#i love that i was like we put a lot of thought into what scenes we put with what lines

[thankskenpenders]

Today we got some news regarding a big change for the Ian Flynn's Q&A podcast, the BumbleKast. As outlined in a blog post by Ian, starting in 2025, all Sonic-related questions submitted to the show will first need to be screened by Sega. (I have to assume this is also why Ian announced they'll no longer be doing live Q&As starting next year.)

Frankly, I can't say this is particularly surprising.

While the BumbleKast is ostensibly a podcast about Ian's work as a freelance writer for all sorts of things, and also just a place for him to shoot the shit about stuff he likes, he's still predominantly seen as The Sonic Guy. Sure, he also does a bunch of other freelance work for other series, and original comics like Drogune, and he's also the narrative mastermind for the whole Rivals of Aether franchise these days, but it's his insights into what goes on behind the scenes with Sonic that people really care about. Your average Sonic fan can't just go up to Iizuka or whoever and ask him a question about the current state of the lore, but Ian's inbox is always open.

Because of this, I've thought a lot about the BumbleKast's place in the fandom and The Discourse in recent years. Ian wants to be as open and honest as he can about his work, and I think that's admirable. To me, hearing about creators' struggles and the shit they go through just to get a story out the door tends to make me sympathize with them more. Sometimes a story just doesn't turn out as well as you'd hoped, but you're on a tight deadline and all you can do is move on to the next project. I've even softened a bit on Penders over the years as he's shared more about the absurd situations and odd creative demands made behind the scenes at Archie. Unfortunately, not everyone has that mindset.

Ian's basically always had obsessive haters who were eager to take everything he says out of context to try and stir up shit, but that used to be contained by the niche nature of the Archie comics. Most of the fandom didn't give a shit about what Ian was doing with Sonic and Sally's love life or whatever. Most of the fandom wasn't even reading those comics. But Ian's gone from being a writer for a non-canon spinoff comic, to being the initial lead writer for the first ever canon Sonic comic series, to being the new main writer for the games themselves as part of the official Sonic Lore Team. Way more Sonic fans care about his work now, and when he's so open about his work that makes him an easy scapegoat.

It feels like damn near every week on Twitter Ian's personal trolls have posted yet another BumbleKast clip out of context to rile up the fandom and make it look like he has no idea what he's talking about or like he has some kind of agenda. And, unfortunately, people often fall for this. Of course, it also goes the other way, with people more sympathetic towards Ian taking things he says about Sega and framing them as proof that Sega has no idea what they're doing with the brand. Which, well, let's be real, isn't always the most unreasonable thing to think, given Sonic's rocky history. But I'm surprised it took this long for Sega to start paying more attention to what gets said on the BumbleKast when fans use it so regularly as a source of drama.

I've also often felt that they just need to be WAY more selective about what messages they respond to on the show. Questions Ian can't actually answer due to NDAs, questions that are borderline incomprehensible, "questions" that are really just fan ideas. And the haters, oh, the haters. Ian does not need to put up with angry rants about how he should make SonAmy canon or what the fuck ever. Even if Ian's willing to put up with it, as a listener it can make the show just super unpleasant at times when someone aggressive pops up with an inflammatory question. There have been entire BumbleKast Mini episodes I had to skip because they were just obsessive critics of Ian's paying to grill him on a dozen different things and treat him like an idiot.

But at the same time, I get why the show got to be this way. It's become a part-time job for Ian with multiple new episode a week. Given how piss poor the pay tends to be for freelance writers, I can't really blame him for wanting to keep this secondary stream of income open, and to not have to refund people left and right for rejecting their questions. The man's got bills to pay. (And so does Kyle, for whom managing the BumbleKast seems to have become a full-time job.)

I dunno. The man's got the patience of a fucking saint. I would've quit the franchise if I was in his shoes, with people wishing he would die for shit like minor disagreements over Sonic's characterization or him misremembering an obscure old lore thing. While I do hope that Sega doesn't keep too tight of a leash on him moving forward, and I hope that he's still able to speak his mind about his work, part of me also hopes that having to be much more selective about Sonic questions results in less bullshit like this.

[gloomwitchwrites]

i’ve only recently found ur acc and i’ve fallen in love! ur def becoming one of my inspo’s in writing my own fics!:D

now, what about t141 with an alt s/o who’s always dying their hair or piercing themselves? maybe it’s the first time they find reader doing said shenanigans, what would their reactions be? 🤔 i think soap would have the best one lol, but i’d love to hear what your thoughts about it! <3

Well, hello! Welcome! Now, I had multiple people request this very thing. I am answering one of those asks and the others will simply fall under this one (since they are all very similar). I did go with some variety here since being "alt" can mean a lot different things. I do have one with hair dying, one about showing off their taxidermy/skull collection, a metal concert, and forcing (Gaz) to have a makeover. I had lots of fun. Enjoy!

For the masterlist and how to submit your own request, click HERE

Task Force 141 x Reader (can be read as gn!reader)

Content & Warnings: established relationship, humor, fluff, swearing, hair dying, taxidermy, concerts, makeovers

Word Count: 800

ao3 // main masterlist // imagines & what if masterlist

John Price

“Jesus bloody Christ. What happened?” John stands in the doorway of the bathroom, his eyes wide as he surveys the scene. “Did you murder someone?”

You stand hunched over like a gremlin in the shower, holding the handheld showerhead. The dye in your hair is circling the drain, but that’s not the only place is stains. The shower is going to need a good scrub as is the bathroom sink.

“I’m changing my hair?”

John blinks. “You told me you were going to a salon.”

“This is cheaper.”

His mouth opens and then promptly closes. You see the gears turning. John is reigning in the panic.

“It’ll come out,” you insist.

“Everything is red,” murmurs John.

“Only temporarily,” you insist.

“Are you talking about your hair or our bathroom countertops?”

“Are you mad?”

“No,” he says firmly, hand on the doorknob. “I’m going to shut the door and pretend that our bathroom doesn’t look like a crime scene.”

“I love you!” you call out as he starts shutting the door.

“I love you, too,” he sighs heavily. The door is nearly shut before it suddenly opens again. “Do I need to grab bleach from the store?”

“That would be great.”

Kyle "Gaz" Garrick

“Stop moving,” you mutter.

“You’re gonna poke me in the fucking eye, love.”

“It’s just eyeliner. Calm down.”

“You’ve poked me already.” Kyle points at his eye. The white is slightly red with irritation.

Kyle’s gaze narrows, but you only tut, grasping the bottom half of his face with your hand. Squeezing his cheeks a bit, you tilt his face from side-to-side, observing your work. About half of his face is done. You’ve even added face piercings to his lips and nose.

The clothes were the easy part. Kyle was more than willing to put on what you picked out for him. It’s completely different from his tracksuits and jeans. He looks like he walked right out of the punk scene.

“You promised I could do your makeup.” You put a little whine in it, pouting your lip.

Kyle lightly grasps your wrist and tugs, removing your hand from his face. “I did,” he agrees. “But all this? Really?”

You’ve set out nearly every product you have, nearly covering the entirety of the bathroom counter.

“We have to match,” you insist.

Kyle’s mouth twitches slightly but he settles. “Fine. But you better make me the best-looking bloke in the joint.”

John "Soap" MacTavish

“This is June.” You present the racoon skull to Johnny.

His eyes widen slightly. “Hello, June,” he greets.

You wait for the eventual frown, for the brief flicker of disgust, but it doesn’t come. Johnny isn’t drawing back or judging you at all. His attention is rapt—focused.

You gently return the racoon skull back to the shelf and point to a collection of preserved butterflies. “These were a gift from a friend.”

“They’re beautiful,” murmurs Johnny. “Do they have names?” He leans in, observing the display of colorful wings.

“No, but they do!” You enthusiastically gesture toward the rest of your collection. There are skulls and bones from all sorts of animals, preserved beetles, tentacles in jars, and even petrified fish bones.

Men say they want quirky, but when they get quirky, they run. Johnny though is entirely fascinated.

“Can I touch this?” he asks with an excitement that surprises you, pointing toward a beaver skull.

“Yes. It’s delicate though. I’m always fixing the jaw.”

Johnny lightly lifts the skull and brings it close to his face, slowly rotating it.

No. Johnny isn’t disgusted. He isn’t shaming you for your special interest. If anything, he’s fascinated.

You’re keeping him.

Simon "Ghost" Riley

The shredding of the guitar reverberates in your chest. It stirs your blood, sending waves of adrenaline through your limbs until even your fingers and toes twitch with anticipation.

The breakdown is coming, and with it will come a sea of bodies. They’ll crash against each other like a massive wave before descending into chaos, nothing but flailing limbs and gnashing teeth.

Already, the energy is pulsing, becoming a frenzy that will eventually burst.

You’ve never been in the middle of the pit before. You usually stay off to the sides or well out of the way, not wanting to receive an injury.

But now you have protection. Now, you have a bodyguard.

Simon stands right behind as your support and your shadow. This isn’t his scene, not that he doesn’t enjoy a metal show, but he could care less about throwing himself around in a pit. When you expressed the desire to do so, Simon agreed, but only if he joined you.

Sure, it might scare some people off, or deter others from getting too close, but Simon is supportive anyway.

He’s just a bit vicious. A bit protective.

The shredding rises. It’s time.

A pause.

Then everything crashes.

taglist:

@glitterypirateduck @km-ffluv @tiredmetalenthusiast @miaraei @cherryofdeath

@ferns-fics @tulipsun-flower @miss-mistinguett @ninman82 @eternallyvenus

@beebeechaos @smileykiddie08 @whisperwispxx @chaostwinsofdestruction @weasleytwins-41

@saoirse06 @unhinged-reader-36 @ravenpoe67 @sageyxbabey @mudisgranapat

@lulurubberduckie @leed-bbg @yawning-grave81 @azkza @nishim

@voids-universe @iloveslasher @talooolaaloolla @sadlonelybagel @haven-1307

@itsberrydreemurstuff @cod-z @keiva1000 @littlemisscriesherselftosleep @blackhawkfanatic

@sammysinger04 @kylies-love-letter @dakotakazansky @suhmie @kadeeesworld

@keiva1000 @jackrabbitem @arrozyfrijoles23 @lovely-ateez @waves-against-a-cliff

@ash-tarte @marispunk @gingergirl06 @certainlygay @greeniegreengreen

[cosmerelists]

Ranking Cosmere Families Based Whether I'd Want to Attend Their Thanksgiving Dinner

If they, you know, actually celebrated Thanksgiving or if I existed in their universe and could attend. But anyway.

[Last Thanksgiving special: How They'd Cook a Turkey]

1. Kholin Family Dinner: No Thank You

Let the various eras of the Kholin family spread out before you: is there ANY iteration of that family whose Thanksgiving Dinner you'd want to attend? We have the Blackthorn Era, where Dalinar is getting drunk and trying not to make eyes at his brother's wife and also Sadeas is probably there. We have Way of Kings era where Dalinar thinks he might be going crazy and is always in a lowkey fight with Adolin. We have post-Oathbringer where you sit at that table knowing that Dalinar killed his kids' mother. Is there any moment when a Kholin family dinner wouldn't be awkward for a guest? Even Shallan being there isn't enough to win me over. I'm staying home.

2. Kelsier's Crew: Sure!

I think a holiday dinner with Kelsier's crew would actually be delightful. I think that whatever else they had going on at the time, they'd make an effort to put that aside and have a good time.

3. Kiin's Family Dinner: Hell yeah

Kiin (Sarene's uncle in Elantris) is canonically an amazing cook. Like, I'd LOVE to be at their family dinner. Plus, Sarene seems to have a nice time hanging out with them. Sure their kids squabble a bit, but nothing major.

4. Stormblessed Family Dinner: M-Maybe?

I feel like this is strongly era-dependent. Join them when Kaladin and Tien are kids? Yeah, I think that would be all right. There might be tension between Lirin and Kaladin, but Hesina and Tien are there to defuse it. After the two kids are taken to war? I-I'm leaving that couple alone to grieve, I think. Post-Kaladin-Radiant time? That's REALLY book-dependent. Got weird between Kaladin & Lirin for a while there. I don't want to be there for their yearly argument about whether it's ever okay to kill someone. Maybe I'll just help Hesina in the kitchen.

5. Tress Family Dinner: Definitely!

Yeah! Tress is a great cook, her parents are AWESOME, and if Charlie is there too, all the better. Like, this one is a no-brainer yes please.

6. Bridge 4 Dinner: Yeah!

Especially if it's post-Radiants, so that (a) we're not all enslaved in Sadeas' war camp and (b) there are women too. I bet Rock's Thanksgiving stew would be delicious. Kaladin would be late, but you know what, it's okay. He's very busy.

7. Court of the Gods Thanksgiving Dinner: Maybe If I Were Younger...

Listen, I'm sure it's a raucous good time. There's lots of food, it's really good, everyone looks hot, and everyone is very drunk. Not REALLY my scene, though. I might go if I were invited, but if Tress's family had already offered, I mean...

8. Idrian Royal Family Dinner: I'll Pass

For one thing, I feel like the food would not be very good since my impression of Idris is that everything is...gray. But even beyond that, the family dynamics do not sound fun. I mean, their dad sold his least favorite daughter into what he thought was deadly sex slavery. Their mom doesn't even have a name. It just feels so awkward.

9. Noodle Shop Thanksgiving Dinner: Yeah!

Going out to eat is a great way to not have to cook for Thanksgiving dinner. And Design's Noodle shop--or even later under the new owners--feels like a great place to get some food. Depending on why I'm there, I might even get some free sympathy noodles if I have nowhere else to go! Y-Yay!

10. Lopen Family Dinner: Yes!

I definitely would say yes if invited to eat with Lopen and his many cousins. Remember when Elhokar was there for a minute, and Lopen's mother kept making him eat more? I am going to be SO STUFFED and it is going to be SO worth it.

11. Ladrian Family Dinner: Totally

I'd love to have dinner with Wax and Steris and presumably Wayne and Marasi and possibly MeLaan! I bet the place settings will be fancy and that I'll have to bone up on my etiquette rules--but then, Wayne will be there so surely my using the wrong fork will go largely unnoticed. Anyway, these people seem pretty fun to hang out with, and I bet the food and whiskey are both good.

12. Montane Family Dinner: S-Sorry, Can't Make It...

As much as I love Threnody as a concept, I don't want to hang out in a small circle of silver-ringed "safety" while knowing that murderous ghosts await any mistake outside. I just don't feel like it would be a relaxing time. Plus, you know, Silence's grandmother is literally a ghost in a locked room like right over there. That's a family dynamic I don't care to experience.

[ir-abelas-vhenan]

Something Something Yeah It's Still Solavellan Hours (Mythal is kind of here, too)

I've seen a few very beautifully articulated posts talking about the conflicted responses players are finding themselves having in regards to the decision by writers* to have Solas' atonement route possible because of his conversation with one of the remaining fragments of Mythal.

(*honestly I hesitate to put the weight of bigger game events on their shoulders because of how much I know bigger players in the company were involved, so when you read 'writers' know I just mean whoever had final say on plot)

I love reading where people are at on this, and having now breathed, re-played the scene, cried, read some more theories, and then played the scene again enough times I think I'm now able to figure out where I'm at.

TLDR: in my humble opinion, the conversation Solas has with Mythal doesn't bring him any actual closure at all. It is only the version of the atonement ending that has Lavellan in which he is actually set upon a road to redemption.

This, like everything else where I lose my mind, will be long. I tried to restrain myself and here we are, unhinged as ever.

I was unhappy at first that Mythal's incredibly brief conversation with Solas where she releases him from her service seemed to be what finally allowed him to make a decision based on his wants and not hers. My concern stemmed mostly from the fact that a lot of us are trying to be active participants in a society that recognizes patterns of abuse and seeks to establish channels through which individuals can pursue healing without the approval, consent, or demise of their abuser.

But the more I look at the scene, the more I wonder what would have happened in a world where Veilguard got just a little more time in development. Could we have gotten a scene that more elegantly conveys the theme that we cannot heal every part of our loved ones, much as we might like to?

In an imperfect world it isn't always up to us how someone finds closure, which really sucks when you'd like to ensure a loved one finds it in a way that preserves their dignity and limits exposure to the individuals who have harmed them.

And while it could be left there, I'd like to actually push back on the idea that Mythal is in any way responsible for "healing" Solas in this moment.

I went on a different tirade a few days ago about how at the end of Inquisition, Mythal says words to Solas that on their surface seem well-intentioned or placating, but they actually just serve to further bind him in guilt and a position of servitude. In Veilguard's finale, she still does not take accountability for exactly how much of a role she played in the pain that Solas, a man others have revered and feared as a god, has gone through as he cowers, actually cowers before her.

Mythal's interaction with Solas conveys exactly two things to him as far as I am concerned (I'm going to botch these quotes but my laptop is dying so please accept some paraphrase as I rush to finish this before I go cry about this analysis to my uncaring dog):

"The terrible things we did, we did together." You are forever tied to me.

"I release you from my service." But what am I releasing you to?

Because up until Lavellan joins the fray here, all I take away from the physical and unwilling emotional cues Solas gives in this scene (he is a master in trickery, for goodness' sake, the thought of so many witnesses seeing him unable to hide behind a mask has to leave him feeling anguished on top of everything else) is that Mythal has once again reminded him of everything he did in her name and telling him that all that's left for him is to go back to the fade prison and, as he as always done, endure the crushing weight of his failures alone.

To me, in my interpretation, the Solas that hears this from Mythal with no Lavellan intervention may choose to willingly step down from his original plan (and yeah, that's gonna do some damage) but he is certainly not free of his past. He's going to be reminded of it every time he turns a corner and finds more blight to try and soothe, and even the moments that he rests will be filled with more manifestations of his regret. He says it himself: where he's going? It's terrible.

Enter Lavellan. Yeah, he couldn't bring himself to listen to her at her first plea (but like damn how many times are we going to have to watch her give a heartfelt speech only for him to be like 'something something beautiful elven rejection'). But I know that you know that our clever icon knows better than to take what Solas says at face value. She tells Rook plainly that he's absolute dogshit at lies of the heart, and she says it with her whole chest.

Lavellan sees the way his shoulders slump (in resignation yes, but you can't convince me there's not a little bit of relief there, too), she hears the agony in the "vhenan" that escapes his lips (which, don't even get me started on the fact that it's been like nine years and he has no hesitation at all calling her his heart, it just spills out of him). It is not the sound of a man delighting in the steps he's about to take. They're certainly not steps he does not dislike that lead to a destination he enjoys.

And then she watches Mythal (who I can't imagine she feels any sort of fondness or respect for) pull some weird nonsense on her love one final time, and she knows it's her moment to shine.

Mythal, I would argue, pushes Solas down one more time, shames him into seeking atonement, into once again being alone.

It is the romanced Lavellan that kneels so that he cannot fail to meet her eyes. It is she who invokes their connection, not to remind him of his failures but to reaffirm his greatest strength: their love and their love alone is inevitable. Not the consequences of his past, not the regret he thinks will consume him as he seeks to mend what has been broken. It has only ever been them.

"There is no fate but the love we share". We are forever tied together.

"There is no fate but the love we share." *I* am releasing you from everything else save for this love.

Put colloquially: get absolutely fucking wrecked, Mythal.

Body language comparison to chase up the dialogue one, anyone? The way Solas shrinks before Mythal as opposed to him walking off into the fade with Lavellan at his side and standing tall, and he does not flinch when she lifts a hand to his shoulder?

Ultimately, Mythal is a part of the atonement endings no matter what. But it is only Lavellan that refuses to let him walk alone. It is only Lavellan that guarantees that his dinan'shiral ends not in a prison of regret, but a place of promise.

Mythal bends Solas until he breaks one last time. Lavellan takes each piece, claims it as hers, and uses them to build the beginnings of a future.

[mysteryanimator]

Breaking down Castlevania Nocturne Season 01 - Episode 04 "Bedroom scene" (almost) shot by shot!

Breaking down episode 06 / Breaking down episode 08

(Word count 6.3k I am so sorry HAHAHA)

I was heavily considering not going through episode 04 mostly due to being in the public eye but I like talking about shows I enjoy, regardless if my writing is shitty or not. By the way, the title says almost go through this shot by shot only because there's a 30-image limit. This scene is LONG so I can't catch everything but I can catch most.

By the way, before we start, a massive huge thank you to the Nocturne people, i don't think they'd read this, but if they do, all the scenes are really well crafted and interweave soooo nicely to their next point of interaction. I would love to know everyone who worked on this section, but if not I do hope they hear my utmost thanks and applause from all the way from Australia.

(Actually, just everyone who worked on Nocturne take a standing ovation from me lol, the show actually changed my life lmao, but I digress)

To introduce people who may be reading my analyses for the first time:

I implore you to rewatch Nocturne after reading this and make your own thoughts because while this is an analysis, it also comes through my own lens. These are just my thoughts and by no means end-all-be-all!

These are just observations based on my special interest and study in the field of in media production and analysis (i haven't been in that field for a while but I'm trying to get back into the swing of things HAHAHA)! Despite all of that, this is for fun, which is why I will be writing a lot more casually, so please don't take this too seriously! This not only helps me out as a student to become aware of how stories are put together and, in turn, how to apply them and make my own, but it also allows me to impart that excitement to you! Shot choices matter, especially when you have only 8 episodes, a deadline, a budget, asset restrictions, and so on. It all has to count. Everything matters.

Passionate creatives care and there is more than "the curtain is blue just because." The times when things slip under the radar and are put there just because are mostly due to executive meddling, budget restrictions, and deadlines.

With that said, this is actually a lot more thicker than previous breakdowns, WHOOPS. So please feel free to read this in chunks, and I will warn you that my grammar is not the best so you might have to bear with me here! As a warning, I will be using the words like sex, genitalia, etc. I only mention the actual acts of sex when presented as a joke.

--

Why am I putting in this last close shot of Tera? It is important because the whole scene beforehand has us mentally prepared for a fight or something a lot more action-like. The walls behind Tera and Olrox's room are REALLY similar, therefore once we see this inn room, we make a split-second assumption we're jumping forward in time with the protagonist. A picture says a thousand words.

Right up until the Olrox and Mizrak scene, our protagonist and antagonists both have very distinct places of associations and visuals, which often give the audience clues about their roles. They're established immediately from episode 01 and don't divert that line, that is until inn room. You can argue the line waivers in the courtyard, but the distinction is made REALLY clear in this episode.

The main cast, aka our protagonists, their places of association are usually amongst nature and people. If they're inside buildings, it is small cramped space, very much lived in and not completely upkept BUT it is what makes them very human. Our antagonists are associated with grand buildings and detailed windows that almost touch the ceiling. Gold trimmings. Vibrant rich colours that could only be afforded by the rich. If not the massive chateau, we have larger-than-life catholic churches, with stone walls higher than the eye can see. Our antagonists are congregations and establishments. Our protagonists are individuals.

I'd love to put some examples but I've used up my image slots, which means I'm making you rewatch (jokingly you don't have to) Nocturne from ep1-ep4 making you really conscious of the backgrounds

We as an audience have already slotted Olrox with with high-class, even though we as an audience know there's more to him. Olrox is designed with visual cues of the antagonists. His clothes literally could be wallpaper for the chateau. Not only that, the way he stands and holds himself very much leans into some of the stereotypes and tropes of the upper class that are often shoved into the media we consume. Then Mizrak, we do not see Mizrak anywhere besides the church, just strictly following the commands of the Abbott. We as an audience already have preconceived notions about religion, especially catholicism in the real world. Also, we have an established view of how Castlevania goes about religious characters from the previous series. Mizrak appears to have no other purpose but to be one of the main antagonist's guards.

This is a subversion.

Subtly this is going to tell us there is so much more with Mizrak and Olrox, and how their values align more with the protagonists rather than the villains and antagonists of the show. However, since they already began as oppositions to Richter and co, they need to earn the trust of the audience first so then they become more likable whenever they do have to earn the trust of Richter and co. This is our first building block. A step towards trust towards us and a step towards trust between Mizrak and Olrox.

(The location of their private conversations is REALLY important because they also tell us a lot about the characters, but I'll save it for the ep 3 breakdown when I get to it)

The sequencing and length of these shots are really important for the first half of the bedroom scene because we have exposition to get through. The scene has to be set out very strong from the start BUT, it also has to ease us in because this is a drastic shift, not only visually with naked characters but also a shift on the audience's expectation of already established characters. This is why we need this window first. We need to ease into this bedroom scene, or else we're going to be way too distracted by what is about to be shown.

Going forward SOME of these will be gifs to help illustrate my point. After all this is an animation! This is really important to show you in motion.

This pan down, oh my god this pan down. Camera pans help to reveal new information off-camera or to showcase a shift in tone/perspective. Suffice it to say THAT IS A LOT OF INFORMATION and a new shift in tone. This long shot is here to help establish our setting more clearly, what characters we're following, and what is happening. What are we establishing here? Mizrak and Olrox had sex in an inn room, that's all this shot is. It doesn't have to be anything fancy, other than the fact Olrox is censoring his own and Mizrak's crotch but that's it. As simple as it is, it is extremely effective. Yet it's so pulled back and obscured by the flower we can't be completely certain which is why we need the midshot of them that follows after, which helps to continually ease us into the scene. It tells us so much with so little. Show, don't tell is not only a powerful tool in visual arts. It leaves the audience to their imagination and I'm pretty sure a lot of us can fill in the gaps (I see you writers, I've seen everything on AO3).

This a midshot of Mizrak blankly staring up at the ceiling. Then they both turn to each other before Mizrak leaves and Olrox watches. In silence.

It's simple.

It's straightforward.

It makes you throw your arms up and go "what the fuck is happening???" It works. We're easing into this scene which is what we need. We're distracted by our own shock. So we've gone from our establishing the bed to establishing in our faces that, yes, it is indeed Olrox and Mizrak and they are both naked. That yes, they had sex and that Mizrak decided to stay for the night. Reasons? No clue and it's not important plot-wise, we just need to wrap our heads around that it is THESE TWO. It needs to be simple.

The lack of dialogue gives us room to breathe and to think. This is why this shot feels and holds on for what feels like a long time, in silence.

It might've changed but last I recall on average, shots will hold for 2-3 seconds. This is due to preventing the audience loose interest because the unchanging visual stimuli (and let's be frank attention spans are shortening, therefore media will change to reflect that). HOWEVER, a shot length heavily depends on the context of the scene and what you're trying to specifically say with a single shot, therefore making it super short OR super long. This one shot is six seconds. It allows for the dramatics to be amped up and it allows us to get through our shock for a bit longer since we're only TWO SHOTS into this scene, and right after this we're jumping straight into exposition and their deeply intricate dynamic. This is out six seconds to scream our heads off in shock and laugh in disbelief before we get hit with Mizrak's existential crisis.

The silence and the simplicity of it all also strengthen their mysterious characterization that has been established in episodes 01-03. We never see how they got here OR the act itself. However, what is really telling of these characters is their lack of body language and facial expressions. From episodes 01-03, Mizrak and Olrox have been seen to be very reserved characters until their fight in the courtyard. Their last scene together was fighting, in a courtyard. Now we're seeing them, post-sex, with neutral expressions and body language? The lack of any answers, the lack of anything dynamic happening from this shot and the last shot makes the audience absolutely learn for an answer. We're now invested in this side plot. What got these two men to be in this vulnerable state? How do we get the answer? We sit, we wait, we watch that vulnerability get earned. Mutual vulnerability that is.

This gets into personal opinion here so feel free to skip, but I really really enjoy how we get absolutely no answer or visuals, which might be a strange take for someone who does of fan-anims and fanart of them coughcough. We as an audience can get through literally two images and understand they had sex. We don't need to be spoon-fed. Media is in my personal opinion is more fun to engage in where we get just enough to know what going on, but we can fill in the blanks ourselves. We can read between the lines. This is adult animation. This is not to say I'm opposed to an explicit scene with them later down the line, I just think this is a very good way to establish the dynamic they are going to have. It has me way more emotionally invested in these characters which I believe is far more important because it tells me we're in it for the long haul and we're going to see a relationship actually develop in real time, both their high points and pitfalls. Also, I personally feel this whole scene is building towards something we have yet to see. I do not believe this is the last time we will see them put in a situation like this due to the whole emotional weight of them being naked, but that's theory territory LOL. I'm so happy to be proven wrong though.

This long shot is slightly tilted up to help to censor genitalia but it is again a REALLY SHOCKING SHOT. I personally don't know any recent Western animated media that has done this, especially of a male couple. Even if there are some animated examples, this is not a very common thing, especially to this extreme.

Now we're actually getting into the meat of their actual discussions, knowledge, if you will.

By the way, the question Olrox is presenting, is already information everyone knows. Actually, a better word is presumed. We saw the abbot in episode 02. Olrox explicitly states it in episode 03, asking "Why is your abbot forging Night Creatures for the Vampire Messiah?" There's technically no reason to say this BUT for this scene, it works because we're still distracted visually. We still need to ease into this, much like how Olrox needs to ease himself into this conversation before getting what he wants truly. Mizrak's opinion.

This midshot of Mizrak's back is so much important then you think.

I can be wrong, but I feel like you're supposed to be half-distracted or get whiplash by Mizrak's back. Frankly, we're supposed to get major whiplash from these two characters naked for a moment. These characters are usually completely covered from the neck down. This also makes the conversation they're having to be put under a way different lens. If they were clothed for this entire scene, the emotional weight would almost be non-existent.

Nakedness/lack of clothes is vulnerability, especially for a knight. Especially for a guarded vampire. I will be talking A LOT about vulnerability, so I hope I don't wear out the word too much.

You can perceive this shot in two ways and I think both work in this scenario. It can showcase even when naked and vulnerable, his unwillingness to open up, unable to fully face his own truths, the truths Olrox lays out for him. Yet, you're also having your back to a vampire, a perceived threat, which is a very vulnerable position to be in. You can't see your opponent.

It shows Mizrak trusts Olrox physically, but not emotionally. Not yet. We're going to watch Olrox earn it and for Mizrak to reciprocate it back throughout the series. Also just in general, sex requires vulnerability, choice AND trust, therefore even the implication of sex, those meanings get slapped down onto these characters. It means that they have the means to trust, be vulnerable, and have a choice with each other physically, but emotionally, they're building up to that.

This medium shot will be the ONLY SHOT we get of Mizrak in his boxers. This is plainly in part of the fact he's hurriedly getting dressed BUT we need to see his hesitation, him slightly lowering his clothes, him actually listening to Olrox.

Olrox is right.

Though Olrox isn't here to converse about other people to Mizrak. He wants his opinion.

Close-up shot of Olrox!

Close-ups are used to make the facial expression of a character the main focus. It gives us clarity on the character's thoughts and feelings on a particular subject, even when lying it can already tell us a lot about a character in the moment. The character themselves are the sole focus of the shot, nothing else. The same goes for objects. This also means when you do the opposite and obscure the face...

(drum roll to the next shot)

This is a great close-up shot to cut to because this has Mizrak fully turn AWAY from Olrox, put on his armor, and paired with the line "I don't know what you're talking about." We're getting visual and audio confirmation that Mizrak does not want to acknowledge his own thoughts, in turn, he will not face Olrox and the audience.

He is actively putting his guard back up as soon as Olrox prods for his opinions. From episodes 01-04, all we have seen him do is be at the church and stand alongside Emmanuel, that's it. He is not a leader, a pillar of the community like the Abbot, he is a follower. A guard dog ( like Drolta Tzentes, though she has way more personal agency than Mizrak). He never voices his own opinion, his own thoughts. To do that would need you have the strength to be

VULNERABLE!

By this point in time, he's not fleshed to the same degree as most of the other characters. Richter gets the episode 01 prologue with Olrox being his main point of trauma. Tera gets her speaker backstory fleshed out along with establishing Drolta and Ezerbet's longstanding history. Annette and Edouard get a really well-established (btw beautifully done too oh my god) flashback as Annette recounts the past. While Maria has no flashbacks, her character gets to have her individual values and attitudes fleshed out due to her screen time and her connections to Richter and Tera.

Mizrak though?

Not much is known about him besides the church. We put this label on him simply due to what the show has given us, but through Olrox we're getting information out of him because clearly Olrox has seen there's more than meets the eye. Especially when Mizrak drops the line "when the world abandons you." Olrox's investment is also now our investment in discovering who Mizrak is.

Mizrak however, does not want to get personal feelings in the way of duty, a common trope in media for knights, soldiers, and religious people. So he shuts him out.

Multiple.

Times.

This shot pans up, moving Olrox from lying down, which is more casual to more structured sitting pose. Specific movement is IMPORTANT to capture, so instead of just cutting to another shot, you move the camera with it. There's a tone shift. We need to see him go from lounging to making a very direct statement. Mizrak is ignoring his question so Olrox has to be more blunt with his statement because he needs him to listen- so the camera and the his body language have to clearly state "I'm not joking or fucking around anymore, just listen."

What he says is absolute truth though, this is exactly what happens in episode 08. "They're revolutionaries, Father. We're here to crush them."

The stark difference here is crazy in this medium shot.

Mizrak. His head is purposely cut off, he's practically clothed, with his chain mail on. He's standing up and his posing is quite stiff with his hands almost balled into fists. You also might be thinking, why is his chest and boxers the only things we see???? It makes him appear so much more clothed up and, therefore a lot more guarded. Cutting off the face means we don't get to see his emotions, he's trying to ignore personal feelings on whether it's right or not.

Olrox on the other hand, is full body, we see his face, naked, and despite his very direct statement in the last shot, he still somewhat casually sitting. Olrox is STILL trying to get Mizrak to be vulnerable and trying to get HIS opinion.

Funnily enough, I've talked about this close up shot before in BOTH episode 06 and episode 08's breakdowns. However, I've never actually discussed this initial way Olrox approaches him.

Olrox again, prods at Mizrak and this time Mizrak does have to sit with that thought. "Do you think he's right?" "Are you sure this path is right?" He's asking if what Mizrak is doing is good. If the horrors committed are justifiable. Both the way their expressions tell us that Mizrak does not think it is, and Olrox KNOWS. This close-up is INTIMATE. We're getting deep into personal matters (well try)

Side profiles not only give an air of drama to a scene, but it usually means there's more to the bigger picture since we're not seeing a person's full face. We're deliberately only seeing one side of the picture.

This is a split-second shot and I've discussed it briefly in another breakdown, but now I can get to discuss it more in-depth now as it's own shot!

This is a top-down shot, putting these characters in a place of vulnerability and weakness. Olrox is put even lower than Mizrak in this shot, he's far smaller and takes up less space in this shot, therefore giving him less presence and less power. Episode 03 had established Olrox was the man (or should I say vampire) in control of the situation, hell, the shot just before this one had Olrox wrapping around Mizrak, again trying to get under his skin. Yet now he's suddenly placed the lowest in the power dynamic.

Not only this, the camera is packed in so tightly and close, it's practically suffocating. We have no visual room to breathe, almost like we're suffocated with the evil that prevails in the world and suffocated with the weight of the question "Are you sure this path is right?". Olrox's eyes are the only aspect we see of his face and Mizrak's eyes are the main focus of this shot.

And they both look horrifically sad. An emotion we have not seen either of these characters make.

This shot does not last long but it shifts the rest of the section completely, even when the moment of concern is gone. It lingers with us when dismissed because it does not match any other scene we've had thus far or what we have known of the characters.

This one specific close-up is very important because it comes back to us in episode 08 and episode 06.

It's the holding from behind and the very concerned look from behind. Mizrak only ends up mirroring ONE of the behaviors. It's the concerned look from behind in episode 06 (timestamp is 19:25). They're put at the same heights, both talking about the evils of the world. Tin foil hat here, Mizrak may end up doing the other behavior, holding from behind, in another season.

The weight of this shot is so heavy that it is treated so differently amongst all of the other shots in this entire interaction. It also holds on for much longer. It holds for 5 seconds. This is important. There are little character moments from Olrox, like how Olrox looks up at him and he holds onto Mizrak as long as he can before has has to let go and watch him walk away. Duty, before desire.

A moment that Olrox has to go through once again for episode 08.

In response to a line. "So we use our heads." Olrox jokingly goes "Or lose them."

This long shot is not only tilted up but it's on the slightest of angles as if to showcase how we're shifting the mood and tone of the scene. We are losing the gentleness and sincerity of the moment, back to the very conveniently placed knee to censor Olrox. We have Mizrak pulling up his pants. Whatever vulnerability they had, it's gone.

I don't think either of them wants to sit in the thought of their existential crisis because not only Mizrak is clearly going through one but Olrox is too. While I'm sure they were sitting with their own thoughts for a long while before meeting each other, it's only forced to be on the forefront and confronted after meeting each other.

So the "lose our heads" line ends up coming back around to where someone actually ends up losing their head in the same episode.

While first, it is very comical because I've seen so many people make the joke of "Olrox gave Mizrak head" (which doesn't help because Olrox smirks at him after passing him the head), it also solidifies Olrox's truths to Mizrak. People will lose their heads under Ezerbet, and there is evidence not even hours after their discussion. Despite the humor, Olrox is deeply concerned.

Olrox is always right. Whenever he makes a statement, he has always been right and has always been proven right. The only thing he hasn't been right about is episode 08 when he says "If you go back, she'll kill you." However, in terms of technicality, Mizrak hasn't gone back to Ezerbet/Sekmet. This will be addressed in season 02 most likely and even then I think Olrox will be proven wrong. Maybe? We shall see LOL.

Which while we're at it:

He eyes Mizrak the ENTIRE time during this very small interaction, and while he eyes him, we get a close-up of the book somewhat revealed before hiding it under his coat- silently communicating to him. This will eventually lead to episode 06. All interactions lead to effecting the next time they meet. I just really like this detail, though that might be a corn plate moment I'm not sure HAHAHA

Ok lets jump back to the bed scene!

So this follows up the "So we use our heads." "Or lose them."

This is said insincerely, so Mizrak jabs back at him with the same insincereity and less seriousness of this scene. Coupled with the fact we have a panning shot of Mizrak pulling his pants up, aka, pulling up his guard. Important note again- his back is STILL FACING HIM. Even with the chainmail fully covering him.

Also, I just really enjoy the animation here, like the way his arm goes from in front of him and straight, and then goes to being pulled back and bent, but that's a side tangent.

Low-angle tilted down shot. It ends up placing Olrox in a lower position of power than Mizrak in this current interaction, coupled with the fact that Mizrak towers over Olrox when he's standing up.

Despite us not seeing much of Mizrak besides his chest- he's fully clothed with his tunic FACING Olrox. While Olrox is STILL naked. Mizrak is shielding himself behind the cross. His faith. Olrox still is trying to delve into Mizrak's vulnerabilities and Mizrak won't give in.

Props to everyone who worked on this shot he just looked really pretty here.

This shot is tilted up and a close-up, an opposite shot to the previous one. It feels daunting, coupled with that line especially. Unlike a tilted-down shots, which make a character appear more vulnerable and weak, a tilted-up shot can make a character feel more in control of the scene. It makes him appear unwavering and solid in his stance Also, this is so specific but we haven't had any solely focused Mizrak shots for a hot moment now. The last time we had it was when he had his back turned to Olrox- now he has all his clothes on and is fully turned towards Olrox. Say it with me !! Mizrak's guard is up !! He's shielding his vulnerability !!

He feels way more emotionally safer to face him guarded up and a lot of his language has very very subtly shifted from when he had clothes on versus off.

Also thank you to everyone who worked on this shot, Olrox is very pretty here too.

Instead of having a tilted-down shot to do a verse version of Mizrak, it's pretty much straight forward close-up shot, which means the equal power dynamic in this conversation has returned. Simply because Olrox begins to prod at Mizrak again with the line "Who pays for it? Will you?"

Oop naked Olrox. However, despite Olrox's ass being very clearly on display, he's not the main focus since his face isn't shown. He's only here to showcase the visual contrast of him being naked to a fully clothed Mizrak. Even his dagger is strapped to his thigh, which only means there's even more layers to his protective bubble he surrounds himself in.

This close-up is important because it's a declaration of how much Mizrak doesn't care in the slightest. His facial performance, aka what we're focused on, doesn't look like he's lying or secretly worried either, he's genuinely disinterested. He just wants to get dressed and leave because Olrox keeps prodding at HIM for his opinions. As disinterested as he is for whatever Olrox has to say, he's disinterested in shedding his opinion.

This midshot is so casual. He is very non-nonchalantly leaning back with a smile and jokes about demons. The camera moves with Olrox. Camera pans normally mean revealing new information visually, as if something is off camera, similar to the bed reveal at the beginning of this whole scene. What Olrox is doing is revealing new information. Also, he is on the very right of the screen then slowly gets pushed a little more towards the center, but still on the right. Having a character placed on the very cusp of a stage makes the visual balance feel really off, therefore as an audience, we feel really off-balance. So couple that with Olrox's humourous attitude with an information dump...

This so interesting because it sprinkles in that Olrox knows a lot about the forge master ability, hell itself, and a lot more we don't get privy to. He knows way more then he lets on.

This ONE LINE gets three different shots. The very casual, humorous sentiment gets interrupted visually with extreme close-ups of Mizrak who is clearly peeved and tense about this. The quick succession of jumping to different images makes us tense up. This is due to the timing suddenly speeding up AND where the camera is placed is so drastically different.

He's reacting to the conversation unlike how he has before.

Now Mizrak's hands are fully covered, the last part of his skin, the last part that Olrox used in an attempt for vulnerability. Mizrak's guard is now unwavering, covered head to toe. He's gone from reserved and quiet to angrily guarding again.

Lol you thought I was done talking about divides and boxes, you are WRONG.

Mizrak is boxing himself into all his preconceived notions of religion. This is the only time he's been aligned inside of the door frame. Mizrak is done with this conversation and he doesn't want to hear anything else.

Also, funnily enough- Olrox takes up the amount of space in this shot as to Mizrak and the door. Compositional it does make it feel more filled up rather than empty, showcasing Olrox is listening, peeved, but he is listening. It also might hark onto the Olrox God connections that are being subtly slid to us, though this feels like a slight stretch. There's a stronger Olrox God parallel I talk about later, so pocket that thought!

I have to skip some of the shots because of the image limitation, but thought this one needed to be addressed!

Not only does this wide shot make us feel really pulled away and disconnected from whatever private conversation they were having. It also makes us feel like after this interaction, whatever same understanding they had, is gone (well not completely gone, it has to be rebuilt again). Mizrak's unrelenting faith in one God is causing a rift, a divide if you will between the both of them. They feel so separated, so distant from each other because Mizrak is still really stubborn.

Then after all is said and done. After Mizrak has the final say. He leaves and Olrox watches. Like episode 08. Again.

Olrox is pushed into a box, which funnyily enough, Olrox tends to be seen in a lot of boxed-up framing to the right of the screen. You can see a visual collection of it here. Whenever he's from the left of the screen boxed up, it's usually turned towards himself like an inner reflection.

Ok, I have to skip some more shots to get to here.

"One God. And you think he can protect you?"

This is major foreshadowing but the one God, that Olrox scoffs about is himself. This close-up solely focuses on how he looks down and watches Mizrak from above. Much like how God is described in scripture.

Psalm 53:2 NIV: God looks down from heaven on all mankind to see if there are any who understand, any who seek God.

Psalm 102:19 NIV: The Lord looked down from his sanctuary on high, from heaven he viewed the earth,

Olrox looking at Mizrak from above as a protector happens numerous times in episode 08.

There are also a ton of bible verses about living under the shadow of God, it's considered a positive thing because God's shadow covers the entire body, therefore a person is fully protected.

Psalms 91:1-2 NIV: Whoever dwells in the shelter of the Most High will rest in the shadow of the Almighty. 2 I will say of the Lord, “He is my refuge and my fortress, my God, in whom I trust.”

Psalm 36:7 ESV: How precious is your steadfast love, O God! The children of mankind take refuge in the shadow of your wings.

(i do realize now all my examples are psalms i hope that's ok to prove a point LOLOL)

Olrox is the sole protector of Mizrak to the point where he even drags him away for his own safety. The shot choice when he says it is a close-up shot of his face and his eye is slightly glowing, making him appear way more supernatural, almost god-like in a way.

It hasn't been confirmed (or denied for that matter) if Olrox's creature form is the Quetzalcoatl (an Aztec deity), but the god parallels are very apparent from the get-go, and a lot of the fandom (aka the audience) who are invested in Castlevania have placed this label onto him not only for the reasons mentioned above BUT also due to his association to Mizrak, who is a man who fights for God. However, this aspect doesn't get fleshed out like their vulnerability because Olrox only goes into this protector role at the very end of the season. After all, that is when he has a change of heart, much like Mizrak. This means this will not be the last time we will see Olrox in this role even after the break-up.

To wrap this up, vulnerability as showcased in episode 04 does appear in episodes 03, 06, and 08! I personally believe though that episode 04 however really hammers you on the head with it because you're able to play around with someone's literal nakedness as a visual metaphor. This episode is supposed to make you really conscious of them and the decisions they decide to make going forward. It is the bridging point between episode 03 and episode 06. It's a stab in the heart when you watch episode 08.

Vulnerability and the ability to open up is a massive thing between these characters and it's only going to get more raw and more human as the series goes on. We see it happen when Olrox is the one to open up first. One thing I noticed from both Castlevania and Castlevania: Nocturne is that love can be the most damning thing or it can save you. The choice, however, is up to you. However, to love is choosing to be vulnerable. By the way, love isn't just romantic it can be very much platonic and familial as seen with practically all the characters, both current and past... Olrox and Mizrak though are just really complicated and messy. Aren't all characters though? Isn't that what makes them human, even if they've lost it centuries ago? HAHAHASBDHADSB

(ok so the paragraphs below is my personal opinion but i think they're a good ending note/side tangent)

If we ever actually get an explicit scene it's going to make a specific commentary on how these characters have developed from season 1 to whatever season they have sex in, especially how they go about sequencing, pacing, and shot choices, especially with Netflix censoring and rating requirements. Limited things you can show, and limited things you're allowed to even imply, so everything has to make sense to what they want to portray AND say. Even simplicity requires a lot of thought. They can do some really cool stuff with it in which vulnerability, both physical and emotional, gets explored between Olrox and Mizrak. Sex is actually a very interesting way to explore a dynamic, I feel it's really underutilized, though it's mostly in part to a societal downpour view on it. With Mizrak and Olrox, two very withdrawn characters, you could say something really interesting about them as individuals and as a pair that you might not be able to do when clothed. The commentary may be as simple or as profound as the creatives behind this want it to be.

A counterpoint though is that you can very easily make a non-explicit scene feel really explicit and sensual without sex or kissing. While yes, we want confirmation through that means, don't get me wrong I love when queer love is straight-up told to us, there's something about telling a story of intimacy between characters that will often engage us first into a story. Phrases like "This is gayer than gay sex" are coined due to the emotional connection a character has, leaving a far more profound impact on an audience. Things like non-explicitly romantic touches like hands, the way the character looks at a person, communication, etc etc, are ways countless media have explored intimacy. Which Mizrak and Olrox already have. Why not build upon a solid foundation?

Whatever the pathway is, it will fit inside the themes of Nocturne and its aspects of revolution, freedom, and choice which is crazy to think "Olrox and Mizrak intimate scene??? meaning-" YES, it can (like sexual freedom, though I don't think it would be explored, it's just cool to think about). All of their scenes serve to strengthen those show's themes since they're a side plot. But I digress! I'm excited to see how they further Mizrak and Olrox's dynamic in a visual manner!

Okay, with that all said, I'm done with episode 04! One more episode to go! This was all for fun and to be silly about a show I really enjoy, but I hope this gets you to rewatch Nocturne! Apply this to other scenes! Enjoy the craft of animation!!

[lizzie-queenofmeigas]

Warnings: incest

Notes: So, this chapter has a sex scene right at the beginning, but I won't post that because I have some shame. However, here is the link if you wanna read it.

As a child, Sarah used to sneak into Rafe's room. Ever since she learnt how to walk. She slept better in his bed. In his arms. She did that for years. Her mother thought it was cute. Ward not so much. And now she was doing it again.

Memories of what went down last night assaulted her when she awoke. There was a soreness between her legs, from what happened last night. Because of what she did. What Rafe did. What they did together. 

She should feel terrible about it. That was a lot of moral barriers crossed in one night. But Sarah didn't really care. It didn't feel wrong. It felt right.

"Morning" Rafe mumbled sleepy, stirring behind her. He tensed, probably remembering what happened last night. What he did "Fuck. Sarah, I'm—"

"I love you" a confession finally said out loud "Like a sister, but not only like a sister" she gulped "Do you—"

"Yes" his arms tightened around her waist "I love you. I have for a while"

"How long?"

"I think I always... romantically, at least since I was seventeen. I think, it gets blurry"

Because of the alcohol and the drugs. He didn't need to say that out loud, she knew. Seventeen. That would make her fourteen. That was the summer he started drifting away from her. 

Pieces and places.

"What do we do now? With this. With us"

Rafe kissed her neck, one time, two times, three times. Sarah giggled.

"Ideally? Live our lives together. Keep it a secret"

"Is that what you want?"

It was what Sarah wanted, but if he didn't...

"We'll figure it out" 

Would they? How can they figure out something? Committing incest was a crime. But it was true, that so long as they had enough money they could avoid the possibility of going to prison for it. But it would be Rafe who would face the possibility of prison. And that thought terrified her.

"Yeah. I should get ready for school" immediately, Rafe let go of her. It made her feel sad. The loss of his arms around her "I'm going to the shower" she sat in bed, hugging the sheets to her body "Can you pass me my shirt?"

Rafe didn't have the same shame as her, apparently, because he didn't seem bothered as he walked around the room. He threw her the shirt with a smirk. She grabbed it, her face burning at his nakedness and her own.

"I already saw you naked, don't know why you're so shy now"

"Shut up" 

Sarah put on her oversized shirt and grabbed her bikini on the way to her room. Maybe she needed to leave some of her clothes there. No, no, he was going to change rooms. She could leave clothes in the wardrobe of the new room.

"Sarah?" She froze. Wheezie was looking at her with her mouth open and her eyes, for once, not on her phone "Are you naked? What the fuck?!"

"I have to shower" she pretty much ran to her room, ignoring Wheezie's shouts and the pain she felt.

Fuck. Fuck. Fuck.

Wheezie knew. Wheezie saw. She would figure it out. And what would happen then? Her sister wouldn't tell on them, or at least she didn't think so. But what would she think of them? Would she hate them? Be disgusted by them?

Probably. We are sick and twisted.

Sarah took a quick shower, scrubbing the dried blood on her inner thighs. She had bled. Shouldn't be too surprising, it did hurt at first. But she didn't have time to dwell on that. No, time was running out. She needed to talk to Wheezie and then she had to go to school.

As she brushed her hair in front of the mirror, her gaze fell on the bite mark that decorated her neck. Fuck. She needed to hide that. Why couldn't the day be cold? If it was cold her clothes would hide it. And no one would question her for wearing a scarf. 

No scarf now, but a ribbon could do. She had a couple of ribbons wide enough to cover the bite mark, and mixed with a little makeup, the mark was pretty much invisible. She hoped, at least.

It took her a couple of deep breaths and a lot of convincing herself to actually go downstairs. To face her little sister, if she was there. And she was in the kitchen, sitting on one of the stools at the table. Rafe was there too, silently eating cereal. He smiled when he saw her.

"Wow, you guys are so gross" Wheezie commented lightly. And it was that, a teasing tone, not a judgemental one. Like a kid who sees her parents kissing and thinks it's disgusting "Stop it"

"We haven't done anything"

Wheezie glared at her.

"You two have fucked, which is super gross, but it's not that"

"You don't mind?"

She shrugged "It's you two. I'm not surprised. You have always been attached by the hip, for as long as I can remember. Then you had two bad years and now you're back and more obsessed with each other than ever. I don't care, guys, just don't kiss or anything in front of me"

"Done" Rafe finished his cereal just as Sarah sat at the table, grimacing at the action. She was so fucking sore. Thankfully, Wheezie didn't notice "When did you get back anyway?"

"I don't know. Before two in the morning for sure"

"Please tell me you didn't walk back home alone"

"Nothing ever happens around here, besides I always carry the pepper spray and taser that Rose gave me. You don't?"

"I don't go to places completely alone" Sarah sighed and took a bite of her toast "Why didn't you stay at Sandra's?"

"Ugh. Her boyfriend dropped by and she pretty much kicked us out. So rude"

"That is rude" Rafe agreed with a nod. He checked the kitchen's clock before standing up "Hurry up, we have to go"

They dropped Wheezie at school first and made her swear she would never tell anyone about them. Her sister seemed to understand the importance of keeping quiet, so she agreed.

"You know, we could go to the beach later" Rafe commented, trying to sound casual. She knew him better than that "Like, just the two of us"

Sarah smiled "Are you asking me out on a date?"

"Maybe I am"

"Well, then, maybe I would like that"

Sarah looked through the car window, biting her lower lip, her face flushed. They reached the high school too soon, in her opinion. She couldn't wait until it was over and she could spend all of her time with her family and friends. There were some doubts in her mind, about going to college. Rafe didn't know yet, but she'll tell him.

"See you later" Sarah leaned forward and pressed a kiss on his cheek before leaving the car.

"You two sure are close now" You have no idea. Kie pretty much dragged her inside, because Sarah was having trouble walking fast "What happened to you? Why are you walking so weirdly?"

Oh, fuck.

"I fell" yeah, that was a good excuse. A believable one "So I can't really walk at your pace"

"Oh, sorry" her friend apologized "What's with the ribbon?"

Her fingers touched the lace of the ribbon. It was pink.

"I was watching Buffy, and it gave me some fashion ideas"

Her mother used to love that show. They watched it together when she was a child.

"It looks cool. Suits you"

"Thanks"

Sarah looked at the building, dreading already all the hours she would have to spend sitting on a hard, cold chair.

 

 

 

 

 

 

 

 

Pope had never expected to befriend Sarah Cameron, much less Rafe. If whatever truce they had could be called 'friendship'. But there he was, spending at least one day a week in Tannyhill. Drinking Rafe's whiskey (he did it once and is never doing it again) and eating his food. Swimming in his pool.

He had been hesitant at first, in believing Rafe was actually sorry. That he was actually trying to change. But it seemed like he really meant it. And that was why he had gone to Tannyhill when his father received a letter. A threatening letter. He'd gone to Tannyhill because of all people he knew, Rafe was the only one who was really dangerous. And because somehow, in the past few months, Tannyhill became a place of reunion for the Pogues. They were all there.

"So, this guy wants a key, what key?" John B questioned out loud after reading his letter "It literally just says 'the key'"

"It's not very descriptive" JJ agreed "What did your dad say?"

"That he has no idea what that means" he grabbed the letter "But check this out, look at the name. C. Limbrey, doesn't it ring a bell?"

He could tell by everyone's face that it did, in fact, not rang any bells. Pope sighed.

"The captain of the Royal Merchant was a Limbrey. So, I think this has something to do with the gold"

"We know a Limbrey" Sarah commented lightly. She was sitting on her couch, a blanket over her legs and a ribbon around her neck. She was walking weird that day. She fell, or so she said. Pope didn't know what to make of it "Charlotte? I don't actually remember her name. I was like eight last time she came around"

"Carla" Rafe placed the empty glass, previously filled with whiskey, over the table "Her name's Carla. She was a cousin of our mother"

"So...you guys are Limbreys?" Kie raised her eyebrows to remark her words.

"We are Redfields" Sarah's voice was clear and precise, probably bothered by the comment somehow. Then again, he would be bothered too if someone told him he came from a family of slavers "But our maternal grandmother was a Limbrey. So, Carla is our first cousin once removed. Which means we can help you, Pope"

"Yeah, we'll call her. See what she wants"

"Would she tell you?"

Rafe shrugged "Don't know. She was close to our mother, but didn't really show up after her death. But for what I heard she is dying, been so for years"

"That is a good excuse to not show up, actually" JJ took a fistfull of chips and swallowed them. He was a messy eater "What can she do to you, anyway? We're rich now"

"Yeah. We're kooks now"

"We're new money, she's old money. She has connections we don't. Not to mention she practically owns Charleston" he explained a little exasperated.

"Thank God we don't live in Charleston"

Rafe grabbed his phone, previously left by the empty glass, and dialed a number. Pope felt anxiety moving to his heart. It was always in his body, but sometimes it was still and did nothing. Others, it moved.

"What are you doing?!"

"Calling her" he could practically the 'duh' in his voice.

"You have her number?" Sarah asked surprised, because apparently that was something important.

"So, are we gonna threaten her or..." Pope glared at JJ.

"We are not going to threaten her" John B said as if he hadn't had worst ideas. Then, he looked around "Right?"

"I'm just saying, we have guns and we are not dying. So maybe she should be scared of us and not the other way around"

Rafe rolled his eyes, and honestly he could relate to that.

"Hey, Carla. This is Rafe Cameron, yes, Bessie's son. I was wondering if you could come over to Tannyhill, to discuss something important. Business plans. I have a lot of money now, as I'm sure you know" Carla had to say something that he didn't like, because his eyes went empty and cold. That did not help his anxiety "Yeah, so sad. Poor dad. Anyway, when are you free to meet me? Tomorrow? Good. See you tomorrow, Carla"

He hang up the phone, his empty eyes only filling up with life again when they fell on Sarah. He sat by her side, their shoulders touching. It was weird. Pope didn't have any siblings, but he was pretty sure they usually didn't act the way Rafe and Sarah did.

There was something he wasn't catching.

"Dude" only by those words he could tell JJ was about to say something insensitive "You really fucking hate your dad, huh? Not judging you or anything, it's just that I have never met anyone who hates their parents so much"

"Yeah, well, he's a piece of shit"

Something sad shone in JJ's blue eyes, a clearer shade than Rafe's. Pope felt the urge to hug him.

"Happens"

"It does" Rafe's fell over Sarah's thigh, squeezing lightly. Pope didn't think anyone other than him noticed that.

He didn't know what to make of it.

[lifea16]

Mastermind live thoughts [Spoilers below cut]

The animation is amazing like oh my god! 💕

Ah, gonna be the Stolas trial I see

Andre stop flirting with your sister

✨Unpaid interns✨

Fuck.. double trial I see

RUN

Be fucking faster

Why do they sound like the cherubs

What is this….?

“Face the music” is honestly a bit too funny

Trailer scene time!

FUCK

Fuck fuck fuck fuck fuck fuck fuck

Blitz you don’t deserve to be deadnamed :/

???

Andre what did I just say, stop flirting with her, at some point comphet is cursed

Oh thank Satan (?) that Blitz actually defended himself against the possibility he forced himself onto Stolas

Candle head in Wrath?

Vassago bilingual? And he here!

Don’t you wanna take Stolas down first??

Yep.. they are claiming Blitz S/A’d Stolas in the trial. Fuck. At least hopefully the Blitz antis will realise they’re wrong in the episode

Bestie (/s) I think you got Blitz and your sister’s names confused. Put Stella on trial coward

Grimour, Stricker

You tell them Blitz!

Poor Mox :(

Go off Bea!! /pos

Yep you too Ozz! Tell ‘em

Mammon aren’t you Ace?? Don’t you want not to be fucked??

Satan looks a lot more like a Candlehead than I would’ve thought

How is this not the finale?? AAAA

Well shit….

Yay! Classism!

Poor Fizz, seeing your best friend (?) almost get executed live on TV! TF

Blitz sacrifices himself (tries to) <//3

(My hc) “Bitches (Blitz) say “I wanna die” like a broken record, but when you almost get executed on live tv, you shit yourself

Stolas save your future boyfriend now!!!

Go off Blitz! Tell ‘em off on their classism

As much as I understand not liking racial coding, .. Blitz and imps in general especially in this episode are very POC coded, with a lot of he’ll just being racist

</3

No Blitz don’t accept your fate 😭😭😭😭😭😭

Stolas ex machena please please please please

😭😭😭😭😭😭

Why Blitz must you care so fucking much about your family and if I could cry I’m pretty sure I would be by now

The screencap I paused on is so pretty.. To bad it’s Blitz getting executed (And almost made me wanna cry) or I’d make it my banner

Aaaaa

Fuck yes Stolas!!

Blitz is saved !! ✨⭐️💕

Boyfriends protecting eachother 💕

Yay! Songs! <3

XD “half a brain”

“Some kind of Mastermind-“ roll credits

Stolas I know you’re dealing with rascists but please don’t act like that with Blitz rn ur doing a regression and I hope it’s an act

Nevermind lol kinda

Yep. This is a clear racial allegory. No hiding it now

Fancy ahh reveal Stolas

Also we just shifted the “I’ll sacrifice for my loved ones” horse to Stolas instead of Blitz

Stolas ur an idiot too

Fuck yes! Romantic ish Stolitz duet part!

No Blitz you fucking deserve to live <333

And I’m back too “if only tears could fall” again.. Please Blitz take his sacrifice and save him after that till the system breaks and you two will be free

Either death or.. whatever happened last two episodes

Shit

Where is Lucifer? Just because Luci’s in his depression era doesn’t mean you are the ruler of hell Satan

Oh nevermind

The sins have existed before Luci fell. Interesting

Blitz is so defensive over Stolas and his life ahh 💕😭

Step 1: *Panic* , Step 2: “Wow this is a sturdy door”

Blitz is being silly but not swearing so he must be concealing his emotions again

<33 Group hug <33

Are we starting some weird chain now (Octavia was now alerted and running for Stolas)

Or not..

Poor Via </3

Loophole! Also more racism allegory!

Banishing him is actually a decent idea (for once)

Ohhh Andrealphus just wants power. Honestly I should have figured sooner lol

If this is Mastermind then what the actual fuck will Sinmas be (unless it’s another Queen Bee situation)

100 years.. So have a relationship with Blitz and once that’s done go back to royalty! Sounds great!

..wait are we getting imp Stolas

Nevermind lol. Just hatless

He will enjoy very much

Ooh!~ Our theories were right! (Stolas must also learn classism the hard way for a bit)

So the white pupils are permanent now

<3

OMG Blitz hero! Yay!!! <3

<3333

Blitz is at an all time high and Stolas is at an all time low.. interesting

<33333

So.. are they immediately dating now?

THIS WAS ALL SO AMAZING!! Favourite episode now!

[murfpersonalblog]

My Coven Is Claudia 🥹🌹 | Interview With The Vampire 2x7 | Reaction & Commentary - FrankFreezy

FrankFreezy on Loustat, and Lestat’s Misogyny & Misogynoir 

(40:15 - 46:23)

I feel like for a lot of misogyny and misogynoir and such adjacent behaviors, some people--and I know they're a gay couple, but like--misogyny is a concept that is all around us! 

Some people, I feel, are just so deep in the sauce that their behaviors and things they do--thinking that's what they're supposed to do as a man, or what they're supposed to do as a Dom, or what they're supposed to do as someone with authority over their partner--they're so deep in the sauce that doing all those things, it just ends up like drilling you deeper into that hole. 

Because those behaviors never result in anything good or kind. Especially people who are oblivious to such behaviors; to the point where what goes around finally comes around, they're in deeper pain. Like, they're in such a worst place, you know what I'm saying? 

I just thought of that, because it's like Lestat is loving Louis the only way he knows how to love--or the only way he learns how to love. And I think I picked up this concept when I did some studying into misogynoir on that whole Manosphere gang.

And it's like, I think earlier in my life I was very dismissive of such behaviors--even to the point where I got family, I got homies that I don't talk to no more for years and stuff! Just cuz of some of the things they say and spew was just so much like Brain Rot! And I peeped this when I was looking into the Manosphere. Someone who I consider to be one of my inspirations, he brought up this whole conversation about how a lot of this--I'm using “men” cuz we're talking about the Manosphere, but it's like--sometimes, dawg, empathy is the way to get in there.

And I'm not saying [have empathy] for everybody! Cuz some people don't just have that bandwidth to empathize with a misogynist or something like that. Some people don't just have that bandwidth. And you’ll never catch me giving you flak for not trying to change the world or sh*t like that. 

But for those people who have the bandwidth to do it-- And the reason why I speak about empathy is like: someone like Lestat who was probably brought up--well, not “probably brought up in trauma”--trained in trauma! All the ways he knows how to love is coated in trauma or abuse or forcefulness or things adjacent to that. He's gonna to do those things to his partners! And obviously the repercussion has come and HE is gonna suffer more!

Obviously, centering the suffering of the people who he who he's inflicting it upon [is most important]; but like, HE’S going to suffer more; cuz it's like, that's all you have been taught to do: this thing. And when it goes around and comes around back to you, you're going to suffer more.

So I think of all this to say like in this scene where he's finally admitting what he did to Louis [in Ep5], this man is suffering! Because what he put into the world obviously is not all him--Louis had his part in it. But essentially, he was a catalyst for all of it. But what he put into the world came back and bit him in the a**. 

And that empathy point of view is not looking at him in this moment and me going: “HA! You got what you deserve!” But it's like realizing and analyzing why it even started in the first place.

Cuz actively, as we are watching this, there's so many people being filled--being fed--FILTH. Be it Andrew Tate, be it all these a**holes that young men aspired to be, you know?! Because of what society has shown a lot of young men what “manhood” is supposed to be; or what being a leader or the Alpha [is] -- God! If you're watching this and any man in your life you know calls themselves an “Alpha”!? Dawg!...

But it's like, it's coming back to hurt Lestat. And this does NOT mean centering Lestat over the victims! But like, from that point, the empathy angle that I was talking about--I feel like it's important to analyze why. Cuz, bro is always going to come back and hurt them: everything he was brought up in and learned, put out there the only way he knew how to love.

Cuz we often say he loves Louis in his own way. And I feel there's a deeper connection in that: “in his own way” [is] coated around trauma and so many things that--you inflicting this on others doesn't just hurt them; it comes back and hurts you with him--very literally. Like, they yanked that man's neck you know? 

The emotional...? Man! 

I just felt I needed to say that, cuz it would just be like crawling in my mind, watching him regret this suffering.

(47:52 - 49:15)

Even at this point when that empathy is being shown and given to Lestat, consequences doesn't justify what happened! Because that's the cycle! Cuz internally he’s going through it; the guilt, the accountability, the self-hate, the shame for what he did to someone who he claimed he loved more than anything in the world--I hope that wasn’t triggering someone. But at the same time that is going on in you, the things you did to other people are still going on in them, you know?

So empathize! Give this man [Lestat] his flowers for being accountable! And you can also still bash his a** for the sh*t he did!

[theoldkyokodied]

Uploading all my Tomgreg art at once from the past few week before season 4 hits, who knows in what kind of mental state i'm gonna be once it does :')

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked

[guildling]

i appreciate him very much

[clowningcrows]

lol i pregamed a tiny bit for agatha but now after finishing im just taking shots for coping reasons

[cathymee]

maybe it's to maintain a sense of tension & turmoil that would eventually reach an explosive peak, a sense of tug-of-war, a back-and-forth to hammer home the ideals they want to deliver and for the viewers to chew on, but although these arguments regarding hiroshi & his stance as a man torn between his loyalty for his country & the loyalty for his Filipino friends and lover is of course important, how they write these scenes & the points they present from this week alone is getting too repetitive...? literally the argument scenes from last night & tonight between adelina & hiroshi is basically the same; the ideas were the same, the dynamics were the same: the aggressive, radical adelina, bristling rage and fear over the injustices she's seen thus far, and the cautious, inspiriting hiroshi, all hopefulness and reassurance one moment as a lover, defensiveness and sternness as a japanese soldier in another. this debate will be ever-present ofc, it is one of the series' biggest conflicts, but it is unfortunately so easy to tell when it is a.) being pulled up as a main topic to move the plot along / be a necessary conflict for character development/introspection / be the conflict to deliver the morals & messages the writers want to send to their viewers, or b.) when it is being pulled up only for the drama and filler to pass the time. like watching the characters sit down to argue for 10 minutes, do other things for the plot for 2 minutes, then sit down again to argue for the next 20 minutes. lol.

[bonnieisaway]

why did i not think of this before? why did this take me so long to think of? i've been editing this show for well over a year now and it onyl just occured to me to do this?? ive adored this song for ages?? im always looking for excuses to edit this scene and i JUST fucking thought of this?>!?!?!?????????????

anyways. if it cost me my life man i'd save my only friend. that's something i could live with. i could take that to the end. if it cost my my life i'd save my only friend!!!

[pinkeoni]

If the homophobia has been internalized then the character has internalized homophobia

[tellmegoodbye]

I've had some time to collect my thoughts after a couple of days so here they are even though nobody asked.

I really loved the finale. It was devestating, no doubt, but I think this is their best one yet and I absolutely loved how they handled it. There was so much grieving in this episode, not just from Carlos, but from Owen and Judd as well. But despite everything they chose happiness and the wedding ending up being beautiful and bittersweet and joyful all at once.

There has been the question of deleted scenes but there's really only one we've seen so far that I would have loved to see in the episode. Other than that, I'm just glad we get to have them all as extras. I don't think the wedding needed them though.

Another thing I'd like to add is that yes, sometimes storylines can feel rushed in shows where you have a lot of characters and especially if there are clear favorites within a fandom. There was a lot going on, but that doesn't necessarily mean any one character's storyline is less valuable than another's. I guess I'm speaking as less of a fandom member and just more as an enjoyer of the show if that makes any sense. I love all of the characters in this show, and while I would be lying if I said I liked every single storyline, that doesn't mean I wish they didn't happen. In this case, however, I loved all of the storylines and I think they all made sense together given the theme of this episode. I personally don't think any of them shouldn't have been there in favor of getting more wedding content.

Honestly, my only regret is not getting off of tumblr as soon as the final bts stuff started coming out. I'm pretty bad when it comes to guessing things so if I hadn't been aware of the theories I literally would have had no idea and it would have hit me so much harder. It still got me pretty good though.

Again these are just my opinions so feel free to ignore everything I say if you didn't feel the same. I'm happy though, and I'm going to continue being incredibly annoying about this show. ♡