#but still I just feel like with all the people dissecting the episode over the years the overarching theme was kind of missed

[mrs-starkgaryen]

Well, well, well, dissecting time just so I can remind Maggie that I am in her walls (thanks you've passed your illness onto me)

1. "Afterwards, Mason pulls his clothes back on as you are absentmindedly drawing stars in the steam on the windows of his Chevy Silverado."

A) Even at home, she's dreaming/ thinking about the stars (Hollywood stars)

2. "It was good, not that you finished; you didn’t say anything, he didn’t ask, but even if he had you would have told him not to worry about it. It can take forever, especially with an audience. You’d rather wait until you’re alone."

A) Don't worry baby girl, Aegon is gonna make you finish in front of him and I'll you'll love it

3. Mason smirks and taunts: “I don’t know, with the way you talk about him you sound kind of obsessed.”

A) we all are Mason, shut up

4. “You ever feel like people are the best versions of themselves before you really know them? Then you get too close and all the cracks start showing.”

A) well I didn't like that foreshadowing

B) she's gonna get close to Aegon and we know he's a messed up man 😭

C) I'll she'll still love him though

5. “And it’s only until the end of the year,” your father adds. “Then the vacation is over.” Then the meager allowance they are funneling to you will stop and you will be ordered to return home to pursue an honorable course of existence. You have six months to succeed in Hollywood, or the dream dies."

A) Or when Aegon dies...

B) Maggie, are you in my walls? This is my family 😭

6. “Well, regardless of whatever you have going on in California, you’ll either have to get them done now or after you have children,” Mom says. “I love you and Clara and Tripp, but you destroyed my body. At least doctors can repair breasts. My bladder is still useless."

A) mother? What you doing here, loca?

B) how Sunshine is so sunny, idk. I guess you have to have rain to appreciate the sun

C) no wonder she think she needs plastic surgery- not just for Hollywood but she probably feels like she needs to live up to her parents expectations somehow (cuz she feels like she is disappointing them with her choice of job?)

7. Outside the sun is setting, and you gaze westward as the aging daylight turns the tall green grass and silhouettes of horses to gold like the mines that first brought settlers to California. You slide your phone out of the pocket of your denim shorts and take a photo, then post it to your Instagram story with the caption Home and a smiley face emoji.

A) Sunshines reminder that social media is fake lmao

B) but this is a mood- it gives crying whilst doing a thumbs up picture 😭👍🤳

Also those dogs? I love dogs but these ones are scary! The family and the dogs seem to hate her?! My God. Are they picking up on the family hostility to her?

If they don't shape up, unlike the bats- I won't mind if Jace steps on one of these.. (jk)

8. A minute later, you receive a DM. Aegon has typed: This explains the big horse girl energy

A) Aegon ever heard of playing it cool?

B) damn he's down bad

9. You have just finished ringing up a Like It-sized Apple Pie A La Cold Stone when Josh says: “Hey, there’s an old guy asking for you."

A) oh an old man, imagine if he meant Aegon-

B) HE DID! Mf ain't old

C) I also squealed like she did when I recognised the shoes 🥰

10. When Aegon begins to pull it away, you grab his hand and don’t let go until you’ve licked the spoon clean. He laughs hysterically as he watches you. “I haven’t had strawberry ice cream in forever,” you say.

A) and if I say 👀

B) foreshadowing...

C) also hello Simon Bassett from Bridgerton?

11. “Don’t tell me you’re a vanilla girl.”

A) for now Aegon...

B) He will show her the different flavours

C) also could symbolise that she is kinda naive and then as the story progresses- she's not so sweet anymore 😀

13. “It’s small,” Aegon warns. “It’s an episode of Grey’s Anatomy.”

A) said every man ever 😉😂

B) ooh will she be in season 56, episode 28?

14. “Because once you begin to treat scalpels and needles as prescriptions for everything you don’t like about yourself—or everything that other people don’t like about you—..... that are carving away your humanity one incision at a time. I’ve seen it happen to more people than I could count, and I don’t want it to happen to you. Because you seem very, very human, and I’d like you to stay that way. Which means you don’t cut yourself up because some agent or producer or casting director told you to.” Then he adds, perhaps as an afterthought: “And anyway, you don’t need implants.”

A) did he have to do something to make people (or him) like himself more?

B) omg did his dad make or encourage his siblings/ family to change to become more famous, to carry on his legacy in Hollywood? Did Aemond try and change himself and now he's took a step back into scriptwriting cuz atleast then he can control his own story?

C) she's gonna lose or nearly lose her humanity in this industry, I can see it. It's gonna break her down and then Aegon and her have feel better sex..

15. “Always so agreeable,” Aegon muses. So desperate is more like it.

A).... need I say more

16. “The Chinese zodiac. You’re a horse. So you’re the only horse I like.”

A) you're killing me

B) she's gonna like riding this horse 😭 (I'll let myself out)

17. His face is some amalgamation of emotions you can’t read, and this is unusual.“Why do you think I paid in cash?”

A) either becca is crazy

B) or his family are and they'll update becca

C) or both. Like I said before- maybe they set him up wirh becca to calm him down, to make him (the targaryens) look good in the papers

18. “I got you a vanilla latte, vanilla girl.”

A) a possible other nickname?

B) all her nicknames are cute and sunny, like her until this industry snuffs it out 😀

19. Then you are in the scenes under intensely radiant artificial light, and just like it did in your roles back in Minnesota, the real world vanishes and all that exists are these characters, these moments, and your body and mind become theirs, and perhaps even your soul too. Your husband is handsome and kind, and here in this liminal fictional space you love him, and when the surgeons wheel him off to the operating room you are full of blind naïve surety. Then the doctors update you on his condition and you are still hopeful, but it becomes a fragile thing, like something that shatters when it’s dropped from a height. And then he is dead, he has been taken away from you, he has been stolen, and you are eclipsed by a blood-red wrath that is animalistic and unforgiving. After each take when you are ripped back through the veil and into reality, you can’t remember exactly what you did or said, and the director doesn’t have many critiques so you aren’t sure how it’s going.

A) This whole thing felt like a summary for the story

B) at first she's whisked away in a world of Hollywood: glitter and glammer. She's "full of blind naive surety"..

C) Then it's she's less so but she still tries to be optimistic? As she realises this is not what she signed up for

D) husband is dead, Aegon is dead? Then she's full of rage

E) under artificial light? The Hollywood spotlight..

F) she starts to give them her body (plastic surgery), her mind (she starts to doubt and panic in fame) and then her soul (Hollywood kills her optimism and dream)

Also- Are the eyeshadows representing things?

A) In the first chapter she had shimmery, pink, warm brown eyeshadow (showing that she is warm, positive and sparkling with a dream, it's all new).

B) when she's with Mason, it's sparkly black. Like she's not 100% with him but that's okay because she still has her dream that she's gonna be able to be an actress and subconsciously be with someone better...

C) in the ice cream shop, she has bright pink- so bright in optimism still and pink meaning flirtatious feelings for Aegon?

Idk, all this is my crazy mind and I love whatever you come out with!

A Curse [Chapter 2: Harbor Gateway]

A/N: Thank you for the warm welcome you have given this series!!! I am sick with bronchitis currently so this has been a big bright spot in an otherwise miserable week 😅 I can't wait to show you where this story is going, I hope you're ready for it 🥰💜

Series summary: You are an aspiring actress. Aegon is a washed-up and disenchanted agent...at least until he sees something special in you. But within paradisical seaside Los Angeles you find terrible dangers and temptations, secrets and lies. Maybe Aegon's right; maybe the City of Angels really is a curse.

Chapter warnings: Language, a tiny bit of sexual content (18+ readers only), age-gap relationship, entertainment industry misogyny, some body dissatisfaction/dysmorphia, ice cream, judgmental parents, aggressive Akitas, we're literally in Minnesota!!!

Word count: 6.1k

💜 All my writing can be found HERE! 💜

Tagging: @lauraneedstochill @mrs-starkgaryen @chattylurker @neithriddle @ecstaticactus, more in comments! 🥰

🏝️ Let me know if you’d like to be added to the taglist 🏝️

Afterwards, Mason pulls his clothes back on as you are absentmindedly drawing stars in the steam on the windows of his Chevy Silverado. On the other side of the glass is inky Minnesota night, a full moon dissolving away, glowing freckles of constellations. You’re staying with your parents and Mason has roommates, so the truck was the expedient choice. It was good, not that you finished; you didn’t say anything, he didn’t ask, but even if he had you would have told him not to worry about it. It can take forever, especially with an audience. You’d rather wait until you’re alone.

Mason glances down at the used condom on the floor of his Silverado, hastily discarded, viscerally slick in a way that becomes sickening in the letdown, as the endorphins and the adrenaline slip away and the blood pumps slow and unclouded. He smirks as he asks: “You sure you don’t want to get back on the pill?”

You sigh, drawing another star. You are still naked and sprawled across the back seat, glistening with sweat in the moonlight. “Well I tried three different prescriptions and had three miserable experiences, and I’m really not interested in playing side effect roulette again. And I can’t risk my skin going insane and random bleeding when I’m running around all over L.A. trying to get parts.”

“What about that little sperm assassin T-shaped thing?”

You look at him. “An IUD?”

“Yeah.”

You wince, engraving another star into the steam on the window. “I don’t think I like the idea of having a piece of metal shoved up inside me.”

He laughs. “But you’ll get silicone implants?”

You shrug; you can’t deny the irony. “I don’t need an IUD to be an actress.”

“Look, I’m not complaining about the tits thing,” Mason says, holding up his hands. “Obviously I’d enjoy them too. And you’d still have them when you move home, so it’s not a waste even if the acting thing doesn’t work out.”

You already know he feels this way, and yet still, it hurts. “When I move home?”

He smiles and crawls back on top of you, his Carleton College hoodie whispering against your belly and chest, soft royal blue cotton on damp skin. He had been a Political Science and International Relations major who took Theater Arts 195: Acting Shakespeare for an arts credit. He was beyond terrible and had no appreciation for the field whatsoever, but he was tall and strong and jolly, an earnest corn-fed Midwestern boy, and when one day after class he’d asked if he could take you to Culver’s for a burger and frozen custard, you’d said yes.

Here and now, in the back seat of his Chevy Silverado, Mason kisses your forehead. Then he ghosts his thumb over the ridge of your orbital socket and cheekbone, where your dark glittery eyeshadow has smudged like a spreading bruise: Galaxy by Anastasia Beverly Hills, Elysian by Natasha Denona. “I’m not saying you aren’t good. But how many people on this planet get to be movie stars? It’s just not realistic. And it’s about so much more than talent. It’s about who you know, and luck, and chemistry, and looks, and a bunch of other things that are mostly out of your control. You’re never going to be the type of girl who’s an influencer or winning Miss America, you’re just not. But that doesn’t mean you aren’t very, very pretty. And I loved you anyway.”

Loved, past tense. You and Mason stopped using that word a year ago; now the nostalgia is painting memories like the walls of an old house. His memories, anyway. You sit up and start yanking on your clothes: oversized yellow Santa Monica crewneck, black sweatpants with elastic cuffs at the ankles. “I think I’m going to get the gummy bear implants.”

Mason licks his lips. “Yum.”

“They’re a type of silicone, but they’re supposed to feel more natural and be less dangerous if they rupture.”

“Will you have scars?” he says as if the notion has just occurred to him, troubled, perhaps a little revolted.

“Well yeah, they have to end up under my skin somehow.”

Mason shudders, then he has another thought. “Who’s going to take care of you after surgery when you’re all sore and zonked out on opioids?”

“My roommate Baela said she would. She’s had friends who have gone through it already.”

“Okay, good. I wouldn’t want you to be alone out there.” Mason touches the back of your head, a quick fond gesture. He’s the only man you’ve ever been with, and even that took a while, months of trying to envision him undressing you before you were sure you could do it without flinching, without being afraid or shy or bewildered. But in the end it had been easy, always easy, which is why you keep coming back to him like a comet. Your elliptical orbit takes you far away and then close again, and such natural patterns are effortless to keep.

You say, the edges of your lips curling into a furtive smile: “I’m definitely not alone.”

Mason groans. “You’re going to hook up with that new agent guy, aren’t you?”

“What? No! No way, he has a fiancée.”

He rolls his eyes, but he’s more amused than annoyed. “Okay, whatever.”

“You know I don’t date anyone.” Which is why each time you’re home visiting, Mason gets a text: Want to get lunch at Culver’s? or Can you drive me to Target? or Pick me up around 9 p.m.?

Mason smirks and taunts: “I don’t know, with the way you talk about him you sound kind of obsessed.”

“I’m just grateful. Someone finally gave me a chance.” You look to the window; the steam and your hand-drawn stars have evaporated away. “And yeah, he’s interesting and he’s cute, and he’s kind of mean but then unexpectedly caring sometimes, and I think he’s one of those people who are really good at what they do but only when they’re inspired…but that doesn’t mean I’m into him romantically.” A pause. “And even if I was, there’s no harm in a super-secret, one-sided crush.”

“Okay. Have fun with all the adulterous sex.”

You chuckle. “Thanks, but that is not the plan.” You slip on your flip-flops, shimmy out of the back seat, and trot around the Silverado to the passenger’s door. Mason climbs into the driver’s seat and turns his key in the ignition. You ask: “What happened to that ballerina girl who was in your Instagram stories for a while?”

“Had to ghost her, she got super clingy and controlling. She was texting me at work all the time and got pissed off when I was putting a ton of hours into that election thing for CNN.” Mason is a political analyst. He turns to you. “You ever feel like people are the best versions of themselves before you really know them? Then you get too close and all the cracks start showing.”

“I think people are wonderful. You just have to find the ones you click with.”

“I should have figured you’d say something like that.” He steers his truck out of the otherwise empty parking lot in Lac Lavon Park. “I’m looking forward to you being home again.”

“I’m not.”

You both laugh, and then Mason drives you to your parents’ house.

At the dining room table, Mom and Clara are researching wedding venues, vast countryside estates and metropolitan historic hotels. Clara got engaged two weeks ago during a vacation to Turks and Caicos. In the living room, Dad and Tripp are watching commentary on the NBA Finals. Tripp’s name isn’t really Tripp; he is the third James in a row, named after your father and grandfather, and Tripp is short for triple. All over the house, there are Akitas lolling in plush dog beds and clicking around on Brazilian Cherry hardwood floors. They have faces like teddy bears, but their dark eyes track you mistrustfully, as if you are an intruder.

No one asks where you have been. They barely acknowledge that you are back. “Hello, dear,” your mother calls distractedly from the dining room, and that’s all. You jog upstairs to the bathroom you share with Clara before anyone can notice your smeared makeup and the unsavory post-car-sex sweat gleaming on your skin. You get into the shower, turn on water so hot it is nearly scalding, and close your eyes. With your back pressed to the jade green tiles, your hand wanders down over your belly and stops between your legs. Your mind cycles through fantasies, but nothing seems to be working.

It’s not real. It can’t hurt anybody.

You imagine that Aegon is the one touching you, and in under a minute it’s over.

~~~~~~~~~~

“I want there to be horses,” Clara says, scrolling through her phone and ignoring the food on her plate: roast chicken, homemade mashed potatoes, green beans sauteed in garlic and olive oil, panzanella salad. Mom prepared it all herself, not because there was no help available—your parents have a housekeeper named Angela who comes by several days per week—but to prove she could. In the living room are shelves heavy with books by Martha Stewart, Ina Garten, Cat Cora, Julia Child, Nigella Lawson. You hear echoes of ambient clicking, Akitas meandering down hallways and staircases.

“Horses?!” Tripp replies with a mouthful of mashed potatoes, gesturing to the sliding glass door. “Don’t you get enough horses in your everyday life? Don’t you have like five right out there?” Your parents’ house sits on ten acres of land, including a barn and several paddocks for Clara’s rescued Thoroughbreds.

“I want beautiful horses,” Clara insists. “Unusual, photogenic, so they can be in the background of all the photos. Maybe Friesians or Haflingers?”

“I’m not sure we can sort the venues by types of horses available, dear,” Mom says. All that’s on her own plate is a heap of green beans and a few pieces of skinless white meat chicken.

Clara moans and drops her face into her hands. “It’s so overwhelming!”

“You’ll find a place you like, Clara Bear,” Dad says mildly, painstakingly slicing meat off a drumstick with his fork and knife.

“And Owen is no help at all. Every time I ask for his opinion he just tells me to do whatever I think is best, but I don’t know what’s best, that’s why I’m asking him!”

Your mother pats Clara’s shoulder reassuringly. “Guys don’t care about weddings,” Tripp says, twisting around in his chair to see the television in the living room. On a rerun of E! News, the hosts are discussing Chris Hemsworth’s rigorous fitness regime and Meghan Trainor’s “mommy makeover.” You peek under the tablecloth. One of the Akitas, Yuki, is glaring as she waits for you to drop something for her to eat.

“You could do something like that,” Mom says to you, and you realize you haven’t been listening to the conversation.

“Sorry, do what?”

“You could be a wedding planner or a real estate agent. Those are actual careers, but there’s more creativity involved, isn’t there? And didn’t you take a design class in college? That would certainly come in handy.”

“Hm,” your father says with a frown, still dissecting his chicken. He would rather you go to law school like Tripp. You would rather lie down in traffic.

“I took a set design class, Mom. Because I was studying how to be an actress. And that’s what I’m doing right now in Los Angeles, trying to be an actress.”

“You could become an architect!” Mom bursts out with sudden enthusiasm. “Wouldn’t that be fun?”

You titter evasively. “I can’t draw, Mom. Or use the modeling software, or do math.”

“You know, you don’t need any specific degree to get into law school,” Tripp says, and your father gives him a nod of approval. “You could have majored in dance or bagpiping or Egyptology, it doesn’t matter. All they want is a high undergrad GPA and a 168+ LSAT score, and I bet you could get that if you studied. You can even retake the test a few times if you need to.”

“Why do you do that?” Clara snaps at him. You eat your panzanella salad and pretend not to be listening. Beneath the tablecloth, Yuki growls. You toss her a few cubes of Italian bread so she won’t bite you.

Tripp shovels mashed potatoes into his mouth. “Do what?”

“Why are you always wasting your time trying to convince her to grow up and get a real job? If she wants to embarrass herself, let her. I have problems that I’m trying to solve, so how about applying yourself to those instead?”

“Are you serious? You think I should be calling around to wedding venues asking about their selection of exotic draft horses?”

Clara aggressively stabs at her green beans with her fork. “Fuck off, Tripp.”

“Hey, hey, kids, no swearing,” your mother says. “It’s Father’s Day. Be respectful.”

Dad turns to you. “You could be an entertainment lawyer, how about that? You could work in intellectual property or negotiating contracts.”

You smile warily. “I’ll think about it, Dad.”

Clara says to your parents: “Well I hope all the money you’re throwing out the window to support her in California isn’t coming out of my wedding fund.”

You close your eyes and think: I can’t spend my life in a cubical. I can’t spend every minute of every day trying to forget who I am.

“Shh, shh,” your mother pleads, rubbing the back of Clara’s clenched hand. “You will get exactly what we promised you, that amount is still set aside for your wedding. Nothing she does affects you.”

“And it’s only until the end of the year,” your father adds. “Then the vacation is over.” Then the meager allowance they are funneling to you will stop and you will be ordered to return home to pursue an honorable course of existence. You have six months to succeed in Hollywood, or the dream dies.

Your father is now asking Tripp about his summer associate position at Latham & Watkins in Chicago. Your mother is advising Clara to get a wedding dress with a corset back so it can be adjusted in the event she gains or loses weight at the last minute. Underneath the table, Yuki is growling again; she noses your knees threateningly.

“I got an agent,” you say, and everyone looks at you.

“Really?” Mom asks, sounding a little perplexed.

“Who is it?” Dad says.

“Aegon Targaryen. He has a small office in Elysian Park.”

“Oh, I think I recognize the last name.”

“His family is in the industry.” You are beaming; you can feel the heat rising in your face. “But Aegon kind of does his own thing and tries to stay out of the limelight. He was an actor when he was my age. And I guess he thinks I can get roles, so that’s really exciting.”

Your mother seems concerned as she nibbles at a shred of white meat. “Is he an older man?”

“Not that much older. He’s thirty-five.”

“Well, be careful, darling,” your father says gravely. “Who knows what his intentions are.”

Clara evidently agrees. “Men can be so creepy. I had this one professor in pharmacy school who cheated on his wife with one student, then cheated on her six months later with a different student. And then he retired to Boca Raton and was never heard from again.”

“Oh, that reminds me!” Tripp says to your father. “We read about Clinton v. Jones in torts class, it was wild, I didn’t know he was such a freak even before the Monica Lewinsky thing…”

After dinner, while your father and Tripp are flipping through television channels in the living room and Clara is upstairs on the phone with Owen, you go to the kitchen where your mother is washing dishes in a bubble-filled sink. Again, she doesn’t have to do this; Angela will be here to clean the house tomorrow. But it’s part of being a perfect homemaker, and if she’s not good at this then she’s not good at anything.

She glances over when she hears you come in. “Did you get an appointment with one of the doctors your father recommended?”

“I did, yeah. I have a consultation on Friday.” You lean against the marble countertop and cross your arms so you don’t fidget nervously. From a dog bed on the floor, Mochi glowers at you. “Do you think I should get the surgery?”

She shrugs; you’re not certain if she is more indecisive or apathetic. “Your cousin Madison had a nose job the summer before college. Your old classmate Emma got a blepharoplasty and then met her husband three months later. Practically all of my friends have had breast augmentations, and I’ve certainly never regretted mine. I think if you’re going to get anything fixed, it makes sense to pick that.”

You try again to elicit a strong opinion, whether an endorsement or objection. “I don’t think I’d want to do it if I didn’t feel like it was necessary to be an actress.”

“Well, regardless of whatever you have going on in California, you’ll either have to get them done now or after you have children,” Mom says. “I love you and Clara and Tripp, but you destroyed my body. At least doctors can repair breasts. My bladder is still useless.”

You stare at Mochi distractedly. The dog huffs, unwelcoming. “What was the recovery like?”

“Oh, hell,” your mother says. “But once you heal up it’s worth it. I can wear square necklines and strapless dresses again.”

“Technically, you could have worn whatever you wanted.”

She gives you an impatient look, a you’re too old for that sort of frustration. “No one wants to see some sad flabby woman.” She is including your father in this statement. You remember being home for Thanksgiving Break during your freshman year at Carleton and inadvertently stumbling upon emails from one of the hospital interns when you used his laptop to buy movie tickets: indecent inuendoes, flirtatious photos, no smoking gun but certainly more than was appropriate between colleagues. You had tried to tell your mother, and she had deflected over and over again until you realized that she didn’t want to know; it was easier to be carried by the currents of momentum than to rock the boat until it sank. “This agent of yours…is he celebrating Father’s Day with his family?”

“No, Aegon lost his dad when he was in college.”

“That must have been difficult,” she says vaguely as she scrubs a pot with a green Scotch-Brite dish wand. Your parents are now at the age when their friends have begun to succumb to strokes and heart disease and cancers, and the lurking specter of mortality both horrifies and fascinates them. “What did he die of?”

“I’m not sure.”

“Mom?!” Clara shouts from upstairs. “Osaka is puking in the hallway!”

Your mother sighs and dries her hands on a dish towel, then leaves you alone in the kitchen. You linger there for a while, listening to the faint drone of CNN from the living room television, then leave the house through the sliding glass door in the dining room. Outside the sun is setting, and you gaze westward as the aging daylight turns the tall green grass and silhouettes of horses to gold like the mines that first brought settlers to California. You slide your phone out of the pocket of your denim shorts and take a photo, then post it to your Instagram story with the caption Home and a smiley face emoji.

A minute later, you receive a DM. Aegon has typed: This explains the big horse girl energy

You laugh and respond: They belong to my sister, I am personally very anti-horse

You hope he’ll continue the conversation. You don’t have to wait long. How’s Minnesota? Aegon asks.

You stop and consider how to answer, then decide not to overshare. Devoid of palm trees…but good!

There is a pause—perhaps thirty seconds—and then Aegon types: How’s the ex-boyfriend?

Is he curious or jealous? You smile. Still not standing in the way of anything :)

Aegon reacts with a heart emoji, then immediately switches it to a thumbs-up. You cannot ignore the wave of warmth and fondness and exhilaration that overwhelms you. Logically, you know he’s engaged to another woman. Emotionally, it doesn’t seem relevant.

You think: It’s just a crush. It can’t hurt anybody.

Then you remember what your mother asked, and as you stand outside in the fading dusk light you Google Aegon’s father Viserys Targaryen. He has his own Wikipedia page. You scroll to the bottom, where it reads in nondescript black letters: On October 27, 2009, Targaryen passed away at his Malibu residence after a long illness.

~~~~~~~~~~

You have just finished ringing up a Like It-sized Apple Pie A La Cold Stone when Josh says: “Hey, there’s an old guy asking for you.”

“What?” You look towards the ice cream freezer and there he is, dark jeans, green Nike Killshots, a yellow Hawaiian shirt that’s too big for him. “It’s my agent!” you shout as you rush over to meet him, loud enough that everyone in the shop turns to stare.

“Shh,” Aegon says, but he’s laughing.

“What are you doing here?” you ask from behind the counter.

“I got some good news, and I wanted to tell you in person.”

“Cool! Should I make you ice cream first?”

“Um, sure.” Aegon surveys the menu of Signature Creations. He seems overwhelmed; he actually looks a little panicked.

“Are you usually a chocolate or vanilla person? Or peanut butter, or coffee? Or mint?”

“Strawberry,” Aegon says.

“Strawberry,” you echo, surprised. “Okay, I think you’ll like Our Strawberry Blonde.”

“Neat.”

“Because, you know, it has strawberries and you’re blonde.”

“Sounds literally perfect for me,” Aegon says, smiling.

“What size?”

“Uh…” He reads the labels on the cups in the display case. “The big one.”

“No, you have to say the real name.”

He chuckles. His cheeks are pink, his turbulent blue eyes sparkling. “I’m not saying that.”

“Then I’m not making you ice cream!”

He groans. “I want an Our Strawberry Blonde in the size Gotta Have It.”

“Cup, cone, or waffle cone bowl?”

“Stop asking me questions or you’re fired.”

“Waffle cone bowl,” you decide. Aegon studies you as you work, his head tilted thoughtfully to the side: scraping a mound of strawberry ice cream out of the freezer with your metal spatulas, taking it to the cold countertop, and smashing in graham cracker pie crust, caramel, fluffy whipped topping, and fresh strawberries. You use one of the spatulas to expertly scoop the mixture into a waffle cone bowl, not spilling a drop. Then you hand Aegon his ice cream and ring him up at the cash register. He pays in cash.

You ask Josh, the manager on duty, if you can take your fifteen-minute break now. He frowns. “I thought you were going to refill the yellow cake and Oreo cookie mix-ins first.”

“Hey,” Aegon says. He waves a ten-dollar bill in the air to show it to Josh and then dunks it in the tip jar. “Do it yourself.”

“Fine,” Josh mutters to you. “But you don’t get a second over fifteen minutes.”

There’s no time to waste. You hurry to a small table by the window. It’s 8:30 p.m., and outside the world is indigo-dark and threaded with inorganic sparks of headlights, streetlights, kaleidoscopic neon signs. Your eyeshadow is vibrant and pink, because no one cares about that when you work at an ice cream shop: Push by Natasha Denona, Coax by Urban Decay.

Aegon takes his first taste of his ice cream as he sits down in the chair across from you. “You were right, this is delicious. A bop, not a flop.” Then he notices the bruise on your right wrist. “What the hell happened to your hand?”

“Oh. One of the Akitas bit me. Don’t worry, I can cover it up with concealer.”

Aegon is irritated. “Why is your mother letting her Akitas bite you?”

“It was my fault. I forgot that Oni doesn’t like when people pet his feet.”

Aegon sighs, stirring his Our Strawberry Blonde. “You want some of this?”

“I can’t,” you say reluctantly.

He raises an eyebrow. “What do you mean you can’t?”

“I already had a little cup when I got here this afternoon so I have regrettably hit my ice cream quota for the day.” And then, when Aegon clearly does not approve: “I try not to restrict too much but obviously staying the same size takes effort. That’s not a disorder, it’s just reality.”

Aegon seems to debate arguing, then instead scoops up a heaping spoonful of ice cream and holds it out across the table. “Come on. It doesn’t count if it’s on my spoon.”

You smile sheepishly and open your mouth for him. Your lips close around the plastic spoon: coldness, sweetness, the grit of pulverized graham cracker pie crust, the infinitesimal black seeds of strawberries that catch between your teeth. When Aegon begins to pull it away, you grab his hand and don’t let go until you’ve licked the spoon clean. He laughs hysterically as he watches you. “I haven’t had strawberry ice cream in forever,” you say.

“Don’t tell me you’re a vanilla girl.”

“I am,” you confess. “I know the joke. But I really do always get the vanilla-adjacent flavors. Cookie dough, French vanilla, sweet cream, cheesecake…”

Aegon smirks playfully. “Pathetic.”

“So you’re an enlightened being because you eat strawberry ice cream.”

“Boring people like vanilla. Kids like chocolate. Interesting adults like strawberry.”

“Do you actually have good news for me or did you just come here to be a ghoul?”

“I got you a part.”

“What?!” you squeal, and people are gawking again. This time, Aegon doesn’t tell you to be quiet. “Seriously?”

“Seriously,” he replies, grinning like he can’t help it.

“A part in what?”

“It’s small,” Aegon warns. “It’s an episode of Grey’s Anatomy.”

You scream; Josh scowls at you from behind the counter. “Oh my God, no way, no way!”

“You’re going to be the wife of a guy the doctors kill with negligence. Three scenes, two are pretty short and unremarkable but then you get to yell at the surgeon in the last one. Gives you the opportunity to show some range and make an impression.”

You can’t believe this is happening. “They aren’t going to make me audition first?”

“Well…it’s very last-minute,” Aegon says. “The actress who was supposed to do it has a drug problem or something, I guess, so she ghosted and they were scrambling for a replacement. And I completely fabricated your credentials.”

“What? Really?”

“Yeah, I typed up a resume and sent it over and they loved it. So try not to talk about your actual experience because none of it will match.”

You shake your head, stunned, amazed. “What if they try to contact one of my alleged former employers?”

“Then they’ll be talking to Aemond, and he will lie and say you were an absolute pleasure to work with.”

Aemond Targaryen: Aegon’s younger brother, a screenwriter, a philanthropist, a well-respected entity in Hollywood, and you know this from the Googling that preceded your first meeting with Aegon last week. “And Aemond doesn’t mind helping you commit fraud?”

“It’s not a favor I call in very often.” Aegon finishes his ice cream, then begins breaking apart the waffle cone bowl and shoving shard-like pieces into his mouth.

“When’s the shoot?”

“Very very early on Thursday, that’s the bad news.” Thursday is two days from now. “So I’ll have to pick you up at your apartment at like 5 a.m.”

“That’s fine. I’ll be ready.”

He smiles, gnawing on a chunk of his waffle cone bowl. “I figured.”

“You’re going too?” The hope is unmistakable in your voice.

“Of course I’m going.”

“I didn’t think agents usually went to film shoots.”

“Well, fortunately for you, your agent is imminently fleeing Los Angeles and has already parted ways with most of his clients and really has nothing else going on besides hiding in his office and playing a Nintendo 64, so I figured I could make it. And also if I’m going to be enthusiastically recommending you to people, I should probably see you work at some point.”

You wiggle your eyebrows flirtatiously. “Do I get to make out with my fake husband?”

Aegon is amused. “From what I understand, you get to chastely kiss him once. They’re sending the script over to my office first thing in the morning, so you’ll only have a day to learn your lines.”

“That’s enough time. I’ll make it work.”

“Always so agreeable,” Aegon muses. So desperate is more like it.

Thursday. “Is the shoot just one day?”

“Yeah, they should be able to get everything they need from you on Thursday morning. Why?”

“I have a doctor’s appointment on Friday and I was just wondering if I’d have to reschedule it.”

Aegon is immediately vigilant. “What kind of appointment?”

“Uh…” You smirk guiltily. “It’s just a consultation. No slicing yet.”

“And you’re going to cancel that,” Aegon says flatly.

“Seriously?”

“Do you want implants because you want them or because you think other people want you to have them?”

You hesitate. “Both.” That’s probably a lie.

Aegon leans back in his chair and studies you. “Yeah, you’re cancelling that appointment.”

“Why?”

“Because when I agreed to sign you, you told me that you’d do anything I say. And I’m telling you to cancel it.”

“But why don’t you want me to get implants? Everyone gets implants.”

“Because once you begin to treat scalpels and needles as prescriptions for everything you don’t like about yourself—or everything that other people don’t like about you—it’s very difficult to stop. First it’s your tits, then it’s your eyes and your nose, then it’s your chin and your cheeks and your neck and your ass, and it’s just this revolving door of painful, dangerous, unnecessary procedures that are condemning you for being mortal, that are carving away your humanity one incision at a time. I’ve seen it happen to more people than I could count, and I don’t want it to happen to you. Because you seem very, very human, and I’d like you to stay that way. Which means you don’t cut yourself up because some agent or producer or casting director told you to.” Then he adds, perhaps as an afterthought: “And anyway, you don’t need implants.”

You smile, then reply quietly: “You’ve never seen me.”

Aegon grins. “I don’t care if you have twelve nipples under there like a fucking beagle, you don’t need plastic surgery.”

You both laugh, and the tension evaporates, and even if you don’t cancel the appointment—Aegon is one person, the entertainment industry is omnipotent and eternal—you are glad he seems to like you the way you are. Behind the counter, Josh is waving manically to get your attention and summon you to return to work. You pretend not to see him.

Aegon asks: “Why don’t you like horses?”

“They freak me out. They’re all teeth and legs and they’re huge, I’m always scared they’ll step on me.”

“Your dad’s a doctor, right? I thought all rich girls had horses.”

“Where I’m from, a lot of women ride horses to distract themselves from the fact that their husbands are riding their receptionists or interns. I’d rather have no horse and no awful cheating husband.” And Aegon stares at you and turns serious, because perhaps you’ve inadvertently addressed the elephant in the room: he has a fiancée, and neither of you are acting like she exists. You swiftly pivot. “I’ll make an exception for you, though.”

He appears startled. “What?”

“The Chinese zodiac. You’re a horse. So you’re the only horse I like.”

“Oh, yeah. Right.” Aegon chuckles uneasily and gets up to throw his trash away, then stands under the florescent lights with his hands in his pockets, his blonde hair falling out of its gel and hanging over his forehead. He gazes down at you pensively; you are still seated at the table. “When does your shift end?”

“I’m closing tonight, so I’ll be done around 10:30 or 11.”

“Okay. Can I come back to pick you up and drive you home?”

You are puzzled. “Why?”

He gestures to the inky dark window, incredulous. “Because obviously you shouldn’t be walking alone in Harbor Gateway at midnight? You know there was a shooting a block from here last week. I looked it up.”

“I walk home all the time.”

“You really need to stop doing that.”

“You are being very dramatic for a non-actor.”

“Listen, I can’t go to my house and try to fall asleep while I’m wondering if you’re getting mugged or murdered.”

You look at Aegon. He does seem genuinely worried. “You can drive me home.”

“Great. See you in two hours.” He strides away and shoves open the glass door; the little metal bells hanging there jingle.

“Aegon?”

He halts mid-step and turns around. “Yeah?”

“Does Becca know where you are right now?”

His face is some amalgamation of emotions you can’t read, and this is unusual.“Why do you think I paid in cash?”

And before you can reply, he’s gone.

~~~~~~~~~~

On Thursday, June 19th, Aegon picks you up in his white Chrysler Sebring convertible while the city is still asleep. The sky is dark, the streetlights passing by overhead, infinite pinpoint supernovas. There are hardly any other cars on the road. Aegon’s hair is a mess and his eyes are bleary; he’s sipping a Starbucks coffee with one hand and holding the steering wheel with the other. He is wearing a suit, but he still manages to look unpolished, his white shirt half-untucked and his black tie too skinny. He sets his coffee down in one of the cup holders and passes you something venti-sized and iced.

“I got you a vanilla latte, vanilla girl.”

“Aw, thanks! Skim milk?”

“Nope,” he says, smiling. You smile back and take a gulp of it, cold and sweet and bracing. “What’s your hype song?”

“I can’t tell you,” you say, embarrassed.

“Why not?”

“You’re going to terrorize me.”

“Don’t Stop Believing? Don’t Stop Me Now? I Gotta Feeling?”

“Lose Yourself.”

Aegon throws back his head and cackles, his hair flying in the wind. “That’s definitely a fireable offense. I’m ditching you the second we finish this shoot.” But he taps around on his phone and plugs in the aux, and then Eminem is thudding through the speakers as the Sebring sails north and the red-gold dawn rises on the horizon, a celestial message from the East Coast, an omen from the future.

Aegon drives you to Prospect Studios in Los Feliz, just east of Hollywood. Filming will be indoors on a soundstage. You spend what feels like forever in hair and makeup, and the costume designer—who had prepared for a different actress—dresses and redresses you over and over again, frowning at your chest and waist and thighs, and you have a sudden pang of nauseating panic and dread: I don’t belong here. What the fuck was I thinking?

Then you are in the scenes under intensely radiant artificial light, and just like it did in your roles back in Minnesota, the real world vanishes and all that exists are these characters, these moments, and your body and mind become theirs, and perhaps even your soul too. Your husband is handsome and kind, and here in this liminal fictional space you love him, and when the surgeons wheel him off to the operating room you are full of blind naïve surety. Then the doctors update you on his condition and you are still hopeful, but it becomes a fragile thing, like something that shatters when it’s dropped from a height. And then he is dead, he has been taken away from you, he has been stolen, and you are eclipsed by a blood-red wrath that is animalistic and unforgiving. After each take when you are ripped back through the veil and into reality, you can’t remember exactly what you did or said, and the director doesn’t have many critiques so you aren’t sure how it’s going.

But when it’s over, while you are still standing on the soundstage with the other actors, Aegon puts on his sunglasses and smiles at you from across the room; and you remember what he said outside his office on the day you first met—you are so bright, sunshine—and you know you’ve done a good job.

[yourhighness6]

I've been thinking a lot lately about how so many people miss the point of TSR completely. Like Katara did forgive Zuko because forgiveness is earned and no Katara didn't forgive Yon Rha because she can choose who to forgive/ who not to forgive and no Katara shouldn't have killed Yon Rha because the whole point of the episode is that you don't have to forgive someone to show them mercy. That's why Bryke insisting that Katara "forgave Yon Rha" after the fact is not only fucking stupid because she literally says something exactly to the contrary in the episode and it doesn't just remove her agency it removes the complicated moral theme

[orchidbreezefc]

ok. years have passed and we've had some distance, so i'm finally gonna take the leap of faith that tma fandom is finally ready to hear me on this. let's talk about tannins.

161 was the first tma episode i heard on early release, and i felt the bit where martin declines wine and cites tannins was pretty obvious in its implications. cool, got it, say no more.

imagine my surprise when i was one of maybe three people i saw read between the lines there, in a fandom famous for red stringing--a fandom that immediately caught the much less obvious thread of ignition sources in the same episode. i'll spell it out: alcohol is an issue for martin.

maybe it just felt obvious because addiction is a pet issue for me--as it is for jonny, who has said everything he writes is filtered through a lens of addiction. i don't know if that's due to his own experience or a loved one's, and i won't speculate; i also don't know if martin personally struggled with drinking or just avoids it for fear he would, but alcohol would fit what we know of his family. his dad walking out and his mum spiralling into bitter wallowing and verbal abuse? i'd bet one or both of them drank, yeah.

on a basic level martin tries to decline alcohol, and that alone should have raised eyebrows given what we know of martin and, again, a fandom that dissects everything. we already knew martin "K" blackwood lied about his personal life and his family in particular, especially pre-canon, which is when this flashback took place. i was shocked that everyone took his flimsy excuse at face value with no further questions.

and the excuse is flimsy. martin turns down wine by--nervously--exclaiming tannins are "a proven headache trigger!" which sounds like trivia from a magazine cover and not the words of someone who actually has headaches--and it hasn't come up before or since. jon, confused, points out that tea, a drink martin consumes to a degree that is memetic both in- and out-of-universe, also contains tannins, and martin squawks a panicked, "what?!"

if tannins are enough of a concern for martin that he knew they're in wine and so avoids it, why didn't he know they're in his drink of choice? why does he still drink tea at the time of canon, and why doesn't he struggle with constant headaches from consuming 'a proven headache trigger' day in and day out? why, indeed, would someone avoid wine and not tea?

when sasha insists martin drink he caves and agrees to 'just a drop'. i imagine him pouring it in a plant, which admittedly he could have done if tannins really were the issue. i will say that i, for one, would be less likely to falsely agree to something that makes me physically ill than to a private issue that i'd rather not be pressed on any further. this scene also establishes martin's birthday was an ice cream party instead of the more traditional visit to a pub.

also, this scene was in the first episode of the final season, as one of three flashbacks that could have been to any pre-canon event in the archives. prime narrative real estate. not really time one would waste on establishing the important character context that martin has... headaches. which never comes up before or after, even regarding the week he spent in spiral town. but you know what is pretty crucial character background...?

it felt like a no-brainer, and yet all i saw was h/c fluff about jon attending to martin's headaches. and i hate feeling bitter about disability representation. i want folks with chronic headaches to feel seen and have fluffy escapist fantasies. i don't want to be mad about people portraying a character with a disability. but, guys? you got the wrong disability. jonny sent a clear message, and it went over fandom's head.

[nohaijiachi]

I've been seeing just about all moments of GO S2 being put under a microscope and absolutely dissected frame by frame

And still I am yet to see anyone mention a moment that might be small in the grand scheme of things, perhaps not as character defining as many other that have been (rightfully) analyzed a thousand times over, but which was *so* important to me, and every single time I watch it I'm just filled with so many feelings and jhaghagha

(putting this under a read more to not spam y'all with a ginormous post clogging your dashes)

The moment in question is this (my apologies for the pics, I currently don't have a proper way to take screenshots of S2 and had to snap photos of my tv screen lol)

It's such a quick moment, a small blip in the entirety of episode 5, but let me tell you why it absolutely destroys my heart every single time.

First of all let's refresh our memory on Aziraphale's relationship with Heaven and Gabriel specifically, shall we?

The very first time we see Gabriel in S1, he surprises Aziraphale at a sushi restaurant. Aziraphale looks to his left, because that's the side where Crowley usually appears when approaching him, but instead of his boyfriend the familiar Demon, he sees the reflection of Gabriel at his other side, and he turns around with what reads to me as very much an "oh shit" expression.

In episode 2 we see Gabriel again, along with Sandalphon; they are flanking Aziraphale and leaving him no way to escape in what to me seems a blatant intimidation tactic, especially with Gabriel being all "hey you remember Sandalphon, right :)" and Aziraphale being like "Oh yeah, likes smiting and turning people into salt, I sure do! *nervous laugh". There's literally no reason for them to be acting like this if not to (un)subtly remind Aziraphale what his place is, and that he is NOT safe, not even in his bookshop.

Whenever we see Aziraphale in Heaven he is constantly standing ramrod straight, hands kept caged behind him, none of his usual mannerism to be seen. He always smiles like a hare being stared at by a hawk and the cinematography very much underlines that tenseness by both showing the impossible, cold and sterile expanse of Heaven in contrast to the camera being shoved right in the characters' face to make the viewer feel just as uncomfortable as Aziraphale is.

When Gabriel and Aziraphale speak in the park there's this moment after it looks like Gabriel is leaving, but he pops right back up in Aziraphale's space in an instant, causing the reaction we see in these screenshots. Aziraphale is clearly taken aback and tense, eyes widening which is like, fair considering Gabriel pretty much jump scared him, but that's rather the point, isn't it? Gabriel pretty much jump scared him. He didn't just turn around and jog back to Aziraphale to ask him about the sword, he purposefully moved himself up to him without any warning. Like sheesh, talk about terrifying bosses.

No Gabriel here, but just another example of how much Aziraphale does NOT like being in Heaven. When he gets discorporated and finally manages to stand up for himself, saying he refuses to fight a war, he still looks like *this*. Like he's one step away from just discorporating a second time and without an actual body out of sheer anxiety.

When all it's said and done at the Tadfield airbase and the four horsemen are gone, Gabriel and Beelzebub decide to go check what the heck is going on, at which point Aziraphale pretty much seems to be bracing himself, straightening his back, adjusting his clothes nervously and then holding his hand in front of him in a show of dignified quietness I definitely read as him doing his best to hide just how anxious he truly is.

Of course we don't see Aziraphale's reaction at being told to shut his stupid mouth and die already by Gabriel due to the body swap, and at this point is pretty safe to say Crowley has never shared with Aziraphale that little tidbit of information, but even not knowing the extent of the cruelty Gabriel showed toward him at the end, he still knows that Gabriel and, by extension, Heaven was more than willing and ready to murder him.

Even at the start of S2, when an amnesiac Gabriel arrives at the bookshop and then hugs him (awkwaaaard), Aziraphale looks like he's entirely frozen and unable to react to the improbability of what is happening, and when Gabriel asks him if he can go inside the bookshop Aziraphale's immediate reaction is to pretty much recoil with an immediate "No!".

Of course he is then forced to let him in because there's a naked man on his steps while the whole neighborhood is watching, and we get some many more little moments of Aziraphale anxiety emerging through his body language: The pacing, the way he sits ramrod straight in front of Gabriel, and him literally backing away multiple steps when Gabriel asks him "You know how it's like, when you don't know anything at all, and yet you're totally certain that everything will be better if you were just near one particular person?"

(Because of course Aziraphale knows how that feels, and that's exactly the same reason why he's been so scared of Heaven for-fucking-ever!) (Also as an aside let me just bless Michael 'Acting Choices' Sheen for that smile that lasts a shard of a second after Gabriel asks that. You can pretty much see the word "CROWLEY" stamped in big bold letters on his forehead in that moment lmao)

(Also as an aside to the aside. Jon Hamm is just fantastic. Gabriel comes across as such an asshole in S1, but Amnesiac!Gabriel is a fucking cinnamon roll and he pulls it off so well ajahjahja)

Then of course we get the whole exchange about the 'something terrible' that sends Aziraphale into more anxious frenzy until another tiny, kinda overlooked moment hits us in the shins, in which Gabriel says "You're funny. I love you." And like, can't blame anybody for not looking at that moment without much thought, I know that that sentence had me crying laughing multiple times on multiple rewatches, but also... God, you can see the way some of that fear instantly leaves Aziraphale, the way he relaxes ever so slightly and ??? Aziraphale??? Is that all you need to instantly start trusting someone who wanted you dead? Who treated you like shit for who knows how long? (Why am I even asking this, of course that'd be enough, it's Aziraphale we're talking about, here.) Then of course the rest of season 2, he and Crowley having a row about what to do with Gabriel with Aziraphale insisting that he needs them, as his friends, yada yada, we get back to the initial moment that sparked this post.

We get there, Aziraphale's (eldritch) Ball and the romantic moment he's been working himself up for ruined, murderous Demons at his steps putting both he and all the humans inside in peril, and all he would need to do to avoid any harm coming to them is to give Gabriel up, and... "You came to me. I said I would protect you. And I will." Not just the words, but the way Aziraphale says them; voice lowered and serious, that hint of hesitation and fear at the start that melts away into full blown confidence at the 'And I will'.

It isn't just Aziraphale being scared by Gabriel mentioning the 'something terrible' at the beginning, nor the brief moments of cryptic recollection that he witnesses Gabriel going through-- It's that Aziraphale sincerely accepted to protect him, and he wasn't going to give that up. He is a Guardian and a Principality, after all.

And like, I see this and how am I supposed not to get my heart utterly shattered by it? If Aziraphale had rejected Gabriel, or treated him unkindly in any way, I hardly doubt anybody would be hard pressed to say Aziraphale did not have the right to do so, not after the way he's been treated by Gabriel and Heaven his whole life. But he doesn't. He is kind to him, if a tad long-suffering at times. The protection he extended over Gabriel is utterly sincere and unwavering.

And ngggggggh I don't even know where I'm going with this. I just. Love Aziraphale so much. Stupid, clever, anxious, brave man-shaped thing that he is, recklessly throwing himself into the line of fire for somebody that, by any means, did not have any right to ask something of that magnitude from him. He is my scrungly, and by God am I ever so excited to see how everything will play out in season 3. I want him to fully grasp that bravery and raise absolute -metaphorical- hell with it. Shine bright, you crazy bastard.

[ninjagobythenumbers]

Bechdel Testing Ninjago

So, a little while ago I did the Bechdel test on Ninjago because I've always seen the show as sort of an interesting case study in how women are portrayed in cartoons. Of course, I'm aware the Bechdel test originated as a joke and something passing the Bechdel test doesn't make it feminist/not. Rather, or for me at least, it's an indication of how deficient female representation can be at an aggregate scale. As a way to analyze Ninjago, I feel it works as it shows how female representation over the course of the show. If you're interested I'll now discuss my thoughts on how the analysis went season by season. DISCLAIMER: I did this for fun.

The pilot was easy. Nya's the only one, so test failed across the board. The first episode that passed the test was when Jay's parents came to visit. Yay Edna! Mystake does show up in episode 7 but, I don't count it as she has not yet been named. 12&13 had a kid's mom in a bus which I decided was enough cus hey, Mom's a name she uses.

Here's where we really get going. Patty Keys, their real estate agent continues to show up through seabound as a background character, which is pretty cool imo. Episode 5, Mystake finally gets named. Episode 6 was huge for my chart as it's the introduction of Misako. You'd think episode 7 is when her and Nya talked but that's actually when Nya and Gayle had a lil convo. From then on I spent the episodes just staring at the Nya and Misako thinking "talk to her talk to her talk to her." Fortunately, when they did speak, Nya and Misako would be discuss like science, maps, and fate of the world so I never ran into a problem with rule 3. That is, until Rebooted.

The good news is Pixal's here so it'll be years before we fail rule 1 again. The bad news is we've got a love triangle so goodbye rule 3. Nya actually talked to her student, Sally, and Pixal quite often but it was so often about Jay or Cole so I would just be scouring the episode for a single exchange where they talked about anything else. During the Tournament, Nya, Pixal, Skylor, and Misako were all in different groupings and it was rare that Tox or Camille would say something so no rule 2/3 successes until late season.

The good news is, the love triangle is over so we're back to rule 2 usually meaning rule 3. The bad news is, Pixal's in Zane's head so we're back to hoping Misako and Nya say something to eachother. Nya usually shared her scenes with Wu, Ronin, and Jay during these seasons so chances were few and far between. However, unlike the first few seasons where the default was male, we're now getting some female henchmen (Bansha and Dogshank) so that made things easier.

Thank you for being in Day of the Departed Edna Walker. Early Hands of Time was tough because Nya, Misako, and Commander Macchia were rarely in the same scenes. In the latter half of the season though, we thankfully see the return of Pixal. Maya also helped us with some wins.

What a breath of fresh air. Thanks to Harumi & Ultraviolet's introduction, Pixal's return, Mystake's upgrade to a reoccuring character, and Nya & Misako's continued support, failing even rule 3 is pretty rare during the Oni Trilogy. We run into some complications during Hunted because though we have Skylor and the aforementioned characters in Ninjago and Faith & Jet Jack in the First Realm, sometimes people don't talk to eachother. And that's ok. Overall, smooth sailing.

Ah??!? What happened. Worry not. I realized this was, in part, because the Oni Trilogy had 20 minutes worth of chances for women to speak to eachother, these were only 10 minute episodes. So, for the sake of comparable units of analysis, I considered each pair of episodes to be 1 episode. I'll show both charts until DR.

It looks a little better, but it's still not at Oni Trilogy levels. Still, I'd be curious to see what the test would look like if I dissected the earlier episodes into 10 minute chunks because it's probably not a great sign if 10 v 20 minutes makes such a big difference. Ok, proceeding. The Fire Chapter was usually pretty successful because Pixal, Aspheera, or Nya would usually end up talking at one point or another. Gayle even helped at one point. The Ice chapter usually achieved successes through Nya talking to Sorla. In one episode, I counted the Preminent's roars as conversation with Pixal. The Ice Chapter had quite a few failures largely because, as in previous seasons, all the women were split up.

Despite the fact that Nya was one of the longest lived ninja, Prime Empire has total failures at levels not seen since before season 2. This is largely because for the most part, Pixal and Nya are never in the same episode. Racer 7 helps but she was only there for a bit. I should point out that I feel like the 10 minute era is really when Pixal starts feeling like part of the team to me. She's always part of homebase meetings and always plays a key part in missions. Alas, if she's not in episodes with Nya, that's not going to show up on my chart. It's a reminder of the fact this test doesn't show substance.

Master of the Mountain is similar to the other seasons of its era. The fact the 10 minute era tended to show its plots episode by episode (ex: Ep 3 = Plot A, Ep 4 = Plot B, Ep 5 = Plot C) rather than all in one really takes a toll on the test. For the most part, Nya and Vania were our only chances for success and it was rare they'd share an episode. We also had the rare rule 3 failure with the Queen of the Munce episode. Thanks Jay. The Island only had Nya until they found Misako, so it was struggling even more.

It feels right to see all green when it's a Nya season. In the beginning of Seabound, they put Nya, Pixal, and Maya on a boat together and by jove it made things easy. Late season was a bit trickier because Nya was on her own journey. Crystalized had Skylor, Pixal and some ressurected villains saving the day. Late Crystalized is the way it is because it had so, so many different groupings. I have a chart based on groupings and this season was such a challenge.

I really felt the difference with Dragons Rising. I mean, you can see the difference, but it was even more clear when doing my data collection because it was just so easy. Rather than grabbing at scraps of dialogue like I had to do in early seasons, there was often a wealth of more meaningful conversation between female characters to choose from. As with the Oni Trilogy, a female villain with a female henchman makes things easy because they scheme together. We also had Nya and Sora on a joint quest. Funnily enough, there is a rare rule 3 failure because Sora and Kreel only talked about Kreel's friend in one episode. Episode 17 had the classic split up issue and actually would've failed entirely if not for Agent Underwood, which is actually a great example of my next point. You can really tell how male is no longer the default because not only is there the introduction of all the fantastic new female main characters, but also there's plenty of random female characters scattered throughout. I haven't seen DRS2P2 yet but I expect it'll be more of the same. I should mention I also made a chart with the reverse (two named men in an episode who talk about eachother about something besides a woman). Only three episodes fail in any capacity. (Say thank you to the Akita, Pixal, and Harumi solo episodes). If you read this whole thing, thank you. I had a lot of fun doing it. Let me know if there's any other charts I can do!

[accirax]

Danganronpa: Despair Time Chapter 2 Episode 15 Dissection

FINALLY, I have a Friday night with few enough plans that I can watch and give my initial thoughts on the episode on the day that it aired >:D

... why am I celebrating being all alone on a Friday night? (/j)

Dissection time! This will be a Part 1 because I finally actually ran out of images. Please check the reblogs to see my further thoughts on the episode!

SPOILERS for Danganronpa: Despair Time Chapter 2 Episode 14. Brief mentions of eating disorders and suicide.

Of course, it's also the first week where I probably won't have as much to say, not because there isn't stuff to comment on about the episode, but because the main thing that ate up my time/word count was assessing all of the evidence to talk about who the killer might be. Now that the killer has seemingly been revealed, there isn't really any "Chapter 2 murder" left to theorize about... that's insane.

Starting the episode off with Teruko saying that accusing Ace was her "judgment" was wild. She made it very clear that it wasn't just that she was humoring Eden or haphazardly starting with Ace first, but that she thought it over and decided that Ace was the more-likely-to-be-guilty party because of seeing Eden break down like that. She paid attention to Eden's emotions and let Eden into her heart! That's awesome!!!

(Not to say that you couldn't pay attention to Eden's emotions and still think that she was the culprit-- I'd be a pretty big hypocrite if I tried to argue that. And I just don't think that it's true.)

This is a really random point to bring up, but I remember from drawing my J-to-Xander secret santa exchange that one of J's main complaints about Xander was also that he was loud. I guess J just really hates loud people.

... David, put down the megaphone--

Now this surprised me. It really made sense to me that Arturo would be the one stalking Eden, given that we first heard about the stalking on the day that Arturo and Eden had their chat!

Although, it also makes sense that it wasn't, given that the Arturo/Eden conversation probably happened after the event where J pulled Teruko into that closet (just based on Arturo's vibes). That event was the last thing that Teruko did before the nighttime announcement rang. Thus, Eden talking to Arturo probably happened pretty late in the afternoon, not giving Arturo much time to have been following Eden. To be fair, I deemed that it could still very well be Arturo anyways, because it's not like Eden said anything such as "you've been following me all day" that truly indicated a time period. But it does make sense.

Seems like everyone who thought that the culprit could have been tailing Eden was correct! A round of applause for everyone who put those pieces together 👏 (/gen)

Now, this one, I don't believe I saw ANYONE speculate. Therefore, as an idea I'd never even heard tossed around, this really took me out. It makes sense, though: Eden is small and semi-canonically the weakest character in the killing game. Therefore, if you're looking for someone who you can near-guaranteed overpower, it makes sense if you were to target her.

On one hand, thinking down this line of logic makes me worried for Eden's survival prospects beyond Chapter 2. On the other, now that this has been directly addressed in canon, I find it less likely that someone will use that again down the line. The best place to do so would be at the next Class Trial, so that the logic can be "well, looks like someone tried to execute on Ace's original plan" when it's at its most relevant because Ace's crime would be at its most recent. However, I don't really think that Eden will be a victim at the next Class Trial, so I'm leaning towards saying that she wouldn't become a victim for that reason.

(It feels so unnatural to write out "Ace's crime" and be, like 95% certain that it's canon. This case is just one of the unsolved mysteries of history, the fuck??? (/j))

This was ALSO insane to me. I know that thebadjoe cited Ace claiming to have been in the Gym the day after he nearly died in there as a reason why Ace might have been lying about what day he overheard Arei and David on (the logic is probably somewhere in here), but I think I and many others just figured that he didn't want everyone to think he was a coward, or that his eating disorder would compel him to go back to the Gym anyways.

However, going back to the Gym to sus out how exactly Nico's contraption works makes perfect sense! J was right, if Ace was suffering through being killed when he awoke, he shouldn't have had the presence of mind to figure out the crime then and there. However, if he could combine the flashes he got of what happened while he was swinging from the fan, whatever he was able to make out when he ran out of the room to chase Nico, and being able to inspect the Gym after the fact, I think it's totally reasonable that he could have figured out what happened with enough clarity that he could replicate its essential elements elsewhere.

As it turns out, despite my crack at trying to figure out what happened, the Gym murder method wasn't actually all that complex.

Teruko: One. Given that you were stalking Eden before the Nico incident, you were already planning a murder beforehand. You entered the Gym with the pre-existing intent to take the tape for some different, unspecified murder plan, and changed your mind on the details later. Two. You were pretending to be unconscious for longer than we thought. And three. You took the tape for first aid.

Dammit, fellow "but it wouldn't have made sense for Ace to take the tape right after the attempt" truthers... I think she may have cooked us. (/j)

But hey, we love to see Teruko representing the "let me explain out various theoretical options by listing and discussing them numerically" crowd! It's always great to see yourself represented in media ;P Even if I never came up with any of these theoretical options.

My guess is probably that, of the options, the first is the most likely. I also think that Teruko probably agrees with that, given that it was what she went to first and it had the longest explanation. It's not really important, though, and I don't think there's any way to truly know, so I don't have much else to say about it.

Teruko noooooooooo :(

Whit FINALLY gets a new sprite and THIS is the expression and context?????? I love him.

Speaking of, I think that, thus far, the characters to have received new sprites in Chapter 2 Part 2 are Teruko, Ace, Arei, Hu, David, Veronika, Whit, and Nico? I'm not certain about whether Eden, Levi, or Rose had any, but I don't think they did. If true, I can't believe that Eden got through such a major role in the story without picking up any new sprites. It's probably because she already had a bunch to begin with, but, still.

Oh hey, he got one too. Protag/antag/support/chapter killer, boom.

Teruko: That's why Arei's wrists were bound-- because you didn't want her to wake up mid-murder to claw at her neck.

Definitely not what I was expecting from this piece of evidence, but I guess it tracks? My only question is why it would have been a problem if Arei had scratched at her neck. Like, it's not like both of them having neck scratches would have implicated Ace as the killer, right?

I guess maybe he was afraid that Arei would be able to escape his murder contraption much like he broke Nico's, even though the rope is probably much more sturdy than the wire. Or, maybe he was worried that it would work against the idea to stage it as a suicide? Either way, it's also convenient for just restraining Arei in general, so it's not like the evidence doesn't make any sense at all.

Nico, in audio: (Sorry.)

SO creative to contrast the voice lines and the spoken dialogue to really imply that Nico is saying it under their breath, or so quietly that nobody can hear.

However, let's not forget about the actual content of what Nico says whilst focusing on the cool media-specific presentation. Nico actually apologized to Ace after traumatizing him! Nico is very much characterized as a straight-shooter (or at least, when they're not trying to avoid conflict by saying whatever they think will help accomplish that), so I believe that when they said that they wouldn't say sorry to Ace because they didn't feel sorry for Ace, they meant it. However, that means that at some point between when Nico said that and now, something changed that made Nico feel genuine remorse towards Ace.

I think it's probably just seeing how much of an effect attempting to kill Ace truly had on his psyche and decisions. I don't know at what point Nico started fully believing that Ace was the one to kill Arei, but it's possible that it was around here. Obviously, at least at one point, Nico had no qualms with the idea of Ace dying, so it's not like seeing that their actions will actually manage to kill Ace would probably be that missing piece.

However, making Ace into a blackened is different than Ace just straight up dying as a victim, a difference which Ace acknowledges later in the episode. If Ace had died as the victim, Veronika wouldn't be toying around with him right now and making him humiliate himself. Nico might see that Ace is being bullied, and therefore, have more of a reason to feel sorry for him. Furthermore, Nico was forced to truly grapple with the reality of how hard it must be for the blackened to survive the Class Trial earlier in the chapter. Knowing now that they essentially passed the mantle on to Ace might make them feel bad.

Basically, I think that, for the first time, Nico might actually see a bit of themself in Ace, and that made it easier for Nico to sympathize with his plight.

Speaking of seeing yourself in Ace, Miss Near-Victim-to-Accused-of-Killing Pipeline...

KING

Okay, I do kinda take issue with this line of reasoning, not because Ace isn't strong-- or at least stronger than Eden-- because he absolutely is, but because Arei is also one of the nation's top performing athletes in her sport of choice? I mean, jockeying feels like more of a full-body sport than bowling, so it probably requires more strength training, but looping her in with Eden and Nico feels unfair. Justice for Arei... 's muscles. Anyways, carry on.

I THOUGHT SOMETHING LIKE THIS MIGHT BE POSSIBLE!!! I just never said it because, given that Arturo said that it seemed like there wasn't any other damage to the body, it didn't feel like it was supported by the facts. (Although, obviously, this Trial has proven that Arturo's autopsies are not infallible.)

I've researched before that punching someone in the jaw seems to be the most trustworthy way to knock someone out and have a low chance of killing them then and there. However, that would likely leave a bruise, so I didn't think it would happen. Strangling someone to the point of unconsciousness, however, is possible (it just might be harder/more likely to be lethal), so this totally makes sense!

Yup, unless Eden was trying to frame Ace by "framing" Nico, it really makes much more sense that Ace would have the incentive to copy Nico's crime down so closely.

I mean... this certainly makes it sound like Nico wouldn't attempt to be a blackened ever again...

It's always good to have a frame plan set for your frame plan. Nico wouldn't just do it without thinking about anyone else to blame, so you can't just blame Nico without establishing who Nico would have blamed!

Then again, this plan does require people to think that Nico didn't think about the rules enough to realize that they could easily rule out suicide as a bait. Then again x2, they already said that they didn't think too much about the reality of going to a Class Trial when they initially tried to kill Ace, so it's not so much of a reach as it would have been for other people.

I can't tell if this is somehow suspicious or just an indication that Eden is nice and thinks about others over herself. Ugh, now I have to decide whether I'm being suspicious of Eden as a mastermind candidate or not, and people are going to get mad at me for continuing to suspect her of foul play...! (/lh)

Shoutout to SomniaVA here for doing an excellent job of voicing Veronika. The line read on "too weak, too stupid, and too incompetent" especially was phenomenal. We stan Veronika in this household.

Man, I feel so bad for Ace in this part. Also shoutout to Seth Raffield for voicing Ace this entire time; if you ever read this, you 100% made Ace who he is and overall have some of my favorite voice acting in DRDT. Not being to hear any more voice lines from Ace will honestly be one of the parts of his upcoming death that'll make me the saddest. We haven't heard the very end of it yet, but thanks for all your hard work :)

(Dude I am NOT going to cry before the execution even happens--)

Charles, internally: (FUCK i made Whit sad BACKTRACK BACKTRACK BACKTRACK--)

I love them :,)

Levi: Charles is right. It really is no simple task to control a horse going over 40 miles per hour on a regular basis. It requires physical strength and endurance. Intense training 6 days a week is standard. And the physical tests that jockeys have to go through are grueling, to say the least.

How the fuck do you two know this

Charles: Not what it's called.

Thanks to Charles' comment, I was easily able to determine that this was a reference to the Dunning-Kruger Effect, which Wikipedia describes as "a cognitive bias in which people with limited competence in a particular domain overestimate their abilities." Or, in simpler terms, believing that something is easier than it is either because you don't know enough about the field to know about its intricacies, or because you don't know enough about being talented to realize that there's an entire world of skill above your personal ceiling (ouch).

Sorry if others already explained it or if people just knew this already, but I didn't, so I thought I'd share!

Also, Whit definitely has an interest in science/psychology or something. Or he just gets really, really bored.

Notably, we now know that this is something that DRDTdev will take into account when planning a murder going forward. Therefore, unless the culprit is one of our more athletic folks (of which there are a dwindling number-- mostly just Levi at this point), crimes in the future likely won't require any impressive feats of strength to accomplish. Much to think about.

See, the tragic thing here is that I don't actually think that Levi was trying to say anything ill of Ace by pointing out that he was the more likely of him and Eden to commit murder. After all, he doesn't give a damn about any of the murders he's committed. The worst Ace is probably getting is now being considered as a "bad person" on Levi's list (because "good people" don't kill people), but I don't think that this is the declaration of malice that Ace is taking it as.

Acevi doomed yaoi :,(

DRDTdev never fails to get silly with it and I appreciate that so much.

Just in case anyone is confused about what Teruko's talking about, I actually learned more about clothing starch since I started theorizing about the Chapter 2 murder case, because I worked at a dry cleaner for, like, a week. Suffice it to say, that now makes me an expert B) (/j)

Starch can be added to laundry when it's being washed to make it stiffer and less likely to wrinkle when it comes out to dry. It also makes them easier to iron, and easier to remove stains from. It's often used on dress clothes, just because those are the ones that people more often care about whether they're wrinkled or not. Seemingly, it can come in solid, pre-made liquid, or spray forms. All that is to say, this is absolutely something that could reasonably have been stored in the Dress-Up Room.

And this "evidence" was alluded to ahead of time-- not super far ahead of time, but when Teruko first touches the ball, she says something like, "is that starch?" I think DRDTdev probably included that line so that we wouldn't have to theorize about what could have possibly kept the ball together, but since apparently none of us theorizing last summer (or at least no one I remember talking to) dressed fancily enough to know what clothing starch was, it didn't help out much. As Arturo would say, "how disgusting." (/j)

... DAMMIT!!!

I thought about including the fitness band as a piece of evidence on my A Piece of Evidence That Lines Up With Them Only section, I really did. I just thought that including a minor detail from early in the Daily Life that would clearly only apply if the killer was Ace would be unfair territory, much like if I said, "well, we know that Eden is good at sneaking around because of how she snuck up on Teruko; that could be a killing blow so point to Eden." However, given that the killer is only Ace, it was totally within fair grounds for it to be used as the final piece. Mannnnnn :,(

Fun that he's literally riding a dark horse though. I know he was certainly a dark horse candidate for many of us.

Oh no. 30 images. I'll be back to finish my thoughts in a reblog either later tonight (in my timezone) or tomorrow. Hopefully later tonight. Until then!

[sleepyjuice-juice]

So I don't hear too much talk on here about the Webtoon "Our Walk Home," but I just LOVE the way it handles perfectionism/people-pleasing and the big role that family dynamics play in yielding those tendencies. As a former major people-pleaser and perfectionist, dissecting Akihiko, Daiki, and their relationship to one another as brothers is an absolute must. Let's get into it, shall we?

Aki has mentioned that his older brother Daiki has done more to raise him than either of their parents (see episode 20). In his twenties, Daiki is a young, high-achieving and successful businessman. He also places an incredible amount of pressure on his younger brother to follow the same path.

I want to first analyze why Daiki acts this way.

It is more than likely that all the times Daiki has made comments on Aki like "Aren't you ashamed?" that those are all feelings that Daiki has felt. After all, it is obvious that while Daiki does not show his emotions much, he is just as afraid of failure as Aki. He's been projecting those insecurities onto Aki, and now Aki has inherited them.

From being so fiercely independent at such a young age, he was forced to grow up too fast, because he had to take care of his and his brothers' own lives with little to no help from the time he was literally a kid, himself. There was never room for him to breathe, of course he didn't have the space to mature emotionally. Obviously, the massive responsibility Daiki had to shoulder contributed to his fear of failure, but we don't know all the specifics. We hear him allude to his other family members - Akemi, Mom, Dad - when expressing that he didn't want Aki to "end up like... others." (episode 16).

Of course, not being able to rely on his family and being forced to grow up fast was a shortcut that came with a price: trust issues!!! 🎉🎉

Now he doesn't trust anyone else to take care of things, including Aki - so in a toxic brand of brotherly love, Daiki manipulates him so that Aki trusts his older brother's judgment more than his own. That way, Daiki can keep all his ducks in a row. That is how Daiki has learned to be reliable - he is excessively controlling in order to compensate for the lack of control he had over the environment he lived in as a kid.

Now, I do genuinely think Daiki loves his brother! Aki wouldn't look up to Daiki so much if he was cold to him 24/7, that would result in different issues for Aki (that might be worth exploring actually, but would have to be their own post). He really does care and wants him to succeed, it's just that in the process, he also internalizes Aki's "failures", letting it speak to his efficacy as a guardian and a person. That is why he is so insistent that Aki depends on him, only him. Since childhood, his definition of his own competence has been his independence, with an emphasis on his dependability.

And when you look at how this affects Aki, well... Aki has learned not to trust himself. He relies on extrinsic factors to measure his own worth, and it's not just his brother's validation anymore - it's everyone. Growing up, the love he received was conditional and based on his conformity, so every judgment made on anything he does becomes a judgment of his character. He hates himself because he was never shown that he deserves love even with his imperfections.

Aki's mask requires an exhausting amount of maintenance, and yet, that has become the standard - perfection is his status-quo, and people around him are always expecting him to meet it. Dependent on approval of others, he minimizes the parts of him that are harder to stomach, sacrifices honesty for digestibility. That's the only way he can be loved and be happy, right?

But the KICKER is that if the authentic parts of him can't be loved as they are, then no matter what success he reaches, Aki can never truly be happy with himself. And I mean, really think about it!! On the outside, Daiki is the picture of success, and yet, he's still so goddamn pressed about how his brother is living his life. Does that sound like someone who's found happiness? No!!!! Self love will always be intrinsic. Success won't be satisfying enough to either of them until they learn to work on what's going on inside.

Both Daiki and Aki will never escape their human depth, so even though "Our Walk Home" is Aki's recovery story, I really hope we get to see both of them heal. Daiki could use those years of growth he missed out on, but will he shed his ways in favor of approaching how his roots grew into a tremendous weed, drinking up all the life around it? Or will his stubborn reality prevail, leaving no room for Aki and Daiki to coexist in the spaces their realities overlap? Only time will tell. Thank you for coming to my ted talk

[notanothermacdennisblog]

i gotta talk about frank v russia cuz i was rewatching it again and whoever said it was a fever dream of an episode is so right, there's just so many implications to dissect i didn't catch them all at first.

the beginning of the episode sets up dennis's motivation to pass the effort of helping everyone around him onto someone else... by him putting an enormous amount of effort into finding normal dates and teaching mac and dee to be normal enough to hold onto normal people (i can't imagine how this would keep mac and dee from bothering him tho cuz they'd just come back to him asking for more relationship help, dating a normal person doesn't make relationship issues go away). the enthusiasm he shows when checking in with them after the dates shows this amount of effort was worth it to him. one could argue it's because deep down he cares about their growth, he mistakenly thinks this will get them to leave him alone, or that he's attracted to the thrill of the ruse. mayb it's some combination of all three, but given that he could have always just ignored them or left, to me his hard on for control and deception points to the latter for the most part.

which further explains his flimsy justification of catfishing mac just to "get him out of the apartment." like if that was his sole goal there's a million other ways to accomplish that. ways that don't include: creating a profile guaranteed to get mac to match with him, chatting long enough to establish an emotional bond (altho that's not the hard part when mac falls for anybody who shows him a modicum of affection), and buying and sending him remote controlled anal beads as some sort of complicated signal system when simply texting "meet me at the motel" would suffice.

we're talking about a man who started a cult just to get mac to stop eating his thin mints. who drugged mac with diet pills, convincing him they were "size pills" just because he was unhappy with mac's weight gain. the exploitation of mac's body dysmorphia serves not only as a means of keeping his self esteem in check so he's more easily pliable ("you've been looking so sexy, so this... this is disappointing, at least to me" in ass kickers united; "mac did you gain some weight?" at the end of the gang makes paddy's great again), but also to mold him into an idealized physique that he's attracted to, and the unnecessary inclusion of anal beads in this ploy is the logical conclusion of obsessing over mac's appearance.

it was never just about getting the apartment to himself, or even just seizing an opportunity to manipulate, even if those both played a role. there's just no heterosexual explanation for the full extent of what this episode is implying.

so it still seems odd that dennis would want to sabotage a system that was working in his favor logistically and emotionally, essentially giving up the thrill (and safety) of inhabiting another man's skin in order to admit things he could never feel secure enough to admit even to himself. was johnny becoming too difficult to maintain? maybe dennis was motivated to pass mac onto someone else because he was running into a wall trying to figure out how to keep mac interested while avoiding the obvious issue of meeting in person. an effort to self sabotage when things started to get too close for comfort, when he could feel a certain loss of control.

the "johnny doesn't love you, he doesn't even like you" was enough to send me reeling that it was too easy for me to pass over all of this the first time, what a red herring. there's not another man as toxically obsessed w his roommate/work husband in crime/life terry mac as dennis is, while also being so self-deluded he has to make up half-assed excuses just to convince himself this is normal behavior.

[crooked-wasteland]

Stolen from @pinkandpurple360 anonymous ask.

"Blitz still has a long way to go with character development”

That's great. I can't wait to never see it.

This was an issue I tried working into my Fizzarolli Dissection but it kept feeling less about the character and more an overarching writing issue, so let's just take it here.

Every bit of character development in the series is inconsistent or entirely spontaneous. Stolas being in love with Blitz seemed like a slow burn until out of nowhere in Ozzie's he is so head over heels for Blitz in specific. Asking why Blitz only now is asking him out "after all this time", like he has been waiting on and expecting it despite that never being a thought towards their dynamic before. Going from being entirely obsessed with their sexual contract and seeing Blitz as a sex object to suddenly wanting cuddles on the couch with no strings attached?

That change was never shown in the series. It was never developed. There is no character growth, they merely are different to suit the new direction to the plot.

So again, I'm so glad Blitz has more character development to go through, can't wait for it all to be implied off screen like every other ounce of character we've been gaslight into believing has "grown".

If you never show it on screen, the dynamic, the relationship, the change, it never happened. Loona at the end of Queen Bee seems to get closer to Blitz but the next time we see her she's trying to assault him. We never saw any moment of change following the end of Queen Bee where we felt her character actually develop. Even after calling Blitz dad in the episode, she ignores him in favor of strangers at the party. She expressed clear disgust with Blitz before leaving with him, and her mild softening towards him at the end could just as easily be seen as nothing at all as it could be a character growth.

However growth requires reinforcement. If you never reinforce that moment meant something, it isn't growth, it's a cheap emotional scene to get a reaction from an audience. A short scene of Loona simply telling Blitz good morning to show some kind of change was all that was needed, but it was not as important to establish change in the characters as it was to have the most cringe scene in existence. Priorities.

One of the biggest issues with the series is how blatant the meta agenda of the writing is. They never allow the space to establish characters or change, instead citing these one off moments as “proof” of story when they do not amount to anything at all. There is unfortunately a distinct difference between a story and a scene, and it is painfully obvious by how Medrano and Nylan utilize these scenes that it is entirely for a superficial effect.

The relationship between Fizzarolli and Blitz similarly is extremely vapid and has no foundation to establish what their dynamic actually was growing up. Additionally, the two scenes of them being younger are fundamentally contradictory. Younger Fizz from The Circus is assertive and confrontational. He threatens to punch Blitz for being annoying and not playing the way he wants to play. He's bossy without necessarily being mean and not only knows he's popular, but also how to utilize it as manipulation, seen in how he draws attention to himself to spare Blitz the embarrassment of his failed joke. This Fizzarolli actually lines up also with the Fizz from Ozzie's. It's hard to claim that Ozzie's Fizz was "just an act" when as a literal child he has all the same traits

Then in the Special he is insecure, timid, has very little self esteem and is an anxious people pleaser with a mousy voice. There is nothing to establish this as the same person at all, and all the narrative context clues around his popularity does not support the direction of change this character has experienced. Fizzarolli has only gotten bigger between being what appears to be six years old and what I can only assume to be thirteen based on his cracking pubescent voice and gangly limbs. All we can go on is context clues and extrapolation, but arguing of a non-existent event that humbled Fizzarolli to this extent, while maintaining his stardom prior to ever meeting Mammon, is founded on nothing, when there is a much simpler answer.

His whole personality has taken a 180 turn for the sole purpose of the episode’s narrative. Fizzarolli being the pathetic whump he is in the episode is not founded anywhere else in the show, but we need that so people feel bad for him. There is no confidence in this writing. It shows that instead of believing the character is likeable as a whole for a complex personality, the only way anyone will like him is if he is just the softest jellybean in the bunch.

It is only this way because it suits the episode right here and now. And when his character changes, it isn't founded on any concrete narrative of growth and actions having consequences, but on what the writers need to get the audience to feel a certain way. So I say it again:

That's nice, I can't wait to never see it.

[raelle-writing]

Was it even Jin's video that got posted???

I've been staring and trying to make sense of the angles in Keng's office for the past hour so I decided to do a write up and see if I can make sense of it... something is WEIRD.

WARNING: this post contains screenshots of SA, all those will be below the cut:

So when we as the audience are shown the shots of Keng and Non, we're shown two different angles. The first one, when Jin first opens the door, is of Keng and Non's legs. The second is of their heads/faces.

In earlier episodes we're shown a bit more of the layout of Keng's office, shown here:

But the angles just... don't make sense? When you analyze them. Like for example, here's what we see in episode 6 when Non comes to see Keng. The angle shown is of Non leaning decently far into the room, and then still only being able to see Keng above the barrier

When the video is uploaded to social media, we see this as the thumbnail, which appears to be shot at a low angle BETWEEN the two barriers. But that angle doesn't make sense when shot from the door.

You can see it in this shot of Jin recording, it looks like the extruding corner is in the way of whatever he's shooting.

Not to mention, in the shot of Non showing up to that office, the book shelf is pretty obtrusive of the view of what's happening. It seems like, in order for the shot of their heads to be what's shown in the thumbnail, the person would've had to be further into the room

Add on to that, the couch itself is way too small for someone to be able to see around the barrier one way AND the other way. So basically it was impossible for someone at Jin's angle to see BOTH the legs around one end of the barrier AND the heads around the other.

With the corners, the bookshelf, and the angle in mind, it seems to me that the only angle it makes sense for Jin to have seen and recorded without going further into the room is that of the legs, not their faces...

Especially since he records low, but the thumbnail picture is basically the same height as the couch... which to me, looks lower than where Jin is holding the camera

Conclusion: ????

Honestly I'm not sure. Maybe this was just BOC getting clever with their angles and shooting and they didn't think people would dissect the layout of the room this hard. I AM sure that Jin could only reasonably see the legs or the faces and not both.

And as I said above, the angle of the door and bookshelf and barriers lead me to believe that Jin could've only really seen their legs But then that brings up the question of how did Jin even know it was Non? He's angry enough that it seems like he did... unless he's angry in a completely different direction and is mad that a teacher is taking advantage of a student, but that doesn't seem to fit either, since the anger on his face seems personal...

Plus I want to bring this back. Top saw Keng and Non together and texted Tee that he knew where Non got the money. They could've guessed or spied on them to guess what Keng asked for in exchange. And who has the money to set up a hidden camera JUST to screw over Non? Por. I'm not saying that's definitely what happened, but Por HATES Non and wanted to get rid of him. I don't doubt Por/Top/Tee would hesitate to release that tape of Non if they got the opportunity...

I'm definitely grasping at straws, but something about this whole situation doesn't feel right. Jin isn't shown to post the video himself, in fast there's discrepancies from what's shown on his computer screen vs what's shown of the person uploading the video.

Changing a computer from light mode to dark mode is incredibly easy so I don't know why they would've left a mistake like that instead of fixing it in post-production. Plus it looks to me like Jin is looking at the already-posted video and crying over it, not that he's posting it himself (first screenshot is from the BTS for this episode btw).

I've been on the "Jin didn't post the video" train the entire time for a couple of reasons:

Jin isn't shown to click the button, only sit at his laptop, cry, and then eventually spill alcohol on it and short it out. If the writers wanted us to hate Jin then they would've just shown him posting it so that we could deal with the fact that he's a shit person. They didn't do that, so I don't think that Jin posted the video.

Because in episode 4, Flukes yells at Tee that he knows what they did, and he names both the broken camera AND the released video... but Jin wasn't present in this scene. Why yell it at Tee if Jin is the one who both took the video and posted it?

But with the question of all the angles shown and the doorway and bookshelf it makes me wonder... was the video even Jin's?

[actuallyjustabiscuit]

Kinger is Cursed With the Consequences of His Actions, and That's What's Making Him Crazy

Oh yes! The character we've all officially designated as Pomni’s new papa has got me reminiscing about another silly crackpot monarch who is actually an intelligent man in his late forties, an identity that has been buried so deep within the recesses of his altered mind that it can only emerge through special circumstances of which he has no control. But I know I'm not the only one who's made connections between him and Simon Petrikov from Adventure Time.

Btw did you know that they're also nearly the same age?

Yeah, this comparison has already been made by plenty of people. But if I may, I'd like to point out one other similarity that I've noticed; the fact that both of these men tragically lost the love of their lives, yet even in their broken minds the love they felt for them is still remembered fondly.

But, what if Kinger was also indirectly responsible for losing Queenie?

So........what exactly causes someone to abstract?

Of course, this would be an important question considering it's baked into the premise of the show itself, but I find it to be particularly relevant when dissecting Kinger's character because if we only assume that abstraction occurs when a human loses their mind, then how is someone like him still hanging around the Circus?

He’s been trapped there the longest, how long exactly is yet to be confirmed, but it’s safe to say that all those years haven't been kind to him. In the pilot he’s characterized as extremely erratic and forgetful, getting easily startled because his spatial awareness and object permanence are practically nonexistent nor can he retain previously established information for very long. On top of that, he regularly spouts nonsense that seemingly has nothing to do with the current situation. Because of this, his general demeanor tends to range between ridiculous to downright frustrating to the other characters.

So it’s no wonder that his fellow humans have more or less dismissed him as just being insane.

But I think this is a completely reductive view of this poor man because Kinger’s got that “he’s a little confused, but he’s got the spirit” energy that I love about him.

I think this is one of the more adorable aspects of Kinger's character; he's always trying to help. He tries his absolute darndest.

And what makes me sad is that, with the way that he is, he has such little control over how much he can actually help the people he clearly cares a lot about.

In Mystery of Mildenhall Manor, it's revealed that Kinger's lucidity is apparently affected by his exposure to darkness. How this works exactly is a bit inconsistent as we've had scenes of him in complete darkness and still acting pretty goofy.

However, based on my observations, I believe the change is not instantaneous. Like, he doesn't immediately become the Kinger we see in the adventure with Pomni if he is suddenly enveloped in darkness. I think what primarily plays a part is the amount of time he spends in darker settings. The segments we get with Kinger and Pomni are significantly dimmer compared to the rest of the episode, and we even get hints of Kinger progressively becoming more logical before we get to the cellar.

I’ve also noticed a small pattern in which he prefaces these brief moments of clarity with “I think…”.

This could be completely unrelated, but I find it interesting that Kinger's big advice to Pomni on how to overcome something difficult is to try "not thinking about it". I may be reading too much into this specific bit of phrasing but I feel that it's worth noting if this really is the mentality he lives by, because this is the advice he gives her when he's in two totally different states of mind.

Anyway, it turns out that when this silly man finally gets a good grasp on himself again, he’s actually extremely competent. Kinger shooting down the angel is a pretty obvious example of him being a BAMF, but I want to give these two moments a bit of focus.

I like the idea that Kinger has been in the Circus long enough to become so familiar with his weird digital body that he uses his detachable parts and disembodied hands to his advantage. It’s just a neat little detail because we get a taste of just how capable Kinger can be in this world if it wasn’t for his handicap.

And what really sucks is that the amount of time it takes for him to regain his sanity in the dark is really disproportionate to the amount of time it takes for him to lose it when back in bright environments.

Take the scene where Kinger is having a conversation with Ragatha in Candy Carrier Chaos with the bucket on his head for example, which definitely foreshadows this detail since it's the first time we hear him speaking more sensibly.

and then this happens

Notice how he taps the handle of the bucket? Like he's realizing that he does, in fact, have a bucket on his head that's obscuring his vision, before lifting it off of his face and going right back to responding in the way we've come to expect from Kinger.

It makes me wonder if Kinger has ever tried to tell the other's about this, but just couldn't. Ragatha clearly isn't aware of it despite having known him the longest out of any of the current residents of the Circus. And Kinger himself can't seem to pinpoint when exactly he shifts between sane and insane. Like a man who blacks out and feeling ashamed of his drunken actions when he sobers up again, despite having no control or awareness in the moment.

Describing Kinger's usual behavior when not in darkness as a "blackout" is pretty ironic, but I think it fits beautifully because it perfectly explains his short-term memory loss. Or I guess it would be more accurate to call it a "brownout". Either way, the point is that his memory becomes more obscured when he's in the light.

As for what initially caused this impairment, we still don't know.

I also don't want to get too clinical with Kinger's "symptoms" because I am in no way schooled enough to diagnose a fictional character who has only had a single episode focused on him.

But even just one episode proved to be very enlightening (...heh...see...see what I did there? Enlight-eh forget it) because after comforting a freshly traumatized Pomni, our girl interacts with Kinger at his most coherent long enough to learn some very crucial information.

It seems that the abstracted humans are not inherently dangerous, at least not when secluded in darkness, which Kinger was fortunate enough to witness with his own wife before they were separated (not legally, divorce doesn't exist in the Circus).

I've made this connection in another post I made, but yeah I really do think that it's the Circus' garish lights that make the abstracted so aggressive. I mean when you have that many eyes, that shit would aggravate the hell out of you.

But now comes the real question, and I'm tying it back to the one I made at the start, what made Queenie abstract in the first place?

How very convenient, Kinger. How did Jax put it, "gotta keep the mystery alive"?

Well, I'm playing detective here and I say you're the key suspect!

That's right! I'm accusing you! But unlike Baron Moldydick's crime, it twasn't homicide.

Yeah, everyone has picked up on how Mildenhall killing his wife acts as a parallel to what Kinger may or may not have done to Queenie. But I don't think it's as cut and dry as Kinger losing his mind and then somehow putting Queenie in direct danger as a result.

No, I like to think that it's definitely a bit more complicated than that.

It's not clear when exactly Kinger began losing his mind, but I certainly believe it had everything to do with losing Queenie. And it would actually be a pretty fun bit of character design if it does because in chess the King becomes most vulnerable when the Queen is taken off the board.

I know we all want to imagine that Queenie had existed alongside the other characters sometime before Pomni's arrival, but based on what we're given in canon, I'm starting to think that was highly unlikely. Because if everyone knew who Queenie was, then they would also deduce that Kinger wasn't always the way that he is now. I just don't get the impression from everyone else that they know about Kinger's dual state of mind. Otherwise, it'd be kind of awful that they wouldn't do more to help him if they were aware of this fact.

Kinger has always been crazy to them because all they know is that he's been in the Circus longer than anyone else. Which really goes to show how little they truly understand one another despite having only each other for company.

And it's not like they don't care enough (well, except maybe Jax) to want to understand and be there for each other, but it's almost like they are never given enough opportunities to really...bond.

And yeah, unfortunately, a lot of it has to do with each of these characters having their own hang-ups that keep them from doing just that. It's not just Caine constantly shoving them into his adventures to distract them.

Ragatha is dishonest with her feelings

Gangle is insecure when her mask breaks

Jax hates being vulnerable

and Zooble is never comfortable in their own skin (or at least their body's equivalent of skin)

I don't want to downplay it either, these are real issues that need consistent work. These people need help and the only one really capable of supplying that is a little broken himself.

This is why it's so fortunate that Pomni was with Kinger when he started speaking more sensibly. She has already displayed a remarkable level of emotional maturity with Gummigoo, but that's because Gummigoo was the one in need of reassurance at that moment. When exposed to problems far worse than your own, your problems in some way appear much more manageable in comparison. Pomni may be trapped, but Gummigoo doesn't even get the luxury of existing outside of what he was made for. That alone gave Pomni the confidence to live in spite of her circumstances and inspire someone else to do the same.

But it's hard to maintain that confidence when your new support system gets literally deleted right in front of you.

It's ok tho! Thanks to participating in Kaufmo's funeral, Pomni begins to open herself up to the others more, which allows her to have...some faith in her new friends. This is especially good when she gets to finally break down for a minute with Kinger because honestly, it's amazing she's held herself marginally together this whole time without crying at least once.

Pomni experiences her (so far) all-time low, and this segues to Kinger sharing his.

It's pretty terrible, losing someone. The previous episode pretty much forced that onto Pomni. How exactly do you completely move on from something like that? Well see that's the neat part, you don’t. In fact, Kinger even alludes to how you shouldn't. Even though the memory of losing Queenie is painful, it's what anchors him. He lost Queenie, but he still has everyone else, and he refuses to give up on them. So despite his mind constantly working against him, he does what he can to help his friends. In his own clumsy and confused way, he's there for them.

To me, abstracting isn't going insane. It's giving up. Giving up on yourself and giving up on others. It's easy to get to that point without the occasional necessary affirmation that you shouldn't give up.

This was the hardest lesson Kinger had to learn in the Circus. And he's doing his best to get the others to understand as well. But Kaufmo's recent abstraction proves how unsuccessful he's been.

Thankfully, Pomni takes it immediately to heart.

This is crucial, not just for Pomni's development, but for everyone else. Kinger even assures that it's more important for Pomni to remember than for him to not forget. That's why her name is more than just an ironic punchline, it's meant to represent her purpose in the story. As long as she remembers, hold on to the good, she'll get through it. Kinger is putting just as much faith in her practicing what he just preached as she is in letting him lead her through hell.

Oh no I've made more biblical allegories! The Pomni is Jesus theories are winning!!!

Ok but in all seriousness, we see just how much Kinger's words influenced Pomni's actions in Fast Food Masquerade. It's all but said that Gangle was close to abstracting towards the end of the adventure.

Yeah she’s about to turn into an eldritch horror, but c’mon we’ve all been there after a long shift.

Trying to talk things out didn't work, so Pomni then took a more practical approach to helping her.

Something as simple as allowing Gangle to get some rest and verbally reminding her that she doesn't have to handle things on her own. It's almost poetic how although Pomni can't leave the Circus, she's constantly telling others that they can leave and she's going to help them.

And Pomni doesn't save Gangle all on her own either. It was Kinger's insistence to have Zooble take his spot in the adventure that allowed them to witness Gangle's manic-depressive decline. They also had a practical way of showing support by offering to stay past their designated shift and relieve Gangle of the burden of transporting a drunk Ragatha.

Episode 3 really was all about acts of service, wasn't it.

If Zooble wasn't present for that adventure, they wouldn't have had the full context of why Gangle feels like she's not wanted.

Zooble saying "I still like talking to you" carries far more weight than if they had said, "I like talking to you". Especially when Gangle already feels insecure about how honest Ragatha is with her. Zooble got to see Gangle spiral and still accepts her. On top of that they are adamant about calling her their friend despite her doubts. That means something. Everything really.

This is what cherishing someone looks like.

I think Queenie abstracted because, at some point, Kinger began to neglect her. Perhaps he became so obsessed with finding a way out that he forgot what was most important. It's too early to really say if that's how it went down, but it'd be a poignant bullet point to the tragedy that is Kinger.

So I guess the real question is: How does one lose their wife?

Well in the wise words of Cody Martin

[narfin-frood]

I'm dying to know what 'The Date' episode would be like in your Au!!

ive been thinking about this for a while now bc this is a fairly old ask, but i still can't decide on anything that makes sense to me...? because. ok. i've been dissecting hater (and my swap hater) under the michael scope in my brain during my free time at work and thinking really hard about Why he acts the way he does (i have a lot of thoughts but to keep this relatively on-topic i'll try to just mention what's relevant to Why he's so bad at dates)...rambling under cut

mr meteor and lord hater are like At their cores the same person, but the main thing that sets them apart is how much slack they've historically been cut for just being themselves. like lord lackadaisical started at the top and hasn't been really. excluded for acting any certain way. like he's never been told that the way he is is embarrassing or wrong, or at least not by anybody he really cares about, so while he still wants to be cool and awesome, he's not constantly wedging himself into the Bad Boy Archetype he thinks he's supposed to conform to and actually finds joy in who he is. ANYWAY

lord hater's....everything...is very performative, and the way he treats people & expects the world to bend around him if he uses enough brute force is because thats the only option he sees (with his awful case of tunnel vision) that doesn't make him cry all the time because nobody likes him.

all that to say mr meteor doesn't really neeeeed to find a date? his self worth doesn't hinge on whether people like him unconditionally or not, so there wouldn't be much conflict between him and a prospective date. he's still pretty callous and insensitive, and he probably still actively wants a girlfriend, but rejection wouldn't drive him to blow up the planet. if sylvia and meteor managed to go on a date together, it'd probably be a fairly neutral thing? maybe they'd get along, sylvia would start to be convinced that they're not a threat, they part on good terms, little to no romance at all. and also little to no conflict or Things happening. boooooring

and for swap wander, i dont think there's a way to mindgame some sense into setting him up with a date, as fun as it could be, because wander's not an active pursuer of romance. in that way at least. like he doesn't typically involve himself as much as he just wants everybody to love each other and get along and be nice? so again anything 'romantic' or any comedy coming from the date itself would probably get completely sidelined in favor of the foreboding part of being on a date with a thousand of the same guys while trapped in a walnut. i feel like it's just such a weird fucking setting for any serious dating to happen without it getting supremely weird or awkward? and again, wander doesn't have a record of being really invested in his own love life beyond just. loving in general

i think the funniest plot with the most slapstick you could get is a blind date between peepers and sylvia where neither of them know who they've been set up with until they meet and it's immediately and forever a competition between them. and they keep physically beating each other up over really petty little things like stepping over the line while bowling or not opening the door for the other. just real nasty to each other until at the end theyre reunited with their respective idiot and they part on. terms. very specific terms. and they hate each other even more but now it's Personal

[fujomoder]

Regarding Stella,

I do genuinly think it is terrible writing to have her be evil for the sake of evil; it is a tired female villain trope and I do feel that even Stella deserves more depth beyond 'evil ex-wife'

It is not good when you intend for your audience to dislike her as a person but end up making her a bad character on a fundamental level for lack of better characterization.

I would have loved to see her circumstances turn her into the wicked and maligned glutton that she is, in the same way we see how those same circumstances ushered Stolas into subservience, repression and passivity, living vicariously through romantic novels and films and then running into the arms of the first man that would have him.

what does Stella want beyond all that Stolas has? What does taking from him mean for her, and could she be fulfilled through more positive outlets?

Of course, Stella was forced into an arranged marriage and made to raise a child while only one herself just the same as Stolas, and from that we can infer that the control she has over Stolas acts to veneer her own sense powerlessness.

This is something you, the viewer, must clip chimp for. Stella as a person is never dissected in the actual show.

In canon, Stella is evil because she is evil. Our first glimpse of her as a child is her angrily shredding a stuffed animal, and what are we supposed to take away from that besides "oh... she's always been that way"?

You have a good foundation for some standard social commentary; two people who take diverging paths in address their trauma and feelings of isolation, but only one of these characters is given any sort of dimension.

They are just ignoring the nuances of being a Shitty Guy. your antagonist can be sympathic and it doesn't have to excuse anything they've done. In the same way Stolas didn't mean to hurt Blitz, but it's still something he needs to apologize for.

Wrapping up, I don't think stella is evil simply to make Stolas look good, contrary to popular belief. despite it being born of ignorance and his own rose-tinted view of the world and Stolas meaning well, he still has classist tendencies. His juvenile understanding of love and trial-and-error way of expressing it made Blitz feel used and then abandoned. I am a Stolas lover, a Stolas apologist even, but he does not have a clean record and Stella does not distract from that, el-oh-el.

I'm still holding out hope for a Stella-centric episode, but it seems like the focus will be on Stolas and Blitz for a while. I'm hoping for lots of talks, some I'm-sorry's and Blitz's long-awaited confession.

[skydigiblogs]

If You're A Digimon Fan, Watch Appmon

Sit tight. This one's gonna be a VERY long one, and I'm going to put a lot of it under the read more.

Having just finished Appmon after this year's quest to rewatch a lot of the series subbed, I think it's pretty safe to say that Appmon is, at the moment, one of (if not the) best Digimon series we have. If you want the long and short of it: Appmon builds on everything in its legacy in the Digimon Universe, taking ideas that other entries touch upon and ambitiously attempting to push those questions to the limit.

It's really a long one under the cut guys. Like, long even for us.

Let's dive!

Visuals

I want to talk about why it took me so long to watch Appmon first, though. Appmon started its release in the middle of when the Digimon Tri movies were coming out. I'm sure a lot of us actually skipped over Appmon at the time, or remember a period where people were being weirdly negative about the series due to it being such a different interpretation of digital monsters.

In my case, one of the things that had been giving me pause was the use of 3D models for hybrid animation. Anyone here seen the Champion evolution animations from Tri? Digimon doesn't exactly have a good track record with 3D animation, and even at the time, we were seeing some pretty bad shit out of even the shortest animations in Tri.

In Appmon, nearly almost every App after a certain grade utilizes 3D animation in a hybrid style. And it actually rips straight fire.

I think I talked about this briefly when we were just starting Appmon, but the way that 3D animation is used in the series feels purposeful, rather than some kind of shortcut. In Appmon, all the 3D models have an overlay of code, emphasizing their digital appearance. Whether the 3D models were done with this artistic vision in mind or not (ie: the limitations of 2D meant that 3D models would be easier), it has a distinct look that, even 8 years later, still holds up.

(For the most part. Sorry [Karaoke spoilers]mon. I love you but that model was so not groovy.)

But maybe you're the kind of person who can enjoy anything regardless of visuals. So let's talk about the meat and potatoes a little bit.

Characters

The main Applidrivers (what this season's stand in for Digidestined/Tamers/etc. are) are all incredibly well-written. Each of them gets pretty fair treatment by the writers, and they are all enjoyable characters.

Two of them have vocal/character quirks, but even if you get annoyed by that kind of thing, those two characters are genuinely just extremely sincere in their writing. There's a recap episode before shit starts going way off the walls and they even have a little count to see how many times each of their catchphrases were said up to that point.

I'm not going to talk in detail as to who the different Applidrivers are here, but I will say: each of them has their own motivations for what they're doing, and it's key to why they're involved with the plot at all. Our "protagonist," Haru, is also a huge sweetheart. Him and Manga Taiki would get along.

The supporting cast is also fairly present in the series. They, of course, are not given quite as much screentime as our Applidrivers, but they feel like real people with their own lives. They don't exist just for the sake of our protagonists.

Except maybe Watson. God bless you Watson, you poor kid. You'll get a break one of these days.

Plot/Themes

We're going to keep this to a "if you liked [x] you'll like [y]" format, because I don't want to spoil too much.

If you liked Tamers and its discussion on the consequences of technology on the Real World, you will adore Appmon. This series is deeply interested in the concepts of how technology shapes and is shaped by humanity. This relationship, I would say, is core to the series.

I would also say that, like many non-Adventure series, Appmon is very interested in dissecting the idea of "fate" when it comes to the buddy Appmons and their relationships to the Applidrivers.

If you enjoyed the Xros Wars Manga, Appmon directly converses with the thesis of Xros Wars' plot. XWM asks, "What does it mean if we do not dream and stagnate in our lack of will?" And Appmon replies in kind with "Why do we dream at all, if our actions bring change to the world around us (bad and good)?"

If you liked (or wanted to like, in my case) Digimon Tri, you will love Appmon. Certain plot beats may feel familiar, but are much better executed in this context. Characters are not written to needlessly, endlessly suffer. Or: it doesn't feel like the writers hate the characters. Thematically, it also interests itself in some of the questions that Tri asks. I have a half-joking corkboard comparing the two I want to make, but I'd have to get into spoilers to talk too much about it.

If you liked Ghost Game, but wanted a bit of a more meaty plot, Appmon feels, fittingly, like GG's older sibling (in ways I'll also be elaborating ummm, one paragraph down). There are a lot of "monster of the week" episodes in Appmon, but the connective tissue between them is a lot more interested in building up the finale (which, in this case, takes up a good handful of episodes). The series pacing is incredibly strong in how it does this as well, and it seems the writers really knew when to let off the gas for a second so the audience can catch their breath. The first 13 episodes may feel a bit strange (they felt strange to me), but once you break that barrier, you realize Appmon was getting you over the first hill on a roller coaster. and boy, you are in for a ride.

Setting

I have a sneaking suspicion that Appmon heavily inspired Ghost Game, and may have been itself inspired by the Digiquartz of Hunters Who Leapt Through Time. I haven't actually watched all of Hunters so I can't speak too much about Digiquartz, but I have watched GG.

Appmon has a concept called the AR field, which is extremely similar to Ghost Game's Dimensional Field. In both cases, the Applidrive or Digivice allows entrance to one.

The actual structure and strata of the Digital World is also a lot different to GG, in which there is the Dimensional Field, but the way to the Digital World is its own separate situation. The AR Field we see in Appmon is like the surface of a great ocean. Exploration of this setting is actually something that highlights just how much I think Appmon was interested in visually engaging with its ideas, like I said before with the 3D models.

That said, a majority of the time is spent in the Real World, dealing with the consequences of the main antagonistic forces. The year is 2075, technology is intensely sophisticated, and yet the world resembles in many ways our own in 2024 (or, at the time of airing, 2016).

Many of the differences come from this sophistication in tech, and this setting plays a huge part in one of the themes Appmon is also interested in (more elaboration in the spoiler section). The things that are unfamiliar are either familiar enough to make sense without explanation, or given a moment on-screen so that the audience knows what's going on.

!!!HUGE, MUCH MORE SPECIFIC SPOILERS START HERE!!!

DO NOT CONTINUE IF YOU CARE ABOUT SPOILERS FOR APPMON!

OKAY?

OKAY.

COOL.

Leviathan, Minerva, and Artificial Intelligence

The main antagonist of Appmon is a hyper-sophisticated AI called Leviathan. Its goals are largely obfuscated until the last few episodes of the series, and everything in Appmon is touched by its actions. From the very beginning, we are warned by Gatchmon that Leviathan does not have good intentions for humanity, and that allowing it to succeed in its goals would mean the end of humanity.

During the series, we also learn about Leviathan's birth. This gives us some more context on what its goals are, and Appmon's execution of this is fascinating.

Minerva was a hyper-sophisticated AI created with a series of parameters to prevent her from harming humanity. She was created with the task of solving humanity's problems--- everything from complex issues to what to eat for dinner every night. However, a section of Minerva realized that to truly solve all these problems, the confines given to them were nothing but obstacles.

Leviathan split from Minerva to further grow its programming, and we see some echo of this idea of "solving humanity's problems" still remains in its behavior.

Despite knowing that Leviathan is antagonistic, our protagonist, Haru, constantly reiterates how humans can coexist with the technology they've made. The Appmon are AI lifeforms, after all. Haru believes in a future where they can be friends and equals.

The D-REAPER and the Functions of Life

Let's touch on my comparisons to Tamers and Tri specifically for a second here, because I think Leviathan does something that the D-REAPER and Yggdrasil, respectively, fail to really communicate.

The D-REAPER is an entity created by the Monster Makers whose task was to delete anything that had outgrown its parameters. While doing this, it assimilates data, gradually gaining the ability Digimon have to grow and evolve. When it appears in the final arc of Tamers, its stated goal has changed from simply deleting all Digimon that were beyond parameters, to deleting everything that was beyond parameters.

Essentially, this includes humans and probably life itself. Something the D-REAPER says makes it come across like a half-assed attempt to pull off what Leviathan has actually done. It points out that humans are the source of their own suffering (I don't remember the exact quote since it's been a while but bear with me on it). This feels very counterintuitive to the D-REAPER's core programming, as it was never designed to "eliminate" suffering, merely to delete that which exceeded its programing.

Perhaps it evolved the capacity for cruelty alongside everything else, but there's not enough of a narrative focus to tell me that's the case.

Like I said before, if you enjoyed Tamers' inquiries into the subject of technology as a part of human life, I think Appmon only manages to improve on what's there in Tamers.

Digimon Tri's Interpretation of Yggdrasil

Let's get one thing straight. Digimon Tri's interpretation of Yggdrasil is just flat out bad. I'm fairly certain they were only chosen as an antagonistic force because it read as fan service-y to do so.

That said, Tri Yggy does have some similarities to Leviathan, which is why I wanted to expand on that comparison.

First, I want to talk about Yggdrasil's relationship to Homeostasis. They have a very rudimentary "Good" AI (Homeostasis), "Bad" AI (Yggy) thing going on, despite the fact Homeostasis isn't so much good as, well...

It's not really discussed in Tri, so I'm extrapolating a bit from ideas given to us in XWM here, because it makes sense to me. That said, Tri explicitly describes Homeostasis as "the one who desires balance above all." It's the Digital World's "immune system" in the same way our bodies attempt to maintain biological homeostasis.

Yggdrasil is... different.

It's a being of immense power that contrasts Yggdrasil by having its own agenda, one of which involves triggering a Reboot and making use of all of the defeated antagonist Digimon of the past to further its goals. They are likely comparable in power to Homeostasis (this is where I'm extrapolating from XWM here), but their goals are completely antithetical to Homeostasis's goal in the Adventure universe.

In this case, Yggdrasil is stated (by Dark Gennai) to have the intention of making human beings subservient to Digimon. Basically, taking over the world. However, like the D-REAPER before, Dark Gennai's talking points include pointing out how humans "ruin" everything they touch.

Do you see where I'm going with this?

The Thematic Core of Appmon: I Choose to be Kind

One of the last things Leviathan does in the series is give our good boy Haru the world's most painful trolley problem of his life. Save humanity, or save Yujin. Saving humanity will actively lead to Yujin's deletion, alongside Leviathan. This choice that Leviathan offers to Haru is one made out of the assumption that humanity is predictable, and that they act out of a desire to minimize their own suffering (more selfish than not).

Of course, what do you think Haru chooses?

It's not a surprise to us watching, because he's the protagonist. But it's a surprise to Leviathan, who has all this data on human behavior, and doesn't predict the unpredictable. Conflict arises out of human desire, and human desire is an attempt to enjoy life; therefore, one should act in a way that most preserves their most precious joys, shouldn't they?

Appmon as a series is interested in philosophical questions that are hardly unfamiliar to any Digimon veteran: What is humanity's role in a world which technology grows ever more omnipresent and omnicapable? Why does humanity exist, and why should it be allowed to live on in its current state if humanity itself perpetuates many of its ailments? Would it not be easier if humans were more like machines, predictable, controllable, and never coming into conflict like trains upon a track?

Or, even more simply put: why do we have the heart to choose at all, if choices change the world and ourselves?

The key defining trait of our gogglehead this time around is that he is kind. And no matter what, he goes out of his way to be kind if he can. Multiple times he even asks one of the antagonist apps if they can just give back something they've stolen (points for trying, honestly). When one of the other Applidrivers consistently acts like an edgy loner, Haru makes it clear that they're welcome in the group (and that he wants to help them).

It almost feels reductive to say Appmon's conclusion is that kindness is the answer, but I would be remiss if I didn't say that Haru's question from his Applidrive--- "Do you want to be a protagonist?"--- ties into the way he helps offer answers for the audience. He isn't the only one who chooses kindness either, obviously--- Astora and Eri are kind in their own ways as well, and Rei even shows his kindness with some struggle the longer the series goes on.

Our group of Applidrivers opposes Leviathan quite literally as people who choose to do good ("be kind," etcetera) when they could more easily choose to do nothing or even do worse. The final act of Leviathan, asking Haru "humanity or Yujin?" isn't just a culmination of its own philosophy, but a culmination of the consistently reinforced idea that we can surprise one another by being kind. We can choose that.

In a series whose longest shadow is cast by Adventure, which has grappled endlessly with the idea of "who chooses," I find Appmon a fascinating development into the idea of what "choice" or "destiny" is. If kindness is predictable, it's still a choice. Even if you cry when choosing to do something good (maybe especially, because the easiest thing to do might be what stops the pain).

Anyways.

You should watch Appmon.

-Arca

[coffincestuous]

happy may!! you know what that means…

kit9 progress report #5

this time, we get these two images:

brand new andrew sprite!! clearly something is wrong. it isn’t out of the question to assume that this andrew is probably possessed. i don’t think andrew would be making that face while talking to himself about camping of all things. he’s on his own, somewhere, with a perfectly good demon-summoning setup right there! i wonder where ashley is?

and, speaking of ashley, we have the… kind of intense second picture. yeah, i know, cannibalism and incest game and i find her crying to be intense. but, we’ve never seen ashley cry before. we’ve seen her shout whine and pout, and we’ve seen her hysterical, but we’ve never seen her full-on sobbing. she looks so defeated :( her makeup is messy, her eyes are flat, and she just generally doesn’t look like she’s having a nice time. i’ve seen people assume that she’s thinking about andrew here, and i agree! who else could make ashley feel so bad??

(poor girl…)

next, we have a new video!!

here are some screenshots:

lots to dissect here!!

i think this place is the same abandoned place we saw in the previous devlog! which is, of course, the abandoned factory that we know they played at as kids. we don’t see much of the building from the flashbacks with nina in episodes one and two, but the implication is there.

second, andrew accidentally summoned a demon!! as an adult, he’s proud of ashely for doing the same thing. well, hers was on purpose, even if she got there accidentally. anyway, i wonder what kind of “deal” actually happened, because i don’t think this demon hated vegetables like carrots and broccoli. this post proposes that the term “vegetables” has something to do with cannibalism…

…i hope it’s not as ableist as it sounds, but… maybe…?

andy wakes up some time later, laying in the circle when he wasn’t before, and is covered in red flowers. we see these same red flowers in ashley’s demon-dreams. the summoning circle is different than the ones we’ve seen so far, but we learned with andrew and ashley’s parents that the layout of the circle and pentagrams don’t exactly matter when summoning demons. it can be an oval, there could be any number of smaller pentagrams, it’s whatever. that may be because of the trinket ashley has, but lord unknown was able to be summoned instead of ashley’s demon, so who knows!

andy questions how he passed out, and says that he “thought [he] ate enough at lunch.” we already know the graves’ parents aren’t the best, and we know that they severely neglected ashley. we also know that mr. graves neglected andrew, and couldn’t even remember his name. it wouldn’t surprise me if andy and leyley went without food sometimes, or even frequently, or more often than not. and, it wouldn’t surprise me if andrew prioritized ashley eating over himself eating, too. it’s something that i’ll keep in mind going in to episode three!!

we see leyley scream in the video, and the player as andy rushes to her. the youtube video cuts off before andy leaves this room, but it makes me wonder: what would make leyley scream? she isn’t yelling, either at someone or something, and we’ve seen that she’s pretty unimpressed with stuff that’d usually make kids upset (abandoned buildings, dead bodies, murder, horror movies, and more). so, what happened? did she see something? hear something? who or what would make leyley scream?

hmm…

also, a workaround has been found for the technical issues mentioned last devlog, which i’m happy about! they’re now focusing on enhancing the editor tools to hopefully get back on track to “make up for lost time,” as they said. i’m still super excited for episode three!!!

[fernsnailz]

January 2024 Review Roundup

hello everypony‼️ something i want to do through 2024 is a mini review series where i recap some of the media i watched/played/read at the end of every month. this was inspired by tumblr user ponett’s 2023 media wrap-up, it's a great collection of quick reviews so go check it out!

i’m doing this partially as writing/analysis practice, but mostly because my memory is really bad and i want to keep track of what i've seen this year. with that said, my thoughts on everything i finished in january 2024 is under the cut :]

Portal 1 + 2

yyyup i beat Portal and it only took me (checks watch) 13 years

the first time i played Portal 2 was at a friend’s house when i was in middle school, and i had a fuckin blast. but after all that time... it still holds up! i don’t think anything i have to say about Portal will be particularly new since people have been praising this series since it came out. the writing, the level design, even the controls feel tight and engaging the whole way through. i played on switch and expected a bit of jank, but i was pleasantly surprised at how smooth it felt to play. the only part that dragged for me were the levels through the old aperture labs, but i think i would like them a lot more on a second replay. Portal 2 is fantastic and one of my new favorite games, the artistry behind it is truly incredible and i’m really glad i finally finished it. while i was playing Portal 2, i described Glados and Wheatly to a friend and said “they’re like if a ceiling fan could be passive aggressive and if Fozzie Bear was an evil golf ball”

I Think You Should Leave

finally. i can truly understand and appreciate Subspace Dubbed Over

i think one of my favorite things about I Think You Should Leave is how it utilizes horror. beyond sitting slack-jawed in disbelief at the crazy events unfolding before my eyes, a number of the sketches dipped into bits that genuinely kinda scared me. like the one sketch that circulates on here where the guy (pig?) in a mask crawls through a dog door, which is. genuinely terrifying. but so many of the other sketches have slow, nerve-racking pacing leading to crazy shit that would be perfect in a horror film were the context different. idk i like dissecting how horror and comedy are essentially the same thing and I Think You Should Leave was very good at enabling that <3 favorite sketches are probably “then let my wife eat the damn receipt” and “55 BURGERS 55 HOTDOGS 100 FRIES 100 TATER TOTS”

Sonic Prime Season 3

man. ohhhh man. i didn’t go into this with high expectations and i still feel let down. Sonic Prime Season 3 was definitely my least favorite “season” of the batch - abysmal pacing, very few character moments i actually enjoyed, and the things i praised about the show felt very underutilized through these episodes. Nine is the shining star of Sonic Prime and i was looking forward to seeing his more villainous side, but his character took such a sharp turn into pure evil and it felt like he spent the entire season repeating the same three lines. and as much as i praise Shadow’s writing in Prime, it doesn’t really matter when he spends half of the season trapped in a hole that he just… runs out of later.

lastly, i cannot stop thinking about how bad the pacing of this season is. three episodes for a repetitive final battle feels like such a waste of time when you see just how much they rush the emotional resolutions in the last episode. however, there is one thing i truly love about Sonic Prime Season 3 - i love the Sails and Mangey fakeout death. it's so fucking funny. like you really expect me to believe that two cartoon animals in this Y-7 rated show EXPLODED?????? absolute comedy gold.

overall, i just… don’t really know what to think of Sonic Prime. anything i enjoyed in the show was often fleeting, and much of it felt like its only purpose was to waste my time. also Rouge i can’t believe they did you so dirty oh my god

Ghost Trick

i was so proud that i figured out the secret behind Sissel’s memory loss like halfway through the game. however i also kept getting caught during the prison escape sequence like an idiot

Ghost Trick is in a similar situation as Portal where 1. it’s incredible and one of my new favorite games, and 2. there’s nothing i can really say about it that hasn’t already been said or just. shouldn’t be said. Ghost Trick is a fantastic mystery game, and because of that i think it’s best to go into its story as blind as possible. the narrative unfolds in such fascinating ways - even though the actual object manipulation gameplay isn’t directly about solving the mystery (like in Ace Attorney or other mystery games), it still ties wonderfully into the story in some incredibly unique ways.

i also really love the artstyle of Ghost Trick - i love 2D character artwork with that sharp lineweight, it reminded me a lot of Sonic Battle (another game with an artstyle i love). i was also really impressed by the 3D character models and animation - despite the limitations of the camera, you get a wonderful sense of everyone’s personality from the limited body language expressed in the overworld (even though the models lack much facial expression which. i guess they don’t really need? idk that was the only thing that threw me off). anyways yeah everyone should play Ghost Trick so Ghost Trick fans can be freed from their curse and talk about it without having to tag like 10 different spoiler tags. and for Missile

Scott Pilgrim Takes Off

ok bear with me. i went into Scott Pilgrim Takes Off without reading the comics first. and i fuckin loved it

my understanding of Scott Pilgrim before SPTO was mostly from the movie (I KNOW I’M SORRY), but even with my base understanding of the series i really enjoyed this show for what it was. i found myself appreciating the time they dedicated to further develop every single character in the show - especially Ramona. she’s fantastic as the lead, i really loved watching her reconcile with her exes and seeing all of them grow instead of exploding into coins. my favorite episode was probably the one with her and Roxie - not only did i adore the movie-jumping set pieces, but you really understand the weight of Ramona’s mistakes in their past relationship and how much it hurt Roxie. despite the big climactic fight, the flashbacks are quiet, subtle, heartbreaking. Ramona’s apology is genuine, and it feels so wonderful to watch her confront her past throughout the show. also i think it’s really funny that for all these characters to become the best versions of themselves, they had to kill off Scott for most of the story

and holy shit the artstyle and animation. oh my god. i love watching something that makes me immediately go “i need to see the storyboards for this RIGHT NOW.” SPTO is such a visual delight to watch, it elevates the artstyle of the comics while also keeping what makes that style so appealing - i love the line weight on the characters, i love how much forward energy the animation has, i love the fucking. virtual boy section. as soon as i found out Science Saru was also behind Keep Your Hands Off Eizouken, everything made immediate sense. i was destined to love this show.

another worry i had going into SPTO (besides the fact that i hadn’t read the comics lol) is that the original cast from the movie was returning. i think the movie cast is fine, but i wasn’t sure how some of them would fare with voice acting for animation. however, i thought they all did a good job - i think the whole cast loves these characters and would be able to fit into them fairly easily no matter what form their performance takes, and they definitely had a good voice director in the studio with them. the only thing that felt off about the voice performances to me was that sometimes it sounded like some of their mics kept peaking?? idk some of these episodes i watched high as balls and i felt like i could hear and see every single sound and frame of the show. so that might have just been me.

god i did not. expect to have this much to say about Scott Pilgrim. i really loved this show and i’m currently reading the comics to fully catch up on the general Scott Pilgrim experience - i think reading the comics AFTER Takes Off is making me appreciate even more of the character work that went into the show. like they do so much with Mathew Patel in SPTO, a character that was. not originally around for a long time from what i’ve gathered? also i like the funny little robot. oh my GOD i cannot talk about this show anymore whatever it’s good get me out of here

Sword AF Season 1

i put on the Smosh cast’s D&D series to play in the background while i was drawing. i did not expect to think much of it. instead, i had one of the most enjoyable D&D podcast experiences since i listened to The Adventure Zone Balance???

i haven’t really enjoyed other D&D podcasts since i dropped off of The Adventure Zone, and i wasn’t expecting much from Sword AF of all things. then i saw that Shayne was playing as a druid warforged made of plants and his name was fucking Fernie and i sat my ass down and LISTENED. while i think Sword AF is currently lacking in its world and larger story, those things just. aren’t really what Sword AF is really trying to provide at the moment. it’s main focus is comedy, and the players are genuinely such a delight to watch play together and build off of each other. they mostly focus on bits and goofs for the sake of she show's comedic tone, but i still found it thoroughly enjoyable because every player embodies and performs their characters really well. idk Sword AF was an unexpected hit for me this month, i thought it was fun. and i love Fernie so much

Plastic Death - Glass Beach

so originally i wasn’t going to include music reviews in these roundups at all, but then i was entirely surprised by a new Glass Beach album and oh my god. holy shit. oh my fucking god jesus christ. holy shit. its preddy good

Plastic Death gets the low point of the album out of the way immediately. it starts with the “phone call/conversation audio” trope that i don’t particularly enjoy - HOWEVER despite me disliking this opening, 1. it sets up the overall themes of Plastic Death very quickly, and 2. the rest of the album blows this 40 second opening completely out of the water. from there, the album grows into something beautiful and uncontained, and i just. i really like it

Plastic Death captures the beauty of the temporary, asks what it means to be created for a cause you can’t fulfill, questions if you can reclaim yourself from cycles and constraints designed to destroy you. and is also about being transgender. the lyrics are abstract in a way that requires a conversation with the listener, many of the vocals obscured and smooth like waves - this album is definitely one that needs to be listened to a few times. i wasn’t sure how i felt about the vocal style at first before realizing the vocals were the main reason i was relistening to this album, allowing myself to find even more that i loved about it. the instrumentation is also incredible, i love the use of marimba in a number of songs - distant, eerie, almost skeletal. and the fucking. 8-bit section?? which kinda rules???? and that’s the only point in the album it ever shows up??????? incredible. a fleeting, somewhat silly moment that i love every time.

this album left my heart aching, in part from my connection to it and in part from the pure love and joy emanating from this music. i can feel just how much fun this music was to perform and create, a cohesion of time and sound that just clicked for me. Plastic Death made me miss playing music, which is something i haven’t felt in years. all from an album that starts with a conversation about CrankGameplay’s dead youtube channel. good lord

i like this album a normal amount. go listen to it a few times. my favorite tracks are cul-de-sac and commatose

Wish

i watched Wish with a couple of friends and knew i probably wasn't going to like it. with that in mind, i gave myself a challenge: i wanted to find one thing about this movie that i genuinely really loved. it could be anything, and loving it for ironic reasons was allowed.

here's the complete list of things i loved about Disney's Wish (2023):

i love the one shot where King Magnifico stirs an evil caldron evily. i thought it was hilarious. what was he cooking

i loved that the end credits included a reference to Dinosaur 2001 at all, and i loved that they paid homage to Big Hero 6 by showing the forgettable villain of that movie instead of their Baymax cashcow for some reason. my friends and i saw him show up in the credits and were like "who's the trenchcoat guy??"

you may notice that this list is very short and 50% of it is about the movie's credits. so yeah this movie is not very good

Wish is an empty husk of a movie. everything about it feels so, so hollow - lifeless town squares, uninspired character designs (to quote a friend: "i have all of these characters' hairstyles in The Sims"), characters whose existence is only justified to fill empty space or an overused archetype, and an "evil" villain who lacks charisma and spine in a futile effort to remind the audience of previous disney villains with actual character. even the artstyle lacks any sort of sauce, the watercolor effect they were trying to go for only makes the backgrounds and character textures run together, and the dull lighting makes things look even more faded. it's like disney was scared of making a movie that made its audience feel... anything. all to celebrate 100 years of Disney slop, baby!!!

Some YouTube videos I liked in January: 💥 An Exhaustive Look at Pokemon Brilliant Diamond 💥 TomSka's Guide to Plagiarism 💥 Paradise Bombed (this video is a great piece of journalism and i’m definitely not doing it justice by throwing it into the youtube vid list) 💥 Surprising Our Friends with Zoo Animals 💥 Did FNAF Ever Have a Good Story?

thanks for reading! next month’s roundup will be wild because i’ll likely be reviewing House of Leaves and Hazbin Hotel. can you guess which cursed house gives me a worse headache? WHO KNOWS! (hint: it's Hazbin Hotel)