSIVE teen soukoku is. Like dazai may mock chuuya for being naive or impulsive but he's just as impulsive. Especially when its about chuuya. So i like to imagine if he ever just,,,, let out his thoughts without even realising it lmaooo

Chuuya: I have this weird urge to do something stupid.

Dazai: I'm stupid. Do me.

Chuuya:

Mori:

Hirotsu:

Koyou: *silently unsheathing her sword*

Dazai:

Dazai: did I say it outloud?

[rosie-tyler]

Sometimes I think about what if in TKK3 when Daniel still considered Silver his friend he presented him a bonsai tree "for helping me so much, with the training and Barnes" and Silver is like🧍"No need for this, Danny, really, it's an honour for me to train such a student like you" and tries to give him the bonsai tree back but Daniel wouldn't hear any of it and promises to teach him how to trim it later bc he needs to return to Miyagi or smth but obv this next time never comes

[bnnywngs]

if the nie bros' age were switched, i don't think we would have mdzs lol wen ruohan would at minimum be MIA not long after nie dad's death, our older nie huaisang does not joke on duty! and people would never know what truly happened, but nie mingjue has some suspicions he does not say out loud

[danwhobrowses]

It shouldn't need to be said but I'm seeing a lot of vitriol towards Ashton about their actions and I have to say I don't agree with them.

At the clock tower Fearne brought up the shard, stated that in her opinion Ashton should take the shard because she didn't want it. Ashton decided then as a result they'd take it, but because it was an extreme risk made very aware to them all they knew the other Hells wouldn't allow them to go through with it. Ashton asked Fearne if she was okay with both of them going together alone with the plan, reiterating that they didn't want to put this on Fearne, that if they died Fearne would not be to blame, and that they have no intention of dying, and Fearne said yes.

Fearne having second thoughts at the Ziggurat was just worry, because she cares deeply for Ashton, Ashton kissing her was not manipulation either; it was letting go of fear, having no regret with the person they also care deeply for and taking the risk. And yeah, it was frightening, 10 rounds of perpetual fiery near-death situations and one actual death situation; Laura is fuming, Ashley cannot look, Liam is playing Mad World on loop in his mind, even Matt is completely on edge, but they survived. Accusations that Ashton manipulated Fearne to selfishly take the shard seem to misinterpret the shard saga as well as Fearne and Ashton's characters, they will get a very intense amount of chastising for sure, but it will be out of love, out of the fear that they were going to lose them, not because they thought Ash was manipulative.

[jq37]

Descendants: The Rise of Red is kind of a bizarre movie to talk about critically because, imo, it almost doesn't make sense to talk about it in the usual terms of good vs bad or enjoyable vs not enjoyable when the way more obvious tension is finished vs unfinished.

Because, more than any other movie I've ever seen, it does *not* read as a full movie. And I don't mean in a "this movie has a cliffhanger" kind of way. The Empire Strikes Back and Across the Spiderverse fit that description. They end on big dramatic cliffhangers that point to a resolution in the third installment.

But Rise of Red just sets all this stuff up and then...ends without concluding anything. It doesn't feel like the first movie in a trilogy (or duology). It feels like the first act of a two-act musical. It very specifically reminds me of the end of the first act of Into the Woods where all the main characters sing the song Ever After about how they all fixed their problems with magic and nothing bad will ever happen to them again and then the narrator ominously says "To be continued" before the curtain drops. But in Into the Woods you know there's a second act and this movie wasn't sold as the first act of a bigger story. Like sure, it has the, "You didn't think this was the end" tag at the end like all the other movies, but those movies were complete, self-contained stories even though they had sequels. This was NOT a full story. It's half of one story.

Like, if we're supposed to take this as a full story, there are so many bizarre choices:

Why did they make sure to mention that Cinderella and Charming fell in love at the ball at the top if it wasn't meant to set up Back to the Future style, "Oh no, I accidentally got my mom banned from the ball so she's not gonna fall in love with Dad and I won't be born" shenanigans?

Why did Maddox very pointedly have that bit about "you could lose your mom completely" if that was never going to come into play? Red never did anything to endanger Bridget or endanger her own birth so it doesn't make sense as a warning in that way.

Why was there all this focus on this Carrie on prom night moment for Bridget if we LITERALLY NEVER SAW CASTLECOMING? Why dance around this moment and talk about it all cloak and dagger with no specificity if they weren't building up to some big reveal that it wasn't as straightforward as it seemed? And like, they leaned in HARD with making Bridget the nicest, sweetest, cotton candy princess as a teen so I need WAY more than, "She got pranked by known bullies she's been enduring with a smile very handily up to this point" to buy that she went from that to "murderous dictator". And even if she did become murderous, I find it insanely hard to believe that she'd include her best and only friend on the list of people she wants to suffer unless there was a betrayal. I find it INSANE that there wasn't a falling out scene at any point in this movie with how thickly they were laying on the admiration and camaraderie.

(Note: And adult Cinderella def has guilty vibes re: the Queen at orientation. Which I know I'm not imagining because it's literally spelled out in the Jr Novelization!)

Before the time travel element of the movie started, I thought they were going for something like they go to the past and realize that Bridget was bullied not by the VKs but by the spoiled royals, and Ella ends up joining in the bullying once she gets with Charming, betraying Bridget and justifying her whole "Love Ain't It" philosophy. Or Ella ditching her at the last minute to be with Charming meaning she has to deal with the monster prank alone and it was the being alone rather than the prank itself that hurt her (though that is NOT a good enough reason to go all off with their heads on your subjects). The fact that, as far as we know right now, it literally was just a relatively mild and reversible prank that caused all of this is just, such flat storytelling, you know?

But! All of this makes way more sense if this is meant to be the first act of a single contained story. And I don't wanna be all "Pepe Silvia, secret good 4th episode of Sherlock" about this but I did see this picture:

Which seems to indicate that this was written as a Part One. Which, if so, idk why they wouldn't advertise it that way but whatever. The point is, if that's the case then it means that we're potentially in bad pacing territory rather than straight up bad storytelling territory. Because this isn't a bad place to be halfway through your story:

The heroes, warned that time travel is dangerous, have gone back in time to change the heart of a brutal tyrant before she can stage a coup. They seemingly succeed in their mission and when they come home, everything is great! But then, the side effects of time travel start to catch up with them. Chloe realizes that, in breaking the vase, she prevented her mother from going to the ball and falling in love with her dad (who was conspicuously absent from the final scene btw) which means she's starting to be forgotten and erased from the timeline. And Red realizes that though this new version of her mom is as sweet and kind as the teen she once met, she's a complete stranger to her (fulfilling the Hatter's warning that she could lose her mom completely). So they have to go back in time once more to make sure the Ella and Charming fall in love again, perhaps at the cost of whatever bad thing that happened to Bridget happening again and bringing back the original version of her future self. But, now with more context of how her mom became that way, Red can now talk to her mother and persuade her to give people another chance.

Boom, that gives us time to go back and hit everything we haven't yet hit. We can pay off the time travel tropes that were set up but not explored. We can go to Castlecoming which feels so obviously set up to be the centerpiece of this story (like, come on, Back to the Future literally does the school dance thing. This is Time Travel Storytelling 101). We can actually get info about what the prank was and why it affected Bridget so completely.

(Note: This is a side thing but it really strikes me as so crazy that Bridget would so SUCH a big 180 here. Like, I know the Queen of Hearts is a silly, goofy, campy villain, but she straight up murders people and there's no way to get around that if we're taking her out of the surreal story she comes from and putting her in a (comparatively) grounded story. If I wasn't doing a betrayal plot, I would make the twist that the spell that turned Bridget into a "monster" didn't just have a physical effect, it had a mental effect and it magically twisted her personality to be the way it is now. So they broke the physical half of the curse, but neglected the other half and it's been festering the whole time, turning her as evil as she was sweet. Because like, a simple physical transformation isn't that big of a deal to have such heavy security--Bridget made cupcakes with a transformative effect and that was totally fine. I'm not saying that that's what's gonna be the case. I just think it would be an explanation that makes sense for why she changed so crazy much that makes more sense than a simple prank or even a betrayal. Her mom wasn't even evil! How did she go from zero to murder without even an evil mom to push her onto the path? But I'm super digressing right now.)

(Note #2: OK, one last thing. The trap on the book presumably would have hit the VK's and trapped them in Merlin's office regardless of what Chloe and Red did, right? That's like, net zero influence on the timeline. I genuinely can't tell if that's a straight up plot hole or set up to be like, "Oh no. Actually when she said that she was turned into a monster in front of everyone it was meant in a less literal way." Like she was just made to look bad and that was the real thing that pushed her over the edge. Like idk. It really feels like the only thing they really did that would change the timeline was get Ella banned from the dance and presumably out of the way where she couldn't hurt Bridget. OK NOW I'm done.)

Anyway, my point is that this is not how I would have structured my movie and I think this was a super weird way to go into the second era of Descendants movies, but they can still tell a complete story if that's their plan. I'm genuinely really curious to see if this pans out to be a fairly competently told story that just happens to be split over two movies or a complete fumbling of the narrative bag because it could really be either at this point and it's fascinating to me.

[runefactorynonsense]

Melotober - Day 6 - Garden

It's good to mix in a few flowers, as well. They're useful down in the clinic...

[adamnablelittledevil]

Re-watched the loumand fight and man I CAN'T WAIT to snort on Lesmand's word offs filled with sexual tension cocaine