#i don’t take any criticism on this take it’s simply the truth

[voxphantasma]

oh um did i see the neverafter minis that are going up for auction? you could say that,,,,, (cauldron woman is sooo– i’m dragged off the stage and shot)

[IMAGE ID: a digital sketch of a woman in a simple, dirty, long, olive green dress and a dirty, white apron. she is leaning on a broom and instead of a head she has a big cauldron full of an orange soup. her outfit is completely covering her body but you can tell she has big breasts and hips. /END ID]

[dailyrothko]

No, the Popularity of Abstract Art is Not the Result of a CIA PsyOp

If you are unlucky enough to move around the internet these days and talk about art, you’ll find that many “First commenters” will hit you with what they see as some hard truth about your taste in art. Comments usually start with how modern art is “money laundering” always comically misunderstanding what that means. What they are saying is that, of course, rich people use investments as tax shelters and things like expensive antiques and art appraised at high prices to increase their net worth. Oh my god, I’ve been red-pilled. The rich getting richer? I have never heard of such a thing.

What is conveniently left out of this type of comment is that the same valuation and financial shenanigans occur with baseball cards, wine, vacation homes, guitars, and dozens of other things. It does indeed happen with art, but even the kind that the most conservative internet curator can appreciate. After all, Rembrandts are worth money too, you just don’t see many because he’s not making any more of them. The only appropriate response to these people who are, almost inevitably themselves, the worst artists you have ever seen, is silence. It would cruel to ask about their own art because there’s a danger they might actually enjoy such a truly novel experience.

When you are done shaking your head that you just subjected yourself to an argument about the venality of poor artists plotting to make their work valuable after they died, you can certainly then enjoy the accompanying felicity of the revelation they have saved to knock you off your feet: “Abstract art is a CIA PsyOp”

Here one must get ready either to type a lot or to simply say “Except factually” and go along your merry, abstract-art-loving way. But what are the facts? Unsurprisingly with things involving US government covert operations, the facts are not so clear.

Like everything on the internet, you are unlikely to find factual roots to the arguments about government conspiracies and modern art. The mere idea of it is enough to bring blossom for the “I’m not a sheep” crowd, some of whom believe that a gold toilet owning former president is a morally good, honest hard-working man of the people.

The roots of this contention come from a 1973 article in Artforum magazine, where art critic Max Kozloff wrote about post-war American painting in the context of the Cold War, centering around Irving Sandler’s book, The Triumph of American Painting (1970). Kozloff takes on more than just abstract expressionism in his article but condemns the “Self-congratulatory mood”of Sandler’s book and goes on to suggest the rise of abstract expressionism was a “Benevolent form of propaganda”. Kozoloff treads a difficult line here, asserting that abstraction was genuinely important to American art but that its luminaries, “have acquired their present blue-chip status partly through elements in their work that affirm our most recognizable norms and mores.”

While there were rumblings of agreements around Kozloff’s article of broad concerns, it did not give birth to an actual conspiracy theory at the time. The real public apprehension of this idea seems to mostly come from articles written by historian Frances Stonor Saunders in support of her book, “The Cultural Cold War: The CIA and the World of Arts and Letters” (New York, New Press, 2000). (I have not read this 525 page book, only excerpts).

The gist of Ms. Saunders argument is a tantalizing, but mostly unsupported, labyrinthine maze of back door funding and novelistic cloak and dagger deals. According to Saunders, the Congress for Cultural Freedom (CCF), an anti-communist cultural organization founded in 1950, was behind the promotion of Abstract art as part of their effort to be opinion makers in the war against communism. In 1966 it was revealed that the CCF was funded by the CIA. Saunders says that the CCF financed a litany of art exhibitions including “The New American Painting” which toured Europe in the late 1950s. Some of this is true, but it’s difficult, if not impossible, to know the specifics.

Noted expert in abstract-expressionism, David Anfam said CIA presence was real. It was “a well-documented fact” that the CIA co-opted Abstract Expressionism in their propaganda war against Russia. “Even The New American Painting [exhibition] had some CIA funding behind it,” he says. But the reasons for this are not quite what the abstract art detractors might be looking for. After all, the CCF also funded the travel expenses for the Boston Symphony Orchestra and promoted Fodor’s travel guides. More than trying to pull the wool over anyone’s eyes, it was meant to showcase the freedom artists in the US. enjoyed. Or as Anfam goes on to say, “It’s a very shrewd and cynical strategy, because it showed that you could do whatever you liked in America.”

For what it’s worth, Saunders’s book was eviscerated in the Summer 2000 issue of Art Forum at the time of its publication. Robert Simon wrote:

“Saunders draws extensively on primary and secondary sources, focusing on the convoluted money trail as it twists through dummy corporations, front men, anonymous donors, and phony fund-raising events aimed at filling the CCF’s coffers. She makes lengthy forays into such topics as McCarthyism, the formation and operation of the CIA, the propaganda work of the Hollywood film industry, and New York cultural politics—from Partisan Review to MoMA to Abstract Expressionism. Yet what seems strangely absent from Saunders’s panoramic history, as if it were a minor detail or something too obvious to require discussion, is the cultural object itself: The complex specifics of the texts, exhibitions, intellectual gatherings, paintings, and performances of the culture war are largely left out of the story.”

Another problem with the book seems to be that Saunders is an historian but not an art historian. For me, I sensed an overtone of superiority in the tale she’s spinning and most assuredly from those that repeat its conclusion. The thinly veiled message of some is that if it were “Real art” it would not have had be part of this government subterfuge. The reality is very different. For one thing, most of us know it is simply not true that you can make people devoted to a type of art for 100 years that they would sensibly hate otherwise. Another issue is that it’s quite obvious none of the artists actually knew about any government interference if there was any. Pollock, Rothko, Gottlieb and Newmann were all either communists or anarchists. Hardly the group one would recruit the help the US government free the world of communism. Additionally, this narrow cold war timeline ignores a huge amount of abstract art that Jackson Pollock haters also revile and consider part of the same hijacking of high (Frankly, Greek, Roman, or Renaissance) culture. If you look at the highly abstract signature work of Piet Mondrian and observe the dates they were painted, you’ll see 1908, 1914, 1916. This is some of the art denigrated as a CIA PsyOP, 35 years before the CIA even thought about it. Modern art didn’t come from nowhere as many would have you believe to discredit its rise. There was Surrealism, Dada, Bauhaus, Russian futurism and a host of other movements that fueled it.

Generally, people like to argue. On the internet, “I don’t like this” is a weak statement that always must be replaced by “This is garbage” or my favorite, “This is fake.”

It’s hardly surprising that the more conservative factions of our society look for any government involvement in our lives to explain why things are not exactly as they wish them to be, given the (highly ironic) conservative government-blaming that blew up after Reagan. In addition, modern fascists have always had a love affair with the classical fantasy of Greece and Rome. Both Mussolini and Hitler used Greece and Rome as “Distant models” to address their uncertain national identity. The Nazis confiscated more than 5,000 works in German museums, presenting 650 of them in the Entartete Kunst (Degenerate Art, 1937) show to demonstrate the perverted nature of modern art. It featured artists including Marc Chagall, Max Ernst, Wassily Kandinsky, and Paul Klee, among others. The fear of art was real. It was the fear of ideas.

To a lot of people on the internet just the mentioning a “CIA program” is enough to get the cogs turning, but as with many things, the reality of CIA programs and government plots is often less than evidence of well planned coup.

The CIA reportedly spent 20 millions dollars on Operation Acoustic Kitty which intended to use cats to spy on the Kremlin and Soviet embassies. Microphones were planted on cats and plans were set in motion to get the cats to surreptitiously record important conversations. However, the CIA soon discovered that they were cats and not agreeable to any kind of regulation of their behavior.

As part of Operation Mongoose the CIA planned to undermine Castro's public image by putting thallium salts in his shoes, which would cause his beard to fall out, while he was on a trip outside Cuba. He was expected to leave his shoes outside his hotel room to be polished, at which point the salts would be administered. The plan was abandoned because Castro canceled the trip.

Regardless of your feelings on this subject or how much you believe abstract art benefited from government dollars, Saunders herself quotes in her book a CIA officer apparently involved in these “Long leash” influence operations. He says, “We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do.” Hardly the Illuminati plot we were promised.

In 2016, Irving Sandler, author of the book that started Kozloff tirading in 1973, told Alastair Sooke of The Daily Telegraph, “There was absolutely no involvement of any government agency. I haven’t seen a single fact that indicates there was this kind of collusion. Surely, by now, something – anything – would have emerged. And isn’t it interesting that the federal government at the time considered Abstract Expressionism a Communist plot to undermine American society?”

This blog post contains information and quotes sourced from The Piper Played to Us All: Orchestrating the Cultural Cold War in the USA, Europe, and Latin America, Russell H. Bartley International Journal of Politics, Culture, and Society, Vol. 14, No. 3 (Spring, 2001), pp. 571-619 (49 pages) https://www.bbc.com/culture/article/20161004-was-modern-art-a-weapon-of-the-cia https://brill.com/view/journals/fasc/8/2/article-p127_127.xml?language=en https://www.guggenheim-bilbao.eus/en/learn/schools/teachers-guides/the-dark-side-of-classicism https://www.artforum.com/features/american-painting-during-the-cold-war-212902/ https://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html https://www.artforum.com/columns/frances-stonor-saunders-162391/ https://www.artforum.com/features/abstract-expressionism-weapon-of-the-cold-war-214234/ Mark Rothko and the Development of American Modernism 1938-1948 Jonathan Harris, Oxford Art Journal, Vol. 11, No. 1 (1988), pp. 40-50 (11 pages)

[schoenpepper]

Our Love is God (Heathers the Musical)

Intro: He worships you.

Warnings: bad writing, awful grammar, not proofread, death, gore, blood, yandere

A/N: Jade jade jade jade my love my baby boy mwahhhh cutie pie. A little different than the other songfics, kinda short.

Masterlist

They made you cry, but that will end tonight

Human blood is a deep, crimson red. It smells like rusted metal…tastes like it too. When Jade brings his hand to his lips, his mind is clouded with thoughts of you. Would you enjoy the taste too? The sensation? His tongue darts out to lick the droplet of maroon, the remnants of your tormentors.

He thinks you would enjoy it as much as he does.

The color stains white roses the most stunning red.

You are the only thing that's right about this broken world

You were saved by them?

You didn’t need saving, darling.

With Ramshackle gone that time, he would have been all too happy to recommend his own room for you to stay in. He’d heard of the saying that royals bleed blue, but that’s simply untrue. Royals bleed the exact same hue. There’s amusement when he rhymes in his mind, humming a happy tune as he exits the premises. It seems the wild animals ought to have better senses, lest they don’t realize when they’re being hunted.

We'll burn it down and then, we'll build the world again

Jade is a lot of things, but he’s no hypocrite. He’d promised himself to kill all those who vied for your attention, after all. All’s fair in love, war, and business.

They called it a love-addled rampage.

But he’s never felt such clarity before. They must be liars.

You are his only truth.

Our love is God

Quick. He needed to make it quick. Unforeseen. If they put up a fight, the other will be desperate to protect—hah. There is no use protecting a corpse.

Morale is down. It’s easier to strike. So he does.

Gold clatters to the ground, caked by dust and organs.

There is the aftertaste of sand and sadness.

You're not alone

The hunter is dangerous. It’s quite lucky he’d gotten rid of him much earlier, lest his pilgrimage end up with unwanted surprises. On the chessboard, the rest of the white pieces are already off the board. The queen remains. A pawn is standing guard.

He makes a move.

The pawn falls.

The queen is unaware of the danger. Another move. There’s not much left to do, cornered on the board. And eventually, it falls too. Anticlimactic, but not quite unexpected. He’d planned for too long for all of his plans to fail at this time.

And when the morning comes

It’s surprisingly easy to dismantle a robot.

Especially one that saw him as no threat.

Technology is very convenient really, cameras fall apart with just one swing of a metal rod. Your friends, there’s just too many of them. Isn’t he so kind, so benevolent, so gracious, for culling the herd? Jade’s the only one you need. Jade is the only one you love.

Jade will be the only one left soon enough.

We'll burn away that tear, and raise our city here

At a critical juncture, it all falls apart. In any case, he’d never expected to take on one of the most powerful mages in the world and win. He’s shackled and bound while they assess how far the damages of his love had gone. They say it’s gone too far, but he believes he hasn’t gone nearly far enough yet. No. You deserve more, don’t you?

You plead with your friend to give you some space. You want to talk to Jade? Alone?

Even now, you’re just the sweetest.

You chose to be left alone in a room with a chained predator.

(Are you unaware the predator can still bite?)

Our love is God

“Why…why did you kill them all?”

“I did it for you, my love.”

You’re looking at him strangely. He doesn’t like it; he can’t read your expressions, your movements.

We can start and finish wars

They’re turning him in to the authorities. That’s fine.

Even far away, locked in a cell, he will always think of you. Dream of you.

You are the parasite implanted into his brain, a creature that ate up his internal organs and replaced them all with images of yourself. You are an alien, one that chose to burrow itself into him and turn his blood into nothing but pure desire for you and everything that you represent.

We're what killed the dinosaurs

You visit him in the dead of night.

How did he never know you could pick locks?

The fae were careless, the door wasn’t enchanted by any sort of magic. You came back to his side, why? Do you despise him, detest him, for murdering all the people you hold dear in blood as cold as the ice floes in his home? Don’t look at him with hatred.

Don’t get too close.

(The predator has always had its sights set on you.)

We're the asteroid that's overdue

“Jade…”

He could think of so many things you could say to him.

Each and every one would be like knives digging themselves into his flesh. Darling, do be gentle with him, would you? He’s only bled because of his love for you. It’s a hideous thing that he keeps alive, just for you. Don’t deny him.

The new world needed room for me and you

“Can you run?”

That is…certainly not what he expected you to say.

“Not with these cuffs, I’m afraid.”

“Oh, right. Turn around.”

I worship you

You would set him free?

Maybe you’re just as crazy as he is.

Deft fingers work with a bent hair pin to unlock the chains. He’s really lucky he wasn’t restrained by magic, you would have had no way of undoing those.

I'd trade my life for yours

You give him back his magic pen and pull him to run back to the Hall of Mirrors.

Our love is God

He relishes the feeling of your hand in his.

Our love is God

“Not that I don’t enjoy the midnight rendezvous, but where exactly are we going?”

“Home. Where you’re not wanted by the mage police.”

“And how do we get there?”

“Like how I got here. The Dark Mirror.”

Our love is God

Have you always known how to return to your old world…?

Our love is God

Green lightning strikes in the distance. The two of you are running out of time.

We can start and finish wars

As marvelous as dying with you would be, he enjoys the thought of escaping with you more. He can still run, but you’re beginning to lag behind. He scoops you up into his arms and keeps running.

We're what killed the dinosaurs

The hall is close. He can see its vague silhouette in the distance.

We're the asteroid that's overdue

In a puff of green smoke, you’re taken from him.

They'll die because we say they must

They think he’d kidnapped you. He doesn’t speak up to clarify the misunderstanding. It would be better for you to be the victim.

I worship you

You struggle and jump with him into the mirror anyway.

I'd trade my life for yours

He watches as you break the mirror with the closest thing you can throw at it. 

“I…I got you back. Here. I didn’t think…” you break out into a sudden laugh, and he’s frozen in place when you wrap your arms around him. Is this a cause worthy of celebration? He doesn’t quite understand. But you’re in his embrace and he would be damned if he let you go.

We'll make them disappear

“This is your house?”

“Mmh, it’s just me. It’s fine though. With you here, I won’t be lonely anymore.”

We'll plant our garden here

The first night, he woke up next to you and found a nearby mirror shining with green light. He tossed a sheet over it and broke it when daylight came, telling you it needed to be replaced.

You never questioned his words.

Our love is God

He fits right in this magicless world. There is no competition here. No one is worthy of your gaze. It calms him down.

Our love is God

The next time a mirror glows, he breaks it immediately.

Our love is God

The souls are still haunting him.

Our love is God

The faes are still looking for a way to him.

Our love is God

All of it fades when he’s right next to you.

Our love is God

There is nothing Jade won’t do to love you.

[coraniaid]

reverse unpopular opinion meme: xander?

[Reverse unpopular opinion meme]

I like to consider my opinion of Xander Harris as being particularly complicated and nuanced, but – engaging in some critical self-reflection for just a moment – I think the objective truth is probably more that I’m just instinctively and aggressively contrarian about it.  I find that I tend to strongly disagree with most of the online takes about Xander I see, almost regardless of whether they’re pro or anti.  

I mean, on the one hand I do think it’s more than a bit silly to pretend, as many people seem to do, that Xander Harris is [somehow?] uniquely and only a Joss Whedon self insert [despite being written by multiple people] in a way that none of the other characters [that Whedon also created and that appear in the show Whedon created] apparently are. Or to ignore the fact that very often the audience is clearly meant to think that Xander is in the wrong and disapprove of his actions.  (You obviously aren’t supposed to be cheering for him when he lies to Buffy about Willow’s message about Angel in Becoming, for an easy example; or to be clapping and applauding him when he cheats on Cordelia or leaves Anya at the altar either.) And I think it would be wrong to dismiss the fact that Xander starts the show as a dumb but (mostly) harmless teenager and that, not only does he gradually mature and improve as a person as he grows up, he also [perhaps uniquely for this show?] manages to do so without killing even one person.    

But equally I would be lying if I didn’t admit that many of my least favorite episodes of the show are either Xander-centric episodes (Teacher’s Pet, The Pack, Bewitched, Bothered & Bewildered for example) or episodes in which Xander plays a non-trivial role in exactly the parts of the episodes I most dislike (his treatment of Buffy in Dead Man’s Party, say, or his speech in support of Riley in Into The Woods).  The haters are right to say that Xander does often treat his female friends and partners abysmally, often in ways that the show doesn’t seem to acknowledge or which it briefly acknowledges only to brush them off with no consequences.  There certainly are times when the writers expect the audience to cheer for Xander a lot more than I personally want to, or when he says something gross and sexist which is just meant to be funny and that the writers simply didn’t think critically about at all.  And the flipside of Xander being written by a range of different writers is that his character growth is often slow, halting or inconsistent (which, while arguably realistic, is not particularly fun to experience).  And unlike some of the fandom I don’t really believe anything Xander does can be handwaved away by him being deeply affected by what happened to his “best friend” Jesse in Season 1’s The Harvest: in fact I would put money on a majority of the show’s writers having no idea who Jesse was.

Anyway, none of that preamble is really in the spirit of the ask game, is it?

Um.  Five things I like about Xander, then.  No hedging or clarification except for what I heavily imply above (oh, and also the comics aren’t canon and don’t mean anything and actually don’t even exist … I mean, uh, what comics are we even talking about?).

I think the show resolves the initial Season 1 “love triangle” (in which Xander is really into Buffy and she doesn’t reciprocate his feelings or even seem to notice them, while similarly Willow is really into Xander and he doesn’t reciprocate her feelings or even seem to notice them) in about the best way it possibly could have done.  Buffy and Xander don’t ever get together and there’s never really any suggestion that they might – one or two odd moments in Season 2 aside, I guess? – and Willow musters the self-respect required to firmly reject Xander when he tries to ask her to the dance that Buffy had just turned him down for in Prophecy Girl.  Not only that, but Willow goes on to have a serious relationship with a guy who isn’t Xander and then comes out as a lesbian and continues to have serious relationships with woman who aren’t Xander, right up to the end of the final season.  And this happens all while the three of them stay very close friends; in fact Buffy and Xander at least are clearly better friends in the second half of the season than they were at the beginning of the show [when, after all, Xander had only just met her].  Whether or not that was planned from the beginning – and to be honest, I think the Buffy fandom as a whole wildly overestimates how much of the show was planned from the beginning – I think that’s a pretty unambiguously great way for that particular subplot to have be handled.   (Although the funniest and most geometrically pleasing resolution of the Season 1 love triangle would, of course, have been for Buffy and Willow to end up together.)

Speaking of Buffy and Willow, for all his faults Xander is consistently written as somebody who cares about his friends and wants them to be safe and happy.  As well as the obvious big moments – helping to save Buffy’s life in Prophecy Girl; his speech assuring Buffy that she’s his hero in The Freshman; repeatedly assuring Willow in Grave that he’ll always love her, even if she ends up killing him or destroying the world; that moment in Season 7 where Buffy sends him away to look after Dawn because she “needs somebody [she] can count on” – I think it’s fun when we get to see the three of them just hang out, in those quiet little moments they get to just all be kids together.  I am very firmly in the camp that thinks Buffy should have friends and be allowed to not be treated for an idiot for liking said friends or wanting to spend time with them.  Whatever else you can say about it, I think it’s obvious that this is how the show’s writers expect you to engage with the show.   That’s part of why I’m more forgiving than some people of episodes like I Robot, You Jane or Bad Eggs or Amends: these are all episodes in which I can believe that Xander is fundamentally a good kid who Buffy would want to be friends with, and that he’d grow up to be somebody she’d still want to be friends with as an adult.    

Some people online – mostly not on Tumblr – talk a lot of rot about Xander getting self-defense training or somehow reconnecting with the military persona he had in Halloween or otherwise Learning How To Fight, and I can’t overstate how glad I am that the show didn’t go in this direction.  Xander makes sense as a character precisely because he isn’t a fighter.  Because he doesn’t occupy that more stereotypically masculine role: because he is the one who gets rescued and brings in baked goods and that the other, more powerful but emotionally repressed characters can go to to talk about their feelings.  Because he is the person who, by the end of the show, can best reassure Dawn that she doesn’t need to be a Potential Slayer or have superpowers to be special.  This idea that Xander complains too much during the show about not having special powers and that the “solution” to “fix” this is to have him go out and get some (as opposed to this being a deliberate character arc in which Xander learns to accept that he’s never going to be that sort of person) is not one I have a lot of sympathy for.  The show already has a human male character who is trained as a fighter so he can go on patrol with Buffy: he’s called Riley Finn and he’s insufferable. 

Although the fandom as a whole loves to massively oversell how “abusive” the Scoobies respective parents are, I do think that Xander’s home life is a key part of understanding who Xander specifically is as a person.  And – again, however deliberately planned from the beginning or not it was – there’s something nicely disturbing about how we never get a big dramatic reveal about how awful Xander’s parents are: it’s just something that the writers just slowly build up to – from the idea in Season 1 that Xander doesn’t regularly eat cooked meals at home (“do your parents even own a stove?”), to Xander joking about his dad trying to “send [him] to some Armenians once” early in Season 2, or calling home to say he’s going to be out all night and having his mother clearly not recognize his voice, through to Cordelia revealing in Season 3 that he admitted to her that sleeps outside during Christmas to avoid his parents drunken fights  – until by Restless we can see Xander having nightmares about being trapped in his parents basement and having his father come down the stairs and we don’t need to have anything more than that explained to us.  I think that’s all really effectively done, and while I don’t think it excuses te way Xander behaves I do think it does a lot to make sense of it.

Again, while I think it’s possible to drastically overstate the Mind/Spirit/Heart metaphorical reading – I don’t think this is something the writers were consciously thinking about most of the time and I don’t think the reading of the show in which everyone is reduced to a part of Buffy’s own psyche is even particularly interesting except perhaps as an intellectual exercise – I do think it’s a reading that works pretty well for Xander. (Actually of the three elements, that’s surely the one that’s easiest to see: I’ve never been completely sure why Willow is the Spirit rather than the Mind.)  Yeah, Xander can often be petty and jealous and selfish and hypocritical and refuse to analyze his own feelings: that doesn’t rule him out from being Buffy’s metaphorical heart, it’s evidence that he is.  Buffy can be all of those things too!  (I think I am rather more fond of Buffy herself than you are – she is my favorite character on the show, after all – but I don’t like Buffy because she’s flawless and perfect; I like her because she’s interesting and realistically flawed, and very often flawed in the same ways as her friends.)

[shini--chan]

Hi, hello!! If possible, would it be ok for me to request the first yandere character sheet for america?? I absolutely love the way you characterize him!!

Yandere Character Sheet I

1p America: Alfred F. Jones

Trigger warnings: neglect, starvation, white torture, abandonment, forced assimilation, murder, physical and verbal abuse, mind games

Attributes - What sort of Yandere is he/she?

The problem with Alfred as a yandere would be how his base personality affects his yandere tendencies. Fundamentally, he wants to be a hero, he wants to help people and be selfless, but it is ruined by his self-centred worldview and his egoist ideology. At the end of the day, he is far more concerned about how you can benefit him, rather than how he can ensure and protect your happiness and health. America would only really be willing to change his actions if he faces negative consequences or it ruins his glorious self-image. Though, by putting you in a position where you are powerless in relation to him, he’ll be able to brush off/mitigate many of the negative consequences that could arise. Even if there is something that he wouldn’t be able to simply flick away, he would likely frame somebody else than engage in any soul-searching. To synthesise a few concrete characteristics out of all of this, he would be arrogant, self-righteous and in denial about any wrong doings on his part. 

That being said, Alfred would be perfectly capable of being a gentleman. Should he put some effort in it, then he’ll be the roguish and handsome boy-next-door to you. It would even feel very off or false since it would be partially true and not just an act. America is absolutely capable of being decent. All in all, it would just make everything more difficult, though. Since you wouldn’t be dealing with a pure sociopath, but a complex, layered person, he would be unpredictable in the worst way possible. No pure evil, but no pure good either - if anything, he would nourish any conflicting feelings you have about him. So, he would really take the phrase from Machiavelli, that it is best to be feared as well as loved, very much to heart. America would take you on dates, shower you with gifts, compliment you and take you home with him. He is so desirable, isn’t he? Above everything, he would want you to be smitten with him, since it would stroke his ego. 

He is also delusional, so he wouldn’t take much offence should he have to drag you to his side kicking and screaming. At the end of the day, what Alfred believes in most is his own hype. If he was a religion, then he is his own god, or at very least, the Chosen One. Any criticism would simply be water off a duck’s back and he’ll laugh at you. Here, he would also bring one of the worst of Christian traits to the fore and claim that you know the truth, know that he is good and moral and heroic, and that you’re just trying to lead him astray. So, rather than him having to repent, you should. Alfed would prove to be hard headed in everything, though on minor issues and things he would be more inclined to listen and admit that he’s wrong than on major ones. In total, he wouldn’t be extremely communicative on things he doesn’t like, excluding it is something that is tied to his idiosyncrasies, since he would think that rules of the game are clear to you. So, from a certain point onwards, you’ll find yourself walking on egg-shells around him, unless you figure him out and fast. 

Additionally, he is a very busy man. This is a person that can’t sit still for even an hour and has a mind that would constantly race from one train of thoughts to the next set of ideas. Life with him would never be boring (unless you are bad and don’t obey him), so you yourself might end up being too busy to notice all the red flags in the beginning. The start would also be the get-to-know-you phase, where you would have considerably more freedom, so life with him in it would feel exhilarating. While luring you in his fold, he would also be very indulgent towards you and take you where-ever you wish to go. A holiday to Tuscany? Booked and the luggage packed. Need help with your bills? They are already paid. Advise on some future life choice? His lecture/prep talk is going to be over two hours. 

Though, he is also calculating. Not only in the scheming, villain manner, but also in the most literal sense of the word. His actions regarding you, and even just the choice to engage with you is weighed against a set of internal scales. Like any savvy businessman, he wants the costs to him to be as minimal as possible while making maximum profit. To him, this is how the world works and there is absolutely nothing wrong with it. So, you would have to bring something to the table as well. Should he help you, then we’re supposed to help him in return. Get a loan from him, then pay it back full and with interest - should you have troubles with that, then he’ll have no problems in … tweaking you or also parts of your life to achieve the desired end result. 

Alfred is also manipulative, and to a horrifying extent. He’d not shy away from restricting your access to information, and sculpting your views to his liking. Even the information that you would be able to get your hands on would be framed to influence you and play on your emotions. He would know a whole array of psychological tricks and shortcuts that he wouldn’t hesitate to use on you. However, if you would do the same to him, he would scream foul. Rules for thee, but not for me indeed. That is a further problem with him - his own perceived exceptionalism dictates that he is above everybody else, and the other’s are just chess pieces on his game board. 

Cornering - How would they get you?

With the carrot and the stick. Ideally, you should never be aware of the stick, though if you put a toe out of line, the stick will become very noticable. In the case that you cooperate, then it would be a Hollywood romance (and like those protagonists in movies, he’ll be similarly incapable of accepting rejection). The future with you should be white and fluffy, akin to a picture-book perfect fantasy. He would also use promises and allusions to such a fate to get you where he wants you. If you have doubts, or if you are a not-so-willing bride, then some pressure would be applied - he would convince your relatives and friends that he’s the best option for you, and have them press-gang you into marrying him. 

Else, he’ll appeal to your naked self-interest, if you have such inclinations. He’ll present himself as the ideal protector, or a way to grant you financial security, or find some other way to awaken your interest. Perhaps you’ll even be convinced that you want the union more than him, that you’re the one using him to your advantage. 

Of course, if push comes to shove, then he would simply abduct you, break you down and rebuild you to his liking. To make an omelette, you have to break a few eggs - that would be his line of thinking if the. Asides, it would all be your fault for not having the right values. 

Expectations - What do they expect of you?

This is the tricky and controversial part. You see, part of Alfred’s expectations, ones that he isn’t even conscious of since he takes them as given, would be that you fit in his world view. What that would entail would be that you hold capitalism and liberalism to be the most progressive forms of politics, that the world must strive towards more freedom and more democracy to reach the end of history, that people are selfish and vainglorious and every interaction between people is nothing more than a transaction. That your lines of thought run on the exact same structures as his do - a liberal, faustian worldview. The matter here is, if you have a different outlook in that regard, then he wouldn’t accept it as valid. You would be declared evil or stupid, or both, by him and he would strive to “save you” and bring you to the light. 

One trait that he would consciously want of you, would be that you’re entertaining. If there is one thing that he wouldn’t tolerate well, then it would be boredom. Don’t induce that in him, don’t let him become bored with you - if you are already in his grasp and he grows disinterested in you, then you’d have a cruel fate ahead of you. Be unpredictable (but not too much, he wants to keep you under lock and key) and challenging to him. In the show that is his life, be either the villian that he must defeat or the love interest that he must save and conquer. . Hence, you'll always have to find ways to be novel and exciting to him - not an easy feat with such a capricious individual. Challenge him, change the rules of the game, make him suffer to have his pleasure. Not too much though - harm could befall you if you make matters too difficult while not having the upper hand. 

Whatsmore, he would expect you to heed him and look up to him. Let him up your knight in shining armour, your shining city on the hill. The trick would be finding the right balance of relenting and resisting; the tricky part would be that this balance would change over time and not in a very predictable fashion. Still, laud and lionise him, make him feel special and wanted. Should he have the feeling that you understand him like no other, then he would be less inclined to throw you away. This could be an advantage or a disadvantage, depending on how your overall standing to each other is. 

Further, he expects you to be of a cheerful disposition. You don't have to be sweet as sugar and everything nice, you are allowed to have a temper and swear and rage from time to time. Blazes, your niceness and optimism is allowed to be very selective. Though, it would have to be in the range of what he would deem as normal. That being said, if you don't entirely fulfil his expectations there, then he wouldn't see it as a dealbreaker. He can "fix" you after all. The end result should then be a person who is committed to him, who greets him at the door and reciprocates his affection. Him and you against the world. Shake your fist at everybody else; it is alright if he is the only one you give your smiles and heart to. 

Beauty is another characteristic that he would seek in a partner. You wouldn't even have to be conventionally beautiful to fulfil his expectations, or even healthy. That being said, he would want you to be pretty in a sense that sickness wouldn't tarnish your looks, like the Victorian ladies that suffered from tuberculosis. In a way, you should be the sort of person that could be cast in a movie. 

Faded - Would they let go of you in any way?

In the case that he would find somebody more enticing, then you would just be casted aside like a ruined doll. Not that he would necessarily throw you out onto the street; it would be more likely that you would be “stored” somewhere, withering away since that you wouldn’t be the centre of his attention anymore. Chances are that he would forget about you, forget to give you sustenance or maintain your hygiene - most likely he’ll only remember you when the stench of your decomposing body reaches his nostrils. That, or he would just drop you off in the middle of nowhere and leave you to fend for yourself. What happens to you beyond that, won’t be his business, or so he would insist.  

On a less macabre front, you could also just slip away in such a scenario and he wouldn’t really care, unless you divulge state secrets and/or sic the police on him. Aside from that, if something else would take up all his attention and commitment, you could actually have a fair chance of making a break for it and staying free forever. By the time he could spend time and attention on you, the trial would have gone cold. Maybe he would even give up on you then. 

Another possibility would be if he would be forced to let you go. Say, if his actions actually lead to negative consequences for him and his power wanes, third parties could intervene and rip you away from him. It could be that he would even become so powerless that he would be forced to live with the outcome. Other than that, there are some lines that even he (or especially he, depending on how you look at it) wouldn’t be able to cross. Should one his rivals take you under their wing, or a weaker person/nation even just successfully hide you, then there would be little he could do about it. 

Punishment - How would they proceed if you do something they disapprove of?

Oh, he can be very harsh. The tricky part with Alfred would be, that he takes a set of ground rules to be self-evident. So, should you break said rules then it wouldn't be because of a misunderstanding, a lack of knowledge or even just an accident. Instead, he would view it as you being purposefully disobedient. That's why you might find yourself spontaneously hulled away and locked in a closet, or tied to the bed. America wouldn't be above giving you a "time-out" in the corner either. 

Else, he would be a fan of white torture. Repeated violation of the ground rules would land you in the white room. You'd stay there for some time, living a very colourless life. Your meals would be white, just like your clothing and bed and overall surrounding. There wouldn't be anything in the room with which you could entertain yourself, just a bolted down bed and a waterless toilet. Other methods that would fall in the same category would be depriving you of sleep, waking you up at random times, or also exposing you to noises that are of very low frequencies. 

Or he would make you live the same day on repeat. The same food, the same books/movies, the same clothes, the same music - those parameters would be fixed, and none of your actions can change anything about it. It would only stop when he decides you've been punished enough. 

Alfred wouldn't resort to physical or sexual abuse to teach you a lesson. Not because he is such a decent person, or because he respects you so deeply, but to keep up appearances. He wouldn't be able to show you in public if you're black and blue, and you should spread your legs for him without him having to pry them apart. Though, if you ask him to lay you over his knee and spank you, then he'll gladly indulge you. And he'll make you ask him or trick you into signing a "permission slip". It would let him punish you as he would deem fit, without ruining the picture of a picture perfect relationship. That being said, if you gain the upper hand, then it would be a different picture. 

Aside from the aforementioned ground rules, there would be variable rules that he would introduce, implement, or discard at will. America would inform you of some of them. However, he is a busy man, and would forget to tell you about changes at times. You'll still be punished, no matter how much you'd protest, though he would be a bit more lenient here from time to time. So it could be some yelling and insults, or it could be him putting you on random medication so that you can suffer from the side effects, and from the intended effects as well. 

Reaction - How would they react to you escaping?

For a short answer - look at all those Hollywood movies. 

For a long answer - shouldering a rifle with a tranquiliser dart and hunting you down like a deer. He'll be tracking your phone and constantly looking into your bank transactions. A missing person report would be put out with a finder's fee or he would have you declared a wanted criminal on some trumped up charges. 

Various surveillance cameras will be monitored and followed, and he'll have agents stationed at airports and the like to intercept you should you appear there. If that wouldn't work, then he'll call in some favours to have somebody stab you in the back and return you to him. 

Should all that fail, then he'll issue an ultimatum to you in a way he would sure that you'll notice. 

Turnabout - Scenario: You have the upper hand? What would be different from their usual MO?

There is a way you could turn the tables without him realising it, or protesting against it too much. The interests of individuals as well as collectives don't always oppose each other, sometimes they align. So, you could manipulate him into doing your bidding by pulling his heart strings or playing on his fears. Since power isn't a zero sum game, and since he has a very skewed view of reality, chances are that he wouldn't even notice. Furthermore, he might be so engrossed with his own "supremacy", that he'll willingly turn a blind eye. 

Though, should he feel threatened or that you're gaining more power over him, then all hell would break loose. Defamation would ensue, and he would do anything to drag your reputation through the mud, with tactics and assertions that would seem straight up ludicrous the longer this situation would play out. Should matters escalate, then he would resort to even graver tactics right up to killing you. With his status under threat, he would pull guns out on you, break your bones, or even strangle you. 

Vengeance - What would they do in the face of competition?

If the person can be bought, they will be bought. Alfred would just through some meaningless things their way to get them to pipe down, make some empty promises, make them sell their soul to him. He would love the opportunity to pull the rug from under them, and he would surely find a way. The despair that they would display is something that he would live for. 

Naturally, there are other methods he would apply. Such as threats and physical intimidation. In those cases, he might end up acting too much like a Disney villain. Funny how the heroes become the villains, eh? As such, he wouldn't have any guilt in swinging his fists and granting his unfortunate opponent a trip to the hospital. The whole affair would be depicted as him defending your honour. 

And if the person goes missing to never be seen again, then what can he do about it? Any and all clues that would point to him being involved would be purely coincidental. 

[writingquestionsanswered]

hey, i love your blog, you’re so kind for doing all of this. kudos.

i was wondering if you have advice on how to not be terrified of sharing your work with the world? i write a lot of fanfiction (and someday hopefully some original stories) but i get so so anxious about ANYONE reading them so they usually end up rotting in my google docs, and eventually i stop writing them because i don’t get the motivation that comes from reader responses

but the issue is i’m not sure how to tackle this anxiety. as someone who has published works, do you have advice for this?

Tackling the Anxiety of Sharing Your Work

For my answer, I'm going to cobble together some bits from previous posts and add some new stuff. ♥

Sharing our fiction with others is one of the biggest steps we take as writers, and it can be scary no matter what you write. But, if you want to be published, it’s a necessary step. As with so many things in life, doing something that requires courage is often just a matter of taking a deep breath and doing it. "Ripping off the band-aid," as they say.

However, there are some things that might help ease the associated anxiety a bit:

1 - Try to Pin Down Your Specific Fears - One of the first things you may want to do is try to figure out what you're specifically afraid of or what's making you the most anxious about the prospect of sharing your work. If you can find the root cause, it might be easier to tackle the associated anxiety. Are you worried people:

will think your writing is bad?

won’t like your writing style?

won’t get your story/characters?

will judge you for what you write about?

will think less of you for writing at all or what you write about?

will blab about your writing to others?

will steal your ideas?

will see similarities between your story and others?

will make you feel tied to a project you might not complete?

I tackle some of these in the writing-related-fears portion of my Motivation master list.

2 - Don't Rush It - If you take the time to properly revise and edit your story, you can be confident in knowing you've put in the time and effort to make your story the best it possibly can be.

3 - Start Small - If you can, try sharing your story first with an "alpha reader," or in other words a trusted friend, family member, or community member who can appreciate your story. In this case, you might say you're not looking for specific feedback but just a general impression of what they liked about the story. This way, it's not about getting constructive criticism so much as getting over the hump of sharing it and getting the little boost of what they like about the story.

4 - Gradually Go Bigger - From there, you might try sending to a couple of beta readers and opening up to a bit more feedback. The great thing about this is not only are you conditioning yourself to sharing and getting the opinions of others, you can potentially use the feedback to iron out kinks in the story if there are any.

5 - Use a Pen Name - You might want to consider using a pen name for anonymity. Pen names have many different purposes, but much like wearing a mask at a party, they can decrease your inhibition a bit because it creates a bit of a buffer between the real you and your writing.

6 - Post and Let It Go - Many writers get around the issue by simply not engaging with reader feedback, and if you're someone who cares what other people think or are likely to be daunted by the prospect of criticism, this may be the best route for you to go. Now, I know that with fan-fiction in particular, reader feedback is often used for improvement. But the truth of the matter is, you shouldn't rely on reader feedback for improvement anyway. Alpha readers, beta readers, critique partners, and editors are a much better metric for where to improve. When you get your feedback elsewhere, you can post your story and let it fly on its own without worrying about what others are saying.

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[undiscovered-horizon]

Cinderella - Nikolai Lantsov x Reader

SUMMARY: Nikolai is a party person, you're not. But he's also a fool in love, so when you quietly disappear, he wastes no time finding you.

WORDCOUNT: ~ 1.5k

>>Grishaverse-inspired playlist<<

☽ REQUESTS ARE OPEN ☾

Nikolai didn’t notice your sudden disappearance right away. He can’t exactly be blamed for that - he wasn’t given a chance to. With the mob of aristocrats and silk stockings flocking to him without mercy or patience, Nikolai’s attention could only take so much. They all wanted to shake the king’s hand, tell him a witty remark or confess how much they were enjoying the evening. He was, however, disillusioned by their pompous words - throughout years he’s learned to quickly catch on to the kernel of truth covered with layers of exaggerated epithets and sophisticated lexicon.

Only when the nobility and magnates spread out through the castle, taking advantage of the rare goods imported just for the ball, did Nikolai feel like he was forgetting something. He looked around the lavish ballroom in search of you, even just a glimpse of your dress or your hair. Alas, he saw none. Logically, he knew you were not in any kind of danger but lovers rarely are reasonable. There’s this strange itchiness in the back of his head that made his fingertips and feet tingle. In a room full of people, he felt uncomfortably lonely without you next to him; the world felt strangely wrong when you were not around.

He walked through the crowded halls asking about you - Grisha, guests, guards, no one seemed to have seen you recently. Despite the audible uneasiness in his voice, he dismissed any questions regarding your assumed well-being. Truthfully, the inquiries were only slightly misguided. You were probably perfectly fine and it was he who was sick with yearning because of your absence. Not sure what to do or where to continue his search, Nikolai simply marched forward, hoping to miraculously bump into you at some point. After all, what kind of miserable night is it going to be for him if he can’t dance even one time with his beloved queen?

Then, a gust of cold wind tugs at his clothes. His eyes look towards the direction of the night breeze only to discover one of the balcony doors being cracked open. Could it be…?

Nikolai approaches the windowed door with hopeful vigour. His heart stops for a moment, only to resume beating at a feverish pace:

As if unbothered by the grand ball, you’re leaning against the guardrail of the balcony, watching the starry sky. Moonlight washes over your silhouette, painting you more of a creature of dreams rather than reality. Cold wind tugs and waves the hem of your lavender gown but you don’t seem to mind it. To Nikolai, you appear almost inhuman like he just stumbled upon a dryad that got too caught up in looking at the moon and forgot to hide from the human gaze. It must be by the Saints’ mercy that he’s the one to not only admire the nymph but hold her heart as his own.

“You come here often, красивая девица?”

Startled, you turn around to look at the unexpected guest. Upon seeing Nikolai’s face, you sigh and let your shoulders relax - you can discard all of your facades around him without ever hearing a word of criticism. Without thinking about it, your lips curve into a smile.

“Only when I need a moment to breathe,” you answer before turning back to look at the sky again.

Nikolai leans on his arm against the guardrail. His watchful gaze studies the side of your face, his thoughts slipping away to gush about your beauty, while he’s trying to keep his focus on the more important matter that is checking up on you. The longer his eyes trail your features, the more he grows convinced that you are, in fact, a dryad and have put some kind of spell on him that has bound his thoughts to you.

“You worried me, love,” he speaks softly, as though he’s afraid his words might further spoil your mood, “disappearing so suddenly.”

With an apologetic look on your face, you meet his gaze. “I’m sorry. I just…” You look away for a moment, gathering thoughts. “It all became a little too much: the people, the noise. I didn’t mean to worry you.”

Nikolai brings your hand to his lips and places a soft kiss on your wedding ring. “I will always worry for you.” The gold jewellery glistens in the pale, silvery moonlight.

 Part of you still finds it hard to believe that a man of his sort is doting on you. Funnily enough, he’s thinking the same - what unimaginable machinations of the universe blessed him with you taking his name?

A comfortable silence falls between the two of you. The noise of people enjoying the evening is distant and muffled like it’s coming from another reality, somewhere far from the microcosm of the balcony. As mentioned before, lovers tend to belong to another species. Nikolai and you are just staring at each other with complete devotion in your eyes, silently exchanging confessions and oaths even death can’t quite break.

The sound of someone walking past the balcony door pulls you back to reality. Although the awakening is not welcome, you find it necessary. “Shouldn’t you be getting back to your guests, мой царь? They came from far away to meet their king.”

“Oh, please, they didn’t come here for me. Why else attend a ball if not to admire the queen?”

“That’s your reason for attending.” Nikolai doesn’t find it in himself to lie and deny the accusation. “Most people just want to dance, talk and have a bit of caviar.”

Jokingly, he puts a hand on his chest. “Are you calling me special?”

You only shake your head and bite your lower lip but it’s not enough to stop the wide smile from spreading across your face. “I never said that.”

Nikolai frowns at your denial but the playful glint in his blue eyes rids his expression of all seriousness. “No, I’m pretty sure I just heard you say ‘Nikolai, you’re the most amazing man I have ever met’. Why, thank you. I must agree.”

His half-serious cockiness makes you laugh out loud. If he didn’t look pathetic before, he surely does now: the king of Ravka, staring at you with a soft smile and a dreamy gloss in his eyes. For a moment, he’s not noble in any way, shape or form. Nikolai is just a man - a man who gladly traded deference for love. Your laughter rings in his ears, his yearning mind hoarding the beautiful sound as though it desperately needs it for survival. Even the efforts of the talented orchestra are drowned out by your happiness as there is no other music he wishes to listen to.

Only when you’ve stopped laughing does he continue the conversation, never daring to interrupt something he adores so much: “Are you feeling better, милая?”

“I will soon.”

The orchestra finished one of the more upbeat pieces and in a true show of their expertise, they smoothly transition to a slow, sombre tune. Because of the distance between the balcony and the grand ballroom, the music is muffled as though the artists are performing their song in a nearly-forgotten dream; as if the soft tune belongs to another realm.

“In the meantime,” he says as he offers you his hand, “may I have this dance?”

You only giggle as you put your palm on top of his. Soon, you’re slowly swaying to the distant melody with his arm protectively wrapped around your waist. It’s not an actual ballroom dance, so you feel no embarrassment in comfortably placing your face against his shoulder. Out there, among lords and magnates, maybe this would be considered too casual but on the balcony, it’s the only way one should dance. The time seems to stop as you and Nikolai rock to the rhythm of the sombre tune. 

After what feels like both seconds and hours, you lift your head off his shoulder. Nikolai’s dreamy stare is following your small movements, never missing as much as a twitch of a muscle. If he could, he’d engrave your face on his eyelids, so he doesn’t have to go more than a few seconds without seeing you.

“As much as I appreciate your concern,” you begin quietly, as though raising your voice might burst this little bubble of careless romance, “you don’t have to run after me anytime I need to get away for a moment.”

Nikolai answers in an equally low voice: “I also don’t have to kiss your beautiful face but I just can’t help myself, you know?”

You’re still giggling when you feel his lips against yours. It’s sweet and tender and absolutely consuming. There’s a certain intensity to this kiss - the passion known only to those obsessed with something, whose intrinsic instincts can’t just casually enjoy the object of their desire. His warm lips feel perfectly moulded for yours as he’s silently pouring the contents of his heart for the world to see.

____

красивая девица [kra-see-va-ya de-vi-tza] -> beautiful girl

мой царь [moy tzar] -> my tsar/king

милая [me-la-ya] -> 1. darling, sweetheart 2. cute

[sugarcubetikki]

Okay. I am annoyed by the everything so I’m gonna go ahead and debunk all the arguments against the Francesca X Michaela storyline.

In case you weren’t aware of all the complaints going around, here they are:

they’ve completely changed the storyline from the books! francesca’s infertility storyline was sooo important and now it won’t happen!

eloise would’ve made more sense as the queer bridgerton, her and cressida or some other female character would’ve been great over francesca.

by immediately making francesca attracted to michaela they downplayed john and her’s relationship that was built up this season, they cheapened the book storyline into a cliche love triangle!

michael was the best book hero ever! I can’t believe they’ve changed him to michaela.

I am taking all these criticisms/complaints at face value and ignoring any lesbophobia undertones (for now) just to prove how flawed they still are on their own.

Firstly, saying that Francesca’s infertility storyline has been ruined is far from the truth. Instead it can be done in a different way. Think about Francesca in a queer relationship and wanting kids in the kind of society she lives in. It basically mirrors the infertility storyline from the books except her struggles would become representative of the struggles that queer people who want kids face. If they went for this storyline in her season, I think it would be really really nice, we’ve seen a straight infertility storyline play out so many times, this would be great.

Secondly, I am so tired of hearing that it should’ve been Eloise over Francesca. I don’t think Eloise would’ve made more or less sense as a queer women. I think any and every character has the potential to be written as queer or straight. Being an outspoken women with little interest on marriage shouldn’t make Eloise more queer. I also really liked the idea of a potential Eloise X Cressida romance but that does not mean Francesca cannot be queer. In fact, I’m excited to see this introverted autistic queer girl rep! Francesca, go prove we exist.

Thirdly, Francesca’s season hasn’t even happened yet! Getting mad over one scene of Michaela, saying that John and Francesca’s relationship has been downplayed and that we’re in for a cheapened love triangle story is so unreasonable. It was a single scene and people are choosing to get mad over something that hasn’t even happened yet? Besides, if this storyline plays out, it wouldn’t mean that Francesca shouldn’t have been made queer but simply that the writers didn’t write the storyline to your liking. The fact that there’s this much outrage over this is so ridiculous to me. Wait till her season. We have no idea how they’re going to play out the storyline just yet so stop hating already (there may be some lesbophobia implications to this claim which I have spoken about below).

Fourthly, I know it’s not a nice feeling to not get the chance to see a beloved book character onscreen due to this gender swap. It may feel unfair but I mean but…give Michaela a chance? We haven’t seen her personality yet and we don’t know how Masali will bring her character to life. If your qualms are that the love interest is no longer a guy you can fetishise and fawn over, then well…log out of the internet, rant to a friend and stick to the books. Let the sapphics have their wlw romance that we rarely get these days because we keep getting cancelled since streaming services hate gay women. And no that is not an exaggeration but our plain reality. So let us have this.

Finally, to end things off, let us address the lesbophobia aspect to this separately because it is 100% worth mentioning.

The treatment towards queer women onscreen is hardly the same as the hype around queer men.

We can see it in the way streaming services and the internet hype up gay romances whilst sapphic romances are largely ignored and cast to the side (just to make it clear I have nothing against people enjoying mlm romance I enjoy mlm romance all I’m saying that it’s a real shame that wlw romance doesn’t get the same amount of appreciation).

The response to Francesca X Michaela has been largely negative and it’s frustrating. Outside of the cosy gay rabbit hole that tumblr is, there’s just outrage over this storyline/pairing for a number of different reasons that well…all feel ridiculous.

Bridgerton has gone off the books many times yet there’s more outrage than before when it comes to Francesca X Michaela?

Fans are getting a lot more defensive of John and Francesca’s relationship despite knowing he was never going to be endgame all because of Michaela? I’m sorry but I’m sure that if Michaela was Michael and we got the exact same scene with Francesca, do you think there would be as much outrage over John and Francesca’s relationship being downplayed? No. Let’s be honest. People wouldn’t be as mad because there’d be an attractive man involved.

I think the sapphics deserve so much more and better treatment from fellow non-sapphics. Instead of a show of appreciation, we keep getting unreasonable amounts of fire onto this storyline that hasn’t even happened.

What’s worse is that I know that Francesca X Michaela’s romance could follow the story beats of previous seasons that were eaten up by fans and still be bad to people because sapphic romances are just judged more harshly as straight audiences refuse to connect with them. If their romance isn’t phenomenal and just good, then it won’t be enough which is just frustrating.

So yeah, the hate towards Francesca and Michaela is unwarranted and unjust. People need to calm down and realise that their claims are contributing to lesbophobia whether they realise it or not.

[krittikasurya]

Some thoughts on Krittka Nakshatra (originally posted on substack and twitter)

Krittika at its best really understands how to both simultaneously enjoy and appreciate things while also being able to give critical commentary and feedback, and I think a lot of people have a hard time wrapping their heads around this level of multifaceted behavior. In a world where black-and-white, all-or-nothing thinking is common and encouraged, people often forget that two things can be true at once. Krittika natives have the creativity and flexibility to understand and implement this “two truths at once” concept into their everyday lives. People think Krittika natives are being insolent or abrasive when the native is just simply speaking on what they’ve learned, gathered, observed and experienced and being straightforward about it…taking the data they’ve accumulated and turning it into something that’s easy to digest. Absolute truths rarely exist, and Krittika exposes the complexities we experience on both a collective and individual level.

Krittika’s goal isn’t to trash things necessarily. I think the goal Krittika natives have is to help themselves and others see things in a different, profound way. Offering refreshing perspectives on many different aspects of life is something the natives take pride in. The Martian influence of the Aries portion of the nakshatra makes one very analytical and strategic. Observing and learning through action and expeirnce, the Aries side of this nakshatra knows how to take things back to the drawing board. They understand that trial and error are some of the best teachers, and that there is always room for change. The Venusian influence of the Taurus portion gives the native discernment and good taste. The discriminatory nature of Venus leaves little to no room for indifference, especially when it comes to connections, arts, and culture. Venus appreciates excellence, and Krittika will accept nothing less. Krittika serves as the bridge between the sun’s (Identity) and the moon’s (Mind) exaltation points, giving both signs vast intelligence that manifests slightly different, but one thing remains the same: The sharp, quick witted nature of the nakshatra that seeks improvement within themsleves and the world around them. In today’s society, echo chambers are growing increasingly common, creating less nuance and mental flexibility, and more groupthink. From arts to politics, the effects of all-or-nothing thinking seems almost inescapable. Mediocrity is the acceptable normal, and Krittika is on a mission to change that.

When not channeled appropriately, Krittika natives can be high strung individuals, hypercritical of both themselves and others while forgetting to appreciate the beauty of life, and the beauty within themsleves. Some constantly feel the need to “shake the table” or say what they believe others are afraid to say, not fully realizing the implications of making ego driven “critiques.” Some “critiques” can be so ego driven, that they are dowright incorrect, mean or hateful in nature. They can be prone to tunnel vision and extreme anger, especially when they feel like their way is the only way. Krittikas can be demanding, exhibiting dictator-like control over their communities which can lead to a “walking on eggshells” feeling for the people around the native. It is imperative that Krittikas don’t lose sight on what’s important: not crossing the thin line between enlightening analysis, and downright negativity.

Krittika natives experience a lot of pleasure from giving critique as well, because they believe that there’s something really cool about being able to get others to think in ways they may not have before, and introduce various perspectives on any given subject. Krittika’s shakti (power) is to purify or burn away impurities, and sharing thier critical thoughts and assessments is one of the best ways to do it in today’s world. If we as a collective are going to consume things, Krittikas believe we can and should evaluate and question what we consume. Things should be questioned more. “Impurities” should be pointed out. The status quo should be challenged in all aspects of life.

Krittika isn’t scared to point out things that are flawed and it infuriates some individuals that Krittika natives don’t just sit and “go with the flow” all the time. Krittika has a burning lust for awareness of the world we live in. Krittika knows that sometimes there will be conflict, they’ll ruffle a few feathers and invoke certain emotions that make others feel uncomfortable, but when done tactfully that has the power to change the world (however big or small you consider your world to be).

[sisterdivinium]

It’s tempting to think of Jillian as an atheist given her connexion to science, her confrontation with the church in s1 and simply as a counterpoint to all the religious characters around her. I’ve used the word for her myself in fic before, but I did it fully knowing that Jillian is perhaps the character who most wants to believe.

There’s an implication that she speaks from experience when she tells Kristian one doesn’t ever really leave the church…

… And her firm principle of proving faith and science can coexist shows she has no intention of dismantling faith in itself or the value people find in spirituality.

When Luther supposedly nailed his objections to that fateful church door, he didn't intend to shake the core of what faith actually is—quite the contrary, one could argue.

Neither is Jillian trying to destabilise faith in itself... The difference is that she just decided to build her own door instead.

The church might stand in her way, yes, but one could could make a case about how it is more due to their keeping of divinium than to the criticism she directs at Vincent on the subject of Hell and the subjugation of women. She might well believe it—or any part of her performance during most of season one, really—but her conflict with the institution lies less in the way of ideology than in matters of practical consequences.

Were it not so, wouldn’t she have been a little more resistant to her son’s visions of an angel? Why believe in a child’s prophetic drawings otherwise? Even if she by any chance didn’t consider the giver of those visions an angel, the very fact of taking a vision seriously would suggest some degree of fidelity to the very idea of there being something more, something else than the life we know in this plane of existence.

If she doesn’t admit the existence of a god outright, she at least lends credence to the idea that there is something. We might not be able to take her fully at her word in the scenes where she’s playing her part as a seeker of knowledge maligned by the Vatican, but there is some amount of truth to what she says. She might not have truly found Heaven, she might not be able to prove her portal actually leads there...

… But she most certainly wants to be right. For Michael’s sake, there must be something else, even if not precisely what has been foreseen by scripture.

And, even so, she finds worth in that very scripture she doubts.

Perhaps she’s being honest when she tells Vincent she likes the stories—there’s a lot of knowledge to be found in even the simplest of them to she who knows how to seek it.

Perhaps there’s an underlying attachment of hers to the Bible, a past she cannot really abandon. It’s not all that common for people with absolutely no ties to Catholicism to have something like the image of a saint as decoration hanging in the background.

Sure, there are other religious elements scattered in her workplace including a Buddha, but it’s a man who used to be an archivist at the Vatican she hires, not a defected monk or rabbi.

Yes, she will work with anyone who is equally willing to work with her. It’s not from the goodness of her heart as there is a component of selfishness in such cooperation—one to which she admits herself—but her attitude is also a testament to the openness she has concerning the results she might obtain. Maybe the OCS is right, maybe there’s a God and saints and Heaven and Hell…

It doesn’t really matter as long as there is something, something to work towards, something to seek.

Or it didn’t matter—while Michael was alive.

She has had her proof of there being more... And she has paid a high price for learning of it.

It’s a pity we don’t know what she would have done with this information. How do we react when what we believe is confirmed to be true but not in the way we expected or desired?

Whatever shock the nuns have experienced to their faith in this business with Adriel, the perversion of the power of prayer and all else they've survived during season two, Jillian is likely to have felt the very same blow right alongside them.

[female-malice]

I want lesbians to be the parents of their children without the government or anyone else trying to get in their way. But isn't a birth certificate more about biology? It would be important for health reasons to know who the biological relative to the baby is, same with the baby's biological sex. Unless I am completely misunderstanding what a birth certificate is and maybe it's more of a government thing than I thought? Now that I think about it, I don't know what a birth certificate for a baby born to a parent and a step parent would look like either.

You are completely misunderstanding what a birth certificate is. A birth certificate is a LEGAL document designating parental rights.

A paternity DNA test is a medical document that shows someone's genetic history.

A birth certificate is a legal document that a child will need every day of their life. A birth certificate designates who is legally responsible for a child's life.

IF YOU PUT A MAN'S NAME ON A LESBIAN FAMILY'S BIRTH CERTIFICATE, YOU ARE GIVING HIM PARENTAL RIGHTS.

Whoever told you birth certificates are about ~biological reality~ is a lesbophobe.

My brother's friend does not legally have a father. His mother did not give his biological father parental rights. She elected not to put his name on the birth certificate. She did not want her shitty ex-boyfriend to have any legal parental relationship with her son. That is her right as a woman.

"Gender critical feminists" want to take this right away from all women because they are blinded by their own lesbophobia.

Please read Letizia's essay more closely.

Don't just open the tab and leave it unread. Here, I'll give you a short section to read right now:

The facts of biology are suddenly forgotten once the so called "non traditional" family is composed of a man and a woman. No government in any country is removing non-biological fathers from birth certificates, even though the man in the birth certificate has no biological relation to the child. On the contrary, most countries have pretty straightforward laws about the recognition of non-biological fathers as long as the couple in question is heterosexual.

I live in a small Italian village, one of those places where secrets don’t exists and your problems are everyone’s problems. The happy nuclear family a few houses down the road couldn’t conceive a child naturally because the husband is sterile. Not the end of the world these days. The Italian law allows IVF to heterosexual couples. The happy nuclear family simply picked a sperm donor, and a beautiful girl was born, she has her mother’s eyes.

The father on the birth certificate is not the donor, however the happy nuclear family didn’t receive a letter from the Italian government telling the husband that he is not the father of his child. No, it only happened to lesbian families in Italy. 

So where is your truth now? Your biological reality. Aren't we here to protect children and fight for reality? According to you this man shouldn’t have legal rights on the child his wife birthed. Or does it work differently because their family is approved by the church? Oh but this is different, he has a wife, he is heterosexual, he could have been fertile! Well, I could have been born male. To quote every mamma on the peninsula: if my grandmother had wheels she would have been a bike.

[crystaldivination]

𝐘𝐎𝐔, 𝐀 𝐅𝐀𝐒𝐂𝐈𝐍𝐀𝐓𝐈𝐍𝐆 𝐁𝐄𝐈𝐍𝐆 .˚

𝐖𝐡𝐚𝐭’𝐬 𝐬𝐨 𝐬𝐩𝐞𝐜𝐢𝐚𝐥 𝐚𝐛𝐨𝐮𝐭 𝐲𝐨𝐮 𝐭𝐡𝐚𝐭 𝐦𝐚𝐤𝐞𝐬 𝐨𝐭𝐡𝐞𝐫 𝐛𝐞 𝐢𝐧 𝐚𝐰𝐞?

Hello beautiful souls and welcome to another intuitive pick a card reading. Today we will be looking at what’s so special about you that makes you drop-dead gorgeous. I hope to be able to bring you some delight feelings and contentment with this reading. It’s quite long so as always please let me know if this resonates with you in some way. I’d be happy to know if you enjoy my works. Likes, reblogs, comments and follows are highly appreciated. Thank you ♡︎

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© 2023 Crystaldivination | All rights reserved.

how to choose your pile. take a few deep breaths & look at each piles separately. Which pile sparks an interest in you? Which pile do you feel called out to the most or reminds you of something? Take your time and come back later to it again if you can't seem to choose.

The piles

from left -> right

Disclaimer: this is a general reading which may or may not resonate with you. Take what resonates and leave out anything that doesn't. Feel free to choose another pile if you'd like.

𝐏𝐈𝐋𝐄 𝐎𝐍𝐄: 𝐀𝐋𝐄𝐗𝐀 𝐃𝐄𝐌𝐈𝐄.

La feminine mystique

Hello pile 1,

you’re so powerful. Let me tell you what I mean by that. You possess an enormous energy in you which seems to have no limit. This can be an extremely powerful force that can benefit you in the long run if you know how to use it wisely and it seems like you do. Other people often feel "intimidated" by you. They feel compelled to respect you and treat you with dignity. You attract attention without meaning to. For some of you this confidence may stem from what you’ve been through in your past. Your experiences shape and form you to be the person you are now and you know it. That’s why you’re proud of yourself, proud of the strength you’ve gained from your pain and always carry yourself with pride. You don’t let others step on your boundaries and your well-established values. Other people can sense and see this attitude coming from you even if you don’t openly express this directly. You make a statement with your presence. You subconsciously challenge other people as well especially men. You radiate an energy that’s just as bright and powerful as the sun or hot and passionate as Mars or dangerous and brooding like Pluto. You don’t sit around waiting for a prince on a white horse to come to your rescue, you dive into the challenges and face them head one. You stand up and get things done and you do it YOUR WAY. You don’t give in to anyone even if it means to hurt someone’s feelings if you truly believe in something firmly. You’re daring and sassy. You’re words might be harsh sometimes but the truth hurts so for you your bluntness just simply means that "It’s better to get hurt by the truth than to hear sugarcoating false lies". That quality of yours makes you admirable in the eyes of many although for people who is more on the traditional side (referring to the fixed gender roles of masculinity and femininity) they could see you as being too intense, overwhelming or over empowering but that’s okay because you’re not here to please or fit anyone. You know your worth and you’re not afraid to face any criticism because that’s part of life. You’re familiar with that but you couldn’t care less for you’re the one who create your own reality.

To conclude what makes you so special is your renowned sense of self and self-confidence. You believe 100% in yourself. You know what you want and know how to get that bag. You’re just a girl boss and most importantly you’re priceless. You don’t give away too much from yourself yet enough to show who you are. You represent real womanhood and stand for feminism. You’re the mysterious femme fatale who’s giving everyone weak knees. It’s giving successful business woman/entrepreneur vibe. You’re such a win overall.

[Astrology placements] Leo, Scorpio, Aries, Capricorn, Virgo, Pluto-mercury, Pluto-ascendant, Mars-asc/mc, Pluto/Mars/Neptune dom or influence

𝐓𝐡𝐚𝐧𝐤𝐬 𝐟𝐨𝐫 𝐫𝐞𝐚𝐝𝐢𝐧𝐠! 𝐏𝐥𝐞𝐚𝐬𝐞 𝐥𝐞𝐭 𝐦𝐞 𝐤𝐧𝐨𝐰 𝐰𝐡𝐚𝐭 𝐲𝐨𝐮 𝐭𝐡𝐢𝐧𝐤, 𝐩𝐢𝐥𝐞 𝟏 ♥︎

𝐏𝐈𝐋𝐄 𝐓𝐖𝐎: 𝐒𝐓𝐀𝐑

A supernova

Hello pile 2,

you’re well-liked for a reason. You’re charming and always outrank others with your tenderness. Your kind demeanor and attitude just make others mesmerized by you. You put others above you and never seem to really want the "prize" of being the best everyone is looking for. You surpass all superficiality of this world. Jealousy, competition or intentionally stepping on others to get to where we want is not a solution for you. You dislike that. You believe in a peaceful and harmonious world. Hostile, judgmental attitudes create a negative, pessimistic picture of the world we live in so you choose to be kind and fair. You see that relying on one’s ego and be full of greediness won’t do anyone any good. People really notice this difference in you hence most might see you as superior to others. You’re so empathetic that people can’t help but want to protect you. You’re very balanced in your way. You care for others but never forget about your own needs. You’re always so put together and professional when dealing with other yet you can relate and connect with them on a personal or emotional level as well. You just have a knack for being sociable. You’re diplomatic and gentle. Others might view you as a soft or even obedient kind of individual but you know when to stand up. For yourself and for others. This makes you admirable and respected by anyone. You very much stand for justice and righteousness. You believe everyone is the same regardless their race, status or anything society would judge a person by. You’re definitely a pacifist. People love you and most importantly they believe you. They believe in you and your power to change the world FOR THE BETTER. A world where everyone can live in peace with each other, where there is no useless competition or harmful intentions. Your picture of a beautiful place where one live harmoniously together and function together as one is a desirable wish for many who believe in togetherness and the collective.

To conclude what makes you so special is your sense of purpose. You call out for a meaning to live and exist in this world. You impress other people with your vision of a world filled with love. Love for oneself and others by being kind. And indeed people who are truly kind have the ultimate leverage. If you give without expectation of getting anything in return, you've won. The obvious benefit of being kind, honest, and loving to others is to affect positively those around us. If you respond with kindness, all the hate will be defused. You only force yourself to be bigger than the negativity. If given the choice, most of us would prefer to be in the presence of a person with a humble spirit and YOU are one. Your energy and vibe reminds me of Marilyn Monroe’s.

[Astrology placements] pisces, cancer, libra, venus-Pluto, sun-venus, moon-Jupiter, venus/sun/Jupiter dom or influence

𝐓𝐡𝐚𝐧𝐤𝐬 𝐟𝐨𝐫 𝐫𝐞𝐚𝐝𝐢𝐧𝐠! 𝐏𝐥𝐞𝐚𝐬𝐞 𝐥𝐞𝐭 𝐦𝐞 𝐤𝐧𝐨𝐰 𝐰𝐡𝐚𝐭 𝐲𝐨𝐮 𝐭𝐡𝐢𝐧𝐤, 𝐩𝐢𝐥𝐞 𝟐 ♥︎

𝐏𝐈𝐋𝐄 𝐓𝐇𝐑𝐄𝐄: 𝐆𝐋𝐈𝐓𝐂𝐇 𝐒𝐂𝐑𝐄𝐄𝐍.

A rebel

Hello pile 3,

let me start by saying that you’re so innovative. You have the craziest ideas but they are all so forward thinking. People see you as a genius most likely. People might even call you "mad" because of your weird ideas but you probably easily prove to them about it. You’re the definition of an intellectual and knowledgeable individual. What makes you superior to other people is that you know you’re different from them and you embrace this so well. You may be proud in nature but never arrogant. Your easy-going attitude is what attract a lot of suitors. Eyes are being laid on you all the time. You’re the cool and fun sis/bro in the hood. What’s unique about you is that you create or like have a different form of expression and you know how to get your messages across using different amount of mediums or modalities. Your different perspectives makes you incredible interesting in the eyes of other people. Furthermore you’re a very good debater. You have your own visions and you’re all about evoking a revolution, changes and progressiveness. You’re most likely known for being a shock factor. Your purpose might be here to literally disrupt the system that we live in now. It's like actually you don't want to do it the same way it's been done before so you create something completely new. You might see that it’s because our evolution is changing and you feel like you're in a role or a position to bring in new strategies for a good cause. You have your own moral spine. You’re strong enough to rely on yourself and do everything on your own. You don’t need help from anyone yet you’re not scared to ask for help when you need it. It’s very admirable to have this kind of balance in you. You’re not trapped, bound or driven by your own ego. If it serves the intention for a new growth and more developed world you’re ready for everything to make it happen. You’re a warrior. You break the norms and find way to improve society like no one else does and that’s for everyone in it not just a certain percent of people. People see you as a source of inspiration. You walk your own path but never alone.

To conclude what makes you so special is your inventive skills and mind. You stand out from the crowd because you own your uniqueness and new ideas. You don’t shy away if you or your different views aren’t being well-received by others. You stay true to yourself while being understanding of them and accepting their differences and opinions. You just continue to do your own thing. It’s really giving Gen Z vibe.

[Astrology placements] Gemini, Aquarius, Sagittarius, Uranus-nn, Saturn-Pluto, Jupiter/Saturn/Uranus dom or influence

𝐓𝐡𝐚𝐧𝐤𝐬 𝐟𝐨𝐫 𝐫𝐞𝐚𝐝𝐢𝐧𝐠! 𝐏𝐥𝐞𝐚𝐬𝐞 𝐥𝐞𝐭 𝐦𝐞 𝐤𝐧𝐨𝐰 𝐰𝐡𝐚𝐭 𝐲𝐨𝐮 𝐭𝐡𝐢𝐧𝐤, 𝐩𝐢𝐥𝐞 𝟑 ♥︎

© 2023 crystaldivination ── all rights reserved. do not copy, translate, edit, alter, or redistribute my work. Plagiarism in any form is prohibited.

[willowed-wisp]

HER KNIGHT, HIS HEART - part four

previous | next

Ser Harwin Strong x female!OC/x reader

WARNINGS: violence, swearing, description of injuries

She could only hope they had been alone as they thought. But the truth loomed over her- a sword above her head ready to drop.

That the temptation grew. And she wasn’t easily spurned from her desires.

Rhaenyra was the only person who knew of her and Ser Harwin’s, now daily, rendezvous. So Elspeth went to her chambers, finding her best friend in a state becoming all too regular. Enraged. And in her riding gears. “What in the Seven Hells…” Not a question.

Icy blue locked with warm green, “Have you heard?” That wasn’t a question either, surely about to tell her the news. Either way Elspeth had been too busy in the thralls of Harwin Strong to have heard tittle tattle. “Daemon stole Dreamfyre for his unborn child with his whore” Gritted teeth while speaking. Why did Daemon have to attention seek and take his niece down with him? Rhaenyra looked up to him, as always.

But Elspeth needn’t say that- the Princess was aware, “What are the Council doing about it?”

“The Lord Hand has journeyed to Dragonstone with an envoy.”

“If Daemon’s Gold Cloaks don’t run them through, Caraxes will burn him and the rest to a cinder,” she sat on a chair, “Daemon would certainly relish in his death. It appears my father’s mind has grown feeble… I presume you’re off to Dragonstone, then?” Her Princess gave a nod- ready to argue any criticism, but Elspeth simply clapped- slow and short, “Good. Daemon listens to you, just be careful.” A swift hug. Elspeth wasn’t one to pray, and the woman refused to begin in that moment. Rhaenyra may not seem intimidating but she held her ground like a volcano.

From across the hallway she saw her sister withdraw into a room. King Viserys’ chambers. If her father had been in Kings Landing, he would have received as earful or be thrown from a window. Alicent never spoke to her. About anything, not in recent months. Maybe Otto Hightower had a piece in that, too. He definitely had with Alicent charming the king for half a year.

She dipped back into the Princess’ chambers, “You mentioned Syrax was big enough to saddle two?” The shock turned into a smile. This was why they were best friends. 

Rhaenyra had thrown her some leathers encrusted with dragon scales. And Rhaenyra plaited the curly hair she inherited from her mother. Elspeth didn’t look a drop of Otto Hightower, her mother had taken that helm. Inside and out. She had that same fiery aspect and ambiguity. How she put up with her father was beyond the nineteen year old- nearing twenty in that next month.

Looking into the mirror, she noticed the grey hairs growing from her root- a stark contrast to the wildfyre. She quickly plucked them between her fingernails before Rhaenyra noticed. It had always been that way- stray light, she presumed grey, hairs sprouted amongst her auburn-brown. "Syrax grows restless, as do I," Elspeth tore herself away from the reflection; finding her mother in it. Her and the Princess were quite the pair in matching Targaryen rider's gear. Not that the girls cared, Elspeth was not even anxious about mounting the she-dragon.

They passed familiar faces- including that of the man she'd been courting for half the year. Harwin just smiled- whether out of amusement or disquiet, all she knew was those blue eyes followed her confident figure.

That was the quickest journey to the Dragonpit they had ever ventured. "Dual saddle," The Princess spoke in Valyrian to the man before turning attentions to the dragoness, whose nose butted against Elspeth's hip. Elspeth's laugh on the wind- hand's caressing the yellow scales. The she-dragon keened, a noise of enjoyment juttered. "I told you she's missed you. She doesn't do that for anybody."

Whenever the older girl stopped fussing her, Syrax would garner for more attention, "Okay, sunflower..." The saddle and flying gear had been attached, "May I fly with you?" The creature thought about it, before her head bowed, body slacking and lowering. Rhaenyra, already mounted rubbing those scales. Rough and smooth instantaneously. They glowed in cloud cover, Elspeth couldn't imagine there radiance above- no obstruction.

Luckily Syrax was still on the smaller side, so it wasn't a climb to mount her. It felt natural in the saddle. Horseback had never cut it for Elspeth, the woman chased after that next high. The next chance to evade her father and members of Court, who would see her be anything but herself. Maybe that was why she had an unspoken bond with Syrax and Rhaenyra, they were all free spirits. But Rhaenyra was able to ride a dragon and Elspeth would never be able to take the reigns.

Without a spoken command, Syrax took off. This was not like riding a horse. On a horse, you fought against the cantering and you'd met the ground closely if you were bucked. With a dragon you'd plummet. "To Dragonstone, Syrax." A break to the right, and as if by second nature- there was no wobble from Elspeth Hightower, who hadn't worn the rider's strap across her lap.

There is no time at all, though that could be down to hollers and weightlessness Elspeth felt. Rhaenyra always turned behind, seeing her friend having the time of her life being on Syrax. It was growing dawn as they reached the settlement, grand- yet obscured by mist, only able to see outlines of the grand structures. Rhaenyra had always been one for a dramatic entrance, and this may have been her best one yet. Coming from fog cover and circling over the heads of soldiers, nobles and royalty. No weapons were drawn, but Caraxes looked rattled- Elspeth had heard his battle cry. Her father truly was not the right person to reason with the prince.

Her father didn't hold malice in his gaze upon seeing her there on dragonback, just pure fear. Maybe Elspeth was as stupid as him for putting herself in the reaches of an unpredictable prince who wanted the Hightowers out of court. Nevertheless, she dismounted after the princess, "You're quite the natural at this," Nyra stated before they pressed on. The bows received were for her grace, and the shaking of the head was for Elspeth. But she remained by her friend's side.

"What are you doing here, princess?" He ignored his daughter.

"Preventing bloodshed."

"Ser Criston please escort the Princess and Lady Hightower to safety," Oh, so he was aware she existed. That was disappointing.

Hands behind their backs, in tune with one another, "Be careful not to startle Syrax, my lords. She's rather protective of us," She gripped Elspeth's hand and walked onward. Elspeth hadn't really given any thought to why she came along on this negotiation. She'd grown sick of that fucking castle and the politics... she just needed to get out, Harwin had joined the Gold Cloaks and trained with them while she wilted in her father's schemes.

She just wanted to have fun, with her Nyra. The girl she had known since she was knee-high. "Lady Elspeth, being on a dragon suits you well," That was Daemon's voice, she had zoned out. "Maybe you should come for a ride on Caraxes with me in the near future."

Elspeth let go of Rhaenyra's hand, "I don't think Caraxes would enjoy being sauntered around like a common pony," A sizzle from the blood-red terror, "And I'd never hear the end of it from the Lord Hand."

The Prince stepped forward, dragon egg in hand, "But isn't angering your father, what you do best?"

"We seem to have that in common, Prince." She went to step back, before her arm was grabbed- yanked towards him- slamming into Daemon's chest. Dagger to the throat. Her wide-eyes looked from Rhaenyra, to her father, back to Rhaenyra.

"My Prince, this wasn't part of the plan..." A hushed comment from his whore. Elspeth had been down to the city more than enough times to recognise the web-spinner, Mysaria. This wasn't part of her plan. But Daemon always held a trick or two up his sleeves which was cause enough for her to leave- parting the Gold Cloaks.

Pure horror in those glossy eyes while Elspeth remained unnerved and calm. "I'm right here, uncle. The object of your ire... the reason you were disinherited. If you wish to be restored as heir, you will need to kill me not her." That blade left a burning sting across her neck, despite the high-neck of leather. "So, let Elspeth go. And do what you need to be done with all this bother."

The waves crashed, and her heart pounded, "Take care, Lady Elspeth," He whispered only to her. Pushing her into the bridge barrier, her balance lost. Last thing she saw was the mist she had entered in and that crush of water the last which Elspeth HIghtower felt. Losing all sense of time and direction.

Her body thrashed around by wayward currents, and jagged rocks. She wasn't awake for it- the impact from that height should have ended her instantly. But nobody could put a pin in Elspeth Hightower that easily.

The girl had woken. Body drenched through, with saltwater and blood. Not conscious enough to be aware of the damage done. Her body rested upon a rock, breathing heavily. The sun drowned out of the misted haze in the sky and in her mind. Elspeth was wholly aware, whenever she moved her right arm wildfyre made her groan. Sleep warranted to consume her, but the woman stopped that. At least she wasn't out at sea and still in that bay of Dragonstone. There was one thing Elspeth was certain of.

She needed to get out of the water before her bleeding wounds attracted sharks.

Every ounce of strength couldn't force her up that mossy, slimy stone. Until a hand reach down for her own.

Dainty... she'd recognise the hand anywhere. "This isn't the end for you, my darling." A mane the same colour as hers, styled alike hers or she styled hers to resemble the older woman's. Elspeth fought the urge to bawl, "Hold those tears, Els." An order. And so she did, a force grappled her left arm and thrust her upwards, garnering her enough footing to scramble atop the rock. Body cradled in warmth. Brown eyes that Alicent had inherited stared into hers.

"What's it like in the Seven heavens?" Her bloodied face rested unto warmth. Something stroked through her tangled, soaked hair.

"My daughter, you won't find out. Now is not their time to claim you. He will guide you to your knight." Even in her hazed state, that was odd.

She wriggled, "Who?" The reply was not ringing in her ears but a shiver down her spine.

'The one of dusk and blood.'

She had never known her mother to be so cryptic. Her mind failed her, as she was curled up on moss. She was truly alone. Legs rippled with scrapes and lacerations- she felt beneath the intact trousers.

Then she noticed the cave mouth.

The only way she was remaining in the land of the living was to hold herself and whatever spine she possessed in the palm of her hands. And enter that damned cave. With whatever lurked.

It was a quick realisation that she had lost one of Rhaenyra's boots, every step she took was like stepping on shattered glass. The woman hugged her body, keeping her injured arm somewhat straight. When she got out of this bind she didn't want a stump as an arm to remember it. The cave was dry and hot, so there was no risk of her drowning- succumbing to the ocean.

Elspeth would be a liar if she said her fear of darkness didn't crawl up her neck because it latched onto her being. As did the growing anxiousness that she would never get to see Ser Harwin Strong again.

No.

She wasn’t going to die at the hand of Daemon Targaryen nor miss out on the looks on everybody’s faces when she returned.

That wasn’t going to be easy. Her skin steaming from wind barrelling at her rear and molten temperatures at the helm. At least there was an exit to this passage- but it could potentially lead to a volcano.

Elspeth didn’t dare down at her arm- it felt aflame deep in her bones. Not able to see it, obscured by the impertinent shadows surrounding. It wasn't like her to have that scratch behind her neck, even in a castle full of people spying. But she did then and there- unable to check if the tunnel remained narrow or if she had walked into a dragon's nest.

The rocks felt jagged- slicing her feet but her vision able to make out light at the end. A sense of safety a distant memory as that undeniable scent loomed. It was the same kind from the aftermath of when Daemon and the Gold Cloaks pillaged Kings Landing- rancid flesh and the unmistakeable- dragon. Foot stepping onto something, an echo raptured and her foot more massacred from the skull- fully able to see it and the many, many other human remnants decorating the cave.

Praying to whatever God listened, she hoped that this was not the dragon Rhaenyra had spoke of. It picked off smaller dragons roosting on Dragonstone and had never been claimed- eating would-be dragon riders who approached it.

Drowing in a river of terror- she backed into an especially rough wall. Hot air moved her sodden hair. "You may devour me if you wish," A telling, low grumble rattled her being. So it was how she thought. The Cannibal... "You would be doing me a favour." It hadn't made a move. The silhouette of a mighty head- a few feet above her own - darker than the dim atmosphere. Coal. Two eyes of emerald glowed in that view she had. And they were looking at her.

It hadn't made a move.

Staring at the woman who stared right back.

She was bleeding... she was helpless... why hadn't it attacked?

Killed her?

Elspeth was nudged to move. Onward into the light.

The movement was one of indication. The dragon was letting her go- maybe to chase her. Make the hunt more enjoyable. She was in no fit state to run.

Eyes dawning on magma marshes and barren, lifeless stone clusters. Whatever gap found itself in the scorched earth was replaced with a stream of lava. Dragon glass flaked around and she could smell the sulphur- like eggs, and feel that heat- burning at the skin on her face. Was this what the dragon had planned to do? "Do you plan to cook me before you eat me?" Unable to hold her tongue, even in Valyrian. A rupture behind her. Did the dragon laugh?

Head swivelling, she met the face. Nose upturned into a spike- cute almost. The undulations of thorns almost too midnight to see- if they had been miniscule; they scattered all the way along its massive body. Two prominent horns at the very top of the forehead. Teeth weren't bared, but the sheer size of its jaws... she didn't wish to see them.

Its head bowed. A trick?

Brittle skin nudging with a gentleness under her good arm- lax at her side. "May I?" Good hand raised- the forboding creature simply nuzzled into her damaged palm. Elspeth didn't push that boundary- until the dragon ushered for her to climb up onto its shoulders.

______________________________________________________________

"Coming to court is less of a bore with Lady Elspeth around, I would not push her off a bridge! You must believe me, brother..."

"With your recent activities, Daemon, don’t know what to believe. And you will address me as your King.”

Council room doors shattering open with a boom. She was a sight to behold. Elspeth would deny blindly that nothing hurt- but everything had caught fyre. It was a blessing from the Seven that she stood upright. Least of all afront the Council. "The prince did not push me," All in the room stood from their seats. Her hair covered in ash from the volcanic planes. Her leg a vision of crimson blood and she cradled her arm. A gash thick on at her hairline- matting the brown hair obviously while the auburn camoflagued. "I seemed to have lost my footing."

Everything inside of her melted as she crumbled to the floor.

Elspeth woke up to familiarity. The ceiling above her bed, it swirled- she was woozy. "She's awake," Her right hand in motion- an itching, grinding pain surged across her forearm which was placed in a sling and wrapped in stiff bandages. The girl sat up.

Faced with her 'nearest and dearest'- more true for others. Rhaenyra and Alicent were very welcome. Her father... she wished he'd leave the room. Maybe then she'd find some kind peace- as she had on dragonback. Not that she remembered too much, losing consciousness. The Cannibal working harder to keep her upright. "What happened to you?" Her father asked.

"Your daughter has been through quite the ordeal, Lord Hand. Maybe these questions can wait until milk of the poppy has worn away," Ah, that's why she felt in the clouds. Elspeth couldn't find it in herself to bite back, the pain returning with an incoming vengeance. Though, the woman would rather die than let her father know she could feel pain.

The three of them left at the maesters' instruction. The woman sure that Rhaenyra would sneak in at some point. With that thought the door opened; steps heavier than those of the princess. The maester had retired to his chambers- she assured him that she would 'yell down the Keep' if assistance was required.

Curly hair filled her vision and she practically shot up. "Gods be good," A shakiness to his voice- as if he had been in sorrow. He paid mind to her arm as his large arms pinned her to his chest. "I thought you had left me for the Seven heavens," Thumbs stroking her cheeks- looking into her damaged, fixable face. Yet she was the fairest woman he had laid his eyes on. Even in her bruised, scraped image. His bloodshot eyes the only thing she paid attention to. They only brought the ocean out.

A smile swept across her lips, "Not a feat completed with such ease," She claimed him in her kiss. There she was. Finally calm, at home in the assuring arms of Harwin Strong. Holding onto the Lady with all his might- afraid she'd perish the next time leaving his side. "I'm afraid I’ve realised I’m in love with you, Ser Harwin," But a whisper, meeting bluebell eyes- watering. Shocked.

But the precipice of love lingered in his eyes. "And… I now wish to be wed before I turn twenty."

"But that's in a less than a month,"

She shared his gaze of amore, "There is no mistake, so we had best make haste with arrangements."

Incredulous, "What about your father?"

"Well I have a dragon for the Lord Hand to deal with, if he disagrees of our union..." Harwin blinked twice at her words. "It's a long story."

_________________________

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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 🤷‍♂️

[andradrawsstuff]

Gonna start posting bits of my fanfic here since I’ve been working on it for a bit now ✨

This is a sorta continuation/au of the movie franchise set after the penguins movie, since the TV show is considered an au and it inspired me to think of my own thing

I'm still working on writing most of it but I'll post the chapters separately so that this post doesn't get ridiculously long, and I'll link them here ✨

This is my first proper fanfic, so constructive criticism is welcome :)

-The Rise of Dr Blowhole-

Synopsis

Still travelling around with the circus and bored out of their minds, the four penguins seek out a special element core that can upgrade their train to kill some time. As they steal what they are looking for from an unfortunate victim, they unknowingly kick off what is to become the greatest rivalry they have ever known – against the mad scientist Doctor Blowhole. As they now have to deal with the consequences of their actions, they scramble across the US in a cat-and-mouse game of who catches who first, recruiting a familiar companion along the way and re-evaluating their entire past three years.

A bit of swearing in some chapters

Slight skilene later on, but nothing major

I finally gave my OC Otto a role lol

Uhhhh I think that's it for now, enjoy :)

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 1: Pondering life and other matters

The golden sun bathed the green hills of California in a warm bliss. Sunrise. The most beautiful thing one could witness, as well as the sound of birds chirping and-

“I like to move it, move it! I like to move it, move it! Ya like to move it, move it! I like to – MOVE IT!!”

The lush landscape was shunned by a cacophony of lemurs yelling and dancing at dawn, as their train sliced out of the rocky mountains towards the green hills. By that time, the entire circus had been rudely woken up… apart from two feathery friends who were already up and eyeing their locomotive in contemplation.

“But will it work, man?” Boomed their leader, the one and only Skipper.

“Uhhh… well, that all depends on whether I can get my hands on a very special element core, also known as-“

“Don’t know, don’t care.” Skipper interrupted Kowalski. “Just make it work, or I might start kicking people off this train out of boredom.”

The truth is, the penguins already started to find their new circus life a little… dull. In hindsight, it was fun travelling around the world, racking up chaos wherever they set foot. But they also had a big responsibility to maintain and organise the circus they so regrettably purchased, which was… not fun. Alex would practically beg Skipper to take them here, take them there, and take them absolutely everywhere, which Skipper quickly grew tired of. It had been a year since their adventures with Dave and the North Wind. In fact, it’s quite a miracle that the penguins lasted here that long without legging it. So, to kill time, they invented crazy contraptions and pulled increasingly daring schemes to suppress their boredom. This invention was no different than any other.

Skipper sighed and turned to look out the window towards the changing landscape, as ABBA’s SOS played in the background. Kowalski’s choice, no doubt. The vast greenness of the landscape transformed into a deep blue, as they neared the Oakland Bay Bridge of San Fransisco. Skipper had already started to lose himself in a trance, only to be interrupted by a sudden BANG.

“Skipper! Can you see it?” Alex burst through the door, startling the daydreaming bird. “Can you see the bridge? I’ve always wanted to go to San Francisco! And now we’re here!”

“Fish and chips, man! You almost gave me a heart attack!” Barked Skipper. He had a tendency to get jump scared if he wasn’t fully aware of his surroundings.

Alex scans the room in embarrassment as Skipper and Kowalski glared at him, whilst the other two had been rudely awoken by the shouting.

“Huh? A-are we there yet?” stuttered a delirious Private, as Rico simply smacked back down into his pillow.

“No.” Skipper replied coldly. “Do any of you hippies know how to knock? Or contain your excitement?” He continued.

Alex attempted to apologize, but he had already been ushered out by the bird. Perhaps if his daydream hadn’t been interrupted, he may not have been left in such a grumpy state. It also didn’t help that the haunting racket of “I Like To Move It” was looming ever so closer.

“Wake up, boys. We’re almost there.” Sighed Skipper. “And Rico, confiscate Ringtail’s Boombox, I’m starting to get sick of this song.” He sternly added.

Rico grunted sleepily as he made his way down the train cars. Kowalski tinkered with the train controls, and Private stretched his sleepiness away. The light grew dim as they entered the underwater railway tunnel, nearing their destination.

“Get ready, boys… we’re almost there.”

[phireco]

Why I think that voting is pointless. Vote with your dollar. Stop buying from Amazon and Walmart. And take the time that you spend trolling the internet to put out intellectual writing for others to absorb, instead of memes, that provide a unique point of view. We can't all possibly think either point A or point B is right. That motion is completely ridiculous if you have any respect for probability and math. The people that are running do not represent us and we have been stupid enough as a citizenry to put them back in office again and again.

I've been to over 20 countries and traveled all over this world and seeing all different ways of living it I'll tell you what, we are looking less and less like one of the Premier places to live. I give it 20 years before I would like the places I've been in Southeast Asia where you look to your left and right on the bus, and you see a goat in a chicken. There's already more tents in the major American cities than there are good jobs. God forbid the Democrats or the Republicans have a solution. The Republicans have the same man running in his third consecutive presidential election representing half of the country. The Democrats have a ANOTHER First time nominee that no one thinks is the best their party has to offer.

So I'm not even going to blame the awful selection of people that represent us. I'm going to blame the idiots that register Democrat and Republican which make up the vast majority of this country. All of you are willing to make up your mind on an issue before you even hear it based on which party is arguing in the issue's favor. Anyone who makes up their mind before they hear an issue is a moron. And our country, in both parties, is chock full of moron!

It’s not the politicians we should criticize anymore. Consider how they pander to people whose interests they consistently neglect. They represent none of their true needs, yet still, half of the population admires them while the other half despises them. The opposing figures experience the same divided loyalty—this cycle is fundamentally flawed.

The blame doesn’t lie solely with the politicians; it rests on us. We should have demanded better a long time ago, even rising up for change. It’s not the politicians who are at fault; it’s the public that deserves scrutiny. Let go of hope for a moment.

If the politicians were truly the sole problem, where are the bright and principled individuals who should be stepping up to lead this nation with integrity? In truth, we seem to lack such visionary leaders in our society. Most people appear consumed by trivialities, distracted in shopping malls rather than engaging with the critical issues we face. For my part, I’ve accepted a personal resolution: on election day, I stay home. I do not vote. My reasons are twofold.

First, voting feels meaningless. This country was bought and sold long ago. What transpires every four years is simply a reshuffling of the same rhetoric.

Secondly, I’ve come to believe that those who vote relinquish their right to complain. Others often suggest that abstaining from voting strips one of that very right—a notion I reject. Where's the logic in that? If you cast your ballot and elect dishonest and incompetent leaders who mismanage the country, then you shoulder the responsibility for their actions. You bear the weight of our current state, the dismal future we hand our children, and the decline in intellectual capability that increasingly permeates society.

I, having not participated in the electoral game—staying home on election day—hold no responsibility for the choices made by those in power. I know that shortly, there will be an exciting election that many seem to relish. I’ll be at home that day, doing very little, but I know one thing: the only difference between me and the people that vote is that I'll actually produce something that represents my interests, even if in a small way.

I don’t vote. I see through the charade. It's a diversions that distract us from the journey of intellectual growth. When confronted with the issues of low intelligence and poor decision-making, people often leap to the conclusion that education is the remedy. They call for more funding—more books, teachers, classrooms—believing more resources will solve everything. Yet when we point out that despite these efforts, children continue to struggle academically, the response is often to lower standards instead. This results in a temporary boost in passing rates, making the school look good while the national IQ quietly declines. Before long, gaining access to college might just require possessing a pencil, and understanding the complexities of the end that writes versus the end that erases.

And then we scratch our heads, wondering why 24 countries produce more scientists than we do. We wonder why we are no longer in the top 25 and overall quality of education. Barely the best in this continent. We're just one slot above Mexico.

Politicians know how to wield the word “education,” and they often shield themselves behind three pillars: the flag, the Bible, and children. They tout programs like “No Child Left Behind,” yet it wasn’t long ago they were advocating for a “head start.” Are children gaining ground or losing it?

There is a fundamental reason why education falters, and it's not going to improve. Don’t expect a miracle; accept the reality as it is. The true owners of this country—wealthy business interests that orchestrate decisions and maintain control—are not interested in an educated populace capable of critical thinking. They benefit from a workforce obedient enough to follow orders, yet just intelligent enough to operate machinery and handle paperwork but not to challenge the deteriorating quality of their jobs, benefits, hours, or retirement security.

They have their sights set on your social security funds, too, seeking to reclaim that money to line the pockets of their Wall Street allies. They will achieve this eventually because they own everything—your future, your choices.

This is a vast, intertwined club, and neither you nor I are included. It’s a club that beats its members over the head with messages on what to believe and consume. The playing field is uneven; the game is rigged, and it appears that few notice or care.

Good, honest people from every walk of life—whether blue-collar or white-collar—continue to elect wealthy figures indifferent to their plight. The owners count on this ignorance, banking on the fact that Americans remain blissfully unaware of the injustices they tolerate.

The truth is simple: the American Dream exists because you must be asleep to believe in it.

When the terrorists attacked our country on September 11th 2001, we United as one and vowrd to never forget. Never in a million years did I think that's what we actually met was that, we're going to commemorate the anniversary of the year but they will accomplish their goal and destroy America and everything it stands for by knocking down a few buildings and killing a couple thousand people. Are teenagers have killed more since with guns. And don't mistake me. I'm not downplaying that tragedy. I'm saying that the terrorists knew what they are doing and we are playing right into their hands by standing here divided. Check out my video if you want to flash back to hell it felt To be an American in the weeks following that awful day.