#first one is like. with writing history is it more for the individual/the writer or for the public/readers?

[enbysiriusblack]

currently trying to choose a question for my history essay but im indecisive so poll time:

[ilynpilled]

GRRM on morality, heroism, villainy, and parallax in ASOIAF:

Time magazine wrote of you, “What really distinguishes Martin and what marks him as a major force for evolution in fantasy is his refusal to embrace a vision of the world as a struggle between good and evil.” Do you agree?

I think the struggle between good and evil is central to fantasy and, indeed, in some ways, central to most fiction. It's certainly a worthy subject for fiction. But I regard the struggle between good and evil as being waged within the individual human heart. […] You know, the greatest monsters of history, as we look back on them, thought they were the heroes of the story. You know, the villain is the hero of the other side, as sometimes said. That doesn't mean that it's all morally relative. That doesn't mean that all things are equally good and evil. I think there is good and there is evil in the world. But you know, it's sometimes a struggle to tell one from the other and to make the right choices. I've always been attracted to great characters, maybe because that's what I see when I look around the real world, whether I read about it in history books or the news or just people I meet. I mean, all of us have it within ourselves to be heroes. All of us have it within ourselves to be villains. We've all done good things in our lives, and most of us have also done selfish things, cowardly things, things that we're ashamed of in later years. And to my mind, that's, I don't know, the glory of the human race. We're such wonderfully contradictory, mixed-up creatures that we're endlessly fascinating to write about and read about.

via

In your work, you have essentially captured Mikhail Bakhtin's concept of polyphonic fiction, where the characters are equal, and the reader can root for any of them. This has been impossible to convey on the TV series.

I wouldn't say all the characters are equal, but they have (hopefully) human traits, especially the viewpoint characters. I have seven viewpoint characters in the first book, and each book has a few more. So, by now, we're probably up to 12 or 13 viewpoint characters, and those are the ones where I go actually inside their skin, so you're seeing the world through their eyes. You're hearing their thoughts. You're feeling their emotions. And I try to paint over those viewpoint characters, and some of them are noble and just, and some of them are kind of selfish, and some of them are very intelligent, and some of them are less intelligent and even stupid. But they're all human, and I want to portray their humanity. […] I think the battle between good and evil is fought all over the world, every day, in the individual human heart, as we all struggle with the choices that define us and define our lives. And we have to choose what we are going to do, and sometimes the choice is not easy; it's not this absolute juxtaposition of the good guys and the bad guys. And I wanted to get to that with my characters, and show some of the difficulties that they face.

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Another element I liked about the series was the moral relativism of many of the characters. Too many Fantasies rely on the shorthand of truly evil villains in the absolute moral sense, but your characters, while they might commit terrible acts, generally do so either from short-sighted self-interest or because they truly believe they are acting for the best. Was this a deliberate decision, or is it just more interesting to write this way?

Both. I have always found grey characters more interesting than those who are pure black and white. I have no qualms with the way that Tolkien handled Sauron, but in some ways The Lord of the Rings set an unfortunate example for the writers who were to follow. […] Before you can fight the war between good and evil, you need to determine which is which, and that's not always as easy as some Fantasists would have you believe.

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Do you purposely start a character as bad so you can later kill them?

No. What is bad? Bad is a label. We are human beings with heroism and self-interest and avarice in us and any human is capable of great good or great wrong. In Poland a couple of weeks ago I was reading about the history of Auschwitz - there were startling interviews with the people there. The guards had done unthinkable atrocities, but these were ordinary people. What allowed them to do this kind of evil? Then you read accounts of acts of outrageous heroism, yet the people are criminals or swindlers, one crime or another, but when forced to make a choice they make a heroic choice. This is what fascinated me about the human animal.

via

Martin's realm is not one of unambiguous heroes and villains. His characters, from royals to peasants, tend to be ethically mutable. So-called good people, like the noblemen Ned Stark, his son Robb Stark or the indomitable Daenerys Targaryen ("the Mother of Dragons"), make terrible mistakes - out of weakness, pride or an overly rigid sense of right and wrong. And horrible people, like Jaime Lannister, known as "the Kingslayer," do terrible things and then, over the course of several books, reveal themselves to be capable of heroism and sacrifice.

As we're discussing this in the theater, Martin quotes Shakespeare's "Julius Caesar" from memory: “The evil that men do lives after them ;/ The good is oft interred with their bones.” Then he adds his own version: “We shouldn't forget about the evil that good men do. But we shouldn't forget about the good either,” he says. “I do think a society needs heroes. They don't have to be flawless.”

via

Your books have a very strong storyline associated with the atonement of sins. For example, the way of Jaime Lannister, do you yourself believe in karma?

I don’t believe in karma per se, although sometimes I have my doubts because sometimes I think I see things that could be explained by karma. But no, I don’t really have any beliefs in the supernatural. I do believe in the possibility of redemption. And I believe that human beings, all human beings, are grey. And I try to remember that when I write my characters. We are all heroes, we are all villains, we all have the capacity for great good and we all have the capacity to do things that are selfish and evil and wrong. Sometimes it’s hard to tell the difference. In your lifetime, you can be both. And it’s making choices that defines us as human beings. There’s this sensation of compartmentalism. This eagerness to judge everybody based on the worst thing they ever did, not the best thing they ever did. And you know, I think Shakespeare in "Julius Caesar" wrote “The evil that men do lives after them ;/ The good is oft interred with their bones.” And sadly that’s true. And I think it should be the reverse. We should remember the good things and the noble things that people did, and forgive them for their failures and moments of selfishness or wrongdoing because we all have them. When we forgive them, we are essentially forgiving ourselves. Redemption should be possible.

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Are there any characters that you've kind of fallen out of love with, that you just don't, you know, get excited about any more?

I still love all the characters. Even some of them who aren't very lovable. At least the viewpoint characters. When I'm writing in the viewpoint of one of these characters, I'm really inside their skin. So, you trying to see the world through their eyes to understand why they do the things they do. And we all have, even characters who are thought of to be bad guys, who are bad guys, in some objective sense, don't think of themselves as bad guys. […] “What evil can I do today?” Real people don't think that way. We all think we're heroes, we all think we're good guys. We have our rationalizations when we do bad things. “Well, I had no choice,” or “It's the best of several bad alternatives,” or “No it was actually good because God told me so,” or “I had to do it for my family.” We all have rationalizations for why we do shitty things or selfish things or cruel things. So when I'm writing from the viewpoint of one of my characters who has done these things, I try to have that in my head. And I do, so there's an empathy there that makes me love even people like Victarion Greyjoy, who is basically a dullard and a brute. But, he feels aggrieved and sees the world a certain way. And Jaime Lannister and Theon Greyjoy, they all have their own viewpoints. I love them all. Some I love more than others, I guess.

Who do you think to be the most important characters?

They're all important. I don't favor them, or I don't think of them in terms of importance. The viewpoint characters in the first book I have are Bran, Tyrion, Catelyn, Ned, Jon Snow, the two girls Arya and Sansa. There is the core of the Stark family plus Tyrion to represent the Lannister family. Then I have Dany on the other side of the sea, Daenerys Targaryen, whose story runs parallel and some ways doesn't connect to the others, but some day I'll eventually bring those two stories together. In each subsequent volume I drop some of my viewpoint characters and add new ones. Although the same core still dominates, the cast changes somewhat, and I like to do that. In the third volume which you haven't gotten to yet (he refers to me) I have a new viewpoint character. He's been a major character, but now you see things for the first time through his eyes. Which I think changes your perception of things somewhat. I like to play that kind of game, because we all have our own way of looking at the world. Something occurs and two people witness it. They might have very different versions of what happened, and very different explanations. I like to play with parallax in my fiction, and get different versions of the same thing.

via

A Song of Ice and Fire has much of the complex texture of authentic history, both generally and in its specific echoes of actual historical episodes. What laws and principles (if any) in your view govern human history, and how has your understanding of historical processes shaped the series?

Historical processes have never much interested me, but history is full of stories, full of triumph and tragedy and battles won and lost. It is the people who speak to me, the men and women who once lived and loved and dreamed and grieved, just as we do. Though some may have had crowns on their heads or blood on their hands, in the end they were not so different from you and me, and therein lies their fascination. I suppose I am still a believer in the now unfashionable "heroic" school, which says that history is shaped by individual men and women and the choices that they make, by deeds glorious and terrible. That is certainly the approach I have taken in A Song of Ice and Fire.

A Song of Ice and Fire undergoes a very interesting progression over its first three volumes, from a relatively clear scenario of Good (the Starks) fighting Evil (the Lannisters) to a much more ambiguous one, in which the Lannisters are much better understood, and moral certainties are less easily attainable. Are you deliberately defying the conventions and assumptions of neo-Tolkienian Fantasy here?

Guilty as charged. The battle between good and evil is a legitimate theme for a Fantasy (or for any work of fiction, for that matter), but in real life that battle is fought chiefly in the individual human heart. Too many contemporary Fantasies take the easy way out by externalizing the struggle, so the heroic protagonists need only smite the evil minions of the dark power to win the day. And you can tell the evil minions, because they're inevitably ugly and they all wear black. I wanted to stand much of that on its head. In real life, the hardest aspect of the battle between good and evil is determining which is which.

via

When you are writing the different conflicts in Westeros, do you personally pick a side? Or feel that one side fights for a more just cause than the other?

Yes, certainly. I mean, I’ve often said that I believe in grey characters, I don’t believe in black and white characters. But that’s not to say that all characters are equally grey. You know, some are very dark grey, and some are mostly white but they still have occasional flaws. I’ve always been fascinated by human beings and all of their complexity— even human beings that do appalling things, you know, the question is ‘Why?’ And it’s interesting to get inside their head and see why. Some of my viewpoint characters have done some incredibly reprehensible things: Theon, for example, or Victarion Greyjoy. Why? Were they born a monster? Weren’t they born like a cute little kid wanting to be loved and all that? We all start out that way, right? But things happen to us on the way that lead to junctures in our lives where we make decisions, and those decisions and the consequences of them color everything that comes after. You look at [historical figures] and what’s the verdict on these men? Are they heroes, are they villains? Are they great people, or people we should despise? I mean, they are fascinating characters because of their complexity.

via

“I don't concern myself over whether my characters are “likeable” or “sympathetic.” (I had my fill of that in television). My interest is in trying to make them real and human. If I can create a fully-fleshed three-dimensional character, some of my readers will like him/her, or some won't, and that's fine with me. That's the way real people react to real people in the real world, after all. Look at the range of opinions we get on politicans and movie stars. If EVERYONE likes a certain character, or hates him, that probably means he's made of cardboard. So I will let my readers decide who they like, admire, hate, pity, sympathize with, etc. The fact that characters like Sansa, Catelyn, Jaime, and Theon provoke such a wide range of reactions suggests to me that I have achieved my goal in making them human.”

via

“You want the reader to care about your characters — if they don’t, then there’s no emotional involvement. But at the same time, I want my characters to be nuanced, to be gray, to be human beings. I think human beings are all nuanced. There’s this tendency to want to make people into heroes and villains. And I think there are villains in real life and there are heroes in real life. But even the greatest heroes have flaws and do bad things, and even the greatest villains are capable of love and pain and occasionally have moments where you can feel sympathetic for them. As much as I love science fiction and fantasy and imaginative stuff, you always have to go back to real life as your touchstone and say, ‘What is the truth?’”

via

[melis-writes]

Blood Money (Tony Montana x Reader Multichapter, 18+ Smut) Chapter 3 – An Eye For An Eye.

Chapter 2 / Read on AO3 / Chapter Masterlist.

18+, explicit smut read.

“Your new boyfriend is in Miami." / “I’m here for Tony Montana.”

Tony's fiery gaze burned into the back of your mind but your name etched on his heart from the very moment he knew who you were. Keeping you on his mind like prayer, Tony wastes no time in attempting to squeeze himself out of every interrogation at the Cuban migrant camp he and Manny are detained in. Like a power move claiming he knows you, Tony's beckoning you to meet him once more in your hometown with bold claims striking the attention of your father–one of the most notorious, wealthy businessmen of Miami–with one claim being that of love.

[WARNINGS]: None!

[AUTHOR'S NOTE]: Oh my goodness, a LONG time coming and the chapter update is finally here at last!! 😭💀 I'm thrilled to update this fic again and share it with the Tony girlies! Battling writer's block and life getting super busy was a chore but I. AM. BACK and writing! And yet I must break everyone's heart again by saying this update of Blood Money officially marks my temporary hiatus of Al fics outside of The Godfather universe. 💔 I will now solely be working on my Godfather fanfics until I'm finished so I have ample time and opportunity to write more consistently and update fics even more often than I ever have. I'm definitely not abandoning this fic and I will finish it someday soon! For now, let's dive back into Tony and Celeste's story!! 🥺🤞🏻

With a taste for success and dollar bills, Tony Montana’s drug empire grew in vast wealth, power and influence by your side as the kingpin’s lover. From sharing an intimate history in Cuba, you and Manny Ribera were the only ones to believe and support Tony from rags to riches. Embroiled in the same lifestyle and sharing enemies, you and Tony come to build your empire and world together with the threat of it collapsing from the inside. As partnership turns to betrayal and thrill to danger, you find yourself in-between ultimatums and sacrifices for the man you love.

'I'm always in the right, man. Always am.' The shit-eating grin over Tony's face spreads equal amounts of tension and frustration throughout the interrogation room; keeping the officers on edge for word back from your family knowing Tony could potentially be a protected individual under the Navarro family while thinking at the very same time that Tony could be bullshitting everyone just to waste their time.

Tony sits all too comfortably in front of the officers with his arms crossed, all the more amused watching them huff quietly to themselves and glower back at Tony every few minutes.

"So--" Tony attempts to start a lively conversation on his behalf.

"You shut the fuck up, Montana," the first cop points his finger at Tony. "Don't say a fuckin' word."

"We're not playing with you," the second cop scowls. 

"Alright, man. Alright," Tony shrugs his shoulders loosely, "sheesh. I keep quiet when people talk on the phone, like Mama taught me, okay?"

Letting out another shaky sigh of irritation, the officers exchange a glance amongst one another, knowing well enough that if they've bothered the Navarro family for no good reason, it'll result in a guaranteed suspension without pay and likely following up with getting fired. 

Then again, there's always the possibility that it could be Tony finding himself in hot water with the Navarros due to his cockiness and stupidity, and if that means having Tony out of the refugee camp and no longer able to be a nuisance, then it'll be both a best case scenario and a relief for the officers involved. Still, it's all too much to consider at once.

"Tell the supervisor," the first cop mumbles, "he needs to know what's going on."

"Will do," the other sighs, taking a seat back at his desk to grab out his notepad.

Ignoring Tony outright, the first cop moves his stool over to the telephone by the desk and sits next to it before beginning to dial the Navarro family reception line.

'By heart?' Tony's eyes flicker with interest, noticing how the officer has your family's number memorized by heart—rendering him surprised and amused at the same time. 

'So they know her,' Tony thinks to himself. 'She not a nobody. She a somebody. I got her name on the line for me. Just for me.' 

This means more to Tony than you can already know, even if all you'll ever do is show up to spit on his face and blame him for wasting your time. The satisfaction alone is everything for him.

Both officers continue to ignore Tony and avoid making any sort of eye contact with him; murmuring ushered words to one another and pressing through more numbers on the telephone as it rings.

Only mere moments after does Tony notice how tense the officer on the telephone gets by the way his muscles jerk up in response to the telephone being answered by a monotone-voiced, middle-aged man speaking out.

"Navarro residence."

The very individual answering the phone would be your father's advisor and right-hand man, Gabriel.

"Cuban Detention Center, Officer Frank speaking," the cop says politely, clearing his throat. "May we please speak to Mr. Navarro?"

There's a short pause on the other end of the line. "Do you have a request or appointment booked in advance?"

"No," Officer Frank answers quietly. "Um, ahem—this is in relation to immigration and detention. There's a gentleman here claiming he was requested by name from a potential--" Frank scowls over at Tony. "Sponsor." 

Gabriel's tone of voice grows considerably agitated. "I trust you have a good reason for wishing to bother Mr. Navarro. You will not hear it from me."

"Greatly appreciated," Officer Frank awkwardly replies as Gabriel begins to transfer the call to your father's personal telephone.

Fully aware of the telephone conversation ongoing with Gabriel, your father—Darren Navarro--is two stories up in his penthouse—still in his Versace morning robe, smoking a Cuban cigar.

His first words to Officer Frank once the line transfer is, "You better have a good reason for reaching my personal number, Frank."

"Oh yes sir, o-of course," Frank stammers. "I apologize, sir. I didn't mean to interrupt your day, but this is urgent."

"So you say so," your father is unmoved by the sudden sense of urgency. "I suppose it is coming from the immigration and refugee department. I've sponsored nobody, so what is all of this?"

Officer Frank's skin drains of color as he nervously exchanges a glance with his colleague, glumly shaking his head. "Um, sir, there was a mention of your daughter's name by a Cuban migrant."

Your father raises a brow, leaning back on his velvet chaise. Your last trip to Cuba and mentions of "Tony Montana" and "Manny Ribera" easily come to Darren's mind. 

"Interesting," Darren muses. "And what is this individual's name?"

"Tony Montana," Tony speaks up loud and clear, grinning. "And with my best friend, Manny Ribera."

"Shut the fuck up!" The second cop hisses, almost jumping out from behind his desk to hit Tony.

Darren's all very well aware Tony is in the same room and must know who he is by now, having heard everything. 

"Uh huh," your father chuckles. "I see."

"Sorry, sir. I'm so sorry," Frank scoffs, swallowing hard.

"Stop your whining," Darren rolls his eyes. "I heard the man loud and clear. This is no request for me but for my daughter then."

"The migrant claims to know Celeste Navarro personally, sir." Frank clears his throat.

"Yes, he does. That much is true," your father nods.

"May we speak to Celeste, sir?"

"No need," Darren brushes off the request, glancing towards his bedroom door. "Celeste will soon be on her way to greet both gentlemen personally.

"This man--" Frank begins, but is abruptly cut off and corrected by your father.

"Men," your father clarifies, refusing to exclude Manny. "There are two of them after all, so Celeste will see both. She knows both of them, do I make myself clear?"

"Yes, sir."

"Good," Darren blows out the smoke from his cigar around him, resting his cigar between his fingers as he admires the afternoon light glistening over his gold rings and jewelry. "Treat these men well. I'm aware of the reputation your detention center has and its demands. 'Gentle' is not in your vocabulary so be respectful. These are friends of the Navarro family and I expect them to be treated as such."

"Yes, sir..." Mortified, the officers stare in shock at a smirking Tony before your father hangs up on them.

~

Giving a drawn-out sigh, you roll your eyes in annoyance at the back cover of the gossip magazine you’ve been reading; already questioning why you bother with the tabloids just to entertain you.

Flipping back to the front cover of a bikini model on Miami beach, you rest your chin over your fist, wearing a flowing, pastel pink satin nightgown—laying on your stomach and dangling your feet, attempting to beat boredom.

Frank Sinatra’s “All By Myself” plays softly on your white and gold decorated record player, a compliment to the similar colors lavishly decorated over your bedroom.

Practically the size of a house’s first floor, your bedroom itself spans 1,500 square feet and is fit for a princess, covered in various shades of pink with a glimmering diamond chandelier above you.

The very king-size bed you lounge upon is adorned with a bubble-gum pink cashmere and quilt duvet and six silk encased pillows, a polar bear throw in the center of your bedroom upon the marble floors striking attention to the wall fixtures and architecture of the bedroom taking inspiration from the Palace of Versailles.

You furrow your brows in annoyance at the magazine in your hands, only to have your thought suddenly interrupted by the sound of your father knocking on your door.

You peek up in interest, brushing a curtain of your hair back. “Come in.”

“Hi, darling,” your father enters your room with a warm smile—holding a glass of iced rum in one hand and concealing something in his fist with the other. “Didn’t think I’d be giving you good news so quick, eh?”

Chuckling, your father opens his fist and lightly tosses your car keys over to you.

Reaching your arm out, you snatch the car keys mid-air—staring at your father in confusion. “Huh? What do you mean?”

“Your new boyfriend is in Miami,” your father says with a laugh. “Immigration services at the Cuban refugee camp called me just earlier.”

“Huh,” you blink, rubbing your temple as your memory recollects, hitting you all at once.

“I never say goodbye either. I say you’re gonna remember these faces—my face.”

‘Tony Montana.’ Your face flushes red as you clear your throat, glancing up at your father. “They called you?”

“Mhmm,” your father nods, taking a small sip from his drink. “Quick to it, I’ll give them that. I don’t think that Tony of yours has been there for very long from the sounds of it. They wanted to reach you, actually.”

“Makes sense of course,” you slide aside your magazine, sitting up in bed. “Great…”

“What do you think?” Your father raises a brow.

“I’m not thinking of anything,” you give your head a shake.

“No? You sure you don’t owe this Tony and his friend a favor or two?”

“I don’t owe anyone anything,” you roll your eyes out of frustration. “But for Tony,” you clutch your car keys, “if he wants to see me, I’ll go see him. I’ll see him, but I don’t know what I can do for him.”

“Is this really someone worth wriggling out of months worth of paperwork and getting into the front of the line? ‘Cause I’ll let you decide that,” your father shrugs. 

Getting off of your bed, you eye your purse from across the bedroom. “I think I’ve already made my decision.”

“I’m sure you made the right one,” your father turns back on his heel.

“Is Tony waiting for me right now?” You head over to your walk-in closet.

“He is,” your father confirms, placing his hand over your doorknob to close the door behind him. “And I think you’re the only person he wants to see right now.”

~

‘Tony Montana…’ You let out a soft sigh, leaning your head back against your car’s headrest. ‘Again and so soon.’ With great effort, you push aside the fluttering feeling in your heart every time Tony’s name and face cross your mind; clearing your throat and putting your Armani sunglasses on.

Starting up your Mercedes-Benz 380SL Convertible and pulling out of your estate’s parking lot carefully, you focus on nothing but getting directly to immigration services—able to collect your thoughts.

Letting the warm summer breeze flow through your hair as you step on the gas, determined to know just why Tony’s got your name mixed up with the law.

You may not have taken the rugged, cocky stranger very seriously back in Cuba but you’d be lying to yourself right now if you said you weren’t a little intimidated by Tony’s timing.

‘Didn’t think my name would cross your lips so soon either… Full of surprises.’ 

Tony knows he can sit and wait in the interrogation room for an eternity to come so as long as it’s promised you’ll show up—riding off on the idea of seeing you again like a lingering high.

Driving through the streets of Miami, you tap your French tip manicure against your steering wheel patiently through every red light.

Your eyes flicker over beach-bound tourists making their way over the crosswalks, noting the impatient drivers on the other side of the intersection honking at each other and tossing cigarettes out the window; the scent of body odor and beer not far from the beach itself.

Giving your head a shake, you scrunch your nose in disgust and drive off—not far from reaching the secluded immigration center from downtown.

You arrive a little over ten minutes later, driving into the clearance section with the rest of the other drivers waiting their turn to speak with an officer at the booth and be admitted. 

Resting your arm on the windowpane of your car, you peek your head out of the window just enough for your face to be seen, and just as you expected, you’re recognized by an officer at a booth opposite from you almost instantaneously. 

‘Uh huh.’ Noticing the officer blocking the path of the upcoming car who was next in line, you slowly drive up as he gestures for you to follow.

“How is that fucking fair?!” You hear a honk and shout of irritation from the other driver, simply ignoring him and continuing to cautiously drive up.

“Blow it out your ass, buddy,” the officer rolls his eyes.

Parking your car, you glance up at the officer who only gives you a brief nod and lets you through without a single word; just one of the many perks of being the daughter of one of Miami’s most notorious businessmen.

“Alright,” you mutter under your breath as you approach the guarded parking lot, seeing another officer heading directly your way. ‘Let’s see what this is really all about.’

Taking off your sunglasses, you make eye contact with the officer who furrows his brows at you in confusion; more than likely wondering how you got in so quickly and just who you are to be taking priority over anyone else.

“And who might you be?” The officer asks smugly.

“I think you know who I am,” you reply back coyly. “I’m here for Tony Montana.”

~

As smug and prideful as he can be, Tony slouches in his seat with his arms crossed and completely relaxed as if he’s the one arranging the interrogation rather than being interrogated. 

As apparent as the officers make it seem to Tony how thoroughly pissed, exhausted, and anxious they are dealing with him, Tony reflects it with his nonchalant attitude on purpose.

“You think you’re taking some sort of vacation, Montana?” Officer Frank scowls.

 “Sure, man,” Tony shrugs his shoulders loosely. “I think my vacation is on the way.”

Ignoring the immigration officer who escorts you inside the facility as some mock bodyguard, you make your way towards the entrance of the interrogation offices where the officer gestured you to, making note of the maximum-security gates and barbed wire high walls.

Giving a small huff of annoyance and adjusting your hair, you approach a narrow hallway inside the next building and set your sunglasses on your head.

“This way, please,” the officer guiding you murmurs and politely steps in front of you.

Unphased and hardly listening, you follow the officer until you both reach an interrogation door marked “11B”.

You maintain your distance from both the officer and the door as the officer leans over and quickly knocks on the door not to ask to come in but to signal his entrance.

A wide, playful grin spreads over Tony’s face as he turns his head back to face the door—absolutely thrilled to see it about to open in front of him.

Fear simmers back into the officers the moment they spot a feminine silhouette behind the tinted glass of the door, instantly remembering now more than ever that their jobs are on the line.

Pushing open the door, the officer guiding you inside steps in first and out of your way—clearing his throat to speak out, “Miss Celeste Navarro is here, sir.”

‘Celeste Navarro…’ Seeing you before him once more, Tony’s pupils widen as a strong surge of attraction hits him—coursing through his veins.

Tony’s muscles tighten and he feels the heat of arousal trickling inside of him as he locks eyes with you, stunned and utterly admiring every inch of your figure.

Attempting to look at you with more humility than defeat or nervousness, the officers are put off by your very presence and can say or do nothing as you cross your arms; expectant and domineering before everyone else.

You’re the only spot of color in the otherwise dull room filled with grey uniforms and sweaty men; dressed in an Armani, pastel pink, cropped tweed blazer, a matching mini skirt, a white chiffon Calvin Klein blouse with a bow at your collar and four-inch glossy nude pumps. 

“There she is, she’s the one,” Tony smirks at you—breaking the momentary silence in the room.

“Ahem,” Officer Frank clears his throat, beginning to sit upright in his seat. “You know this man, miss?”

“Do I?” You raise a brow, unamused. “It feels like I’ve known him my whole life.”

“Yes, baby,” Tony mutters to himself inaudibly. ‘Come to me. You’re here now.’

“Miss Navarro,” the other officer begins to speak up awkwardly, “apologies if this is an intrusive question however this man claims to know you and—”

”And she’s my fiancée, as I was telling you. Okay, man?” Tony interrupts, rolling his eyes. “Can I have some privacy with my fiancée, man?”

‘Fiancee? What the hell is he talking about?’ Struck into shock by Tony’s words, you hold your posture and expression, but you know where Tony’s coming from and just why he’s deciding to play this game with you now.

“Yes, so what?” You snap back, noticing the playful twinkle in Tony’s eyes. “It’s true, he is my fiancée.”

‘Tony… I hope you know what you’re doing. I swear… Now is not the time to put on a show.’ 

The officers stare at each other in utter discomfort, remaining silent. 

“But I don’t recall that being anyone’s business except mine,” you narrow your eyes at them, taking a step forward to Tony.

Tony takes your soft hand in his, caressing his thumb over the back of your hand softly. “See?”

“Well,” Officer Frank swallows hard, “if that’s the case—”

Your eyes snap open in shock as Tony leans up in his seat, suddenly cupping both of your cheeks and immediately pulling you into a crushing, deep kiss.

‘Oh!’ Your lips collide over his and your eyes flutter shut in response, feeling the warmth of his tongue teasing the tip of yours in loving passion without a care—ensnared in the moment of having you as his fiancée with no intentions of letting go. 

[doodler16]

To be honest, I'm getting REALLY sick and tired of seeing people say "Well they were only given eight episodes to make the season! They worked with what they had!"

Yeah you're right, it DOES suck that they weren't given more episodes as it would've helped in fleshing things out a bit better... but it shouldn't be used as an excuse for why it turned out so mediocre.

Sometimes when something like this happens, you gotta improvise and work with what you got. See what to cut out and keep as to help things flow a bit better. We would've been fine without seeing Heaven and getting the conflict with the exterminations right away, we would've been fine without a big war battle climax.

This season should've focused on introducing the characters and allowing us to actually get to know them, get some people in the hotel that actually WANTS to change for the better, and maybe even have the Vees step in a minor antagonists to build up to them being bigger threats.

Just fucking reuse some of the scrapped plotlines to fill them in, TREAT IT LIKE AN ACTUAL SHOW VIVZIE!!

Some people love to put all the blame on A24 and Amazon. But at the end it is the writers’ responsibility. I get it, Vivziepop doesn’t want her show to be cancelled so she puts her all eggs in a basket. But that doesn’t absolve Vivziepop from criticisms.

Season 1 should’ve been about the Hazbin squad (Charlie, Alastor, Vaggie, Angel Dust, Niffty, Husk, and Sir Pentious), getting to know them along with focusing on redemption whether it’s the cast doing trust exercises, a field trip regarding the history of Hell, a camping trip, etc.

The main cast is very bloated so there could have been individual episodes centralized around each character. For example, episode one would focus on Charlie, second episode would focus on Vaggie, etc.

But instead Vivziepop and the writers keep adding and introducing new characters every episode. We don’t even get to see the main cast even pitch their hotel in the official series or do most of their activities on screen. That is why killing or cutting your darlings is important and you should know your limits.

Even worst some of characters in the show don’t return after their debut episode making you question why they are even in the first season. Lucifer and Heaven shouldn’t be in the first season. And even if they do return, the character either is wasted space or overshadows the main character.

Season 2 is going to be sooo messy. Also, there are some shows that do have episodes 8 and don’t have a lot of runtime but still succeed in their writing.

[thewhisperofzagreus]

Zagreus Sabazius

Important reminder. Everything I write about here is only indirectly connected by distant assumptions and rare crossings and absolutely should not be considered the immutable truth. As someone whose patron is Zagreus, I write about my findings and assumptions, but I am also totally possibly to be mistaken and see what I want to see myself. Take everything with a grain of salt.

We have already once looked at the Greek sources with the story of Zagreus. But beyond the rare surviving Greek sources, we will always have something else. Why is Zagreus sometimes mentioned with the epithet “Sabazius”? What does this epithet mean? What are Zagreus' powers? And why, after all, is he and Gaia called “highest of the all gods” in the Alcmeonis?

Welcome to my deep dive on one of the most mysterious theoi — Zagreus Sabazius.

So, later Greek writers, like Strabo in the first century CE, linked Sabazios with Zagreus. But who is Sabazios and what does it mean?

Sabazius comes from a common root with Sanskrit sabhâdj, honored, and with Greek σέβειν, to honor. It's also may be connected with the Indo-European *swo-, meaning "[his] own," and with the idea of freedom.

Sabazios is a deity originating in Asia Minor. He is the chief sky god of the Phrygians and Thracians. Sabazios gained prominence across the Roman Empire, particularly favored in the Central Balkans due to Thracian influence. On some monuments Sabazius is called “master of the cosmos”.

Decree of the organisation of worshippers of Sabazius, 102 BC

It seems likely that the migrating Phrygians brought Sabazios with them when they settled in Anatolia in the early first millennium BCE, and that the god's origins are to be looked for in Macedonia and Thrace. The ancient sanctuary of Perperikon in modern-day Bulgaria, uncovered in 2000, is believed to be that of Sabazios.

Two altars in the sanctuary were used for blood sacrifice.

And as Euripides has already graciously told us, Zagreus was honored as a god of blood, among other things. Sabazius, as a deity, was often associated with sky, thunder, nature, boons, mystery, and blood. One of its most frequent symbols was serpent.

Sabazius' references sometimes included Cybele. She is an Anatolian mother goddess. She is Phrygia's only known goddess, and was probably its national deity. Greek colonists in Asia Minor adopted and adapted her Phrygian cult and spread it to mainland Greece and to the more distant western Greek colonies around the 6th century BC.

In Greece, Cybele met with a mixed reception. She became partially assimilated to aspects of the Earth-goddess Gaia, of her possibly Minoan equivalent Rhea, and of the harvest–mother goddess Demeter.

And now everything suddenly made sense. Why are Gaia and Zagreus named the highest of all the gods in Alcmeonis? Because they always have been.

In her transition to Greece, Cybele, Phrygia's only known goddess, was named Gaia (which honestly makes much more sense to me than associating her with Rhea or Demeter). And Zagreus? And Zagreus remained Zagreus.

Gaia Cybele and Zagreus Sabazius, Mother Earth and Sky King, the highest gods of the Phrygians and Thracians, who later also made their way to Greece.

But unfortunately, no individual direct myths about King Sabazius have survived either.

But there was also one thing that persisted and always baffled me.

In my personal experience with Zagreus, his signature weapon has always been moonblades to me. And I always wondered why. What does Zagreus have to do with the moon? Why is it always an integral part of his power and history in my experience?

Well, now I know the answer.

At one point Sabazius merged with the Asia Minor and Syrian moon deity, Mēn. Mēn was a lunar god worshipped in the western interior parts of Anatolia. He is attested in various localized variants, such as Mēn Askaenos in Antioch in Pisidia, or Mēn Pharnakou at Ameria in Pontus.

Bust of Mēn in Museum of Anatolian Civilizations

In the Kingdom of Pontus, there was a temple estate dedicated to Mēn Pharnakou and Selene at Ameria, near Cabira (Strabo 12.3.31). The temple was probably established by Pharnakes I in the 2nd century BC, apparently in an attempt to counterbalance the influence of the Moon goddess Ma of Comana. The cult of Mēn Pharnakou in Pontus has been traced to the appearance of the star and crescent motif on Pontic coins at the time.

A similar temple estate dedicated to Mēn Askaenos existed in Pisidia, first centered around Anabura and then shifted to the nearby city of Pisidian Antioch after its founding by the Seleucids around 280 BC. The temple estate/sacred sanctuary (ἱερόs) was a theocratic monarchy ruled by the "Priest of Priests," a hereditary title. According to Strabo, this "temple state" that the cult of Mên Askaenos controlled near Pisidian Antioch, persisted until the city was refounded by the Romans in 25 BC, becoming Colonia Caesarea Augusta.

The Augustan History has the Roman emperor Caracalla (r. 198–217) venerate Lunus at Carrhae; this, i.e. a masculine variant of Luna, "Moon", has been taken as a Latinized name for Mēn.

Even though no specific myths have survived about any aspect of Zagreus, it gives us a wealth of information about what Zagreus was and is and the diverse number of domains he holds.

Yes, Zagreus. Zagreus, god of mysteries, blood, flesh, sky, thunder, nature and moon. Zagreus Sabazius, Zagreus Mēn, Zagreus the Winged Serpent Hunter, Zagreus the Scarlet Thunderer, Zagreus the Serpent King. Zagreus Prince of Chthonia, Zagreus King of Sky, Zagreus Highest of All the Gods, Zagreus Master of the Cosmos.

                                         Ζαγρεύς Σαβάζιος

[corellianhounds]

The Acolyte Criticisms, with Suggested Changes

Part 1

Word Count: 7.5k. whatever.

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

My complaints so far with The Acolyte are as follows:

The script is weak and boring to listen to

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

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

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

The settings feel like sets, not lived-in environments

Every obstacle is barely an inconvenience and is easily resolved

Issues with pacing in writing, direction, and editing

Missed opportunities for more interesting, dynamic choices

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

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

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

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

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

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

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

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

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

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

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

Character and Plot: Mae

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

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

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

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

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

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

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

—

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

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

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

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

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

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

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

—

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

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

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

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

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

—

Exposition: Telling vs. Showing

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

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

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

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

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

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

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

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

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

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

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

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

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

—

Always Be Introducing Your Characters

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

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

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

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

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

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

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

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

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

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

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

—

Humor/Tone Falling Flat, Undermining Characterizations and Tension

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

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

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

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

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

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

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

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

—

Environmental Storytelling: Technical Design and Production

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

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

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

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

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

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

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

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

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

—

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

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

[cosmicawg]

𝐖𝐫𝐢𝐭𝐢𝐧𝐠 𝐁𝐥𝐚𝐜𝐤 𝐂𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐬 𝐰/@𝐜𝐨𝐬𝐦𝐢𝐜𝐚𝐰𝐠

OH! Hi, welcome to my blog! I’m your favorite (you either love me or hate me) AWG. Today, we’re diving into ⭐BLACK CHARACTERS⭐—and no, I’m not talking about those one-dimensional characters just there for the urban memes. I mean the real deal: complex, rich, main characters that pack a punch!

As a Black writer myself, I’ll be honest—I sometimes struggle with crafting Black characters, whether they’re main leads or supporting roles. Why? Because every Black person has a different story. Believe it or not, not every Black man or woman has experienced the same tropes we see in the media. So how do we go about developing a powerful Black character or even a minor role that’s still refreshing and relatable? Let’s find out together!

𝐀𝐯𝐨𝐢𝐝𝐢𝐧𝐠 𝐒𝐭𝐞𝐫𝐞𝐨𝐭𝐲𝐩𝐞𝐬: 𝐋𝐞𝐭’𝐬 𝐍𝐨𝐭 𝐆𝐨 𝐓𝐡𝐞𝐫𝐞!

When it comes to writing Black characters, let’s talk about the elephant in the room: stereotypes. You know, those tired clichés that pop up in movies and books like an unwanted party guest who just won’t leave.

First off, let’s acknowledge that not every Black character needs to fit into a box labeled “Gangster,” “Sassy Best Friend,” or “Magical Negro.” (Yes, I see you, Hollywood!) Every character deserves depth, complexity, and a unique backstory.

define: Magical Negro is a Black character who exists to help a white protagonist, often with supernatural powers. Example: John Coffey in The Green Mile.

Research, Research, Research! I can’t stress this enough. Dive deep into the experiences of real Black individuals, because every Black person has a different backstory! Personally, I haven’t experienced many of the challenges Black Americans face, like systemic racism, and it’s crucial to acknowledge that diversity. Understanding these nuances will help you create more authentic characters.

Ask Questions. Got a Black friend? (If you don’t, get one—kidding!) Use your network. Ask them about their experiences, perspectives, and how they feel represented in media. Just don’t be that person who asks, “So, do you like fried chicken?” It’s not cute.

Embrace Diversity Within Diversity. Not all Black characters should be from the same background. Explore different cultures, regions, and histories. There are a billion ways to be Black, so show that in your characters!

𝐖𝐫𝐢𝐭𝐢𝐧𝐠 𝐃𝐢𝐚𝐥𝐨𝐠𝐮𝐞: 𝐇𝐨𝐰 𝐭𝐨 𝐬𝐩𝐞𝐚𝐤

Now, let’s talk about dialogue—because if your characters sound like awkward robots, people will notice! When writing Black characters, remember that language is a huge part of identity. African American Vernacular English (AAVE) is a beautiful, expressive part of Black culture, but it needs to be used authentically and respectfully.

Personally, as a Black Jamaican, this is how I talk “proper.” I don’t use Patwa (Patois) in my dialogue when I’m writing Black American characters because, like I said before, Black culture varies. Just as I speak differently from a Black American, your characters should reflect the diversity of the Black experience. One-size-fits-all doesn’t apply here!

For example, a natural-sounding conversation between Black American friends might go like this:

Authentic: “Yo, you tryna head to the spot later?” “Bet, I’m down. Lemme hit you up after work.”

This sounds natural and reflects everyday speech without exaggeration. Now compare this with a stereotype that overuses slang and makes the character seem like a caricature:

Stereotyped: “Yo, dawg, we finna roll up in this joint, ya feel me? Straight fire!”

See the difference? One feels like a real conversation, while the other feels forced and unnatural.

Another Example: In a professional setting, you might have a character saying:

Authentic: “I’ll follow up on that report and get back to you by end of day.”

If you force casual AAVE where it doesn’t fit, it feels unnatural, like this:

Stereotyped: “Yo, I’ma hit you with that report later, aight?”

𝐃𝐞𝐯𝐞𝐥𝐨𝐩𝐢𝐧𝐠 𝐁𝐚𝐜𝐤𝐬𝐭𝐨𝐫𝐢𝐞𝐬: 𝐍𝐨𝐭 𝐣𝐮𝐬𝐭 𝐚 𝐩𝐫𝐞𝐭𝐭𝐲 𝐟𝐚𝐜𝐞/𝐧𝐨𝐭 𝐝𝐞𝐟𝐢𝐧𝐞 𝐛𝐲 𝐦𝐲 𝐬𝐤𝐢𝐧 𝐜𝐨𝐥𝐨𝐮𝐫

Alright, let’s get into it! Crafting rich, layered backstories for your Black characters is where the magic happens. After all, they’re not just defined by their race; they come with a whole buffet of experiences, cultures, and dreams!

Cultural Heritage: Dive into your character's cultural background! If your character is Caribbean, like a sassy Jamaican or a vibrant Trinidadian, think about how family traditions and spicy food shape their identity. Maybe they celebrate Carnival with a flair that leaves everyone in awe, or they bring a bit of reggae to the school dance. Spice it up!

Family Dynamics: What’s the family vibe like? Is it a tight-knit crew where everyone knows everyone’s business, or is it a mixed bag of characters with their quirks? Picture a character raised by their wise grandma, who drops truth bombs about resilience while whipping up the best curry chicken in town. Those family stories can really shape who they are!

Personal Experiences: Let’s keep it real—your character’s experiences should be as unique as their favorite playlist! Maybe they faced challenges at school that made them a champion for anti-bullying or excelled in sports, turning their setbacks into comebacks. For example, they might have been teased for their skin tone, but that just made them more determined to lift others up.

Aspirations and Dreams: What gets your character out of bed in the morning? Whether they dream of becoming a doctor, an artist, or the next big YouTube sensation, their aspirations tell a story! Imagine a character who, inspired by their community’s struggles with healthcare access, aims to break barriers in medicine. Talk about a hero!

𝐅𝐢𝐧𝐝𝐢𝐧𝐠 𝐭𝐡𝐞 𝐁𝐚𝐥𝐚𝐧𝐜𝐞: 𝐔𝐩𝐥𝐢𝐟𝐭𝐢𝐧𝐠 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐏𝐮𝐭𝐭𝐢𝐧𝐠 𝐃𝐨𝐰𝐧

Alright, folks, let’s get real for a minute. We need to address a serious issue in storytelling: the unfortunate trend of making Black characters the butt of jokes to uplift white main characters. Spoiler alert: this is not cute, and it definitely doesn’t fly in a respectful narrative!

First off, humor is a powerful tool in writing, but it shouldn’t come at the expense of marginalized characters. When Black characters are used as punchlines or comic relief just to highlight the “funny” qualities of a white protagonist, it reduces their complexity and humanity. It perpetuates harmful stereotypes and misses the chance to create authentic, well-rounded individuals.

Example —

From “The Office” (U.S.): don't get me wrong I LOVE The Office, its my comfort show, however, In the episode titled “Diversity Day,” Michael Scott leads a diversity training session that reduces a Black character, Stanley, to a series of racial stereotypes. The humor in this scene relies heavily on racial caricatures, and Stanley is the butt of the joke, highlighting a lack of respect for his character. Michael’s antics, while intended to be funny, diminish Stanley’s complexity and reduce him to a stereotype for the amusement of the white characters.

𝐑𝐞𝐟𝐫𝐞𝐧𝐜𝐞𝐬: 𝐒𝐨𝐦𝐞𝐭𝐡𝐢𝐧𝐠 𝐭𝐨 𝐡𝐞𝐥𝐩

Books —

"Writing the Other: A Practical Guide" by Nisi Shawl and Cynthia Ward - A guide to writing characters outside your own experience with sensitivity and depth.

"The Art of Character: Creating Memorable Characters for Fiction, Film, and TV" by David Corbett - Offers insights on developing authentic characters.

"Diversity in Young Adult Literature" by various authors - A collection of essays discussing representation in YA literature.

Articles —

“Avoiding Stereotypes in Fiction: People of Color”

“Writing Characters of Color: How to Avoid Being Racist” - Vanessa Willoughby’s article on Book Riot 

“American Fiction: Scathing and Accurate Portrayal of the Obstacles Black Writers Face in Publishing” -  

𝐂𝐥𝐨𝐬𝐢𝐧𝐠 𝐎𝐟𝐟: 𝐀𝐇, 𝐘𝐎𝐔 𝐃𝐈𝐃 𝐈𝐓!

Thank you so much for reading this post! To all my fellow Black writers out there, I invite you to drop your comments below—let me know if there's anything I've missed or misled. Remember, even though I strive for perfection (tehehe), I’m not above making mistakes!

I can’t wait to see all the vibrant, fully-realized Black characters you’ll bring to life in your stories. Together, let’s make sure our voices shine and our narratives resonate. Happy writing, and until next time, keep slaying those words!

—courtesy of cosmicawg

[kepnerandavery]

Thoughts on Grey's Anatomy 12x11

I always thought that japril should have gotten back together after 13x16 but I realised how wrong I was. I think 12x11 would have been the perfect episode for their reconciliation. As much as I love the first japril the movie, I think most of it was so badly written (the acting however, was top notch).

First of all, showing a couple fighting and breaking up is just lazy writing. It happens all the time in real life. What could have been more interesting would have been to show two people discussing their issues, accepting their faults, apologising for their mistakes, and forgiving each other.

The whole episode has a bitter/negative undertone to it that makes you wonder if the writers understood/liked this relationship at all. I think some people dislike japril because writers kept using them to provide shock value instead of putting thought into their story and developing those characters in a sensible way.

This episode would have been the perfect opportunity to address their communication errors, the trauma of losing Samuel, April's reluctance to compromise on things, and Jackson's abandonment issues. Those revelations would have been great for their individual character developments even if they had ended up getting divorced at the end of that episode.

I would have loved if the entire episode was written in a way that interconnected Jackson and April's history (the flashbacks) with their marriage counselling sessions to show why their marriage should have worked instead of why it should have ended.

Not to mention, it would have made the episode so much more poignant. A couple going their separate ways after losing a child is sad, but it's much sadder if the said couple is not shown as a dysfunctional one, and it's heartbreaking if all the signs in the episodes pointed at why they should have stayed together. And heartbreak is what greys is supposed to be known for.

Of course, the japril fandom was/is loyal, so they kept rooting for them after this episode, but it was never because of the writing. The audience had to read between the lines, fill in the blanks, imagine the unseen moments, and love them for the potential they had. If they had been played by any other pair of actors none of that would have happened.

[sicksadlit]

An author stole my book idea

What do you do when someone else publishes your book?

I was scrolling on my phone, browsing a selection of soon-to-be-released books when one in particular caught my eye.

I read the blurb and let out an audible gasp. 

The author stole my book idea. 

This man who I’ve never met, somehow managed to reach inside my brain, pluck out my story idea, write the book I am writing right now, and turn it into a fully fledged novel. He beat me to print, and now the novel I’ve been working on for the last few months is headed for the trash because how can I continue to write a story that has already been written?

It feels like my “life's work” has been stolen, cruelly whipped away from me overnight. The story that has been building and percolating inside me for years, preparing itself to arrive in my brain and out onto the page.

An accurate depiction of me discovering someone else is publishing the book I’m writing

Although, it’s possible that he didn’t actually steal my idea. It’s probable even because he couldn’t have. I don’t even know the guy. The far more likely scenario is that it is just an astonishing coincidence. He happened to have the exact same book idea at the same time as me, but the difference is: he’s a well known, successful, professional crime writer who actually managed to finish the story (and probably did a fantastic job), and I am an unpublished novice writer, who punches out a few hundred words here and there when inspiration strikes.

The best theory as to what has happened is that I have become the victim of a phenomena known as “simultaneous invention”.

Simultaneous invention is the concept that inventions and ideas are conceived independently by different creators, but at the same time.

“Rather than being the products of the individual mind, multiples (aka - simultaneous discoveries) are said to prove that creative ideas are the effects of the zeitgeist, or spirit of the times. At a specific instant in the history of a domain, the time becomes ripe for a given idea. The idea is “in the air” for anyone to pick, making its inception inevitable.” - Dean Keith Simonton, creativity researcher

There are mind-boggling cases of simultaneous invention documented throughout history. Here are some of the most famous instances:

1600s: Isaac Newton and Gottfried Leibniz both discover calculus.

1770s: Carl Wilhelm Scheele and Joseph Priestley discover oxygen.

1800s: Charles Darwin and Alfred Russel Wallace both describe natural selection.

1839: Louis Daguerre and Henry Fox Talbot invent the first photographic methods.

1869: Louis Ducos du Hauron and Charles Cros present the earliest workable methods of colour photography on the same day.

1876: Elisha Gray and Alexander Graham Bell independently, on the same day, filed patents for invention of the telephone.

1879: British physicist-chemist Joseph Swan independently developed an incandescent light bulb at the same time as American inventor Thomas Edison was independently working on his incandescent light bulb.

1950s: Jonas Salk and Albert Bruce Sabin invent the polio vaccine.

2015: Takaaki Kajita and Arthur B. McDonald are jointly awarded the Nobel prize for finding that neutrinos have mass.

It sounds like something from a Blake Crouch novel. The idea that two complete strangers, anywhere in the world could come up with the exact idea at the same time. It would be written off as pure science fiction if it weren’t so thoroughly documented. 

It came for Charles Darwin, it came for Alexander Bell, and now, it has come for me.

Since I’ve had a solid 48 hours to walk around the house moaning in despair, I figure it’s probably time to put my big girl pants on and think about what to do next.

What does one do when someone else publishes the book you were going to write?

If there’s one thing this sad experience has taught me, it’s this: Do not sleep on that creative idea.

I thought I had all the time in the world to write my story. Donna Tartt took 9 years to write The Secret History, after all. Maybe I could take 9 years to write my debut novel too. But modern life and our shared experience may lead to someone else coming to the same conclusions – or ideas – as you have, somewhere in the world. 

This doesn’t just apply to writing. It can happen in any field where creativity and imagination are at play. 

Where does this leave me and my manuscript? I think I’ll hold onto it a little longer before sending it to my computer’s trash bin forever. Even though the original premise and core of the story is no longer viable, perhaps there’s something there worth saving. Maybe a shift in perspective or narrative voice. Could it be a white collar crime thriller instead of a murder? Could I set it in a different era? Could I change the genre? Who knows. Maybe this whole saga is a good thing and will force me to pivot. Now, I’m compelled to look at how I can better improve upon what the story was set to become. 

One of the people in my writer's group said that this isn’t necessarily a bad thing. If his book sells well, publishers will be frothing to produce more of the same. That said, I’m not sure how I feel about being the runner-up for the prize of cool and interesting story ideas. 

So what’s the solution to this confounding mystery of the human mind? How can you ensure your work remains true and original to you when at any point in time, some random person out in the world might be working on the exact same thing? 

Maybe the answer is to simply try and be the first to launch, and to do your best not to let perfectionism hold you back from getting started. Maybe done is better than perfect. Or, if you instead find yourself in the same boat as me, is there room to move and change your approach? Could you see it as an opportunity to pivot and find a fresh, unexpected angle?

The truth is, I was stuck in a bit of a rut anyway. I fell out of love with the story idea a few weeks back. When I started writing months ago, I kicked off with a hiss and a roar, smashing my daily word count goal and picking up steam until I hit a wall. I didn’t like the characters and writing became a slog. Instead of feeling inspired and excited by the story, I felt bored and disillusioned. It became something I thought I simply had to finish to avoid the “sunk cost fallacy”.

This uncanny coincidence has forced me to open doors to new possibilities with the story that I hadn’t allowed myself to consider before. Now that the original plan has gone out the window, the idea of returning to the old draft feels strangely exciting again. Like anything is possible and the book could go in any direction. 

But I guess you’ll just have to wait and see… Maybe I’ve already said too much.

[boolger]

Hi, I love lapdog on a farm! It’s one of my all time favorites, it’s like the hybrid fic I’ve always wanted!! Apologies if this has been asked before, and of course no pressure intended, but I was wondering if you’d ever consider writing a prequel? From back when John had first gotten her as a rescue and she was all scared and skittish— before she grew into being his very spoiled princess, and he had to earn her trust. If you’d like to let the series lie at the conclusion of lapdog on a farm, I understand, but I think the network of relationships and history you’ve made between daisy and John is really interesting and I would love to see more if you feel inspired for it!

Regardless, thank you for all of your hard work! It’s such a pleasure to read your stories and it brightens my day every time there’s an update!

Aaaaaa thank you so much 🥺🥺🥺❤️ really means a lot!!

But yes, I’ve strongly considered this - as I’ve grown fond of the series, however, I have plans to make a fic following Valeria for a couple of chapters instead, as I already have a lot planned out for her. I want her to find a stray hybrid who has somehow managed to escape some abusive owners and Valeria just instantly decides that she is her mate and that she will care and love her - even if that means she will have to hide her from Alejandro and Rodolfo, heh.

Tho I have been thinking about a sequel, I don’t think it would be as long as a lapdog on a farm, as there are certain things I think would be best vague (also bc I’m sometimes quite shit at timelines ngl).

I think their first meeting and perhaps a couple of short shots of their everyday and how they grow close - perhaps, especially with a focus on their individual loneliness and how it’s viewed in a world and society where hybrids aren’t considered human enough to have the same rights. And Daisy’s change from fear and anger to being spoiled, as you mentioned.

Seeing Daisy meeting Nikolai for the first time would perhaps be fun too, even though she doesn’t really remember it that much later on.

I might end up doing small one shots or something instead of a longer fic, as I think that would work good with some pressure issues (don’t worry it’s not about u dear anon, it’s more in general with my anxiety and shit.) on not updating quickly enough.

I can yap about my plans for this year so far, as I’m quite excited hehehe❤️ even though you didn’t specifically ask about that🥴❤️

I would also like to finish a few other projects, like my barracks bunny fic, which I started last January haha. I almost have everything in that written, so it won’t take too long. I have another fic, with 141 as werewolves that I’m also quite far with.

At the same time, I would like to work with my favourite baby, which is a fanfic in another fandom, Macgyver (2016), which is a cult fic and is very dear to my heart.

In general my plan for this year is also to write a bunch of gay stuff. Both reader inserts but also just w characters from shows.

When all of this is said, I’m kinda uh, still getting used to the idea of being a writer ?? I know it might sound weird but I genuinely never thought I would spend a lot of time writing like this, I always considered myself much more of a drawing and painting girly.

But I’ve somehow found a way of expressing myself in writing, not only in English but to a growing degree also in my mother language, which actually has become well. Quite nice. I use it in therapy. Write a lot for myself.

Enough yapping on this ask, lmao.❤️

Apologies if my grammar is kinda shit in this reply, I’ve talked danish all morning and I’m in the train, tired to the bones lmao.❤️

[cataclysmic-writer]

A reintroduction to writeblr

Callista Van Allen is a professional speechwriter near Washington, D.C. Between her personal and professional life, she's been writing for more than a decade. Van Allen writes short stories and novels spanning various genres, and her short stories have been published by Adelaide Literary Magazine, HauntedMTL, and Bright Flash Literary Review.

Outside of writing, Van Allen practices martial arts and watches professional wrestling. Foxes are her good luck symbol, as one appeared the night of her first publication acceptance. Van Allen, age 24, can be found on Tumblr (@cataclysmic-writer) and Twitter (@CallistaVA).

Current Novels

Katastrophie (drafting) "You prayed for angels to punish me because the devil would be too nice."

An adult sports romance set in a professional wrestling company, Katastrophie explores themes of faith, family, and the price of ambition through the lens of an unreliable narrator.

Join the tag list or explore the WIP tag.

The Imperial Con (Ready to query) “I died first, didn’t I, Anastasia?” He asked. “I died first, and you’ll die last.”

A young-adult steampunk alt-history that combines the Russian Revolution and the European Theater of WWII. A hidden Princess Anastasia weighs the personal consequences of revealing her identity against the rising death toll of brutal dictatorships—domestic and foreign.

AKA: A family can be a hidden princess, a criminal mechanic, a disgraced Russian countess, a hotheaded American pilot, and a British code breaker.

Check out the WIP tag or ask to be added to the tag list.

Short Stories

I have 20+ short stories in various stages of development, not counting the three published ones mentioned in the intro. Genres include, but are not limited to, horror, urban fantasy, and period pieces.

My publication announcement taglist provides updates on story status. Ask to be added. You can also request tags by WIP title, or by WIP genre. Ex: You can request tags for any/all of my horror short stories.

In addition to the traditionally published pieces, I have some short works on Tumblr:

How to Survive a War The Brightest Star

Additional Blog Navigation

My advice Weekly Goal/Accountability for those interested in my plans each week.

Tagging convention

All of my WIPs are tagged as wip: (WIP name), ie wip: Katastrophie or wip: The Imperial Con. Individual characters are similarly tagged as OC: (Name), like OC: Kas or OC: Sophie.

[goodluckclove]

Author Ask Tag?!

hey @goldfinchwrites tagged me in a thing! cool! thanks, man! i'll use this as an opportunity to share a little bit about one of two projects i plan to work on starting in march while I wait for migration patterns to be beta'd. i'm playing around with an episodic radio show-style series that i'm calling sunderland forever.

What is the main lesson of your story? Why did you choose it?

so sunderland forever centers around the end of the world, seen through multiple, perhaps unconnected individuals. starting in portland, oregon, reality has started burning away. it started with a small black hole hanging in midair, seen in an abandoned lot near the columbia river. but it's slowly growing. and there are rumors of additional "cue marks" as some call them being found in other parts of the city. places that touch the cue mark as it expands are suddenly wiped from memory, even if they haven't yet been fully eaten by the void. the same goes for people - maybe.

there's nothing anyone can do. no one's really reacting in a way that makes sense. it's more mundane than anyone would ever expect from the end of the world.

What did you use as inspiration for your worldbuilding?

smart writer answer: I was fascinated by what I've read so far of Christopher Brown's A Natural History of Empty Lots. Portland is a city with it's fair share of abandoned structures - some spent years in limbo before suddenly being vanished into vacant concrete and gravel seemingly overnight.

We also have a lot of living things we either struggle to understand or choose to push aside entirely. Sunderland, a semi-industrial neighborhood in Portland, has been home to an RV Safe space for unhoused individuals to get their vehicles off the street and congregate for easier access to crucial services. This park, built to be temporary, is set to close at the end of March to give space for the Bureau of Transportation to store maintenance equipment. Despite plans for a new RV park opening nearby, the entire situation reads as an odd reshuffling of a very prominent problem.

You wouldn't think it would be so easy to avoid a 25k-square foot building, much less a growing population of human beings. And yet it happens so often. So it's an intriguing concept to explore what it looks like when reality starts taking over the forgotten, much like how nature takes back an abandoned structure. What does that look like, and what - if anything - changes when the forgotten is no longer our decision?

What is your MC trying to achieve, and what are you, the writer, trying to achieve with them? Do you want to inspire others, teach forgiveness, or help the reader grow as a person?

honest writer answer: i've missed writing scripts and this seems like a cool way to get back into that. you can also do more with radio plays, despite the obvious limitations. this concept is like kind of satire and it's potentially more timely than i'd prefer. but i'd still be aiming for a sort of dark absurdism akin to eugene ionesco's play rhinoceros.

uh but no one's trying to achieve anything. if they do try it might not really work. that's kind of the point. reality is literally burning away in a way so unfathomable that most people eventually have to shift focus and keep on going to work and taking care of their children or whatever.

i don't have a lesson. i don't have anything i'm trying to prove. it just seems like a cool concept to explore.

How many chapters is your story going to have?

chapters = episodes

episode length = maybe like twenty minutes? definitely one-act length.

answer = who fucking knows

Is it fanfiction or original content? Where do you plan to post it?

original concept! it'll probably be on soundcloud or something. maybe my patreon. wherever i post it it'll be free.

When did you start writing?

writing anything? twelve. i wrote a 10k novella. wrote my first novel at thirteen. wrote and produced my first script at sixteen. published at - eighteen, i think?

wrote this? i haven't. i'm still percolating and reading to develop different concepts. i have till end of february to finish migration patterns and then i can switch gears.

Do you have any words of encouragement for fellow writers of writeblr? What other writers do you follow?

write a lot. don't be afraid of failure. you're going to fail, that's part of the thing. failure in art doesn't look the same as it does in life unless your failure is also an act of public bigotry or literal crime. write a lot. like, write something right now. be indulgent and weird and too into your material. get comfortable with a silent reception because in original fiction you're going to have a lot of it and it's fine. enjoy what you do. also take breaks and live life so you can enjoy that too.

uh i'll tag some cool folks that are also wonderful writers you should groove on!

@mushroommanchanterelle (his lore drops on penumbra lately have been legit wild)

@xarrixii (flash/burn is fantastic it has been such a wonderful confusion having to engage with a serial that isn't finished yet)

@afyerarchive

@holfelderwrites124

@fenmere

(i know there are more of you but i'm trying to think of people i'm pretty confident have active projects. if you have one also just get in on this you are tagged too! tag you're it!!)

[historicity-was-already-taken]

In the past I have been highly critical of the fact that so much Holocaust memory is constructed through the autobiographical/memoiric writings of men, like Elie Wiesel and Primo Levi. And I remain critical, because that male canon obscures the experiences for women.

I've understood for a while that women write for their families while men write for history, but I've finally figured out how to put words to another piece of it. Because women perceive their individual experiences to have been unimportant, or as a tiny part of a whole, their writings are much harder for laypeople to understand.

One of the most moving Warsaw Ghetto resistance memoirs I've read so far has been I Remember Nothing More: The Warsaw Children's Hospital and the Jewish Resistance by Adina Blady-Szwajger. Towards what I'm going to call the first ending of this memoir (pg. 153), she writes:

When I finished the last page of my memoirs, I went back to the beginning. I read them through-and suddenly realized that something was wrong. I had wanted to bear witness to the true events of those times, but I had done it very awkwardly. Over the last forty-five years, the world has changed, new generations have grown up, and everything that happened has faded in the mists of history ... Everything has changed - even the streets I wrote about are no longer on the map of contemporary Warsaw. So much of what I wrote has ceased to be clear and comprehensible ... We have crossed the barrier of shadows, and one by one we are leaving. The young are left behind. And it would be a good thing if something of those years remained for them. And so we need to explain, not just to reminisce. I don’t know whether I am able to. I am not a professional writer, or a chronicler. But I must try ...

This type of ambivalence towards one's right to record their memories over such a traumatic past is a typical presence in women's Holocaust memoirs, but so is the issue Blady-Szwajger so eloquently points out above: the memories recorded are niche, interpersonal; recording events and landscapes and individuals which have not penetrated collective memory, and remain obscure to laypersons. At the time, the massacre of a Ukrainian shtetl was the most memorable moment in a writer's life, but from the lens of us, as students of history, it may be a blip in the larger history of Einsatzgruppen actions at the beginnings of Operation Barbarossa.

Because male writers are much more likely to understand themselves as purveyors of history, and not simply as small, modest pieces of a collective, many of their writers include attempts to contextualize events they personally experienced within the larger history of World War II and the Holocaust. Whereas women, simply remember.

[dagnab]

(ey hotpocket anon here)

may've infospiraled leading up to what i wanted to ask so feel free to ignore/only read the question. enjoyed your reponse on Viktor/the writing regardless!

but yeah big agree on the issue starting in season 1 and the larger foreign threat cop out almost being inevitable when the villains can't be allowed to be right/systems allowed to change.

like even as someone who only knows league through the osmosis grapevine, even i knew riot has a track record of centrist writing. so not sure what i was expecting lol, guess i hoped they'd have a little more tact/not be so brazen (cough black jinxer seeing an enforcer be nice to an old lady ONE time and goes to bat/dies for Piltover in an enforcer uniform)??? /head in my hands

like i love a good tragedy but season 2...wasn't that. heck it wasn't even bittersweet imo, just kinda depressing, masquerading as aspirational/realistic.

like of course this is where stuff goes when the writers believe systems are inherently good and fault lies with individuals. soon as Piltover was about to """grant""" Zaun independence and that gets ruined by an ~undesirable~ knew we were cooked. machine herald Viktor would've required a more grounded/nuanced approach they couldn't just ramp/scale with minimal effort. which isn't to excuse where the writing falters badly but can't say i'm shocked.

if they "had" to go the purple route, wish they'd at least leaned into the hextech as technical process all the way through. interfacing with power unfathomably large/complex is interesting but boiling down to big power always bad is kinda boring, esp for a narrative that believes power int the right hands is fine. it would've been more interesting for it to function like a system/character to be understood rather than a godly power (that can only really be wielded by the chosen/doom everyone for wanting a better world).

anyway unfortunately now i'm desperate to read some rewrites cause these characters are too interesting to leave ending like that. but god i do not wanna wade through the racism/ableism.

like Sky and Isha getting dusted/used by the narrative like that was just foul??? in 2024?? give me Jayce and Heimerdinger actually apologizing for their complicity, doing more to right it than just dying (what can i say as a Silco fan—i wanna see characters live/FIGHT for the cause). did Viktor, a highly visible disabled character have to becoming specifically a eugenicist to have a villain arc all while his autonomy over his own actions is in question? that seems...particularly insensitive at this moment in history. did Vi have to become a cop and be down to gas her people that quick after years of daily beatings? and the fact that everything Viktor ever did was for nothing, that the best possible outcome he could hope for across EVERY UNIVERSE/TIMELINE is to not die alone/die while comforting someone who still doesn't fully understand him (yes i'm a Jayce speech hater, as gorgeous/touching as the visuals are). and uh maybe a dictator facing consequences that don't involve disability as "punishment"?

which is all to say,—QUESTION—in an ideal world, what story beats would you've like to see for Viktor/the show?

i'm chomping at the bit to read read/imagine rewrites that do better by the characters/themes.

Hotpocket anon ily and I owe you an apology this ask has been fermenting in my inbox for like a week now because I've been stewing on complaints and ideas so hard.

It's gotten to the point where my post was getting way too long sooo uhhhhhh I just started writing a full machine herald rewrite fic. I'll link it when tha first chapter is out 😌

[waitmyturtles]

Be My Favorite: I’m All Caught Up!

So two nights ago, I kind of lost it, HAPPILY, in a binge of Be My Favorite -- I’m here to report that I’m all caught up, I’m VERY SEATED for the ongoing episodes, and hopefully I can get it together to do episodic meta from here on out. 

First off, I’d like to say, publicly, that I had written multiple times in previous posts that I would NOT be watching BMF after having watched SOTUS, SOTUS S, and Our Skyy x SOTUS for my Old GMMTV Challenge. I thought Krist Perawat’s acting in SOTUS, etc., was awful, especially compared to what Singto Prachaya was delivering. While Our Skyy x SOTUS was markedly better than the two full series, Krist wiping his mouth after the airport kiss still gave cringe, and I was like, peace out, cub scout, hope you never do another BL again.

I RECANT. Clearly, much has improved by way of Krist’s acting skill -- and, likely, by way of how GMMTV workshops their actors and scripts before filming a BL. (And I REALLY want to thank @rocketturtle4​ here for going very hard in the paint for Arthit and tagging me in your post, because your SOTUS meta absolutely had me thinking about Krist’s acting again. That piece was part of the inspiration and urge that led me to pick up BMF. Thank you! Good things happen when you clown, friend!)

(As well, I want to note that while Krist’s reputation regarding homophobia has not, by way of general public judgment, been fully redeemed, that I think recent discourse surrounding the early days of the pressures of shipper culture and how his comments were received is very interesting to peruse -- especially for me, as I develop a MUCH sharper eye towards the toxic, negative impacts of shipper culture. This amazing dialogue between @absolutebl​ and @thelblproject​ has been EXTREMELY helpful to me in setting that history and context for me.)

So, with all that said:

Be My Favorite is a FABULOUS SHOW. The writing is SHARP, the acting is GREAT, and the chemistry between Krist and Gawin Caskey is SUPERB. 

Catching up to episode 7, I want to review what I’m seeing as the major themes of the series, ones that I’m seriously enjoying:

1) As I noted in my Monday night liveblogs, this show is structured in part around the inspiration of a few old yt dudes philosophers and physicists regarding time, space, truth, and relative existence. We gots Nietzsche, Einstein, Orwell, and -- gah, the Thai writer of the book that Max was reading early in the series about Thai social hierarchy, and I cannot find the post that explains that book (if someone has the link for that post, please send, and I’ll edit it in here). (EDITED TO ADD: thank you to @grapejuicegay​ for sending me the link! The book Max was reading was The Face of Thai Feudalism, and here’s a wiki link for the book). Otherwise, receipts!

Just to recap what I wrote in underslept franticness on Monday night: the first of the old dudes to enter the ring of this series is Einstein, regarding time travel. I mentioned that I am a huge fan of Jack Finney’s Time and Again -- I loved that book in high school. It’s a fantasy about how the American government uses Einstein’s work on weight and light to understand the dimensional aspects of time, the present, the past, and the future, and how multiple existences may be present -- if you can create a pathway into them. 

I don’t know at all if BMF is talking to Time and Again, per se, but it IS talking to Einstein and relativity, along with Nietzsche and what’s referenced in the slide above -- Nietzsche’s On Truth and Lies in a Nonmoral Sense (and, yooo: here’s the text! Read it! Everyone: READ MORE NIETZSCHE! Let’s meditate on power together when we have the time, eeee!)

I really want someone with a Ph.D to not allow me to say this, but let me offer a blasé summary of the text to say: what’s essentially being said in the dialogue between Einstein and Nietzsche is that truth is relative to the moment in time in which truth is being sought, and to the individual to whom the truth may have meaning. Truth is relative to the beholder of that person that is seeking truth. 

In other words: what, exactly, is the truth that Kawi is seeking? 

2) @respectthepetty​ (here) and @lurkingshan​ (here) are writing excellent meta on the dislikability of Kawi, and how this search for his “truth” is fucking him the hell up. First: I TOTALLY AGREE. This dude wants to spin that damn ball to find out if his life gets “better.”

And what we’re seeing is that he’s slowly relaxing the parameters of what “better” means. What “better” HAD meant to him, early on, was that he’d be in love with Pear, and that his dad would be alive. In episode 7′s rock star world, we see neither of those things happening; in fact, in none of his presumed worlds do we see that happening. 

Besides Kawi’s dislikability, which I’ll get back to in a second, I just want to say:

Him jumping to world after world is SO important to this story, and I really like that this series isn’t trying to hone in on ONE world being THE RIGHT WORLD, because -- Nietzsche, Einstein, and Orwell aren’t necessarily the guys you want on the bench arguing in favor of a ONE RIGHT WORLD perspective. They’re the dudes who are like -- bend some light here (Einstein), throw in a linguistical concept there (Nietzsche), and add some questionable politics and power control issues (Orwell), and, well, you got some messy worlds there, my friends.

In other worlds: this show is set, per episode, in the world in which Kawi is existing at that moment. It has relativity to his other worlds -- because he’s an anchor in all these worlds -- but not one specific present moment is his absolute truth. YOW.

3) Sooooo, where does that get us? It gets us to episode 7, an episode that really moved us...“forward” (??) (ha) in this series. In that, Kawi changed enough in his initial state at the start of the series to create a new future for himself that was vastly different than the ones in which Pisaeng was going to marry Pear.

What I am loving about this series is that by being anchored by the influence of the philosophers, in part, that we get to see a lot more light into Kawi and Pisaeng. Pisaeng, as we now know, was pressured by his mother to stay in the closet at a young age (cc @brazilian-whalien52 and @respectthepetty on the linked post!). 

What is your truth if you’re in the closet for so long?

In episode 7, Pisaeng has disappeared from the lives of his friends and Kawi for months. We don’t exactly know why at this point. But we get a hint at the very end of the episode -- that he is ultimately spending his time, possibly in multiple worlds, being patient for Kawi to come around to Pisaeng’s love. 

Early in the series, as well, Kawi notes to Pisaeng that Pisaeng wasn’t being honest to Pear about not having feelings for Pear. I think this extrapolation has already happened in previous posts, but I’m not finding them at the moment, so let me give flowers to everyone who has said: that Pisaeng’s internal reality is also a world, a present, that Kawi doesn’t necessarily share by way of absolute reality -- in that, what Kawi demands of Pisaeng early on is relative revelation for the sake of the people around him. And how will Pisaeng’s truth affect others? How will it affect Kawi, how will it affect his mom? How does it affect Pear?

All of that is relative truth that each individual, involved in these circles, must translate AND accept and digest in their own individual, micro-level perceptions. Pisaeng’s own truth BECOMES a kind of truth that is slightly different for each person that’s receiving it. 

4) And the same for Kawi. Except, we’re seeing it develop differently for Kawi. I think we have known, up until the end of episode 7, what “better” meant for Kawi, as I wrote previously -- Pear, his dad’s health, etc.

But I think we’re going to see a change in Kawi now (hopefully). We’re seeing that Pisaeng keeps returning to Kawi, in almost all the worlds, as Kawi improves himself and checks himself against his “present.” Surely, what we want to see in a BL is Kawi warming up to Pisaeng’s affections. The fact that time travel is the modality by which Kawi will experience that change -- vis à vis some VERY fascinating perspectives on what “truth” really means -- is FABULOUS.

It’s unique, because -- I think -- in the story of Pisaeng, do we see a macro commentary on the reality of being queer in majority cishet societies that may view queerness as dangerous or something to be kept secret, as Pisaeng’s mom indicates. 

To keep one’s queerness in the closet -- FOR THE SAKE OF SOMEONE ELSE, damn it -- isn’t that a violation of one’s own truth? And one’s own reality?

5) And, final point (for now) (ha) is: a theme that’s been running through my head on this series is how both Kawi and Pisaeng CHALLENGE EACH OTHER TO CHANGE themselves. Maybe even... for “the better.”

Previously to all of this time travel stuff -- neither of them experienced external pressure to change their worldviews. Pisaeng was going to marry Pear as a closeted queer individual. Kawi was going to live out his life friendless and companion-less.

Instead, THROUGH the time travel, and through their growth in all of these different worlds -- BOTH of them have been forced to change.

I really like this lesson. One can become complacent. As Theory of Love so deftly demonstrated: behavioral change is really hard. But it might be a little less hard if you have a companion, a friend, maybe even a lover, going through similar changes as well.

Kawi is still dislikable, I think, because he’s not aware of either HOW or WHY he’s changing. But he’s changing, alright. He doesn’t have the context, yet, as to why this might be good for him.

Maybe the crystal ball will tell him that?

OR, MAYBE: he’ll come to realize that contentment in the present is ultimately what will give him the most happiness. As Pear said to Kawi during her wedding in episode 7:

“But as we grew older, lived our lives, and continued to make mistakes, we’d have to accept that this was the farthest that we could achieve.”

What Pear is saying here is: you can stop striving sometimes, Kawi. If you can just -- BE -- and accept that life is not PERFECT -- then your future WILL just BE the result of THAT work THAT YOU DO NOW, THAT WILL CONTAIN MISTAKES.

What I hope to see in the future episodes of this series is Kawi recognizing that that work is what will be his revelation, and his ultimate truth for himself -- the truth that makes him the most happy and fulfilled.

We’ll see. I haven’t even gotten into all the subtle references to Krist’s past that this script holds, but @lurkingshan​​ is holding that down in her meta (yay, Shan!).

I am in LOVE with this show, and am SUPER EXCITED to join y’all in watching it! I am VERY IMPRESSED with GMMTV taking another chance on Krist in a BL, and Gawin was a perfect choice as an onscreen partner.

(CCing a few friends who were holding me down during my Monday liveblog, here ya go, some meta for ya -- THANKS FOR YOUR PREVIOUS FEEDBACK, FRIENDS! @dribs-and-drabbles​​, @grapejuicegay​​, @rocketturtle4​​, @chickenstrangers​​, @lurkingshan​​) 

P.S. I FORGOT TO ADD:

GAWIN. CASKEY. DAMN. CAN THE HOMEY ACT, OR CAN HE ACT? He is SO GOOD IN THIS, MY GAWD! Their CHEMISTRY! MEEP!

[olderthannetfic]

I feel a lot more excluded and isolated in fandom than I used to back when I first joined around 2015.

I know it was actually just luck that I happened to choose to follow a handful of people who made fandom feel this way, but there was this always such an inclusive vibe back then. Fic writers made it a point to kind of, invite their readers to stand on an equal footing with them. I remember the 'popular cool kids cliques' being writers and artists, but also including people who didn't make anything themselves. Very occasionally they'd make original posts but mostly their 'role' in fandom was just to talk to and support the people who made stuff, and they were still in all the inner circles.

Like there was an active effort to spread the message that you can be a part of the community, and your presence is important too, even just as an audience member - if you at least actively participate in the conversations sometimes. And I feel like it's fully turned back around now. Nobody wants mostly lurkers around anymore, public spaces are shrinking in favor of discord, and nobody is interested in trying to make friend with the rando who occasionally drops in to say a lot of nice things about your fics but who isn't good enough with people to try to get a conversation going.

Idk I just keep seeing fandom events or even polls where people will just hang out and chat and it's very clear that even if the event is fully unrelated to writing only writers are welcome and it makes me feel like shit. Making friends is never a walk in the park for me to begin with but now I feel like I have an extra obstacle to clear. I miss the feel I used to have of fandom being less cagey and ashamed and more welcoming.

TL;DR I wish I still had or could make some new fandom friends lol

--

2015, huh?

The bad news is that making friends was always potentially hard for the entire history of the world and will likely continue to be so aside from pockets of luck. The good news is that nothing has changed so radically since 2015 that you couldn't get lucky again.

I gotta tell you, as someone who gets approached a lot, has almost exclusively fandom friends, and loves people... Being expected to do all the work is a big, big turn off.

I'm always happy to see people who actively participate in conversations. That's not lurking.

I'm terrible with usernames or remembering people online as individuals if I haven't seen their actual face, but I do remember a lot of people who comment regularly here. There's someone I talk to all the time in private now whom I met through comments and who's one of my more treasured online friendships.

But if people truly are "mostly lurkers", I'm going to forget who they are. If someone is bad with people and therefore expects me to get every conversation going… well… that's pretty exhausting.

I think the biggest keys to friendship are finding people you're already naturally compatible with and then consistency. You have to find people who are a good fit, and you have to show up if you want them to know you care.