#i mean like closeups of only him

[lock-my-feelings-in-a-jar]

have you heard a band called mud also? and angel? not the american one but an english one, and, pretty sure you know about it, they were also produced and managed by mick and andy who also wrote their two a-side singles! i think they're very good

yes! i watched a couple of videos from mud, but that's about it. i keep meaning to look into more from them, but haven't yet. (i'm not sure yet but i was thinking of doing some of their videos and some other bands, like slade and showaddywaddy(probably some 80's videos again like i used to too), after i run out of sweet videos to help me learn more but shhhh don't tell anyone)

i haven't heard anything from angel, but i did find this picture somewhere:

[starlightbright]

RIP Ricky September they had to kill you because it would have been unrealistic to not keep you on as a companion 😔

EDIT: I've noticed some people taking this post really seriously, so to clarify: no, I don't think Ricky was literally a perfect uwu anti-racist angel. This post was mostly a joke about how he was running around doing companion shit and, most of all, how the Doctor and Ruby both thought he was a hottie. My actual feelings about Ricky are that he's a complacent white liberal. Character reading under the cut if you want an explanation.

I do think the implications of making him unplugged from the racism bubble, paralleling him with the Doctor (man who shows up with knowledge about history and technology and guides the other character through dangerous situations), and directly contrasting to Lindy (including being open to trust the Doctor without second guessing him the same way Lindy and all her friends did) are supposed to be that he wasn't like the other people there and is thus LESS racist since racism comes to be what defines their society. I've seen some people basically ask "then why'd he move to White People City?" but within the text it's actually Rich People City; the reason everyone there is white is because systemic racism financially benefits white people. Making him LESS racist is NECESSARY to giving his death any meaning - because if he definitively would have called the Doctor a slur and walked away, then the Dot killing him quickly was a mercy kill because we KNOW all the other residents are going to die in the wilderness.

THAT SAID, I also don't think he was a progressive anti-racist. Do you know what Ricky actually is? A white liberal. He might disengage from the White People Bubble, he might not be outwardly cruel to black people, but he's still surrounded by people who are and benefits from a system where ONLY WHITE PEOPLE ARE RICH. The culture might be fucked, but he still benefits from it without doing anything to actually fight it. It's like how many a white liberal will read about the history of slavery, feel sad about it, and then be uncritical of prison labor. If Ricky was meant to be progressive, there'd be something, ANYTHING in the text about how he's tried to educate his followers on their society's problems, but it got deleted. He is COMPLACENT.

That's sort of the point, I'd say, since the theme is about how priviledged white people put themselves in a bubble of people like them and choose to look away from what's wrong in society. Those people become complacent at best with no effort to actually speak out or change things. Hell, even within the text, Ricky SEES a problem others are looking away from (the slugs eating people), but only tries to fight it by making a TikTok about it and becomes complacent again, accepting that people are just going to be eaten.

So tl;dr: no, I don't think the white liberal kid literally would have been a companion. I think if you stuck him in the Ood episode, for example, he'd have shaken his head when he found out about their plight, maybe made a TikTok with sad music playing over footage of them, and then said "welp, nothing else can be done." I think it's FUNNY to imagine another companion that the Doctor and Ruby both are giggling like schoolgirls over.

Also I kind of thought he was ugly - no offense to the actor but the makeup they had him in combined with the lighting and closeups made him look way older than 27 so he gave off this uncanny "how do you do fellow kids?" look.

[ppeonppeonhan]

The Sexiest 2023 BL Scenes

I think we can all agree that there is an art to executing a sex scene -- and not everybody's an artist. This year, we (and, by that, I mean you) gif'd a couple of masterpieces that range from romantic to...educational. Here are the ones that live in my head rent free, in order of PG-13 to NC-17:

BEST ROLE-PLAY SEX: Bed Friend

If you had told me last year that incorporating cat ears into foreplay would result in one of the hottest scenes in BL, I would've given you bombastic side-eye. But James, the actor who plays Uea, pulled it off, and is probably responsible for a lot of Amazon orders till this day. (Episode 6)

BEST BEACH-SIDE SEX: The Eighth Sense

This entire sequence was so beautifully lit in golden tones, with soft touches, and romantic moments. It almost made you forget about the depression plot. Almost. (Episode 6)

LONG-AWAITED SEX: Hidden Agenda

Joke yearned for Zo in a way that was borderline comical. From the moment Zo kissed Joke like he was trying to give him CPR and then promptly shoved him out of his apartment, I knew every kiss after that would have to come with a parental warning. I'm surprised Joke didn't move in. (Episode 8)

DO-OVER SEX: Love Class 2

The music for this sex scene was so perfectly matched with the caressing and hand closeups. And the fact that it happened after the initially-ghosted Joo Hyuk got Sung Min to reconsider made it even sweeter. (Episode 9)

BEST WET SEX SCENE: Kiseki: Dear to Me

I may have enjoyed Ai Di and Chen Yi's love story more, but Fan Ze Rui and Bai Zong Yi were helping us all live out our tall boy fantasies. When he mounted him with a soft bounce, I knew the gif Gods would giveth. (Episode 7)

BEST EUPHORIC SEX: Only Friends

Ray looked like he reached nirvana when he made love to Sand in that sardine can of trailer, so of all their sex scenes, this was my fave. (Episode 9)

BEST INSECURITY-INDUCED SEX: Only Friends

Say what you will about Boston -- and the fandom has said a lot lol -- but if you had to choose a cast member to get you off, you'd choose him in a heartbeat. And yes, this scene was grimey. He f*cked his friend's potential boyfriend in the backseat of his car after manipulating him into believing he was cheated on, but can you blame him? He was probably tired of always having to give and never receive. Plus, Top did this vibrating move that made me wonder who told Force to do that... (Episode 3)

GIF by wanderlust-in-my-soul

BEST CENSORED SEX: Wedding Plan

I'm still mad that this scene wasn't in the Youtube cut. It paints an entirely different picture of their dynamic and their personalities. But thank God for the gif'ers, otherwise I would've missed how ravenous they were when they weren't...wedding planning. 😳 (Episode 6)

BEST WHIPLASH SEX: Be Mine Superstar

To be clear, WE were the ones getting whiplash. One minute, we were watching a sweet love story between an innocent college kid and his idol crush, and the next minute we were watching a masterclass on how to bang your one-night stand (consensually) until he agrees to date you. It's like...Sir, I'm on the train. Could you give a bitch a heads up? (Episode 8)

***

While I am generally envious of every single one of these experiences, I'm even more envious of everyone's knee strength and flexibility. I could never. Rollerblading has ruined me. If I tried half of these positions, I'd have to get physical therapy. 🙃

[astarion-obsessions]

Hold on, there is something I thought about. When Astarion approached Tav with "all his favourite lines" of flattery, leading to fake confessing his love to them, I was genuinely hurt to see that he would play with Tav's feelings like that, just for the sake of entertainment.

But now that their relationship progressed and Astarion actually confessed that he developed feelings for Tav, but still claims to not know how he would define their relationship, I get the feeling that he made the choice to fake confess beforehand for another reason than entertainment or seduction altogether. Hear me out.

Why does Astarion fake confess his love to Tav?

When I get a scene with Astarion, I always reload a thousand times to try out all the routes and see all his reactions, so what I'm about to break down will be no less than heartbreaking.

First let's take a look at what Astarion has to say. He starts the conversation with a clear goal in mind: he wants to seduce us again and he says so right away. He continues with very openly displaying his skills at charming people with honeyed words, seemingly enjoying himself while doing so. But what we have to keep in mind is that he's done that thousands and thousands of times already. I think it's safe to assume that he's perfected this mask of a smug, flirtatious man enjoying all this debauchery. 

But after giving us one suggestive line after another, he does something that does not match the tone of the conversation so far: his fake love confession. I mean, just look at him. 

He goes from completely exaggerated facial expressions and gestures: 

When I'm with you, I feel practically alive, yet I crave only to die again with you.

To this:

I love you

We get a closeup of his face and see that he gets serious all of a sudden despite the fact that the conversation has been all fun and flirty just a moment ago. He draws his brows together, tells Tav "I love you" and then just looks at us with this serious and almost sad expression. Completely different from before when he was just toying around. 

And yes, I just said he's very practiced in playing pretend, but just the difference between shallow and cheesy lines about craving to die together and their perfect body whispering temptation in contrast to a simple "I love you" and then on top of that the difference on how he conveys it - for me it just doesn't fit together, this isn’t Astarion pretending. And furthermore he gains nothing from adding this confession. The flirty lines would have been enough to seduce Tav once again and therefore ensure their attachment to him, so that his protection is granted. And that is all he wants, at least in the beginning. 

But then, why would he voice this fake confession in the first place? And that's where my theory sets in. I don't think he would risk the trouble of getting more feelings involved than necessary in his "nice simple plan" - seducing Tav, sleeping with them, manipulating their feelings. For doing so, he simply wouldn't need a love confession. 

With saying "How about I say those little words. Everyone's favourite" he already suggests that he's said them to a lot of people already. And this surely is a way to charm and seduce people very fast, but with Tav he doesn't need to rush. They're tied together for an indefinite amount of time, he doesn't need to seduce them in a matter of hours or days before serving them to his master. And he's already seduced Tav successfully before, so my guess is this:

My explanation for the fake confession

The real confession scene, where he admits to having started to genuinely feel something for Tav, came a bit out of nowhere for me. (And don't get me started with our options to react to his real confession. I talked about that here.) I don’t think he would just willingly tell Tav that he's grown fond of them, when a few nights before he threw the fake confession their way without giving a damn about Tav's feelings - that just felt very out of character for him in my opinion. 

But what if he started to fall in love with Tav even before the fake confession? Think about it, he has slept with Tav once - successfully seduced - so all he has to do is sustain this kind of relationship. Saying all his favourite lines at Tav and trying to get them to sleep with each other for a second time would have been just that - sustaining the relationship at present. But then he says "I love you". And I say he does so purposefully. It's a test. Having someone like you enough to sleep with you is one thing. Having deep and complex feelings like love involved is something else entirely. So he tests the waters with this confession. He hides behind all of these flirtatious lines and places the confession at their end to throw a veil over its real meaning. 

It may be a lie either way - saying it just for entertainment or saying it to see if Tav is open for deeper feelings - but I think he exaggerates on purpose to trigger a reaction that speaks for itself. Does Tav care about these words? Is Tav hurt to see that Astarion is apparently willing to play with their feelings like this? Or do they not care about such vanities? 

I want to emphasise the fact that Astarion hasn't had the luxury to allow himself anything resembling these kinds of feelings for at least two centuries. Naturally, he would not just come around and open up his heart to Tav when all he's done until then was charming them just for his plan. He would want to reassure himself that this wouldn't turn against him if he dares to show such great vulnerability in front of anyone. He says it himself when he properly confesses that it is intimidating for him to make decisions on his own again. And confessing his feelings is exactly one of those intimidating decisions.  

Interpreting Astarion's reaction

To back up my take I want to take a closer look at Astarion's reaction when we reject him after the fake confession. After he laughs the confession off in one way or the other, he insists on having sex with you again. Here he sticks to exaggerated facial expressions and gestures, just like before with his honeyed words.

Now, as much as I relish standing around and saying all my favourite lines at you, I’d much rather we got to experience each others’ full portfolio of talents once again.

But if Tav then turns him down with saying “I don’t think I really want this”, this is his immediate reaction:

Well, well, excuse me while I die of a broken heart.

He takes a few seconds to process what Tav said, and then instantly responds with another exaggeration accompanied by fitting gesticulation, ending with a fake smile. After that he just looks at Tav for another few seconds and his demeanor changes again:

In all honesty, it's a shame. That time was special to me. I've gotten on my back ten thousand times or more, and forgotten half of them. 

He loses his fake smile, averts his gaze and starts fumbling with his hands nervously. He can't hide his disappointment, but he tries to keep his face neutral - even if it doesn't work all too well. He tells us we were special before giving us a scrunched fake smile once again. It's really hard to watch…

But you… you I'll remember. 

For usually being rather quick to react and respond, we can see how difficult it is for him to react to Tav in this case.

Have a fine evening, dear. 

He pauses yet again, lifts his gaze to the sky and just looks so lost. Mere moments ago he was flirting and laughing, and now he seems so utterly desperate. And then, he can't even keep up his attempts of masking his sadness when his expression slips in the end and his face scrunches painfully for just a second before the whole scene ends. This really broke my heart.

Conclusion

This is definitely not the reaction of someone who was turned down for just another round of sex - even if this meant that Astarion's plan of assuring his safety didn't work out. Because then he could have just tried to get Tav to change their mind with another one of his favourite lines. Or he would have at least reacted like he does when you tell him to stay at the camp ("Oh darling, I'm hurt" which he obviously isn't). But he doesn't. 

Because this is the reaction of someone who dared to get his hopes up. Someone who thought that maybe, just maybe, these unwanted, complicated feelings for Tav which had slowly crept up, nullifying his nice simple plan, could genuinely lead to a relationship he didn't know he needed so desperately. Someone who is so devastated by a rejection at this point, that he doesn't even question it. He just accepts that Tav isn't interested in sleeping with him, let alone having feelings beyond sexual desire. It's just as it always has been. It's not as if Astarion remembers anyone caring about him, so why should it be different this time… 

And that's why I think this whole fake love confession was a way for Astarion to veil his growing feelings for Tav under the pretence of flirting, and had the purpose to find out if he could more or less safely confess his true feelings to Tav. 

Gods, this is so heartbreaking. I need to pat Astarion's fluffy head in my dreams as a redemption. 

[enteroctopusdarkysilis]

✨More Clones Brickheadz !✨

Since I acquired the Small Cody (40675), I found that there was an untapped mine. Why would they only make one ? Well. I don't have an answer to that, but I decided to take matters into my own one; so behold : 11 more. I went mostly for commanders here, but then I went a bit astray and so I added some captains to the mix.

In order, row by row :

Tukk (Not cannon but the colours are so beautiful)/Vaungh (died too soon-)/Rex (obviously)/Fordo (I did Rex, so I had to)

Gree/Doom/Thorn/Neyo

Bly/Cody/Fox/Wolffe

It was a really fun project, and I hope to do more of them in the future - maybe even phase 1s, some day~); supposedly not commanders because I did most of them (except Bacara, I know...The helmet was too tough).

And because I really like challenges, if you want to see another clone turned into one of these (Be it cannon or one of your ocs) feel free to send requests in my aksbox !)

Anyway this post is already far too long for anyone's dashboard, so closeups and details will be under the cut !

Let's start with the easy ones : Cody, Doom, Fox, Thorn

Obviously, Cody was easy, I just rebuilt the original one virtually - Nothing too hard. The printed pieces here are not the right ones, because Cody's are not available on STUDio yet, but the storm trooper ones were relatively similar, so I used these for most of these models. Of course, it means I'm lacking the sun bands, and a few other distinctive elements, but it works well enough for now.

Now, Doom is essentially a colour variation (minus a few antennas). I also used an old space piece, which has this big yellow arrow printed on it. I's not exactly what Doom has, but I feel like it's close enough for a first attempt.

Then, Fox is relatively similar to Doom, but with two DC-17s. I also moved the printed torso brick up to get that red line he has.

Thorn works in a similar way to Cody too, except I removed both accessories on the side of the helmet. I also added this tile with diagonal lines to figure the wings he has. One day I'll slap some real wings on there, but I haven't found the right image yet. I also gave him a Z-6, obviously. I really like it, so I might actually make that one physically, because the way it's build (with old binocular pieces) is pretty nice; although I doubt the pieces are available in black.

Moving on to two captains : Vaughn and Tukk !

Admittedly, not really that different either, except for one thing : I learnt to do custom prints now ! Yay ! Well, these are really basic : the blue line for Vaughn, and some trapezoids for Tukk's helmet (which are, indeed, not visible here - shame, I spent so long making these fit). The Ahsoka pattern was already in STUDio (because Ahsoka already has her own brickheadz, which I'll get my hands on someday~)

I must also add that having some cyan in this whole thing added some much needed colours in here, I'm grateful some people give their clones amazing colours (If somehow someone doesn't know who Tukk is, well just check High Ground Animation. Right now. It's really cool, trust me). Anyway.

As for design changes, I modified the faces slightly by adding 1x1 tiles, to allow for different colours variations on the face. It makes them look slightly blockier, but given the overall size of the head, it doesn't do much.

I also gave Vaughn a DC-15A. It's a bit messy, but it works out well enough. Past me forgot to render it, so here is a raw, in-software picture of it (from Fordo(s hand, but it's the same design for both) :

BARC helmets ? Wolffe, Fordo, Neyo

As I've been told, these look a bit wonky, and I'll admit its wasn't exactly easy, but in my defence, it's relatively hard to get such round shapes with bricks (lego cheated by adding the visor). Anyway, given that doing that with a printed piece was out of the question, I tried to replicate the filter's shape with actual bricks, and I used a printed piece which, technically, is Lando's moustache, but downward. I'd say it does the job relatively well.

I also added a rangefinder to Wolffe, which is a little big compared to everyone else's antennas, but It's still relatively to scale with the head itself. No custom prints for him (not sure where I would find the correct pattern images ?), but I've done it for Fordo and Neyo. Fordo obviously has his well deserved Jaig eyes (and who knew it would be that difficult to find a picture of that on internet ?), and Neyo has his symbol on the helmet, chest plate, and the shoulder not shown here.

The really tinkered ones : Gree, Bly, Rex :

Here, it was a matter of trials and errors to figure out just how to get the shapes right.

I actually started with Bly, by removing the previous visor and adding the macrobinoculars first, then I tried to shape the helmet around. Truth is, it doesn't make sense technically : the two separated parts of the helmet do not connected at all, if you remove the equipment. Luckily, no one has to know that.

Next is Gree. It took me some time to figure out how to properly get a round feel, but I feel like it's as good as I can make it like this. Colour-wise, it was surprisingly difficult to find how to balance the different shades of green, and equally hard was to figure out which silvery colour would render well in STUDio. The answer lied, as it always does, in Bionicle. Of course, none of these pieces exist in this colour, but it's not really my main problem (because none of the coloured printed pieces exist either).

Finally, Rex...He gave me some trouble, I have to admit. Firstly, the part-designing software decided to have some trouble with custom prints, which was problematic, because I simply couldn't do Rex without jaig eyes (and Fordo already had his). Then, I started with Gree's base and tried to go from there to fit Rex's custom helmet. I ended up using Boba Fett's printed visor piece for Rex, because these were all triangles. I also got rid of the printed chest piece and used some black plates to simulate the pouch he has; while also adding a a few more custom printed pieces for the arms and pauldron (barely visible, but they're here. I'm not entirely happy with it, but I don't see much other solutions than more and more custom prints, which isn't my goal, so it'll stay like that for now.

Anyway, that's way too much rambling for one post, so I'll just end by saying that next week I'll post an alt version of this whole build [here !], with some 'slight' colour alterations. Definitely nothing big.

[zarvasace]

Day 20: enemy to caretaker, kinda? Image desc under cut!

<<previous || next>>

Page One

Panel one: We return to the Four-like figure lying on the ground from the last page of the first part. There are swirls of red on the ground around him.

Panel two: Wild, lit in white, looks worried and has his slate out. He says: “He’s in a puddle of Malice… that can’t be good. …where did it come from?” Time stands in the middle of the panel, one eye open, holding the Biggoron sword and looking fierce. On the right of the panel, Twilight turns back into a human with black flecks, and looks worried as he looks like he’s running. He says: “I got him!”

Panel three: This panel takes up the rest of the page. At the bottom, Twilight kneels in the puddle of Malice to pick up the Four-like figure, saying “ow ow ow” the whole time. There are a few speech bubbles to show a conversation, with little names to show who’s speaking.

Twilight says, “—ow ow ow—”

Wild says, “Twilight, get out of the Malice!”

Twilight says: “We gotta get him out! ow ow ow—”

Warriors says: “Do we? It came out of shadows…”

Twilight says: “Doesn’t mean he’s evil, look at me—ow ow ow—”

Legend says: “Then hurry up and stop burning yourself!” “idiot.”

Page Two

Panel one: We see the inside of a stable and a few of the Links gathered around. All of the characters have white highlights in their hair and eyes from now on unless specified. Twilight lays the Four-like figure down on the bed, and we see from the way the body moves that it behaves like a normal body, with the same bones and everything. Hyrule leans up against one of the bed posts, frowning. We see Wild in profile, holding his slate and also looking pensieve. We see the back of Warriors’s head, and he has a hand up to his chin and a hand on his hip. Hyrule says: “So what do you think?” 

Warriors’s reply overlaps the panel break. “I don’t know yet. A dark shadow of Four can only be trouble. Right?”

Panel two: We see the Four-like figure from above, laying on the bed with one arm over his waist, eyes closed. All the other characters are shown from the tops of their heads. Twilight says: “He doesn’t look much like trouble.” Warriors replies: “Yet. Hopefully he’ll know a bit about whatever happened to Four.”

Panel three: Hyrule holds his hands out for Twilight, whose forearms have red streaks on them to indicate that he got some Malice goop on them. Hyrule says: “I don’t like that the Malice burned Twilight and NOT the shadow Four. I can’t help get it off. Sorry.” 

Page Three

Panel one: A closeup of Shadow’s face (it is him. He is drawn with spikier hair than Four’s blunt bob, and his hood is constantly moving.) He is frowning and says “mmm…”

Panel two: Shadow sits up suddenly, and his eyes are red. “LINK?” he says. Hyrule and Twilight, both standing nearby, look startled. 

Panel three: Warriors stands on the left, arms folded. He says: “What do you want with him?” Wild passes, holdling his cloak over his arm, and says: “Good grief, Wars, this isn’t an enemy interrogation.”

Panel four: We see the world from Shadow’s point of view, down the bed. Hyrule looks over suspiciously. Twilight leans on the bed post, saying: “You’re safe here. Who are you to Link?” Warriors looks suspicious. Wild just looks curious.

Page Four

Panels one and two: Shadow stands up on the bed and declares, “I’m his SHADOW. duh.” In the next panel on the right, he looks up at the ceiling and speaks some more. “I know who you guys are. Obviously. I see everything.” His eyes are black, and the shines in them are white like everyone else’s.

Panel three: We see Shadow’s head on the left and repeated on the right. He looks more and more concerned as he speaks. “I could almost touch him… —finally— But something got in the way…”

Panel four: Shadow, standing on the bed, starts to twist around to look at his own shadow on the wall behind him. His hood is shaped like a sharp lightning bolt. He shouts, “LINK! If you’re in [underlined] my shadow, give me a sign!!”

Panel five: A speech bubble from someone unknown makes Shadow calm down: “That isn’t where he is.”

Page Five

Panel one: We see the bottom of the bed again, but just Twilight on the left and Warriors on the right this time. Legend stands in the middle, holding the Four Sword. He says: “He was possessed by something and left this. You don’t happen to know what got him, do you?” and then Legend adds: “also, you’re scaring the stable people. Get down.”

Panel two: This is just part of Shadow’s face. His mouth is open wide, and so are his eyes. He has fangs in his mouth. He shouts: “You let him get POSSESSED?!?!”

Panel three: Shadow has his hands in his hair, and his hood is straight. He looks insanely worried. He says: “What are we doing here, then?” 

Panel four: Shadow starts to get off the bed and says: “We gotta go get him!”

Panel five: We see the bottom of the bed again, but the camera shifts right to show us Legend on the left, Warriors in the middle, and Wild on the right. Warriors says: “That’s the problem—we don’t know where he is. Or if we can trust you—” His words are cut off by a large exclamation in the corner from an unknown speaker: “THE VILLAGE IS ON FIRE!!” 

A tiny speech bubble under that is labeled “Shadow” and says “Found him.”

Page Six

Panel one: We see the bottom of the bed again, but this time from the other side. Warriors holds up a hand and says: “Wild, Legend, with me, we’ll check it out—” But Shadow appears on Twilight’s other side with a very wide-open mouth. He says: “I’M COMING TOOOoooooo…”

The “too” extends down and winds down until it’s just a wobbly line connecting to Shadow’s next speech bubble in the next panel.

Panel two: Hyrule, worried, catches Shadow, whose cheeks are shaded, by the armpits. Shadow says: “ooh, I don’t feel so good.”

Panel three: Warriors says: “Yeah, no. We don’t even know you. Stay here, rest. If it [underlined] is Four, we’ll get him.” Shadow says: “But saving Link is [underlined] my job…”

Panel four: Warriors on the left and Twilight on the right, both in profile. Twilight says: “I can help, too.” Warriors says: “Not with that on your hands, still. Get the Malice off and then we’ll talk. Doesn’t it hurt?” Twilight responds: “Well, yeah, but—”

Panel five: Shadow, looking slightly more aware, looks up. He says: “Malice? The goopy dark stuff? I can help.”

Panel six: Shadow walks over to Twilight with his hands extended. He says: “Lemme see. Gross.” Twilight holds his own red-streaked hands up with a frown. He says: “Kinda stings…”

[steventhusiast]

STWG prompt 23/5/24

prompt: kiss in the rain

pairing/character(s): steddie

. . • ☆ . ° .• °:. *₊ ° . ☆

They’ve just left Skull Rock when the downpour starts and, ironically, they’re in the middle of saying goodbye after a date. Just like all the romance movies Steve loves.

Well, almost just like them.

Being queer kids in the middle of nowhere in the midwest means they can’t quite do the whole walking each other to their door thing at the end of dates. Instead, Eddie tends to walk Steve to his car at the end of their dates, and vice versa.

“You gonna kiss me in the rain or what, Eds?”

“This is way too cliche for me, sweetheart. I feel like John Hughes is about to pop out from behind one of those trees.” Eddie says.

Steve chuckles at how his words contradict his actions, because as he says that Eddie shucks off his jacket and holds it up to cover Steve’s head and stop his hair getting wet.

“Liar. I know you love Sixteen Candles.”

“Kind of have to with how often you force me to watch it. I’ve been brainwashed, really.” Eddie concedes.

They smile at each other for a moment, and Steve’s just waiting for the moment Eddie gives in and lets him have his romance movie moment. It only takes three seconds for Eddie to sigh and drop his head to look at the floor.

“Don’t tell Gareth.” He says quietly, then looks up and stops holding the jacket over Steve’s head. Instead, he puts it on the roof of Steve’s beemer and then cups Steve’s face with both hands, “I gotta keep my scary drug dealer reputation.”

With that, he leans in and finally Steve gets his moment.

It is nowhere near as nice as it looks in the movies, without the emotional music in the background and closeup in soft focus; it’s damp, and cold, and he can feel his hair getting ruined. But it’s real, and he’ll remember it for a long time.

[undying-love]

John and Paul on each other: A Compilation

John:

"He [Paul] looked like Elvis. I dug him."

"I'm like everyone else, Harry. I fell for Paul's looks."

"..an old, estranged fiancée of mine called Paul."

"Paul...you're so well-built." (X)

"Groups like this are normally not friends. They’re just four people out there thrown together to make an act. There may be two of them who sort of go off and are friends, you know...Strictly platonic of course."

"Oh, I've had him, he's no good."

"I was riding on a boat called Paul, and now I'm riding on a boat called Yoko."

"I've compared to a marriage a million times and I hope it's… understandable. For people that aren't married. Or any relationship. It was a LONG relationship. It started many, many years before the American public, or the English public for that matter, knew us. Paul and I were together since he was 15, I was 16."

"Nobody ever said anything about Paul's having a spell on me or my having one on Paul! They never thought that was abnormal in those days, two guys together, or four guys together! Why didn't they ever say, "How come those guys don't split up? I mean, what's going on backstage? What is this Paul and John business? How can they be together so long?"

"Well, Paul had met Linda before [the Apple press conference], you see. I mean, there were quite a few women he'd obviously had that I never knew about. God knows when he was doing it, but he must have been doing it."

"I don’t even think about Paul unless somebody brings him up. Or if some song comes out or something happens, they’re in the newspaper. I don’t know why everyone doesn’t just leave him alone—I haven’t really seen him in ten years. I can talk about him forever because I know all about him, but you see, there’s nothing much to say."

[Studio chatter] Paul: I will be overpowering this time. John: Oh good. I like it when you’re brutal. (X)

Paul:

"John was really my only male friend, if only because of proximity."

"[While playing live] John was to the left or to the right of me, so I never got to sort of see him perform so much. Except in the film [Get Back]. And there he is in massive closeup. I can study everything about him.”

“I’ll just sit around and hug him forever, because that’s the depth of my feeling for him."

"And I would often sketch John when we worked together, often without him knowing it. It was so easy doing John because he had glasses, those sideboards...and that long, aquiline nose."

"When I painted him recently, I found myself saying, ‘How did his lips go?"

"I can still see John now: checked shirt, slightly curly hair…I remember thinking, ‘He looks good - I wouldn’t mind being in a group with him."

"James reminds me very much of John in many ways: he's got beautiful hands. John had beautiful hands."

"If I'm going to see a face in a painting, it's highly likely to be his."

"I still remember his beery old breath when I first met him that day. But I soon came to love that beery old breath. And I loved John."

"I’m often thinking of him. I dream of him."

"Delicious boy, delicious broth of a boy."

"John and I used to hitch-hike places together. It was something that we did together quite a lot; cementing our friendship, getting to know our feelings, our dreams, our ambitions together. It was a very wonderful period. I look back on it with great fondness. I particularly remember John and I would be squeezed in our little single bed."

"There's a song I do called Here Today which is specifically written for John. That sometimes catches me out. I realize I'm telling this man that I love him and it's like I'm publicly declaring this in front of all these people I don't know. I sometimes wonder what I'm doing."

"We are individuals— all different. John married Yoko, I married Linda. We didn’t marry the same girl.”

"Please Please Me was a John idea. John liked the double meaning of “please”. Yeah, “please” is, you know, pretty please. “Please have intercourse with me. So, pretty please, have intercourse with me, I beg you to have intercourse with me.” He liked that, and I liked that he liked that."

"[John] was a wild and woolly genius who it was my pleasure to work with, walk with, talk with and occasionally sleep with. "

Q: If John Lennon could come back for a day, how would you spend it with him? Paul: In bed.

"Then also [me and John] were like married, so you got the bitterness. It’s not a woman scorned this time, it’s two men scorned — probably even worse. And I had to make way for Yoko. My relationship with John could not have remained as it was and Yoko feel secure.”

"I think really what it was, really all that happened was that John fell in love. With Yoko. And so, with such a powerful alliance like that, it was difficult for him to still be seeing me. It was as if I was another girlfriend, almost. Our relationship was a strong relationship. And if he was to start a new relationship, he had to put this other one away."

[lost-romantique]

The Way He Lit up His Life- Baby Stolitz Circus Edition (Part 1)

I love the way Blitz manages to light up Stolas' life, even when he never meant too.

Stolas starts off his birthday fucking elated. Of course he would, IT’S HIS MOTHERFUCKING BIRTHDAY!

"You will be entrusted with the study of the Earth's skies, the stars, the prophecies they hold, all that stuff. Isn't that fun!"

Stolas is given his life's mission as a Goetia, and he couldn't be happier!

This is best birthday ever! Absolutely what can go wrong!?

WHAT DO YOU MEAN I'M BEING FORCED IN AN ARRANGED MARRIAGE WITH A PSYCHO!

Stolas is forced into an arranged marriage with Stella, and he's devastated. He begins to cry.

His father who is so good at daddying, mind you, suggests they go to the circus in town.

Stolas does not want to go, he's miserable. His birthday is ruined.

Stolas is at the circus now, he has to have a fun time at the circus... right? RIGHT?

Despite all the cool shit that's happening before him, Stolas is miserable. He doesn't even bother looking at the performances.

He even flicks away the peanuts off his grimoire.

This baby birb is fucking miserable.

Absolutely nothing can make this day go better...

Suddenly, he sees HIM.

The boy wonder, the man who will become the poster child for severe self-hatred, BLITZO BUCKZO!!!

But Stolas doesn't see that...

All he sees is a little imp boy with the biggest smile on his face. Stolas is smitten.

Could this be what they call love at first sight? Who knows...

All Stolas knows is that absolutely nothing has caught his attention, OTHER THAN HIM!

The moment Blitz lands on stage, Stolas does a double-take. HE DOES A MOTHERFUCKING DOUBLE TAKE!

Whenever Blitz is on stage is the only time Stolas truly enjoys his time at the circus. All of his focus is on that little imp boy who can't make a fucking horse balloon to save his life.

"Well, heh. It was a horse, but then it ate too much sugar and its legs stopped working, so he had to amputate. Now, it's a gross worm horse."

Blitzo makes a stupid joke no one laughs at, but Stolas... this baby birb finds it fucking hilarious. He's charmed.

Blitzo sees that and he acknowledges his existence, almost instantly. He sees the only boy that would laugh at his stupid joke.

Suddenly Fizz comes in, makes a perfect horse in record time, and everyone laughs at his joke instead. Thereby stealing whatever thunder Blitzo had.

But you know the funny thing... Stolas doesn't laugh at Fizz's joke. Actually he's almost offended that everyone completely ignored Blitzo's joke.

"I liked his broken horse joke, it was funny. Their legs do stop working when they eat too much sugar, it's called laminitis."

Paimon looks at Stolas curiously, giving his son the eye as Stolas proceeds to laugh to himself because Blitzo's joke is that funny!

The scene ends with a closeup shot of a smiling Blitzo.

~~~

I find it adorable just how quickly Stolas' boredom changes the moment he sees Blitz on stage.

Stolas was just given the life changing news that he was going to be forced into an arranged marriage, and he's miserable. He doesn't want to go to the circus. Only for all that change the moment he sees Blitzo.

It's so cute just how smitten he is, how enchanted Stolas gets when he sees Blitzo on stage. How the worse day of his life turned into one of the best all because he sees him.

Please watch out for my future posts as I analyze all the Stolitz scenes in The Circus.

[hanafubukki]

I was wondering where Malleus would turn into his dragon form since it’s supposed to be huge. During the first Halloween event, Malleus’ eye could be seen through the window according to the magicam monsters.

So, of course, that huge form can’t fit in diasomnia’s lounge no matter how big it is.

And then I remembered the twst opening, the sequence of screenshots above is probably when he transforms into his dragon form.

Most likely it’s outside of the Diasomnia dorm, probably after everyone woke up because we see Lilia, Silver, and Sebek running to him in their school uniforms.

Not only that, we see them run through thorns. Most likely the thorns that Malleus had used to encase the entire island.

He was facing the bright moon. The moon that has symbolisms for him, Lilia, and Silver.

Some of which includes: being a night fae, the night blessing, being born on a day with the bright moon out with stars glittering as was Silver (you can read more about their parallels here), the worry on Lilia’s face, and his magic overflowing from his form before the closeup shows his pupils.

I can’t help but wonder what led him to going outside? Where exactly is he? They can’t show his OB form for spoilers, so does this mean this is him after they destroyed his dream plan? Before he really succumbs? 👀🤔

it’s rather interesting that even after all these years, we can still find hints/clue in the twst opening about the main story. 🌺🌷

[mikesbasementbeets]

ok. look at these.

look. that's the same look. right?

let's take a closer look. to do that, i'm gonna have to zoom in a bit on the first one. because, as you can immediately see, the shots are slightly different. the first is a little farther away, showing both mike and el, walking next to each other, whereas the second is much more intimate, a closeup on mike's expression as he looks at will's face in the foreground. a minor but telling difference about the levels of emotional intimacy in each scene.

so, moving past that first element of contrast, let's look at each shot in full, because in both of these scenes, mike goes on a bit of a face journey before he gets to that final smiling expression, seen above.

personally, i think studying actors' body language and micro-expressions is inconclusive at best, but i won't deny that these look similar. however, it's pretty clear to me that they aren't the same.

toward el, i see confusion, intrigue, maybe pleasant surprise, followed by a glance down (to emotionally process and/or watch his step), and then a nervous but friendly smile.

toward will, i see awe, relief, and overwhelming affection, followed by a shy glance down and a slight schooling of his slack jawed expression into a warm smile.

but, again, that's just my interpretation, and i can't say with any certainty what the intention of all of finn's micro-expressions are. but from my perspective, even a surface level viewing of these two expressions depicts a very different emotional experience. however: there's no denying the connection between these two scenes. they clearly mirror each other, just like a lot of things about mike's relationships with el and will mirror each other. i don't think that's an accident.

whatever you think his sexuality is, mike is undeniably in a romantic narrative with el. beginning in season one episode three, when the concept of their romantic relationship is introduced, the narrative arc mike and el share is heavily focused on that relationship. the first scene above actually happens in that same episode (s1e3), not coincidentally almost directly afterward. and the former scene, with mike, lucas, and dustin behind the baseball field, provides very interesting context for several reasons:

first: bear with me, because we're going back to look at the context behind this context. this is only episode three of the show, but already there's a lot going on, both in text and subtext.

and since we have the entirety of their relationship so far presented to us on screen, when lucas accuses mike of looking at el romantically, we're easily able to go back and figure out where he got that impression: we can examine every time lucas has seen mike look at el at all.

the first night, after finding el in the woods instead of will, and while insisting that the next day she'd be gone and they could focus on will again, mike's behavior is directly reminiscent of benny's. taking el in, and providing her with shelter, food, and clothing.

the next day, after learning that she's in danger and changing his mind about pawning her off on his mother, mike infers that she might know something about will. when lucas arrives, he exclaims that she recognized him and knew he was missing.

later, when lucas tells her that will is their friend, she asks what that means and mike explains. a friend...

and then she displays that she might really be able to help them find will. and mike looks at her like this:

each and every one of these interactions is directly related to will. but lucas, through the omnipresent lens of heteronormativity that surrounds boys' interactions with girls (especially a group of boys who have no experience with girls... more on that in a bit), only seems to consider the fact that mike's behavior, which is undeniably about will, is being directed at el.

throughout season one (and beyond, in more subtle ways), will and el are repeatedly connected to each other through the trope of mistaken identity. will is abducted on the same night (and due to the same series of events) that el escapes the lab. hopper, in his investigation into will's disappearance, keeps running into clues about el. and mike, lucas, and dustin, sneaking out in episode one to search for will, find el instead.

later in the season, hopper eventually realizes the truth of his own more overt mistaken identity arc: while he was under the assumption that he'd been following will's trail, he'd actually been following el's. interestingly, the realization is triggered by one specific distinguishing difference, which tells him beyond a doubt that he's been looking for two different kids: their art.

though much more subtle (aka hidden in the subtext), mike's arc with his feelings about will and el follows a very similar pattern. the main difference, though, is that in season one, the swapping of places is eventually reversed but never acknowledged as such, and mike ends season one with el now missing and will back in his life, but a lingering sense of something yet unresolved.

second: (i'm not going to deep dive into this one here, because it's a whole analysis in and of itself, but i need to mention it because it is relevant) this scene introduces the recurring motif of superheroes being directly connected to mike's feelings for el, which is an association we see follow them all the way into season four and become a defining metaphor for their incompatibility.

third: lucas is the character who first introduces mike's romantic feelings for el into the narrative. and instead of giving any indication that lucas' interpretation is correct, mike's reaction is... difficult to read. his response is immediately defensive, both verbally ("what are you talking about?" "shut up, lucas,") and physically (leaning away and shielding himself when lucas hugs him). we can infer from the original character descriptions why mike might be defensive about this subject:

obviously, this description is only a vague impression of what Mike Wheeler became, but it's clear that the core elements of his character outlined here did come to fruition on screen. here, mike's insecurity is linked both to the bullying he undergoes, and to his inexperience/ineptitude with girls. and it's presented as key to his character motivation (the original concept of his character arc put forth here is very straightforward: at the start, mike has insecurity centered around bullying and is romantically inexperienced. by the end, mike has courage against monsters and romantic experience.)

in any case, this scene is the first hint of this aspect of mike's character in the show itself (the earlier scene of bullying in the show focusing on mike consoling dustin over what he’s being bullied for (“i think it's kinda cool. it’s like you have superpowers or something!”)... see my last point here… mike holds the idea of superpowers in high regard, and they are consistently connected with his feelings about el. something about the mistaken identity through-line feels apt here: mike mistakes his feelings of admiration for el as feelings of romance.) in this scene, mike is confronted with both romance (in direct relation to himself for the first time in the show) and bullying.

but due to the way this is shot, it's impossible to get a read on what mike is truly feeling. it reminds me a lot of another scene, actually...

in both of these scenes, mike's genuine emotional reaction is hidden from us. in the first, lucas forcibly hugs him, teasing him about how much he "loves" el, and in effect introducing the idea of el as a romantic prospect to mike. in the second, el hugs mike tightly, her hand still around his neck from their kiss and his arm trapped in between them, similar to the way he shields himself from lucas. we're then shown that he's signed the card on the flowers squished between them "from, mike." hm. so... not love, as lucas suggests.

we come to learn over the course of season four that this is something mike is actively struggling with: his inability to "love" el in the way that she wants, expects, and deserves. this scene, introducing that season-long arc, conceals mike's true emotional state and motivations from us, again, mirroring the first introduction to their entire romantic plot line way back in season one.

(an aside: lucas' "if you love her so much, [then] why don't you marry her?" aka the inciting event of their romantic arc, is a based on a conditional statement with the hypothesis that mike loves el. as mr. clarke might posit (in, say, season one, episode one): what's the difference between an experiment and other forms of science investigation? ...well, an experiment is a controlled test of two or more variables against a hypothesis. does that remind you of anything happening in mike's romantic narrative? something about...... [murray voice] experimenting sexually?)

anyway. then, after extracting himself from el's embrace, mike finally drops his bag(gage) and opens his now empty arms to will, before preemptively cutting himself short with a punch to the shoulder.

...did someone say internalized homophobia?

and then immediately upon being introduced to argyle, mike is called out for his presentation here not being genuine. ("it's a shitty knock-off,"/"i really thought it was ocean pacific...") we're being told that something about mike's performance is not what it seems (and may even be a case of one thing being mistaken for something else).

and speaking of homophobia...

fourth (and finally): this scene, of lucas' teasing mike about his "love" for el, which i'll remind you again is tied directly to lucas mistaking mike's behavior regarding will as being solely about el, is quickly interrupted by an onslaught of homophobia, during which mike is specifically targeted (read: tripped) by the bullies.

the juxtaposition is immediate and obvious: mike's friends lovingly teasing him, even embracing him, over a crush on a girl vs. bullies maliciously taunting them about will being killed for being queer and then physically harming mike.

(there's also something to be said about the later scene in which these bullies force mike to drop his bike in the woods and chase him to the edge of the quarry, mirroring exactly how the cops assume will must have died... and, to be clear, i'm not saying that mike himself is being bullied for being queer in the way will was. no, mike's queerness is invisible to those around him in a way that will's isn't, so his relationship with it and the ways it affects him are hidden in subtext.)

which brings us directly to the following scene in the woods. el asks about mike's injury (sustained from the aforementioned bullying, thereby linking these two scenes even more concretely) and with a little prodding ("friends don't lie"), he opens up to her about what happened, and about being bullied at school. she listens, tells him she understands (this also follows her recent flashback of brenner's abuse in the lab), and they share a "cool," "cool," and a smile.

so... let's quickly jump over from here to the van scene with will. something similar, yet notably different, is happening in this scene, leading up to that infamous smile at the end. mike is sharing his insecurities with will now, but instead of will prodding him to open up, mike, prompted only by will's "she's gonna be okay," begins rambling so much about his insecurities (while speaking in superhero metaphors) that he eventually cuts himself off, saying it's "stupid." instead of letting him brush it off, will guesses exactly what mike is afraid of: "you're scared of losing her." he gives him The Painting (a symbol of his love for mike) and a long speech about feeling lost and different, while insisting upon mike's value (you're the heart, leading us, inspiring us, etc). and then they share a "yeah?" "yeah," and a smile.

so we can see the similarity in the way the shots are set up, the progression of the conversations, and mike's visible reactions. but we can also see distinct differences, all of which together inform a significant difference in emotional weight between these two scenes.

while mike's conversation in the woods with el takes place in the third episode of season one, at which point mike has known her for less than 48 hours, the van scene is in the second to last episode of season four, and is the fourth of five heart-to-hearts mike and will have this season alone (and following three previous seasons and beyond that years of close friendship). it is also arguably the climax of their shared arc this season. on the other hand, mike and el's season one moment is part of the introduction to their storyline, and the introduction to their romantic arc. in this moment in the woods, mike is looking at el romantically (did you think i was gonna argue that he isn't? because no, he definitely is). in fact, this is the beginning of mike's entire romantic arc, which sets out to address the foundational insecurity that is key to his character. we, as an audience, right alongside mike, have just been told (by lucas) that mike has romantic feelings for el. and then we are presented with this scene. we are supposed to view this as romantic. because mike is starting to view it as romantic.

had stranger things been one season long, then the climax of their romantic arc would have been the kiss they share in the cafeteria, followed by the denouement of el's symbolic death (the gay implications of which i could write another whole essay on...). but the end of season one was not the resolution of mike's full romantic arc. by the nature of the five act structure (which is what stranger things has, being five seasons), the entirety of season one serves as exposition for our full narrative. which means, in effect, that the entire arc of mike and el's season one relationship is there to serve as groundwork, a foundation for mike's complete five season arc. season one, starting from before he even meets el, all the way through to when he eventually kisses her and then loses her, is only act one of that arc. the first act of five act structure is when the driving conflict is presented. so in the context of the entire show, for us as the viewer, mike's narrative arc surrounding the romantic aspect of his insecurity begins with his season one "romance" with el.

and we know that this insecurity is an element of the full five-act narrative, rather than being presented and wrapped in the course of the mini "self contained" narrative of season one, because we can see plainly, three seasons later, particularly during mike's heart-to-hearts with will, that this insecurity has not yet been resolved. we know this, on a basic level, from having watched mike and el's relationship struggles progress, but it is still explicitly laid out for us in season four. and will is consistently the only person who genuinely hears mike out, encourages him to open up, and addresses his insecurities, instead of brushing him off, like most other people in his life (including will at some points) have done. will understands him in a way el only claimed to in season one.

looking back to the character outline: mike has now "kiss[ed] a girl" and even "had a girlfriend" and still hasn't resolved his insecurities even remotely. in fact, after the first season arc wraps up, this romantic relationship becomes the main source of that insecurity. his difficulty navigating a real romantic relationship with el is the basis of their arc in season three. and by season four, mike is consciously struggling with being unable to tell el that he loves her. despite will's reassurances that things will be okay (which stack onto lucas' constant relationship advice in season three), mike keeps circling back around to it. because he can't move forward on the path he is on.

he has reached a point of no return, like a “fight you can’t come back from.” he is unable to find the security he is searching for in his romantic relationship with el... and this is where we arrive back at the van scene with will.

if the scene in the woods marks the beginning of the introduction of mike's romantic arc, then the scene in the van marks the beginning of the conclusion of mike's romantic arc. if the introduction of his romantic arc (season one) presents his insecurity, then the natural conclusion of that arc (season five) is security. throughout season four, mike lays out for will the insecurity that his relationship with el still brings him. he is unable to find that security with el, and, in the van scene, finds it with will instead.

or, should i say, begins the journey to finding it. because, especially after the lie that brings them into that moment, and then traumatic pizza dough freezer incident, we're still at the beginning of the conclusion. there's still a lot to resolve, but season four (alongside mike, who now understands what he's been going through) finally began moving the subtext of mike's arc into the actual text. and this moment indicates that season five will take that next step to fully, textually, actualizing it.

so, getting back to the parallel we're looking at here: each of these scenes is a catalyzing moment in mike's romantic arc. in season one, when lucas suggests that mike has a crush on el, and then what follows is a conversation with el where she is (to quote lucas) "not grossed out" by him, he actively begins his journey toward resolving this character motivating insecurity. he looks at el and he sees the possibility of romance.

and just look at him. he looks excited. hopeful. a little nervous. but... i want to remind you again: mike has known el for less than 48 hours at this point. this is the first conversation they've had in which they've related to each other as equals. for their entire relationship before this and afterward, outside of their romantic interactions (and also. often. disturbingly. concurrent with their romantic interactions...), mike's role has been as el's protector, a makeshift father figure, the elliot to her E.T. here, though, el tells mike that she understands him.

in season one, mike is twelve years old (read: pre-pubescent). he has no personal understanding of or experience with romance. dustin starts to comment in s1e2, "you're letting a girl...?" and ted later scoffs "our son with a girl?" and outside of the queer coding, what we can take from both of these (which draw back to the original character description) is that mike has no experience with girls whatsoever. (outside of, you know. family. but that's not what this post is about.)

and again, this scene happens almost directly after lucas first introduces the idea of romance between them, both to the narrative, and to mike himself, who, very significantly, up until this point, has shown no romantic interest in el. the sequence of these events is not a coincidence. 1. lucas assumes mike has romantic feelings for el. 2. el and mike have a moment of personal connection and understanding 3. mike "boys only" wheeler puts these two together and assumes the connection between them must be romance. but the expression on mike's face here isn't a representation of already existing romantic feelings. there's no basis for those. again, this moment represents for mike the potential for romance.

which... makes his expression in the van scene hit even harder. because unlike el, will isn't a stranger he barely knows, but rather his best friend of ten years. and it isn't lucas telling mike how mike feels. it's will professing his own feelings about mike, in direct response to mike's self-professed insecurities. (ding ding ding, are your alarm bells going off?) mike's expression at the end of this scene, if we're viewing it as a reprise of his season one expression, is a representation of hope for his romantic future. but this time, heading into the resolution of mike's romantic arc, with all of the knowledge and context we (and mike) have gained over the course of the past four seasons, it's directed at will.

ok. so. with the basic connection between these two scenes established, i'm gonna move a little bit sideways here. at the end of their romantic arc in season one, el disappears from mike's life and will reappears in it, effectively swapping their places (remember that we've been dealing with the mistaken identity trope between these two), and leaving the question of mike's romantic security glaringly unresolved.

and we know why - this is a five act narrative we're watching - but just within the context of the season one arc... the climactic moment of mike finally asking the girl to be his sister kissing the girl was preceded by her locating will in the upside down (leading to his rescue) and followed by a resolution in which she disappeared... and will took her place. at the end of the season, mike is left in the same place he started: playing games in his basement with will, his first attempt to resolve his arc of romantic insecurity, with el, ultimately ending in tragedy.

after season one, this arc picks up again, but this time will is the one present in mike's life. and mike's behaviors toward el in season one, during which they were undergoing a romantic story arc, begin showing up again in his behavior toward will. but unlike with el, mike's particular (read: romantic) behavior toward will happens without outside intervention, and in fact, often in spite of outside intervention. now, this isn't to say that all of mike's behavior with el was a result of others' influence. when el reveals to mike that she is on the run from "bad people," mike is immediately protective and caring toward her. however, as i've already explained, this caring behavior (which, again, we know right off the bat is not romantic because it directly mirrors the way both benny and hopper care for her) doesn't turn into romantic behavior until lucas introduces that idea.

on the opposite side of the spectrum, right from episode one of season one, mike's behavior toward will is fully self motivated, even in the face of opposition.

and as we move through season one and beyond, we can see that mike continues to rely on constant guidance in the way he cares about el (particularly and most consistently from lucas).

stranger things is, at it's horror filled core, a coming of age tale. like many of our other characters, mike's full character arc, romantic and otherwise, is about self-actualization. from the very conception of the show, his insecurity is presented as a central character flaw to overcome, while also being directly linked with his romantic fulfillment. the overcoming of this fatal flaw, the resolution of his romantic arc, and his final achievement of self-actualization are all inextricably intertwined.

the reprisal of this specific expression of romantic hope as we enter the end of mike's romantic arc is not an indication that mike is in the same place emotionally at the end of season four as he was at the beginning of season one, just with a different person now. instead, it is an indication of his romantic arc coming full circle. mike began in a position of hope for his romantic future with el, only to have the actualization of that hope (their romantic relationship) gradually degrade his romantic fulfillment and self-esteem. the longer mike and el are together, and the more serious their romantic relationship becomes, the worse mike's insecurities become. this is, i would argue, directly related to the fact that mike's pursuit of a romantic relationship with el is not due to his own genuine desire, but instead a combined result of heteronormativity (lucas assuming mike's feelings for el to be romantic), compulsive heterosexuality (mike's subsequent assumption that his feelings for el must be romantic), forced conformity (mike's attempt to resolve his insecurities firmly within these heteronormative boundaries, under the assumption that a rejection of these boundaries is unacceptable), and the trope of mistaken identity that has been following will and el since season one.

and of course i don't know with any concrete certainty what season five will contain, but based on the narrative so far, and optimistically expecting a satisfying resolution to his character arc, the actualization of his romantic hope regarding will is going to lead to true romantic fulfillment and coincide with his self-actualization (a big part of which is coming to terms with his sexuality).

now, i'm not going to conclude this whole analysis by saying, "and that's why mike is gay!" because while i think this all is a good indication of that, based on all of the context and my impression that this narrative is being presented in a way that focuses on the subtext and deeper symbolism of each of these relationships rather than being a case of specifically el vs. will, you might still have a different interpretation than me. that's fine. however, i am going to end by insisting (me when i argue with the wall), based on everything i've laid out, that this parallel and others like it (ie parallels between byler & miIeven's romantic arcs) are not evidence of mike's feelings, specifically whether they are genuinely romantic or not. this parallel serves as a narrative device in his romantic character arc... the conclusion of which is mike realizing and coming to terms with the fact that he is actually in love with will, and not el.

just to be very clear, i'm not saying these parallels alone are proof against mike being bisexual, but i am saying that they are not evidence in support of his being bisexual. again: they do not indicate that mike is romantically attracted to el. what they indicate is that will and el are foils in mike's romantic arc.

before i finish, i want to address a couple misconceptions:

1. the fact that mike actively and willingly participates in a romantic relationship with a woman means he can’t be gay. this is straight up homophobia. gold star bullshit. no.

2. mike and el being presented in a romantic light means that they have genuine romantic feelings for each other. this is a misconception of the way narrative tools are used to tell a story. going right back to my first point: it is an irrefutable fact that many gay people have romantic relationships with the people of different genders (read “the opposite sex”) before they come out/realize their true sexuality. it is also a fact that many of these gay people fully believe their feelings to be genuinely romantic before realizing that they are not. as i've already gone over, mike is twelve years old when his romantic arc begins. on the surface, his relationship with el is presented as romantic. he participates in (and even initiates) romantic behaviors because he believes that his feelings for el are romantic. in seasons one and two, mike is one of our main POV characters. we can see a romantic tilt to the way some of their scenes are shot because, to mike, while they are happening, they are romantic (keeping in mind what i said before about mike having no experience and therefore no personal knowledge informing his perspective, AND keeping in mind that many of these on-the-surface "romantic" scenes are also consistently subtextually linked (read: paralleled) to familial relationships for both of them... and i haven't even touched the cultural context surrounding homosexuality in 80's. there's so much nuance informing the way this story is being told). and we, as the audience, are supposed to read them as romantic on first viewing, because otherwise the season five plot twist, revealing the truth of mike's feelings, would not work.

it is not a coincidence that the active degradation of their romantic relationship (outside of all of the other context, parallels, symbolism, family coding, etc, that are there to hint along the way that things are not as they might seem) begins full force in season three, at the exact point when the two actually enter a real relationship for the first time, and also when our characters are entering puberty, the time during which a person's sexuality (in a general sense, but also in regard to sexual orientation) begins to fully emerge. after his season one arc with el, mike underwent another season-long romantic arc: this time, with will. it's more subtle, because (i believe) mike doesn't realize yet that it's romantic, but it's there. then at the end of season two, mike makes a choice: he encourages will to dance with a girl and he dances with el, re-writing their tragic ending from season one, but now leaving his romantic arc with will frustratingly unresolved, again mirroring the sense of unresolution from season one: mike has swapped out the end of each romantic arc with the wrong love interest.

and then in season three, now having had the experience of both romantic arcs, and now, for the first time, with both will and el right there beside him, all we can see anymore is the overt contrast between the two relationships, depicted most blatantly through the same type of visual and narrative "parallel" we've been looking at here.

but at the end of this season, instead of making a choice, mike's choice is made for him. he has a romantic moment with will, and then el kisses him, confusing the resolution of these two romantic arcs once again.

mike's season four arc closely mirrors his season one arc (searching for one love interest with the other by his side, mistaken identity trope abound), but with important distinctions: 1. mike is a little older, a lot more experienced, and has a better understanding of both the context of romantic relationships and the scope of his feelings for both el and will. and 2. mike's only real guidance in season four comes from will, and he doesn't simply listen and act based on will's advice, as he did with lucas' in seasons 1&3. now, he fully engages with will's input, pushing back against it when he doesn't agree, and accepting it when he can acknowledge its truth (up until, of course, our fourth (and hopefully final) tragic, incorrectly resolved ending). mike is finally taking control of his romantic narrative in a way he hasn't previously, and the direction it's heading in now is toward security, self-actualization, and will.

so the point of all of this is: nothing is as simple or straightforward as it may seem on the surface. the narrative has always been deeply complex and layered with subtext and symbolism. and most of all, when interpreting the meaning of anything presented directly to us on screen, context matters.

also uh. yeah, mike gay

[le-trash-prince]

BenzGarfield's height difference is something I particularly enjoy about their roles as partners because it's a big enough difference for Benz to be noticeably shorter (on top of being smaller than Garfield in general) but small enough for that difference to be played around with onscreen, and I'm so fascinated by what This Love Doesn't Have Long Beans has done in regards to their blocking and their costumes as MethasJJ.

Because Perth Nakhun has said that the Thai film industry traditionally prefers to cast taller actors to play the top in a pairing, regardless of other details, and will do the same for male/female actor pairs as well, to the point where he lost out on a role bc of being shorter than the actress, and for My Engineer they had him wear really thick shoe lifts bc he was shorter than Lay.

So I wondered if they were going to try and pass Benz off as being taller than Garfield, bc Methas certainly looks taller than JJ in episode one. Based off BTS pics, I knew that they had Benz in thick heels, but their feet are purposefully covered in this shot in a way that disguises this for the audience and just makes Methas look naturally taller.

But then in episode three we DO get a purposeful shot of his shoes. Frankly I love that they put him in platforms instead of using just shoelifts in regular mens dress shoes, bc it turns his boosted height into a character detail rather than a ~movie magic~ thing (i.e. putting RDJ on a stool for closeups in Iron Man).

Methas has specifically dressed himself in a way that makes him appear taller than he is. It speaks loads to his insecurity and the way he feels he has to make himself appear to the world.

I think part of this must have been a practical decision bc it gives the team more flexibility with wide shots like this, where Methas is completely barefoot during his physical therapy scenes. When neither of them are wearing shoes, he's obviously shorter than JJ, and they don't have to bother with cutting away from this shot in order to disguise that he's standing on something. I'm a big fan of this, since I think it just makes things more believable.

Then there are scenes where their heights are equal to each other.

And scenes where JJ is taller even when Methas is wearing his platforms.

If Methas wasn't shorter than JJ, it would be less visually impactful when JJ lowers himself to take care of him.

It would be less impactful when Methas towers over him because Methas would be towering over him the whole show anyways.

Blocking like this would have less meaning too.

There's also the way their relative positions shift even when they're horizontal.

This is just something I really enjoy seeing, and I'd love to sit down and analyze this after the show is done. Personally I'm a short tops supporter and I don't care for the traditional notion that taller ppl should always top and women can't date men shorter than them, etc.

Frankly, it has been disheartening to see the reaction (mostly on twitter) that a lot of ppl had to the idea of Benz playing a top, since I don't think actors should have their roles limited by their physique. It reminds me a lot of the response to Pavel playing a bottom, so I'm just glad to see that Change2561 is continuing to cast non-traditional dynamics regardless of whether the audience thinks someone like Garfield can be a bottom.

Also means we get to see delightful role reversals like this:

Where one party is fully clothed, while the other is in only a towel, but the context and tone of the scenes are very different. Subvert those audience expectations!

Anyways, this is just something I've been paying attention to, since their positions on camera are constantly switching and it is so fascinating to watch.

[keydekyie]

The Drover's Shadow

[closeups and possible book IV snippet below the cut]

742 words, no content warnings

✦•······················•✦•······················•✦

The little valley was cut through by a river that had carved out a sandy, pebbly ravine. On the far side, trundling along like little bundles of fuzz in the wind, was a drove of wegs. Their piggy snouts were turned up in caution to the wind, and their robe-clad drover strode among them with a bent crook. The drover stopped and stared when Ruyak came into sight, letting the drove shuffle past along the grassy hill.

Kaelin waved in greeting, and after a hesitant moment, the drover raised the crook in return.

It was a sizable drove, at least two dozen head, and probably large enough for two drovers, or at least a drover with a rodi for help, but the wegs were led obediently enough by their singular drover, and seemed perfectly willing to continue on their way in the opposite direction Ruyak was heading.

“They’re going up into the highlands for the season,” Kaelin said to Ruyak conversationally. “The cold air makes the fleece thicker.”

Ruyak didn’t reply, just kept moving at a steady pace.

“Did you ever see droves in your family’s territory?”

“Sometimes,” Ruyak muttered, and his tone was startlingly bleak. Kaelin sensed an uncomfortable subject, and so steered away from it.

“We’ll be coming to the Dakatin valley soon. The finest wool in Kellabor comes from there. The blends and techniques to make it are a trade secret, supposedly, but I’ve heard the only secret is the silk they mix in. My new nightgown is Dakatin wool.”

“It does seem very nice,” Ruyak mumbled.

“Those wegs’ wool will go to make something quite fine. They look very healthy.”

“Are they harvested at the end of the season, then?”

“Harvested? Oh, wegs aren’t killed for their wool, no. They’re shorn once a year, sometimes twice depending on the breed, I think. Although, they do make for good meat, especially if they’re grazed in forests. And their skins make excellent cloaks. So they are sometimes butchered for those reasons. But most are just shorn.”

Ruyak nodded in understanding, then a moment later he shook with a derisive laugh. “If us Kanai were smart, we’d be making good trade with drovers. Safe grazing in exchange for a bit of wool every season.” Ruyak grew somber again. “I’ve heard drovers singing in the mountains. Sometimes their roden sang with them, and even the wegs would squeal along on bright mornings. Not good singers, wegs.”

“I don’t imagine so,” Kaelin chuckled. “Enthusiastic, though.”

“Very.” Ruyak glanced back at the drover again with a smile, and slowly came to a stop, watching that lone human figure among the cloud of white wegs. Ruyak’s face twisted into a pained grimace. Worrying? Imagining the drover walking into danger up in the mountains? Where the forest’s many guardians were ready to snuff them out at the slightest provocation?

“I’m sorry to say it, Ruyak,” Kaelin murmured, “but you’re going to frighten that drover staring like that.”

“Augh, you’re right.” He shook off, as though he’d been doused with water, then turned and continued on his way. “I wasn’t thinking.”

Obviously he’d been thinking quite hard, just then, but perhaps not about that in particular. Kaelin could sense his change of mood like a storm rolling in. She knew exactly why the clouds were gathering. It was entirely possible the last weg drover Ruyak had been so close to had not survived the encounter.

“Drovers are sensible,” Kaelin told him. “They know the places that are safe.”

Ruyak pinned his ears and said nothing. Not a good sign.

So Kaelin went on, “Humans that go up into the wild places don’t venture there ignorant of the danger. They know what they are risking.”

“Then why would they risk it?”

“For their livelihoods, seeking their fortunes. Money, I mean. Or food for themselves, but usually not. Not if they are going far enough into the wilderness to meet the likes of you.”

Ruyak thought about that for a long moment, and the drover and wegs passed out of sight into the trees, each white, fluffy weg quietly vanishing. “I… I truly wish I could believe that, but I don’t think all of them…”

“Drovers know it too. We all know. As children we’re taught songs and stories and rhymes. We all know someone who never came back. Everyone knows that when you step into the dark, you might not step back out again.”

[hawkeyeslaughter]

tiny tiny details i notice and love as i rewatch the early seasons of mash —

— the way henry says “ yoo - o “

— radar’s going from “ hawkeye “ to “ hawk “ and then “ sir “ , if he’s still asleep/not listening

— the swamp seems smaller / more cluttered than it does in the later seasons

— henry’s illinois coffee cup saying “ hank “ instead of “ henry “

— margaret’s subtle array of hairstyles

— the pair of boots tied to the pole in the swamp

— henry wears the same sleeping mask that charles wears in the later seasons

— everyone’s boots being completely unlaced if they’re on the way to the showers / in a hurry somewhere

— the showers having a sign that says “ keep it clean “ because i have to assume that it has a double meaning 😭😭

— radar always peeking in the doors of tents before he actually knocks / comes in

— the nurses in the background dressing casually and wearing bathrobes or house robes , much like hawkeye and trapper do

— the way hawkeye and trapper almost always say “ you all right , frank ? “ when they’re being nice to him

— the closeups on margaret when she’s wearing her surgical mask and cap so you can see the emotions in her eyes ( and how pretty they are )

— henry’s pictures of his wife and kids both in his office and his tent

— wearing surgical caps as hats when it’s cold outside

— hawktrap sharing the cowboy hat

— radar stuffing his earphones ( ? ) with tissue / toilet paper when it’s cold outside

— margaret’s bed being seemingly bigger than any of the other bunks ( as observed in “ love story “ )

— the running “ the following personnel have volunteered to go on a ten mile hike “ gag

— hawktrap always sitting with radar if he’s in the mess tent , only sitting with others if he’s not

— the fact that trapper looks at least a couple inches taller than hawkeye ( despite wayne rogers only having an inch on alan alda irl )

— the implication that frank’s bunk is always used as a spare for random people to sleep on when frank is with margaret

— the way hawkeye seems to put emphasis on/ draw out the ‘ ar ‘ in “ darling “

im gonna reblog when i have more

[1moreff-creator]

DRDT CH2 EP15 First Impressions

46 minutes. Closing Argument inbound.

It’s time.

Spoilers for CH2 EP15. CW: Hanging, murder, references to eating disorders, strangling, blood and wounds.

I actually wasn’t home when this started airing, but I got there literally five minutes after the hour so… Wee!

Before I jump in: I think the time frame of 46 minutes points to Ace NOT being the culprit, since it feels too long for just him, but it’s impossible for us to know yet. I’d say I still think he’s more likely than Eden, but only barely.

Ace: “Are you kidding me?” Isn’t that a different sprite from the end of Ep14? Hilarious if true.

“That’s so inane-“ Big vocabulary words!

Eden: “No… It must have been Ace. The more I think about it, the more I’m sure.” GIRL WHY ARE YOU SO SUSPICOISY?!?! (<- I noticed the typo but it illustrates my mental state atm).

“He was the one stalking me!” Huh? Wait so that wasn’t just Teruko? Wait wait wait how long does Eden think Ace was stalking her for?

“I always had the feeling that someone was following me around.” For how long? Ace was unconscious in the referenced scene!

[Rose agrees with Eden] Everyone’s jumping too fast I don’t think Ace is the culprit chat. It might be Edenover actually.

Ace: “That was not me, and you have no way of proving it.” I know! Everyone’s jumping way too fast to this conclusion!

Teruko: “There’s a very narrow window when the fish could’ve been taken” (Paraphrased). FISH ALIBI! But it’s way too early to be decisive, there’s forty fucking minutes left. Still, I want to know; Nico, did you eat with Hu and Eden or not?

“Any earlier, and Nico would have noticed the missing fish.” How many people know about Nico’s account btw?

Veronika: “And isn’t that why you took the fish at all? To frame Nico?” Yo that’s what I thought! Vero and I think alike! (<- This means bad things for me).

Veronika: “Yes true.” Look at that little smile :)

[J and Levi discuss Ace’s mindset to take the tape] Yeah this is the hardest part for Ace!Culprit.

Eden: “He did run off very quickly…” asjgeb (I’m losing the ability to form coherent thoughts).

“Ace had a whole day to figure out the murder.” (P.) Me and Teruko think alike again!

“Why *were* you in the gym…?” I’ve heard this question before! Teruko thinks like thebadjoe! Different context sure but they’re both smart so it checks out :)

[Levi rebuts] Yeah… the tape-taking’s still weird.

Ace: “…” Ooh, someone’s still feeling things at being defended by Levi!

“No one can prove this but yourself.” True, that’s the main issue with this line of reasoning, and why I haven’t been putting much thought into it.

“…you took the tape for first aid.” ivibells thinks like Teruko! (Check comments of linked post). Was not expecting that particular line of reasoning to show up. I wonder if Teruko’s been forced to use tape for first aid in the past? Would make sense.

“I do it all the time.” Oh yeah she does lol. Shit that happens with this format of reaction post :p

“Devil’s Pubes” Okay funny, but is “Devil’s Proof” a commonly used term? Reminder to me to look into a thing.

{Looked into it. Yes it’s a commonly used term. Proceed as normal}

“(visibly shaking)” New Whit sprite! Also super funny.

“Tch…” Ooh… New Ace sprite! And it’s cool!

Interesting lines around here, just don’t have much to say.

Teruko: “Show me your neck scars.” What the fuck is she cooking?

Ooh, now Ace is looking super sus…

There was blood on Ace’s hand, not just a saturation glitch! Good catch venus-is-thinking and accirax!

Teruko: “Even if you’ve been pretending that you’re fine, it still hurts. Right?” No genuinely where the fuck is she going with this.

I noticed this in the last episode too, seems like the dev’s grown fond of chest closeups for emotional moments. Interesting!

“…you would know to tape Arei’s hands…” Teruko this isn’t evidence. Like, you may be 100% right, but this isn’t evidence.

“That’s the dumbest bullshit I’ve ever heard!” Honestly yeah. Teruko’s reasoning here is sorta crazy.

“You seem stressed. They’re only wounds.” Veronika is being a good ally to Teruko out of nowhere but we love to see it.

Yay unhinged Vero laughter! I love that voice clip.

Nico: “…” “Sorry” as a voice clip? Huh? I thought they weren’t sorry-? I’m confused, I’ll maybe look into it after we get through the main event.

Also the more time passes without explaining the pieces of evidence left, the worse it’s looking for Ace.

[Teruko backing down.] Actually pretty cool character moment. Yeah she would understand almost dying sucks, and with the way things are going, her word would always go kinda uncontested at this point in the trial.

Ace: “Woow, Ace is actually being helpful!” The sass is immaculate. I have no idea where this trial’s going yet!

“There’s something wrong with thinking the murder was done to frame Nico.” (P.) Oh shit is he gonna bring up the fact that taking down the pulley system and hanging Arei from the swing set makes no sense in that context?

“There’s no way I could have accessed turpentine…” Ah, so not that. Bad line of reasoning my guy, imo. Still curious to see the answer to this debacle.

Hu: “You’re always attacking Nico like this!” Bro.

Nico: “I still have the turpentine in my room. I’m sorry.” Kinda huge. Also, they did apologize to Rose when they didn’t apologize to Ace. Nice character building and huge W for the Rosenico enthusiasts.

“Obviously.” First David line and he’s already calling someone an idiot! Fun stuff.

“I-di-ot.” Why does David get so many good lines?

“You are a jockey. And that’s a fact.” Charles with the groundbreaking revelations!

“That means you strong.” (P.) Yeah according to strength chart the guy is the third strongest cast member. Even above Arei. Hmmm… Foreshadowing or not?

Ace: “If it wasn’t arm wrestling against Xander, nah I’d win. Wait that’s not the point!” (P.) Fucking hilarious character this guy!

“You could have strangled Arei unconscious.” (P.) Yeah I never got the argument that turpentine was required for unconsciousness. The hanging would have covered wounds on her neck.

“Full offense, but Ace is too much of a wimp to kill with his bare hands.” (P.) David’s funny and that’s not new. What’s also not new is him being confusing even when he’s not actively stirring up shit. Do you want to lose the trial or not? Do you think Ace did it or not? Why are you like this?

Charles: “Your [David] input is unnecessary.” I’m gonna miss Charles when he gets poisoned by strychnine in CH3.

Interesting discussion around this part, I just don’t have much input and it’s been an hour and I still have 30 mins of video to go :v

Nico: “Why was Arei hanging from the swing set?” Thank you.

Teruko: “Pinning the crime on Nico is plan B but also the main plan.” (P.) I figured, but how smart are we assuming Ace to be again?

Eden: “Is Ace even capable of doing a feat of strength like that?” And THAT’s innocent behavior. It MIGHT be Aceover.

[Eden continues defending Ace] It’s Aceover.

“If you can talk, the neck wound isn’t so serious.” (P.) We’re back with another round of “character speaks with way too much authority about something super weird!” How many neck wounds have you seen, Teruko?

Rose: “Isn’t Ace kinda weak?” Why are we roasting him- Never mind it’s Ace he gets roasted daily. Proceed.

“He was beaten by Xander-“ Yeah ‘cuz Xander’s a freak- “and he’s small and doesn’t eat a lot.” (P.) Uh… Rose… did you forget what his secret was or did you not realize that this might be a bit insensitive?

J: “Seconded. He’s a scrawny little guy.” While dunking on Ace is kinda funny, if Ace can’t hoist Arei up with the spinny thing, then we’re kinda fucked unless Levi!Accomplice rises from the ashes from out of nowhere.

J: “Isn’t Ace… too stupid?” I love that this is an actual argument that not only the fandom used, but the characters brought up as well :p

Ace: “…” PFFT-

The voice acting in the following section is fucking fantastic all around. Also Ace accidentally fucking himself over out of anger at being insulted is hilarious.

Ace: “…What?” Another new sprite, and I still have no idea where this is going in terms of culprit! How?!?!

Again all the voice acting is just fantastic. And also this is kinda funny.

Charles: “I disagree with Ace.” Yeah “he’s weak and stupid” isn’t great reasoning.

Whit: “Plus you call me stupid all the time.” Charles tsundere confirmed?! (Trick question: It always has been confirmed).

Charles: “When other people [judge with intelligence bias], it truly gets on my nerves.” Interesting character tidbit here, wonder if there’s a bigger reason for that or not.

“I’m the only one reasonable enough to do that.” (P.) Oh there was a reason PFFT-

“Will you test his IQ…?” (P.) Charles really hit them with “nice argument senator, why don’t you back it up with a source?”

[Charles and Levi team up to explain jockeying] Interesting team up, and good points! I guess Teruko’s been hogging that brain cell a bit too much these last few episodes, so it makes sense for it to be Charles’ turn, huh?

Whit: “The Kuning-Dooger effect…” Charles: “Not what it’s called.” HHAHAHA!

Charles: “Ace is the killer. Don’t refute me unless you like being incorrect.” (P.) Wow that is certainty goddamn!

“Then simply do not be wrong in the future.” Yo why’s he so funny for?

My brain is kinda fried as Ace and Levi continue to argue the point, but “between you and me, we both know who’s really a murderer” is kinda crazy.

[Non-Stop Debate] WOOO!

[Truth Bullet: Laundry Ball] Oh? Are we gonna talk about getting the rope over the rafters? Or am I wrong to assume that’s how this was used?

“In the context of Nico’s murder” (P.) Love the little arrow to Nico xD

“Nico hung Ace by stepping on a stepladder…” (P.) I think I know where this is going!

[Truth Bullet Fired] YEEAH BABY!

We’re putting the image in a fifth post! >:D

“If you starch it up with laundry starch…” (P.) Aww… there goes thebadjoe’s idea on the starch. I kinda liked it, but this makes sense too. At least I called it as a possibility in that post I linked before! Kinda…

“How could I have thrown it?” (P.) Slingshot idea coming in? I don’t know how the episode still has like twenty minutes left if that’s the case. Maybe the Closing Argument is much longer than I’m expecting?

Arturo: “But there’s other evidence you threw it up there.” Oh yeah I kinda forgot the lights were part of it :v

Ace: “Bullshit.” It’s Aceover. Breakdown! Breakdown! (<- Reference to the theory that the JoJo’s song from the playlist refers to Ace).

The Ace shouting scene (that doesn’t narrow it down but you know what I mean) is fantastic, since the voice acting is on point as usual. We’re really spoiled in that aspect. And Ace’s victim complex is on full display, it’s really cool.

ARGUMENT ARMAMENT?!?!?! OH IT’S SO OVER! The art is really cool! :D

By the way, I’m gonna call that the final attack will be the elastic band thing Ace took from the gym in CH2 EP2 for the slingshot idea on the ball of clothes.

All the lines here are pretty standard, but I like them!

[Using a slingshot] Wooo! Last minute theory was correct! Shoutout that Reddit user who figured this out around the same time I did (again linked in the “select two” post I’ve already put a link to). Great minds think alike!

Teruko: “It’d be impossible for anyone to throw the weight…” (P.) Yeah right who would believe such a thing (<- Genuinely argued Eden could have potentially done it).

“Specifically, you could have made a slingshot out of this.” [Shows elastic band] Teruko where were you keeping that? Up your ass? Who brought this to the trial room?

[Levi explains, mechanism shown] Oh that mechanism makes significantly more sense than anything I was coming up with :v Still got three main idea though!

Ace: “You’re lying to verify Teruko���s made-up story!” Oh oh, someone’s desperate…

By the way the glove has yet to be explained and I find this very funny.

Ace: “Where would I have stored the water jugs?” (P.) …In the playground with literally the entire rest of the mechanism?

“SHUT UP, ACE!” SLAY TERUKO!!!

“We determine who lives and dies by majority vote…” (P.) New sprite? New cool sprite? Also, this line reminds me; do y’all think Teruko will received two votes again? I think she will.

“The point of the trial…” Also a new sprite I think? And I’m loving Teruko here, but how is this gonna lead to a Closing Argument? :v

“Are you silent now?” So many new sprites! New Ace sprite right after too.

[Ace giving up] Didn’t wanna comment because augh… this hurts… My heart goes out to all you Ace stans out there. I know you guys have a reputation as some of the most dedicated fans around, so I hope y’all are doing alright. I liked Ace quite a bit too, so this also hurts a lot on my end, but damn…

“Who do you think I am, you?!” Well at least he got one last good shout at Hu in :,D

Veronika: “What do you mean?”

Ace: “I’m definitely gonna die if I don’t escape. Everyone hates me, right?” (P.) Oh, wasn’t Veronika who told him that? That constantly picking fights would get him killed? I wonder how she’s gonna feel about that, if it’s explored. Genuinely curious, Vero’s hard to read.

“Veronika was right.” Yeah I really should let the dialogue play more often, huh :p? What I said stands though.

“A part of me wishes Nico had succeeded.” (P.) AGH!-

“But still!” New sprites going crazy!

This entire trauma dump is more or less what I imagined Ace’s motive would be. Super sad still, goddamn I can’t wait for his Bonus Episode if he gets one. My guy needs to talk to Good Person Mai stat.

“…I’m a coward who can’t fight my own fate.” FATE THEMES GO INSANE!!!

Eden: “But that’s so selfish!” Man I’m actually really glad I can stop reading Eden’s lines with suspicion now. I always kinda felt bad about it even if I thought the evidence against her merited it :v

[J’s response] You know, accirax and venus have been counting the amount of times J has been anti-murder and they were (as usual) cooking hard. I don’t know why she gets all the “murder’s bad” lines, but it helps build my “J will become primary support” agenda so.

“I know that.” Auch.

“Arei… She was a piece of shit, too.” Is he about to reveal he heard the last of the Arei-David conversation.

Also “good person” drop! Probably one of the last of the chapter!

“But at least she was trying. […] I really am a piece of shit, huh?” So. Much. Pain.

“Oh my. How tragic.” Holy shit Veronika smiling after no one denies Ace sucking is crazy. I know it’s far from the most concerning thing she’s done but this feels so sinister. I guess she doesn’t even care that she might’ve planted the idea of murder in Ace’s mind, huh? I love her <3

“… just vote already!” Are we even gonna have a Closing Argument at this point? Who the hell is gonna ask for a full recap? Eden for the memory of Arei?

Teruko: “Allow me to go over the case…” Ah alright. Protag knows she’s gotta protag I guess xD

“Sorry. But it has to be done.” Okay she actually has trope knowledge what is this.

4 Minutes for the Closing Argument… about the same as last time I think? Maybe a bit shorter?

Also the glove is just straight up not going to be explained huh. I imagine the scuffs on the floor will be shown but you know.

[Ace overhearing Eden+Arei] Btw I know some people missed this: the note sent to Arei explicitly mentions what secret Eden got, which didn’t get brought up in Arei-David. Yes, Ace has to have overheard both of them.

“He was originally planning to kill Eden.” …Nice argument senator why don’t you back it up with a source?

Like genuinely where did that deduction come from? Again, Eden never said how long she felt she was being followed for. It could have only started after this. It’s apparently not wrong, but it’s still a pretty large assumption on Teruko’s part.

[Mechanism Images] Yoo high quality ball over the rafters picture!!! It became canon!!!

[Jug picture] Oh that’s how that worked. Yeah I always had a bit of trouble imagining exactly how the jugs would have been tied to the rope.

[Arei follows the note] Oh she went out without her glove! She just never put it on that morning! For no particular reason! That is the funniest possible conclusion to that particular mystery xD

“Ace cut her free…” …With? I guess he just bit the rope lmao. (He probably just had like a knife or something.)

[Ace over the swing set] PFFT- Okay to be honest, the question of “how do you even physically get Arei up there?” had always bothered me a bit (it’s a lot harder than you might think to visualize), and I was expecting it to be a kind of “don’t think about it too hard” situation. But seeing this as the actual solution is fantastic.

[Trial Close]

Wait are we not gonna talk about the- the scuffs on the floor? I- Wait- How did-

I guess I was right to just assume they were supposed to be a vague indication of struggle as opposed to anything more specific xD

-

General Thoughts

I feel a sense of… weightlessness. It’s over. The mystery’s over. Levi!Accomplice, Eden!Disguise, J-Arei Swap (I’m assuming that’s dead don’t quote me on it), J!Culprit via the screening room with the remote, “David manipulated someone into murder,” all the other theories that came of this… all shall pass on as fun AU ideas that never came to be. Alas, Ace!Culprit reigns supreme.

The episode was awesome. Less of a roller coaster like the last few have been, more like a linear plunge into sadness. I’ve run out of words to describe how incredible these episodes are, but all the praise I gave the other episodes applies to this one as well.

The star is obviously Ace, and man, despite how horribly sad the Ace fans must be feeling, at least we got fed this chapter. Genuinely felt bad for him even though as J said what he did is pretty unjustifiable. So many interesting things to explore all around for him, and quite a few other characters as well. Just… a feast. I’ve been considering making a fully cohesive post talking about the entirety of CH2 PT2 in more detail than I’ve gone over in these reaction posts, and I’m pretty sure this episode cemented that as a really solid idea.

Theory Discussion

Well the crime’s solved, but since I am the “Local Min Jeung Kinnie,” maybe it’d be appropriate to grade myself on how well my theories panned out?

I will skip talking about the Nico-Ace situation because my ideas for it were completely insane as a result of the vast amounts of evidence that just… didn’t matter. I was right that Nico was the only attacker, but I shared this opinion with like half the fandom at least, so.

The Arei murder is the main course, and frankly… I’d say I did pretty well! All things considered.

Looking back at my Eden!Culprit Levi!Accomplice theory from a year ago, although I got the complete wrong culprit and threw in an accomplice that didn’t exist, the method itself was strikingly similar provided you correct the oddities that removing an accomplice brings. Hell, a lot of the deductions from my very first post on this came true. Crime happened in the morning, ball of clothes over the rafters for the lights and setting up the pulley system, done with the handlebars of the spinny thing (kinda missed what the tape was for, but at least I knew it was there), water jugs to weigh down Arei, scuffs on the floor indicating a struggle to subdue Arei before hanging her, and while the exact method of stopping the fall was a bit different, using a stopper rope is similar enough to tying a knot that I’m willing to give myself partial credit.

I still stand by the fact that, at the time, it was unreasonable to assume Ace could have picked up the tape. Yes, it’s what happened; doesn’t mean that it seemed horrendously unlikely with what we had at the time. Still, once Ace was officially brought up as a suspect in Ep14, I’m going to give myself partial credit for last-minute switching (sort of I was only suspecting Ace over Eden by a hair) to the real culprit and figuring out the slingshot trick alongside the aforementioned Reddit user.

So, I’ll say I passed! Am I bragging? Maybe. Deal it.

You truly were magnificent, DRDT CH2 case. I shall never forget you for as long as I live.

If you made it this far, congrats. Now let us cry together, for our favorite horse boy is about to leave us forever… after he says his secret quote (which is probably next episode) and the Bonus Episode with Mai hopefully.

(Dammit it that means we still won’t get context on the Eden Mai quote I was kinda looking forward to that T_T)

Thanks for reading! Bye!

[whalesforhands]

uniform exchange

Shoko -> Suguru -> You -> Satoru

“Seriously, how does she get this on?” Gojo’s whining as he struggles to pull up Shoko’s skirt over his hips, hindered by the tight seams that were stuck by his rather thick thighs. The upper part of his body was faring no better, jacket taut against his body as the buttons struggle to hold onto their clasps over his chest, white undershirt so short it was basically a crop top.

“If you rip my uniform you’re paying for it.” Shoko’s already dressed, bell bottom pants dragging on the ground as she stands there, Suguru’s uniform basically swallowing her whole. She physically cannot walk, for if she did, she’d trip over the sheer length of his pants.

“No way!”

“You suggested this.” Shoko’s reply is curt, ending on a slight wince of pain as you brush through her hair behind her, pinning up and putting her hair in a bun, several hairties held between your lips as you begin tucking out a singular strand of her bangs.

“Perfect!” Satoru’s sunglasses are pushed up and placed in your hair, his uniform similar to the oversized one you regularly wear, save for it being many times longer due to his height. You… Can’t exactly walk either. Or even see through his sunglasses. If you put them on, it'd be pitch black.

Suguru… Isn’t doing so well next to Satoru. Despite your uniform usually being a good fit on you, with room for space… He can’t exactly button up your dress shirt or slip on your long skirt.

Your button-up is tight against his chest. If Shoko’s shirt on Satoru was struggling to hold on, the buttons on your own shirt on Suguru were hanging on for dear life. He could only button the middlemost one, for if he did button the rest, he'd be struggling to breathe.

“There’s no way I can fit in this…” You’re trying to look away, quickly pulling the sunglasses over your eyes to black out your vision before you’re caught admiring either of them for the skin they were showing.

(They already caught you.)

"Ehh? Suguru that's so inappropriate." Satoru's crossing his arms as he regards his other half, getting a good closeup glimpse of your button basically screaming as he clasped on with all of its might. He pokes at Suguru's exposed pecs.

("Are you keeping something from me in your workout?!"

"We have the same goddamn routine.")

"I can't exactly help it, can I?" He's now trying to pull up your skirt, the waistline, much like Gojo's, struggling to get over his thighs as he struggles to pull them on over his boxers.

"I did it!" Shoko's skirt was now tightly over his hips, so short that the bottom of his dragonfly boxers were still exposed. His hands are haughtily placed over his hips as he began to strut over to both yourself and Shoko.

"Oh, Gojo. You actually got it on-"

"Ah." Gojo's eyes go blank, smile freezing as he hears a rip from Shoko's skirt, the same time the singular button of yours decided to give out.

("You need to start laying off the mochi."

"Suguru, you're so mean!"

"I think it's good that he's eating so healthily..."

"See?! (name) thinks eating well is-"

"The only thing you're gonna end up with is diabetes.")

Shoko’s simply regarding them both with a chuckle, watching amusedly as Gojo makes Geto suck in his stomach to pull your skirt up. Shoko places her arm around your shoulder posed with a V-sign as she points the camera upward, Gojo and Geto in the background with her and yourself smiling up with your sunglass-clad face in the foreground.

"Cheese!"

("We weren't ready!"

"Too bad.")

masterlist

Notes:

Suguru was the one who repaired all the broken uniforms. He brought you out shopping for threads and needles with him. You have a special button on your uniform now. One he specially picked out.

Shoko didn't kill Satoru for her uniform. She just got him to give her a pack of cigarettes instead. Needed a reason for him to owe her.

Satoru was the one who suggested this. Initially, the plan was to swap all your uniforms without anyone knowing, but Shoko caught him when he was busy trying to 'sneakily' take yours. (He shamelessly walked into your room whilst you were napping in the loungeroom.)

(You don't actually mind any of the SSS trio doing that. You take trips to Gojo's room to borrow a lot of his outerwear. They're really good quality.)

Suguru always looked way buffer and broader than Satoru in their high school days, so I have described this story as such.

The photo was actually printed out. Everyone received a copy. Including Yaga. (Gojo's doing.)