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itsclydebitches · 3 years ago

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RWBY Roman Holiday: A Review

Hello, everyone, and welcome to my review of RWBY: Roman Holiday by E.C. Myers! Given my tendency to discuss this franchise at great length, I thought I'd start with a tl;dr section for those who might just want my general takeaway, not a deep dive into some of the novel's specific flaws and strengths. So with that in mind...

Did you like the book?

I did! Let me put it like this. I'm incredibly critical of any RWBY material nowadays, I haven't had the energy to read #realbooks for a while, and I still managed to finish this in five days, even while stopping every few pages to take notes. So it was entertaining enough to hold my attention, unlike Before the Dawn. Is it a perfect novel worthy of nothing but endless praise? No and I'll delve into the many problems below. But is it also one of the better RWBY installments I've engaged with lately, including recent Volumes of the webseries? Yeah. If you're still emotionally attached to the show or these characters, I recommend giving it a try for the sake of nostalgia.

But isn't there a bunch of creepy stuff in it? Didn't Myers turn Roman into a pedophile?

No, he didn't. As I suspected, the rumors that we've been hearing lately probably came about from taking certain moments out of context, or by blowing up some pretty minor implications, or by straight up reading interactions between an adult and a minor in very bad faith. Purity culture and a desire to drag RWBY combining to create an argument that, frankly, isn't supported by the text. Are there jokes and interactions that some readers might find uncomfortable? Yes, but it’s no worse than what RWBY has already established as a canonical part of their world and writing style. See: Yang's interactions with Junior in her Yellow Trailer. If you're a fan of Roman and have held off only because you're convinced the novel ruined his character, I personally don't think that's the case. Breathe easy.

I'm still worried about how the novel treats disability though. Specifically Neo's muteness.

I was too, but I'm happy to report it's a pretty tame portrayal. If anything, I have more to say about the intersection between Neo's semblance and her sense of identity. Suffice to say though, Neo never speaks in the novel, there's no ridiculous reason why she can't speak (no reason is given at all, it’s simply a part of her), and only the bad guys pressure her into talking. Meaning, the bad guys from her and Roman’s perspective. Obviously she and Roman are both villains in the RWBY world, but when it comes to respecting each other's needs they're definitely, comparatively better than the rest of the cast.

So there were no problems?

Oh no, there are definitely problems lol. Let's just say they're not offensive enough to bother the average RWBY fan. At least, most of them (probably) aren't. If you're not neck deep in the franchise's struggles and actively thinking about how this novel does (or does not) fit into the larger RWBY-mythos, there's a very good chance you'll like the book, passing over everything I’m about to mention without a backwards glance. Hell, even if you're looking for problems there's a good chance you'll enjoy a lot of other aspects, just like I did. So I recommend taking a chance on the book far more than I recommend steering clear on principal alone.

Okay, with that out of the way it's time to dive into the nitty-gritty!

FYI I'm pulling my quotations from the paperback edition and, as is probably already obvious, this is not a spoiler free review. So tread carefully!

Part One: An Imbalance of Protagonists

Would you like RWBY: Roman Holiday? Well, that might depend largely on which of its main characters you're most interested in. If it's Roman, you may be disappointed, despite the fact that the book is evenly divided between his and Neo's perspectives. This is, fundamentally, a book about Neo. She is the one undergoing all the character development. She is the one who is driving the plot. Roman just sort of exists within a criminal status quo until he bumps into her — almost exactly halfway through the novel's 308 pages — and then becomes caught up in her training, her desire to concoct new schemes, and eventually her family's problems. I don't want to make it sound like Roman is unimportant to the book, he's obviously there and he does things, but we're not given the same level of insight into him like we are Neo. Frankly, I can think of only two significant revelations, both of which we might have easily guessed based on Roman's established characteristics: his mother abandoned him when he was a kid and he once worked for one of the main crime bosses in Mistrial, specifically Lil' Miss Malachite. Otherwise, everything Roman does and experiences is precisely the sort of stuff we saw him do and experience in the webseries. He commits petty crimes, fights people with his cane, and does it all with a dramatic flare which, notably, Myers writes quite well.

This lack of impact on the story seems to stem from two decisions. First, Myers never jumps forward or backwards in time (with the exception of two small scenes that explain how characters got to a point we saw in the last scene/chapter). Though this definitely helps to keep things from getting confusing, it means that we never go farther back than Neo at 8 years of age and we're always looking at what both characters are up to at the same point in time. Given that Roman is a decade older than Neo, this means that, unlike her, we never get peek into his childhood. When she's 8 he's 18, already an adult and committing crimes in Mistral. A lot of Neo's development is inevitable, just by virtue of starting her story so young. She has to mature, develop her semblance, go to school, try various ways of being independent for the first time... Roman gets none of that. He's an adult when we meet him, his character fully formed and, since we already know that character from the webseries, we're given no new insight into him or how he developed that identity, just a reconfirmation that it exists.

More of an issue though is that Roman isn't allowed an arc over the course of the novel. The man we meet on page 9 is precisely the same man we end with on page 308 — with the minor exception that he now has a partner in Neo and that, sadly, is a lesson he learns instantaneously. For the first half of the book, Myers sets up the expectation that learning to trust and, specifically, learning to trust someone like Neo is the great conflict that Roman will have to work though. He's very cynical in his own head, as we might expect: “On the streets, on your own. You only watched out for yourself. Anything else was a weakness. Anyone else was a liability” (14). No sooner is this perspective established than Roman is meeting people who challenge it. While babysitting the Malachite girls, they provide advice on how to improve his chances of pulling off heists:

Melanie and Miltia, simultaneously: “You just need the right partner.”

Roman: “Maybe. I just don’t believe anyone is going to watch out for me as much as I will” (41).

After betraying Lil' Miss and fending off his peer Chameleon, she sadly announces that "you might have gotten what you wanted after all if you hadn’t been in it only for yourself. If you had allowed yourself to trust someone” (87). Myers isn't subtle about the theme here.

Yet when Roman meets Neo, that trust is immediate, despite spending his entire life rejecting the idea of a partner, despite the viewer having just read about numerous other people who Roman spent years fighting beside and still didn't come to trust, Neo forms an instant, powerful connection with him — one that can't be explained by her saving his life when they first meet. Even Roman himself acknowledges that it's just another debt to repay. They simply click, with no explanation as to how that occurred, or even a serious acknowledgement that this is out of character for them both (what with Neo never having had a friend). Neo gives him the name "Neopolitan," knowing it's her true name now and, thus, a more personal offering than her birth name "Trivia." Roman gives her his entire life story during their first meal together. Roman also spends all of his money on Neo's modified parasol and at the novel's end continually offers to sacrifice himself so that Neo can escape. Neo thinks a lot about how Roman is the only one who can understand her through body language alone which, kudos to Myers again, he does describe her movements with enough clarity to sell that understanding (even if Roman does sometimes make leaps in logic that feel a little unlikely). “She really missed Roman. Most of the time she didn’t need to say anything and he knew exactly what she was thinking” (249). It's heartwarming. As someone who enjoyed their relationship in the webseires, this is likewise a joy to read. It's just that it... kinda came out of nowhere.

Far from this just being an issue of Roman trusting when he's never trusted before, Myers sets up a conflict of loyalties in Neo that is then immediately dropped. She finds herself surprised by Lady Beat — the headmistress of the academy Neo attends — unexpectedly liking her insights and, in exchange for privacy and a more in-depth curriculum, agrees to help her capture Roman. Prior to this agreement, Neo considers helping the Malachite twins take Roman out when they corner him because then they might be Neo's friends instead of her bullies. That motivation makes perfect sense to me. Of course Neo would be more interested in assisting the two girls who attend school with her and improving her daily life over helping the random guy on the street, even if Roman's vulnerability (that's what Neo latches onto: a moment where his mask slips and he shows true fear) sways her towards helping him in the end. When she reunites with Roman later, he requests that she help him spy on Lady Beat... and Neo turns him down. So there's a very clear precedent here of Neo being out for herself, looking to improve her relationship with the other high society ladies she's spending most of her time with. The road to favoring Roman over them will be a long one. What will convince Neo to switch sides?

Nothing. Soon after Neo thinks about how she's duping both Lady Beat and Roman (the reasoning there is never really explained) and from then on her focus is entirely on Roman, with likewise no explanation as to why she chose him in the end. “Roman clearly had some trust issues to work out, but Neo was going to prove to him that he could count on her” (219). Why this sudden desire to prove herself to Roman? No idea. The novel skips over the majority of their bonding. Yes, there are a few key scenes — Neo saving him, Roman giving her the parasol, etc. — but a single sentence reveals that Neo has been training with him for months now, bypassing the slow development of trust and Neo's changing thought process about what side she should choose.

Or rather, there are explanations for Neo's decision, but they all occur after Neo has already chosen Roman. There are two major revelations that we're only told about much later in the novel: that Neo is suddenly dissatisfied with her life at school — “Neopolitan was having second thoughts. As much as life at the school had improved, more and more it felt like it wasn’t giving her what she needed” — and that Lady Beat is the head of a major spying conspiracy across all of Remnant (more on that later). Either one of these could have been the catalyst for Neo giving more attention to Roman and, eventually, growing quite close to him. A general dissatisfaction with her life, the revelation that Lady Beat isn't the kind of criminal Neo wants to support...either would work. As it is, her devotion to Roman seems to immerge randomly, fully formed and unshakable, with these ‘I guess the school and Lady Beat weren't that great after all’ justifications tacked on much later and, thus, presented as incidental to Neo's devotion. “[Roman] was basically the only thing that mattered to her in the world right now" is the conclusion Neo comes to without a lot of work put in to explain how he reached that point in her life (248).

And I can see how this happened. We already know that Neo and Roman are a tight-knit duo from the webseries — Neo's love in particular has been emphasized since Volume Six — and so Myers banked on the reader applying that knowledge to the novel. He wrote the story of what Neo and Roman did prior to meeting, he wrote the story of their friendship prior to the webseries... but he didn't really write how that friendship came about. It's treated as a given, despite the huge number of reasons why that friendship should be rocky (or even non-existent) at the start, to say nothing of many fans' interest in getting an answer to the question, "How does an established villain who trusts no one wind up partnering with a girl a decade his junior?" The novel tells us that this unexpected outcome does, in fact, occur, rather than taking us through the journey of how such an outcome is possible. This is by no means a new problem in RWBY and, admittedly, Myers' depiction of the relationship isn't as noticeably a problem as some others in the webseries, simply by virtue of Neo and Roman being the focus of the novel and the reader knowing that they do, in fact, end up as partners. It's a lot easier to buy a shaky journey when you already know the inevitable conclusion, but that doesn't mean we couldn't have done a better job of showing it.

Which, to get back to the original point of this section, means that Roman never has that arc about learning to trust someone. He just does trust, the moment Neo comes on the scene. Personally, I think this rapid-fire growth is particularly egregious given everything else we learn about Neo and Roman’s histories. Meaning, just like Roman's cynicism about trust is introduced early on, so is his hatred for the rich elite. In fact, Roman's poverty and the disdain that has bred are arguably the most prominent aspects that Myers added to his characterization. As seen in the novel's excerpt release, Roman's introduction is robbing a rich man coming out of a club where he shows more interest in humiliating and harming the man than just getting his stuff and running. Which, to be fair, isn't solely due to the man's status as a member of the elite. The novel develops both characters' sadist tendencies — “He’s vicious. He brutally beat a man just for his coat. He was having fun” (21) — but the man’s status isn't a non-factor either. Roman's internal thoughts say a lot about how stupid, rude, gullible, pathetic, and inept he thinks the rich are. At the start he's not just taking the man's coat because he likes it, but because he’ll need it to survive the Mistral winter, what with living in a shelter under a bridge and all. We learn that his obsession with survival is born of poverty — “Ma’am, when you don’t have anything, surviving is more. You’ve gotta start somewhere” (20) — and that Roman will go to any lengths just to meet his basic needs, potentially with a side of some comfort. For example, he knowingly risks his life by pissing off Lil' Miss just to get two days of food, baths, and a bed. As Roman puts it, those two days are worth it, even if it means the rest of his life is potentially forfeit.

So this is a man driven by a desire to live in comfort, manifesting in a hatred of the rich that is so powerful Roman breaks the man's knee just for the hell of it. He's touchy about any comment on his upbringing too: "Roman froze. 'So that’s it. You think you’re better than me. Because you went to school? Learned a trade?'" (80). And, to be clear, this is a hatred of the high society rich. The kind of wealth that's never earned. Roman has a healthy respect for the well-fed crime bosses who have pushed their way to the top, just as he plans to. Not those living cushy lives at the expense of him and others.

And wouldn't you know it, his partner to-be is a pampered little rich girl.

"There's the conflict," I thought. "Roman doesn't just need to learn to trust, he's got to trust someone born into extreme luxury. How is that going to happen?" Well, again, it didn't. Neo and Roman's class difference is ignored for 99% of the novel, with the other 1% used for casual banter between them. It's not that Roman isn't aware of Neo's pedigree, so to speak. He finds her through the uniform she wears, the symbol of an academy that rich girls attend. When they share their first tea together, he notes how daintily she eats the sandwiches, more evidence that Neo has had manners drilled into her at a young age. When he finally gets confirmation that she's not just rich, but really rich — flying to her parents' mansion — Roman is just kinda moderately surprised, throwing in a comment about how someday that money will be hers and isn't that nice. Roman's hatred of the elite disappeared for Neo's sake, just like his trust issues did. There's no working through these differences, just an erasure of them so the novel can jump straight to them being the perfectly in synch duo we know from the webseries.

As a side detail that I think demonstrates this imbalance rather well, hair is used as a marker of identity throughout the novel. Neo moves from being jealous that other girls are allowed to style their hair how they please, to making her hair entirely pink with her semblance, changing that to half brown instead, buying pink dye so she no longer needs to waste energy on something she wants to be permanent, and ending with her getting some white streaks even as she chooses to leave the name Vanille behind. Each change coincides with an aspect of her development and it works quite well. In contrast though, Roman has only setup, no follow through. Unlike the short cut we're used to in the series, Roman starts the novel with a long ponytail that characters frequently comment on. The twins steal his hat and beg to braid his hair when they're bored. Neo seems iffy about the style choice. A couple other side characters make vague references to imply that he should get rid of it — something, something it doesn't actually suit him. So surely we'll see Roman cut his hair sometime before the novel's end, visually representing his growth, just like Neo's changing color has represented hers (ending with a color mix that reflects neapolitan ice cream)? Nope. Not unless I missed it. The foundation for that change is there, but Myers never capitalizes on it, despite obviously knowing what he's doing with Neo.

So if you want more Roman content, the kind of content we saw in the webseries, great. You'll love the novel. If you want to read about Roman undergoing any significant change, including a dive into how he came to trust Neo of all people, large chunks of that story are missing. In true RWBY fashion, there are plenty of details that allow readers to fill in the blanks for themselves, but the canon itself is, sadly, lacking.

Part Two: Neo's Magical Identity

We've established then that Neo gets the lion's share of the development and, frankly, most of it is good. Knowing she's set to become a villain, I loved reading the gradual move from understandably lashing out — Neo throws an umbrella at her father's face when he's being an emotionally abusive dick — to becoming just as stoically cruel as Roman — she launches a woman out of the back of a plane. Did she have a parachute? Who cares. There's a lot here to like about Neo's characterization, with Myers finding a nice balance between keeping her playful and not making her feel like a caricature (helped immensely by spending so much time in Neo's head). However, the one part that arguably fails is the development of Neo's semblance and, consequentially, her identity.

To be clear, I absolutely get what Myers was going for and it's basically what I assumed was going on when I read the excerpt: Trivia (Neo's birth name) has an imaginary friend she calls Neopolitan and, over time, she realizes she is Neopolitan. The imaginary friend is who she wanted to be all along, not just the person she wanted to spend time with. I like it! Who among us hasn't imagined a badass, smooth-talking, beloved version of ourselves that impresses everyone with a Mary Sue-esque ease? (Or, if you haven't, guess I'm outing myself here lol.) It's a pretty relatable idea. Trivia imagines a girl with the power to dress how she wants, style her hair how she wants, with amazing acrobatic skills, a take-no-shit attitude, fun ideas to implement... but she also has Trivia's heterochromia and muteness. It's the perfect combination of Trivia's unique traits and the confidence/freedom she longs to have. Of course when given the chance she grows up to be Neo, even going so far as to take that name. It's what she always wanted.

The only problem here is that in the RWBY world, Neo can't just be an imaginary friend. She's a manifestation of Trivia's semblance. As we learn later, the things Trivia creates are as real as real can be, provided she keeps up their existence. You can touch the wall. You can count the money. You can wear the clothes. They're less illusions than short-term creations — as Team RWBY realizes whenever they wind up attacking a Neo duplicate instead of the "real" thing — and that puts an odd spin on just how imaginary Neopolitan actually is. She's not imaginary at all. She's a real person that exists in the real world, it's just that this existence is temporary and dependent on Trivia's aura.

The novel supports this by constantly writing Neopolitan as a distinct personality from Trivia. Not just the polished version of who she is slowly becoming, but an individual in her own right. Neo makes decisions that are fully her own, contrary to or even entirely unknown to Trivia. To highlight just a few examples:

Trivia is unsure about sneaking out of the house so Neo "shoved her into the hall" (25).

Neo "looked on jealously” as Trivia drinks a milkshake, implying a desire to have one and the knowledge that her current physicality doesn't allow for that. If she is Trivia, shouldn't she likewise be enjoying the shake?

“She shot Neo a questioning look... before she realized what Neo had in mind” (92). Their thoughts are presented as separate and there's no instant mind-reading.

Neo catches Trivia when she leaps out of a window, surprising her with the save. Trivia never planned for Neo to do that, Neo did it entirely on her own.

There are lots of other instances like this, details that establish Neo has a person separate from Trivia (this confusion regarding their names should make that clear enough), no matter the fact that she's made out of aura. I mean, we've got Ozpin existing only as a soul in other's bodies. RWBY isn't exactly in a position to get nit-picky about personhood. More specifically though, Neo is presented as a bad influence on Trivia, an outside force enacting on her in harmful ways. Neo's introduction establishes her as the troublemaker to Trivia's more obedient personality: “But those were her parents’ rules, and Neopolitan never cared about those.... She bounced up and down on the cushions the way she wasn’t supposed to” with a “taunting smile” (2). Her father comments on this multiple times, saying that Trivia can't hide behind an imaginary friend. She's responsible for her decisions. And while yes, that's true, that level of responsibility changes when Trivia summons Neo into the world. During a fight with some other teens, they can suddenly see Neo and Neo, independent of Trivia, punches one in the face, making her nose bleed. That seems like a real person making her own, real decisions to me. So it was never Trivia doing things and then trying to foster responsibility off on an imagined cohort, it's a child bringing another, magically-based person into existence and being influenced by her since before the age of 8 (considering that Trivia and Neo have clearly been playing with each other for a long time when the novel starts). There's even a moment where Trivia seems to realize all this, acknowledging that sneaking out, breaking up her parents' party, causing a scene... all of it was Neo's idea. “That had to be Neo’s influence again. Trivia had to stay in control."

But the idea of control is never actually explored. Despite establishing Neo's individuality and having Trivia comment on her influence, the second half of the novel abandons that for the expected, 'Trivia was Neo all along' reveal. There's a very strange moment where Trivia's mom slaps Neo, causing her to shatter and... that's it. “Neo had been so much more to Trivia. Now she was gone” (98). Neo is, apparently, gone for good, despite the fact that she should return the moment Trivia's aura does. Neo has been with Trivia since she was a small child, nearly her entire life and at least 7 years by this point in the novel, so why did a single slap send her away? That's not explained and, much like the ‘Why has Neo chosen Roman?’ question, the fact that Trivia did try to bring her back several times and failed is mentioned chapters after Neo's absence is presented as an inevitability. The order of events needs some reshuffling.

Despite this confusion regarding why this change happened now, the explanation seems to be that Neo isn't really gone, Trivia has just realized for the first time that she is Neo. No need to summon up a separate person when you are that person and the novel, from then on, is peppered with constant reminders of this.

“Trivia was on the verge of exhaustion, but she kept burning the last of her Aura to hold Neo together. To hold herself together” (96).

Realizing she is Neo: “Trivia smiled. She took in a deep breath. She felt complete for the first time. She felt like herself” (99).

“You must be Trivia,” the tall woman said. If I must, I must, Trivia thought (126).

“She wrinkled her nose. Her name still felt like a coat that didn’t fit right. She would need to tailor that, too” (153).

“Losing her friend was Trivia’s first step towards putting herself back together and embracing her true, best self” (152).

“Wearing this [outfit], she almost, not quite, knew (or remembered?) who she was—not as a student or a daughter, but as Trivia Vanille," except the clothes are “the kind of thing Neopolitan would wear” (152-3).

On not being able to summon Neo anymore: “She had realized that Neo was really just another aspect of herself” (175).

Though there’s also the occasional implication that she's not actually Neo, just someone highly influenced by her: “No, [fully pink hair was] too much of the other girl [Neopolitan]," so she settles on that half pink (Neo), half brown (Trivia) combo (153).

As said at the start, it's a "twist" that works perfectly well... provided you ignore the magical elements and the amount of work done to establish Neopolitan as her own person, not just Trivia in a shiny, future glamour. Far from the empowering victory I expected to feel in watching Neo become who she always wanted to be, I found the whole situation to be somewhat tragic. Magic created a fully realized person who egged Trivia towards bad behavior since she was a young child, until Trivia comes to the decision that she should just embrace their personality 24/7. It felt less like the growth of a character into who they were meant to be and more like a manipulated kid taking the place of the person who used to exist alongside her — the only friend she ever had before Roman. Given that Neo is a villain, that's a pretty interesting idea for how the good girl goes bad... but it doesn't feel like Myers meant it that way. Rather, we're supposed to accept the simplest reading, that Neo was just a projection of Trivia's internal self, never-mind her individuality, her pressuring influence, her existence as something real in the world provided Trivia has aura. It's a much messier depiction of Neo's identity than that ‘She had an imaginary friend who she admired and eventually took her name’ setup. When magic is involved and a character's mind is creating fully realized people to stave off loneliness... that's a whole other kettle of fish. I don't actually want to delve into a psychological reading here — I simply don't have the expertise for that — but suffice to say, Neo's muteness might have been handled well, but there's a lot more to interrogate regarding her mental state and how much leeway we give to, ‘It's a fantasy series, just run with it.’

Part Three: You're Dodging Those Rumors, Clyde

I admittedly am. Let's take a break from deep dives into characterization to instead tackle Roman Holiday's — undeserved — reputation. I get it. At this point the RWBY franchise is, frankly, a poster child for offensive content and workplace problems. In the last two years alone we've dealt with horrific crunch culture, sexual harassment allegations, an arguably glorified assisted suicide, bad comparisons to real life politics and dictatorships, a huge reversal on the show's disability stance, one subreddit banning another over criticism, a collective YouTube response to the fandom's behavior, iffy choices regarding Mother's Day merch, accusations of queerbaiting, a resurgence of using Monty's death to forward or dismiss arguments, continued worry over whether the bees will be made canonical next Volume... and honestly, that's just some of the big ticket subjects. RWBY's story, workplace, and fandom have a lot going on, much of it bad, so it's no surprise to me that people are primed to see the worst at every turn. Why wouldn't we be? At this point it's a pretty justified response.

However, in this case it's unwarranted. Let's tackle Neo and Roman first. Yes, they're a decade apart in age and yes, there are some details that could, potentially, imply romantic interest on both sides. But they really are tiny and the novel confirms nothing. Indeed, the back of the book's summary says, "Just like every story, every friendship has a beginning..." So that's the focus here and all the ambiguous hints, importantly, happen after Neo is confirmed to be 18 years old. Roman takes her to a fancy tea shop only because he owes her. “It certainly wasn’t because he wanted to impress her or anything” (189). Neo blushes when he compliments her semblance. Twice Roman jokes “Don’t worry, it isn’t flowers” when Neo is opening up her parasol present (212). Neo also acknowledges Roman's looks at one point: “With his tousled orange hair, dressed like a street punk, he didn’t look much older than her. In fact, he was kind of cute” (184). The most intimate they get though is at the novel's end: “She leaned over and kissed Roman on the cheek. His face went red," though this is immediately followed by "It was fun to mess with him sometimes” (307). Honestly, the most overt "hint" towards a relationship is probably the title itself, a play on the 1953 romantic comedy Roman Holiday. But upon reading the novel, I think it's clear Myers chose that title only because Roman's name is, you know, Roman and the plot somewhat mirrors the idea of a reporter getting involved with a princess. Only in this case it's a criminal getting involved with a high society girl and "involved" just means a crime spree, not a romance.

So is there something there? Maybe the start of something, if you're willing to read into it, but to me it comes across more like the two of them poking fun at social expectations — he's the guy so he "must" be getting the girl flowers; she's the girl so she "has" to kiss him on the cheek — rather than anything serious. Even if Myers had developed a relationship, Neo is both an adult and at least Ruby's current age, if not a year older, so if some fans want her to start a relationship with the 14-year-old farm boy housing her ancient headmaster, is a ten year age gap really where we're going to draw the line? I know that makes a lot of people uncomfortable — frankly it makes me a bit uncomfortable too, more-so because of the difference in their life experiences (Neo is still a student, Roman a long-established criminal) than the actual gap itself — but we should be wary about when personal squicks turn into unfounded, "This is a sin!" purity culture. And for the purposes of this conversation, the point is that there is no relationship. If anything, Roman is just as aware of Neo's age as the reader is. He initially thinks he's looking at a “little girl” only to quickly realize “She was also older than her diminutive height suggested, maybe about the same age as the Malachite twins” (168). But, as we'll get to in just a sec, Roman very much treats the twins as the kids they are too. Roman even refers to Neo as a "kid" until she makes it known she dislikes it (183-4). He drops the term, but that doesn't mean the mindset disappeared.

As for the twins, they're the only other minors that Roman spends time with. Lil' Miss instructs him to act as their body guard while in hiding, which means he spends over a week living with them. Frankly? I think it's a really wholesome part of the novel — or as wholesome as the villains can ever get. That's when the girls get bored enough to steal Roman's hat, toss it around a bit, and beg to braid his hair. Myers does a good job of balancing Roman's bad boy attitude with a clear indulgence for them. He doesn't actively like the twins (who does Roman like besides Neo?) and ends up orchestrating a ridiculous plot to get out of "babysitting" them (another indication that he's well aware that they're kids), but he doesn't wish them any real harm. He even cares about them in his own twisted, villainous way. We get to see a moment where Roman tries to convince the girls to escape from a grimm, leaving him behind. We might have been able to write that off as Roman just saving his own skin in the long run — Lil' Miss would kill him if any harm comes to her girls — but there's no need to fake comfort: “Roman squeezed Melanie’s hand reassuringly. He needed her and her sister to remain calm” (52). As one of the other goons observes, “You’re bluffing. It’s obvious that you care about [Miltia], which means you’re up to something” (51). Much later, Roman's thoughts confirm this when the girls are older, more powerful, and trying to kill him: “He’d had to endure their dance recitals when they were little. He’d clapped for them at gymnastic competitions. Now they were trying to do a number on him... He didn’t want to hurt the lil' brats, despite everything, but he couldn’t let them take him down” (166-7). Really, I like everything about this. I enjoy how this humanizes and complicates Roman without undermining his status as a villain. I like the loyalty to their mother it shows in the twins that they'd turn on a man who was so involved in their childhoods. It's just fun to read about a badass bad guy trying to manage bored pre-teens with superpowers and a crime boss mom. Their relationship isn't something I expected from the novel, but I'm glad we got it. There's nothing here to imply the twins are uncomfortable with Roman, or that Roman is inappropriate with them. Anyone who balks merely at the idea of a grown man, quote, "babysitting" two young girls is working from bias and bias alone.

There is, however, one inappropriate comment made by a goon and an assumption made by Miltia, both of which Roman refutes. First, the goon asks if Melanie is Torchwick’s “new girlfriend” to which Roman responds, “You know who it is... She’s just a kid, big man” (47-48). Later on, we get

“Cute,” [Roman] said.

“Flattery’s not going to work on me anymore,” Miltia said.

“I was referring to your moves, not you” (158).

Now, we could drag Myers for including such "jokes" and misunderstandings to begin with, but that's why I mentioned the Yellow Trailer at the start of this review. It doesn't feel right to single Myers out for something Rooster Teeth has already embraced, especially when he's the one working to mirror their original product. Yang deliberately toys with Junior and Junior willingly goes in for the kiss. Jaune blushes at older moms eyeing him up at the crosswalk. Nora tells Ren not to look up her skirt in the middle of a deadly fight. Neo and Cinder both go to Atlas in scantily clad outfits because it's more important for the women to look sexy than it is for the show to stay consistent about the dangers of the tundra. Much of RWBY has that frat boy energy about it. I'd be shocked if nothing snuck its way into Myers' work too. But Roman the pedophile who ogles the twins and manipulates a kid Neo? That just doesn't exist.

Part Four: Déjà Vu, Anyone?

I dithered about whether to include this section, simply because I don't want anyone to misunderstand what I'm trying to say... yet at the same time, I'm not entirely sure how to articulate the problem I have here. Or if I'd even consider it a problem at all. In the end, "déjà vu" is the best term I can come up with. I'm not saying that Myers is lazy in regards to plot and choreography. I'm definitely not saying he's plagiarized. What I am saying — the only thing I'm saying — is that there were a lot of times during the novel where I went, "Okay, we've seen this before." Whether or not that's bad I'm... not sure.

Let's start broad. When the excerpt dropped I mentioned that Neo's situation sounded pretty very to Weiss' and I stand by that claim. Actually, having read the novel now, I'd say it's a LOT like Weiss' story. Neo is the daughter of an incredibly wealthy family, suffering from an abusive father, a more loving but absent mother, whose only freedom stems from her semblance and combat abilities. Alright, let's dig deeper. Like Jacques, Jimmy's abuse is on full display for the viewer/reader. I could give you a laundry list of examples, but here are just a few:

Jimmy is frequently described as barely controlling his anger around Neo, “there was rage behind his shadowed eyes,” etc. (4)

There are times when she is "suddenly afraid" of what her Papa will do to her (35).

When Neo is taken home by the cops, they reveal that they didn't even know that Jimmy Vanille had a daughter. That's how sequestered she's been.

He and his wife lock Neo in her room when they go out, which means that when she starts a fire she had no way to escape, no one to open the door for her, no way to call for help (her scroll is engulfed in the flames). Neo ends up chancing a fall from the window.

He comes very near to hitting Neo at one point before backing down.

Later he drugs her and, again, locks her in her room.

As said, I could go on. There are a few inconstancies across the novel that, frankly, I've come to expect of Myers' work and RWBY in general, which I bring up now because it messes with the abuse plotline a bit. There's supposed to be a shocking moment when Jimmy grabs Neo tightly by the arms: "Trivia stepped back, appalled. Papa had yelled at her, punished her, even ignored her over the years, but he had never hurt her before” (97). Except she’s forgetting that, at the very start of the novel, Jimmy grabs her by the ankles, pulls her out from under the couch, and proceeds to shake her upside down while her hand bleeds. I'd say that's a pretty intense, physical interaction, making squeezing Neo's arms fail to have the impact Myers was looking for. Similarly, when Neo finally snaps and throws her parasol at her father's face, it's because “The things she had claimed for herself were just more stuff her parents had paid for," meaning, everything she stole on a shopping spree her father made sure to pay for twice over. It's not the ableism, abuse, isolation, and the like that Neo reacts to, even though she clearly struggles with those throughout the novel as a whole. So there are disconnects at times, but the point is this man is an abusive asshole to his daughter until she learns to literally fight back. Sound familiar?

What particularly struck me was that both men have built their abuse around how the family is perceived. Both are obsessed with their image and how their daughter does or does not serve it. Jacques yelling at Weiss for speaking out about Beacon could be swapped with Jimmy yelling at Neo for not speaking at all. Jacques has maintained his wealth by exploiting the faunus in dust mines and getting in deep with criminals like Watts. Jimmy maintains his wealth by getting involved in illegal dust trades and getting in deep with criminals like the Xiongs. Both try to justify their actions in the name of perpetuating both that image and that wealth: “the things I have to do for that money” (5). Both lock their daughters in their room when they can't control them anymore. Both keep portraits in the hall that “showed her and her parents posing together as if they were a happy family,” a symbol of this familial deception (271).* Both have more compassionate, terrified, but ultimately enabling wives that, the story reveals, have secretly been spying on their husbands this whole time. Just as Willow set up all those cameras and gave the footage to Weiss, Carmel is using the camera in her pin to acquire information on Jimmy, with plans to use it to help Neo. By the time Neo's solution to the "What now?" question was to fly Roman back to her mansion and drink tea for a while Volume 8 style, complete with a Sun-Blake style shock that this is her house — sure you don't mean the tiny one behind it? — I was honestly wondering just how far we were going to stretch these parallels. I don't want to make it sound like these characters are identical (Carmel isn't an alcoholic for one thing)... but they share enough characteristics and distinct details to feel, well, a little weird. It also feeds the fandom's question, "Doesn't RWBY know any villain backstories except abuse?"

*(As a side note, I initially thought the book's cover, showing a young Neo with two brown eyes, was a mistake. Turns out her parents had the painter get rid of her pink eye because they were ashamed of it, so kudos to the cover artist for keeping that consistent!)

The similarities between Neo's backstory and Weiss' are absolutely the most obvious example here, but there were two other, smaller déjà vu moments I wanted to toss out, both involving combat. Myers has, at times, repeated fights almost exactly in order to cover two character's perspectives. I get the need to rehash plot in that manner, but he tends to focus on the exact same details back to back, making for a boring read. That incredibly nit-picky criticism aside, it means that I was already aware of combat moments that I'd seen before, not just in Roman Holiday, but RWBY in general. Does this description sound familiar to anyone?

Neo hopped up lightly onto the broad blade. Rin tried to shake her off. Neo vaulted away just as the Huntress activated the flames, somersaulting over the Huntress. She planned to land behind her and whack her with her sword, but Rin turned and kicked high while Neo was still in the air. The Huntress’s foot connected with Neo’s stomach, knocking the wind out of her and knocking her clear across the room (199).

If it's not familiar don't beat yourself up because it really is a minor similarity (and, in fairness, there's only so many ways you can write combat...). But take away the swords, replace them with a parasol and scythe, and you've basically got Ruby and Neo's interaction in Volume 8. Ruby tries to land a hit on Neo, she turns, kicks high while Ruby is still in the air, and she flies across the platform, knocking the wind out of her. We've also seen the 'Landing on a broadsword to get close to an enemy' bit with Tyrian and Qrow. But again: minor. What's a far less minor repeat of combat techniques is seen between Roman and Chameleon. Basically, Chameleon is Ilia, minus being a faunus and thus framing her abilities as a difference she's shunned for. Her semblance allows her to camouflage at will, giving her a major stealth advantage in a fight. Which means that when she goes after Roman, things get exponentially harder when the lights go out. But then it's better for Roman when a fire starts. He beats Chameleon and she helps him in the end because she's always been in love with him, even though Roman didn't love her back. If you're going, "Hey, that's the basic plot of Blake and Ilia's fight!" then yeah, me too.

It's not the whole novel. I don't want to make it sound like Roman Holiday is just a stitched together version of previous RWBY content because it's absolutely not. At the same time though, there were enough major similarities — and enough smaller ones that started standing out as a result — for me to raise an eyebrow. As said, I'm not entirely sure what to make of this eyebrow raising, or even if I want to label it a criticism at all. You all can decide what you think.

Part Five: Wait, Now There's Not Enough RWBY?

Yes, I contain multitudes and contradictions. As does this book. Even while Roman Holiday repeated some pretty familiar RWBY elements, there were times when the novel didn't feel very RWBY-ish at all. Part of the problem is that it lacks what's arguably the most crucial part of RWBY’s world building: battling grimm. Safe behind the walls of Mistral and Vale, we only see one grimm in the whole story, a captured Capivara that one of the crime lords uses to dispose of people who have displeased him. Roman and the twins barely get more than a few hits in before it escapes upstairs, leaving the kill to happen off screen (and why the grimm ran is another problem entirely. Again: we'll get to that). So although there are plenty of battles between people throughout the story, it doesn't feel quite like RWBY to me without the show's first and most significant antagonist.

More than that though, Myers goes back and forth between emphasizing RWBY's unique, cultural elements and putting them aside entirely. When he's including them, it's great. We learn that there's an old saying “You can’t put the moon back together” which yeah, of course idioms would develop around the shattered moon (151). Honey Wine, a night club singer, paints her face with red dust as a symbol of both wealth and her dare-devil nature — one stray spark and the dust would ignite, blowing her and potentially the club up too. Yeah, of course people would come up with foolish, ridiculous ways to use this resource if they had it. During one of Neo's lessons, a passage for diction practice goes like this:

The gruesome Grimm grew greedy. Get that greedy gruesome Grimm, Gregory. Go, Gregory, go. The greedy gruesome Grimme gorged Gregory. Good-bye, Gregory, Good-bye. The gory, greedy Grimm gave a gruesome grin (175).

Yeah, of course the elite would develop silly lessons using grimm as examples! We've got math problems about Johnny and his dish soap (yes, I'm quoting the Vine), so why wouldn't this world use grimm in the same way? Especially those who are rich and privileged enough to never encounter one.

When it's good, it's good. When it's not... I don't want to take Myers to task for this because, in his defense, much of what makes the book feel generically modern has been seen in the show. Like computers. Or video games. Still, when these things are mentioned frequently it undermines the fantasy/sci-fi core, especially when Myers keeps the standard terminology. Why is a phone called a scroll, but a TV is still called a TV? Why are cops patrolling normal sounding malls with normal sounding guns? Neo sneaks out at one point and it struck me that, up until she uses her semblance against a bunch of bullies, there's nothing to distinguish this outing from a realistic portrayal of an average girl getting a milkshake. None of this is helped by the times when Myers slips on the terminology that is unique. Roman describes what he steals as "cash" rather than "lien" (105). One moment we're getting phrases like “She wasn’t the brightest crayon in the box," the next it's "or rob a convenience store for a six-pack of Dr. Piper” (44, 239). So is RWBY a world that has all the same products we do — crayons and TVs — a world that's different, but only because the author is making it different in a humorous way — Dr. Piper — or a place with a unique culture and history — scrolls, lien, shattered moon idioms? It's a challenge every fantasy writer has to face. Can you have a French braid in a world without France? Some will say no, others will bank on the reader's understanding that you can't change up every aspect of our language. You'll drive yourself nuts if you try. So I'm sympathetic, but it's nevertheless noticeable when Myers seems to remember that he's writing a fantasy world, tossing in "bullhead," "oh my Gods," and "thank the brothers" in a single scene, as if he’s making up for the whole chapters where that work is missing. Take out the grimm, take out semblances for a good chunk of the plot (since Roman doesn't have one), get iffy about the details... and you're left with a story that sometimes feels more generic Young Adult than it does RWBY. Enjoyable Young Adult, but a little lackluster in the world building all the same. This isn't a book where girls turn into rose pedals, lamps grant wishes, and teenagers fight giant mechs. This is a story where a guy uses a cane to beat people up, a girl uses illusions to shoplift, and the final confrontation is basically a shoot-out. Not bad by any means, just not the level of insane "The gun is also a gun!" nonsense that has become RWBY's brand.

Part Six: Stupid Plots (and Strange Details)

If Roman Holiday lacks a lot of that RWBY insanity, then that means nothing stupid and ridiculous happened, right? Lol of course not. The novel suffers from what I think of as the, "Well that's convenient" problem. In its immense defense though, it's nowhere near the level of, say, Amity suddenly being ready to go. The world's rules do not bend for Neo and Roman... they just wind up experiencing things that can test the reader's sense of disbelief at times. For example, how likely is it that two huntsmen will waltz into a bank in the middle of Roman robbing it? Very likely, apparently. Why not just have them respond to a silent alarm? Well, because of reasons we'll tackle in Part Seven, so we're left with the iffy coincidence of two trained professionals being at the right place at the right time to show the reader a fight. It's a fun fight though — love the use of dust in it — so we'll let that pass. After all, if coincidence serves the reader's entertainment, aren't they ultimately a good thing?

Far more frustrating in my opinion is when disaster is illogically postponed and characters are written as incredibly stupid in order for a protagonist to get by. In this case, Neo. One of the major reveals of the novel is that her father has been stealing dust from the Xiongs and hiding it beneath Neo's bed. We're supposed to believe that a moment of Lil' Miss shooting into her room sets this volatile dust off, resulting in an explosion that kills both of Neo's parents (side note: she intended this), but the dust didn't blow up when Neo started a fire in said bedroom, a fire that then proceeded to consume the entire top floor? ...right.

When Neo isn't conveniently surviving non-explosions, she's duping people left and right with her semblance, despite the fact that she, of course, can't speak. This trick becomes less and less convincing as the novel goes on. First, Neo drugs her tutor (that poor woman) and pretends to be her to escape the house, holding a one-sided conversation with her father as he walks her to the door. He finds nothing strange in this. Later, Neo sneaks back in by pretending to be her mother and though this time her father catches her, it's because “If you want to know whether someone is lying to you, it’s all in their eyes” (70). Not because, you know, his "wife" inexplicably won't respond to him verbally. Finally, Neo takes the place of Xiong, traveling with his assistant for over thirty minutes, and never once do any of the goons question what's going on with their suddenly mute boss. This includes interactions like Neo holding out her scroll and just staring until the assistant gets that she should follow the GPS, and the need to ignore the fact that Xiong, characterized as quite talkative throughout the novel, is suddenly quiet as a mouse. Neo's muteness should have been a severe limitation on her ability to masquerade as others, not something the story outright ignores in an effort to move the plot along.

The novel is peppered with such coincidences, small inconsistencies, and just downright strange details. Roman notes that the police haven't arrived to his robbery yet, only for the next sentence to say they were swarming in. Later he "pulled on his bonds, testing whether he could slide one of his hands free, but he’d been tied up real good” but then again, a few sentences later, “He craned his neck to try to look out the front window. He managed to unbuckle his seat and hop to the front” (259). Like forgetting how rough her father has been in the past, Trivia bemoans the fact that she can't wear anything that Neo would, something in pink and white, for example, forgetting that her former "adventuring outfit" consisted of a white tank-top and white sneakers with pink hearts (26).* She also claims that the Roman illusion she sends running from the twins is her first long-distance use of her semblance, even though she just got done recalling the time she created a butterfly and watched it fly until it was "out of sight" (170). The novel writes out Neo's texting as dialogue even when someone else isn't speaking it aloud — something I initially made a note to praise it for. This is her version of "talking" after all — only for the texts to suddenly become bolded halfway through the book. As for strange details, Myers seems to like giving his antagonists a lumpy food to indulge in — Lil' Miss forces Roman to eat her cottage cheese, Xiong oatmeal with the consistency of cement — and Roman, quite oddly, decides to cover his spider tattoo with a grinning pumpkin. (Were they a thing in A Clockwork Orange? It's been years since I read it...) Neo learns to fly a plan by watching Xiong's assistant start it up and then, I kid you not, pulling up a How To article. Perhaps my favorite bit though is when Roman reveals his master plan to gain a monopoly on Vale's coffee industry and successfully does so by attacking one (1) warehouse. This is treated with the utmost seriousness.

*(Second side note: the color brown is tied closely to Neo's backstory; to the person her parents wanted Trivia to be. She has her brown hair, only one brown eye, is introduced in a brown dress, wears a brown blazer and pants that her parents bought, and attends Lady Browning’s Preparatory Academy for Girls, the school meant to turn her into a 'real' lady.)

That last bit though, the coffee heist, feeds into my biggest problem with the book's plot. @superzerokarasu and I have been talking about this the last two days, acknowledging it as one of the book's bigger flaws. (And, Superzerokarasu, if tumblr actually tags you, feel free to ignore this absolutely massive wall of text. I just wanted to give credit for the conversations 👍). Basically, towards the end of the novel it is, quite randomly, revealed that there is an important Room at the academy. Important enough that the story capitalizes it — that's not my doing. We haven't heard at thing about this Room before but Neo, apparently, has been trying to sneak into it for weeks. She knows Lady Beat is hiding something in there. Did we know this, especially since we've spent half the novel in Neo's head? Nope! No sooner has this mystery been introduced than Neo is solving it, much like how the group solves the problem of using Ambrosius moments after his rules are explained. Neo throws up an illusion of an empty hallway, picks the lock on the door, and discovers that Lady Beat has been spying on everyone who ever attended her school through the small pins students and graduates wear. This means she has access to private information about important people all over Remnant. Shocking! Neo reacts to this discovery by tearing the hard drive loose, there are some confusing suggestions about how this information will save them from Lil' Miss and Xiong, and then Roman sends the information to a news station, revealing all. Thus ends the world-wide conspiracy we just found out about.

It's muddied. It's ridiculous. It, most importantly, comes out of nowhere. There's absolutely no buildup to this mystery, just a sudden announcement that it exists and, wouldn't you know, here's the conclusion. Superzerokarasu is correct that this problem could be solved by increasing the academy sections and fleshing this mystery out. I'm of the opinion that it could also be solved by eliminating it entirely. Why in the world do Roman and Neo need to grapple with a world-changing reveal, especially when the rest of the novel is so tame? Roman shakes money down from other small-time crooks. Neo learns diction and combat at school. Roman leaves the Kingdom to avoid Lil' Miss. Neo sneaks out of the house and goes on shopping sprees. She saves him from a street fight, he takes her out to tea, they proceed to rob convenience stores. Their conflicts take place on such a small scale that this conspiracy plot feels ridiculous compared to the rest of the novel, even if it did have better setup. In contrast, their big coffee heist likewise feels ridiculous for how small it is. As a duo (not Neo as an individual, now that she's involved with the Relics and such), they operate in a pretty specific niche of small crimes conducted for villains with large plans. Given the number of times the novel brought up that Roman should start stealing dust, I foolishly thought that the novel would conclude with them stealing dust. Why coffee? Why conspiracies? Why shootouts between two crime bosses on Neo's front lawn? Let them pull off an epic dust heist together, tying it back to Neo's family since her father is already neck-deep in the illegal dust trade, all of it setting up the characters we'll meet in the webseries: street crooks now stealing dust for Cinder. That's their specialty. Why not start that specialty here?

Instead we get a bunch of hurried plot points that, of course, will have no bearing on the first eight volumes of the webseries. Which brings us to...

Part Seven: Roman Holiday's Impact on RWBY

Quite obviously, this isn't a novel that exists in a vacuum. Roman Holiday, given that it is presented as an official Rooster Teeth product, is likewise meant to fit into the already established canon. This has been a challenge for Rooster Teeth in the past — important lore winding up in card games, mischaracterization in other novels, worry about how the upcoming game will re-tell events we've already seen — but has Roman Holiday perpetuated that trend?

Well, yes and no. Which is never a particularly satisfying answer, but in this case there are both aspects that are working and aspects that aren't. Let's tackle the good first.

Myers includes a lot of details throughout the story that help fill in RWBY's gaps. In this case, it's not information the viewer should have gotten in the webseries in order to have a complete understanding of the situation, but rather things that simply help connect the two works together, adding depth to what we already know. For example, there are those before mentioned times when characters suggest that Roman start stealing dust. “You aren’t the first person to suggest that. Maybe I should look into that...” (216). I do think it's a missed opportunity not to make a dust heist the climax of the story, but that doesn't erase the fact that this still functions as excellent setup for the webseries' premiere. We know RWBY opens on Roman robbing a dust shop. Now we have a better sense of how and why he got into that line of criminal work.

We likewise get to see the origins of Neo's parasol, not just how she got it (Roman), but also what led her to wanting that kind of weapon in the first place (struggling with the heaviness of swords, getting attached to a parasol she stole, impulsively using it to attack her father, escaping the fire with it and realizing that the ability to float from high places is an asset). Something else I particularly like is that Myers was careful to explain how Neo became so adept at fighting. According to the webseries, there are only three paths you can take: go to combat school like Ruby, live on the streets like Roman, or live outside the Kingdoms like Blake. Neo, as a rich girl kept within high society, doesn't fit any of those models, so Myers introduces an Academy that seeks to train young women for any eventuality, even an attack. Neo learns how to smile, sew, cook, courtesy... while also taking classes in acrobatics, combat, ballet, and fencing. All the girls train with a combat instructor — “I know this isn’t a combat school, but by the time we’re done, you will be as skilled as any Huntress in Remnant” (201) — and, not only that, but she undergoes some pretty intense testing. Balance is taught by “balancing on a tightrope twenty feet in the air, with no net below you. Lady Beat believed in ‘though love’—without the love part” (146). It's a teaching method that makes Ozpin's cliff test seem a little less insane and it highlights one of those fantasy elements of RWBY. When your students possess aura that can save them from a twenty foot fall, it's slightly more reasonable to include that as a challenge. So when Neo starts following Roman around, it doesn't feel off that she can keep up with him. She's been trained, has practiced her semblance alone, and gets additional tutoring from Roman himself. Myers neatly dodges the question of how a non-Huntress and such a privileged girl — unlike Nora or Cinder — became to be as talented as Neo is. Privilege actually bought her that knowledge, which Neo then combines with Roman's street smarts, making her the formidable fighter we know and love.

However, for every nice tether there is between Roman Holiday and RWBY there's a moment of worldbuilding that messes with our sense of the webseries. Or at least raises some pretty big concerns.

Given that we just came off of Volume 8, it's no surprise that I read the novel with an eye for hints about how these future events — the destruction of Atlas, evacuees in Vacuo — might impact the rest of Remnant. What Myers gave us... doesn't look good for RWBYJNOR's decision, or the theme Rooster Teeth was going for in Volume 8. Meaning, the show took on a very black and white view by the end of the Atlas arc. Ironwood is an irredeemable bad guy, Atlas is full of racist trash and deserves to sink, the heroes made the best decision possible given the circumstances. Myers' novel introduces some nuance that, sadly, doesn't serve that black and white view well. He describes Mistral as, frankly, suffering the exact same problems as Atlas. “The city elevator didn’t come down this far, to keep more of a buffer between the haves and the have nots... people at the base of the mountain had no business topside” (10-11). Sounds like the sort of divide between Mantle and Atlas, huh? With the exception that one elite is stationed on top of a mountain instead of a floating city. It's a class issue Neo confirms as a kid when she sneaks out to the lower districts, thinking that, "she was never, ever allowed out alone. ‘For your own safety,’ they said” (25). Rich, racist elites who think themselves better than everyone else isn't an Atlas problem, it's a Remnant problem. RWBYJNOR solved nothing by leaving the place behind (and having one citizen hold hands with a faunus) and the fact that the story acts as if things are better now that Atlesians can’t have picnics on a floating city is... a problem. We already knew RWBY struggles with its racism and classism themes, but moments like this continue to add fuel to the wildfire.

Similarly, the novel spends a not insignificant amount of time referencing Atlas as the technological capital of their world. We knew that already too, but hammering it home now, post-Volume 8, emphasizes the damage the group has done. No Atlas, no technology. Pretty much any technology, given how often it’s said to come directly from Atlas, or cloned from Atlas originals.

Regarding the evacuation, Myers gives us a moment where Roman outright rejects Vacuo as a place to escape to: “Vacuo was a good place to hide, but the desert was probably one of the few fates worse than Lil’ Miss. And while there was a thriving criminal element, it wouldn’t be particularly welcoming to a newcomer. There was no future for Roman there” (88). So the desert is a fate worse than a crime boss and Vacuans are so unwelcoming one individual won't risk going there... and now our heroes have dumped an undetermined number of evacuees in that desert, heading towards a Kingdom that doesn't want them. Obviously Myers needs to come up with a reason for why Roman ends up in Vale where Neo is, but doing it this way just highlights so many of Volume 8's problems. Specifically, that the group made such a world-altering decision when it arguably was no longer necessary and, more importantly, did so without once considering the consequences that seem obvious to everyone else in Remnant. Vacuo is the last place anyone wants to escape to... so why was that the heroes' first choice? "Because the show hasn't gone there yet" isn't an answer.

There are a couple smaller problems throughout — muddying the waters between semblances and magic again; emphasizing how many people unlock their semblances as kid and rely on their aura to get by, bringing up the question (again) of how Jaune was so ignorant — but I just want to cover two more issues here.

The first is what I mentioned above about the one grimm the novel has. Suffice to say, the grimm ignores the three fighters in front of it (Roman and the twins) and runs off because... well...

“Grimm are drawn by emotion. You never controlled it. It killed your enemies because most people you drop in here are going to be afraid. They won’t be able to fight back. But as far as I can tell, these girls don’t feel anything. And I’m not afraid to die... Anger can be a more powerful emotion than fear” (54-5).”

Let's tally up the problems with this speech:

The idea that Roman experiences no fear despite being cornered by a massive grimm, in a tiny room, in enemy territory

The idea that an ability to fight back increases the chance of the grimm running off to pick other targets (if that were the case, the group would never finish any fights)

Claiming that they're also left alone because the twins "don't feel anything" which is obviously ridiculous

Reframing Roman's lack of fear into, specifically, not fearing death. Again, a grimm doesn't care whether you fear death or no

Saying that the anger of the boss all the way up in his office is a stronger draw than the three people currently attacking the grimm

It's just a lot of nonsense, bending one of RWBY's most basic rules to give Roman a cool-sounding speech. Cool provided you ignore what the speech is actually implying, that is. Why bother with this? Just let the grimm break down the door halfway through the fight, moving the fight into a new space with new people causes chaos, Roman either escapes then, or he kills the grimm first and escapes afterwards. Better, in my opinion, to give the story a single grimm kill than introduce a bunch of philosophical complications about how much these characters definitely don't feel fear and one man's anger is suddenly a grimm magnet. It's just a strange scene and, looking back, the only scene where I really went, "What?" As evidenced by this entire review, I have problems with certain aspects of the novel, but none actively made me question what in the world Myers was trying to accomplish. This moment is the exception.

Finally, I'd like to briefly mention the ways in which Roman Holiday messes with our understanding of the huntsmen profession. Again, this is nothing new. From Blake and Yang shrugging off Adam's death, to Weiss asking if she can arrest her father, the true purpose of the job seems vague, especially when you toss in what they're legally allowed to get away with. At first, the novel seems to support the idea that huntsmen are responsible for defending the people from both grimm and criminals, especially in the cities where walls do most of the work of keeping grimm out. Roman worries that huntsmen will show up to put a stop to his robbery, there's a bounty for him “posted on all the Huntsmen job boards," and then, later, two huntsmen do show up to his bank heist and try to stop him — that coincidental timing (176). "It’s kind of refreshing to fight a bad guy instead of a Grimm for a change," says one, implying that their primary focus will always be grimm, but they're also not going to ignore criminal activity. I get that. I buy that. It fits with what else we've learned about the job from the webseries: students attend school specifically to learn how to fight grimm, but they're capable — and expected — to use those skills for the people's benefit, no matter what form that comes in. Hence, jobs like Jaune acting as a crossing guard. It works.

....Aaaand then Myers blows that understanding right out of the water.

“[The huntsmen are] being fined for destruction of public property and reckless endangerment. This isn’t the first time they’ve been reprimanded for using excessive force and gross misconduct. The Vale Huntsmen Guild reportedly is considering suspending their licenses (118).”

So wait, never mind, apparently huntsmen aren't supposed to stop bank robberies that they walk in on. Or at least, they're not supposed to stop them using "excessive force" and resulting in the "destruction of public property." Problem is, there's no way to battle another fighter of Roman's skill without doing property damage and, potentially, putting civilians in danger. The strength of Yang's punch blows small craters into the floor. Weiss uses dust that causes minor explosions. Ruby swings her scythe in such large arcs she could easily hit someone if she's not paying attention. Within the context of RWBY's powers, the huntsmen here didn't use "excessive force" because aura, semblances, dust, and insane weaponry are all staples of combat. So... what are they meant to do instead? Find out if Roman is just a normal dude and, if he's not, back out like, "Oh sorry. We can't fight someone our equal because that would require, you know, fighting. We'll wait for the police to capture you. They'll have a much better time without training, semblances, or any other combat resources, I'm sure..."

This single excerpt sends us right back into the "Huh?" territory. What are a huntsmen's responsibilities then? What are they legally allowed to do? And why are these expectations so inconsistent across the franchise? I know the answer here is that the group was pardoned by Ironwood, but it still seems absurd that we watched them steal military property, attack an official, cause a major grimm attack, and actively hide from the authorities... and all that's presented as fine. But trying to stop the guy currently robbing a bank? Well, that’s a suspendable offense. And we know this was taken seriously because Roman runs into one of the huntsmen later, a Roch Szalt, and we learn that his license wasn't just suspended, he lost it entirely. These side characters are out of their livelihood for defending the people while RWBYJNOR gained licenses for endangering them. There's something fundamentally wrong with your world building when your protagonists primarily get by on such massive inconsistencies.

Part Eight: The Last Section, I Swear

This is another aspect of the novel that I really hesitated over including, just because I do think there's a line between legit criticism and unkind nit-picking. In the end though, enough of a trend emerged that I thought I'd toss it out, especially since I've recently been pondering the question, "How does RWBY treat its women?" The answer should be obvious, right? This is a show about four girls fighting evil! Yet as the webseries continues, fans are noticing more and more divergences from that initial premise. Like creating a world where women are almost never in the primary positions of power. Like giving Jaune and Oscar the active, plot-forwarding scenes that should belong to Ruby and her team. Like that frat boy mentality I mentioned earlier on. The purpose here isn't to analyze that aspect of the webseries, I simply wanted to lay out where my thoughts were while reading Roman Holiday.

The disclaimer? Neo is great. The strange intersection between her identity and her semblance aside, I think she's entertaining, well-rounded, and the fact that she is given not just half the book's chapters, but that focus mentioned in Part One, resulted in a well-developed character. However, outside of Neo the women are frustratingly built around the same thing: sex appeal. Honey Wine is the club singer whose semblance lowers customers' inhabitations, acting like a Remnant version of a siren. The twins — despite those pedophilia rumors about Roman proving unfounded — are the butt of girlfriend/"You're cute" jokes, drawing attention to their developing looks more than their combat skills, strategies, etc. Both Lady Beat and Carmel, Neo's mom, possess that older woman charm expected of high society ladies. They're dangerous because they can acquire information and they acquire that information by looking the part: pretty smiles, fine clothes, figures that catch the eye. Even Lil' Miss, an established character with a lot of power at her fingertips, isn't exempt from this. When Roman first meets her he observes that fashion is clearly a part of her strategic mind, “a plunging neckline and purple corset distracted Roman even more” (19). Distracted, meaning, that Lil' Miss deliberately makes herself look hot so all the straight guys will lose their heads.

It's a bit more heavy-handed than just some over-used archetypes though, particularly when it comes to making Roman the guy that every girl wants — even when that's just him assuming they want him. Lil' Miss, again, suffers that treatment. “'Is she flirting?' he suddenly wondered. He hadn’t ever considered that she might like him, but if that was the case, he could use that to—” (57). In a similar situation played straight Chameleon, Roman's peer, is introduced with the statement that “She considered him a friend, and plainly wanted more than that" so Roman "continued to string her along” (45). It's that Ilia/Blake dynamic, just with added cruelty and a gender setup that carries completely different implications. Even the minor characters aren't safe from Roman's charms. Lisa Lavender — you know, Remnant's reporter? — receives flowers from Roman after she labels his robbery “one of the most brazen displays of lawlessness” she's ever seen (117). It's not presented as the villain being creepy though. When Roman contacts Lisa directly, we're given a verbal joke about her maybe interest. She loves... the ratings he brings in. Just the ratings. Of course.

It's worth noting that Chameleon isn't just reduced to a silly crush whose love allows Roman to escape, she's also the character who "has" to be naked in order to make the most of her semblance. Despite writing in an Atlas cape that blends into various backgrounds, Myers still emphasizes the absolute necessity of this woman fighting naked:

“She didn’t wear much clothing these days, both because it thwarted her natural camouflaging abilities, and because when she chose to show herself, it could be quite distracting... she stripped for added stealth—it wouldn’t be the first time” (81, 85).

It's a writing choice that I personally despise. And make no mistake, it is a choice. In a world with magical abilities and futuristic tech, there's no reason to make the presumably young woman — we're never given an age, but Chameleon is written to be particularly naïve — getting naked in front of others, especially a man that is stringing her along. Clothes only "thwart" a magical ability when the author says it does. Why can't semblances make outfits camouflage too? Because then there wouldn't be an excuse for the hot women to strip.

Particularly for more important characters like Lil' Miss or Lady Beat, these aspects are not the sum total of their characters... but there's enough there to be wince-worthy if you're already sick of such trends; already keeping an eye out for what RWBY writes in regards to gender. I think a good way to summarize Roman Holiday's idea of feminism is when Neo is staking out a coffee shop and Roman asks her to bring him a coffee when she comes back. She returns with an empty cup reading, "Get your own coffee." It's clearly meant to be this empowering moment — how dare the man ask for food like she's some servant! — except it's ruined by the context of the situation. Namely, that Neo is already at a coffee shop. And Roman isn't rude about asking for one. And they've already traded presents in the form of a crazy expensive parasol for her and a new hat for him. Asking your crime partner, who just happens to be a women, to pick up a coffee on her way home when it’s clearly not a hassle, is not the outdated insult Myers seems to think it is. And that's what a lot of these choices are: details that don't break the novel by any means, but come across as out of touch none-the-less.

Part Nine: The End (Okay, This is the Final Section)

The novel concludes with Roman and Neo flying off together, avoiding the authorities, nothing they have to do except "set the world on fire" (208). It's a rather bittersweet ending given Neo's certainty that no one will ever catch them because we know, eventually, Roman will die and Neo will be left alone. I quite like ending things on that optimistic note, both because it fits their current mindsets and because it adds that extra, emotional punch for the reader. Their story isn't done... but it will be soon.

And thus ends my review as well! Review? Analysis? Little mix of both, I suppose. Hardly the most succinct thing I've ever written, but what did anyone expect. Final thoughts? I still liked the novel. Despite everything above — despite re-wading through eight major problems I had with the text, ranging from minor preferences to arguably massive mistakes — my overall takeaway remains, "I'm glad I read it." It's been a long time since I actively enjoyed a RWBY story; where my entertainment and appreciation of the writing outweighed the problems I had with it. I know I'm far from the only one currently dissatisfied with the canon, so if you're looking to re-ignite some of that old, RWBY spark? Give Roman Holiday a try.

And, of course, thank you for reading! 💜

#rwby #rwde #(maybe? tagging to be sure)#RWBY: Roman Holiday #Roman Holiday #mymetas

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sshbpodcast · 3 years ago

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Top Five Star Trek DS9 Episodes

by Ames

Oh my prophets, we’ve made it back through the wormhole and concluded all of Star Trek: Deep Space Nine, and you know what? Overall it’s pretty damn good! Arguably the best as a series, we might say (and we did say), and all we’ve left to do is wrap it up in a nice hasperat burrito now.

In doing so and in typical A Star to Steer Her By fashion, we’ve also assembled the best episodes of the whole series into one big list. Check out the discussion in our DS9 finale episode here (series discussion starts at 1:58:12 after the season chatter), featuring even more bests from our special guest star Liz. And open up the Orb of Prophecy to read all the highlights below; you don’t have to be emissary to the prophets to enjoy these.

[images © CBS/Paramount]

“Blood Oath”: Caitlin The Klingons have been one of the most popular races in the galaxy, and Klingon episodes are just as fun, especially when they put in the work to feature some blasts from the relative past whom we saw in The Original Series! And some extra respect to this one because Kor says Trans Rights.

“Hard Time”: Ames Miles suffered a whole lot through the years, so the best of his suffering deserves to be on the best list, doesn’t it? Colm Meaney acts his ass off, the storytelling is clean and interesting, and we actually acknowledge mental health (just a little bit) for a change!

“The Wire”: Ames Speaking of actors who act their ass off. Andrew Robinson’s portrayal of Garak was something we just couldn’t get enough of (can we push for Star Trek: Garak perhaps?), and this episode takes the cake with just sublime acting from one of our favorite assassi– er, tailors.

“Rejoined”: Caitlin She started off rough, but Jadzia really began to bring it at some point in the show and we’ve targeted this episode as where we really started giving a damn about her. Finally, we see both the emotional weight of being a joined Trill and the actual acting chops of Terry Farrell all in one place!

“The Quickening”: Jake Similarly, Julian also started off really rough, but when that bright-eyed, bushy-tailed outlook started losing its brightness and bushiness (and when he stopped creeping on women for a while), we got to really see him as a character, and this episode highlights how great he can really be.

“Far Beyond the Stars”: Ames What more can we say about “Far Beyond the Stars,” an episode that we totally changed guest star Justus’s mind about when we covered it? What could have been a detrimental trope turns into a captivating and pertinent inspection of racism, storytelling, and history. Thank the prophets for this one!

“In the Pale Moonlight”: Chris It’s not a fake: our love for this episode is 100% real! It’s so excellent to see some really difficult ethical decisions get made on this show, highly contrasting the angelic Starfleet portrayals of the past. Science fiction is all about debate – is all about reflecting on the issue – and those are discussions we love to have!

“Duet”: Chris, Jake Two votes for this stellar two-hander that is just an actor’s banquet for excellent character development and every opportunity to utterly devour the scenery. Om nom nom scenery. Kira Nerys started off as one of the most well-written and consistent characters on the show, and she only got better and better from there.

“Second Skin”: Caitlin, Jake Speaking of Kira! Here’s some more well-deserved love for Nana Visitor who donned some Cardassian makeup and really went with it in this excellent character piece that turned her into everything she hated. Talk about an identity crisis!

“It’s Only a Paper Moon”: Caitlin, Chris At the start of the series, who would have thought that the juvenile delinquent character Nog would grow to be one of the most beloved on the show, with one of the most developed arcs? Credit to Aron Eisenberg for the nuance, heartbreak, struggle, and joy that he brought to Nog over the years.

“The Visitor”: Ames, Chris, Jake The Ben-Jake relationship proves again and again to be one of the strongest tenets at the core of Deep Space Nine and this episode really goes for it in telling a spellbinding tale of a boy’s love for his father. With added alternate realities, subspace shenanigans, and excellent guest acting thrown in to boot!

“Captive Pursuit”: Ames, Caitlin, Chris, Jake The one episode that made it on all our lists is actually one of the earliest in the series because we all just loved Tosk so much. What an excellent beginning to the series that starts exploring the ethics of how we treat other people and what we can do about that right out of the gate. We are Tosk!

—

See also: our Bottom Five Star Trek DS9 Episodes list for the less glowing but still fun to hate on stuff!

Considering the wormhole aliens’ nonlinear existence, can Deep Space Nine really be over? Well, I guess yes it can, because our journey through Star Trek must continue! We’ve got more fun planned for this page, so keep watching us here, listen to weekly episodes at our home on Soundcloud, follow us on Facebook and Twitter, and we’ll see you in the Delta Quadrant soon!

#star trek #star trek deep space 9 #ds9 #podcast #star trek podcast #top five #blood oath #hard time #the wire #rejoined #the quickening #far beyond the stars #in the pale moonlight #duet #second skin #it's only a paper moon #the visitor #captive pursuit

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levisnackajack · 4 years ago

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The Wrath of War

Chapter Sixteen

Slamming her bedroom door shut, Eden huffed under her breath at the resounding bang that snapped behind her. She walked through the headquarters in irritation; making sure to steer clear from anyone she couldn’t deal with so early in the morning.

The ever so energetic Sasha had woken her up; letting her know they were to get ready and go on another expedition beyond the walls. Apparently, there were more unusual Abnormal titan sightings alongside the exterior part of Wall Rose.

Commander Erwin had instructed for Captain Levi and Hange’s squads to head to the area and assure that this wasn’t a ploy created by the traitors who’s identities still lay unbeknownst to them. Regardless, the Commander had sent Levi a detailed letter, assuring him that this expedition would suffice to humanity in more than one way and lead them a step closer to victory.

Erwin’s letters would always state that fact; regardless of the amount of death and trauma his Regiment had seen.

Eden quickly ate breakfast in the kitchen; unbothered and groggy. Her head pounded, reminding her how little sleep she had gotten the night before since she spent it twisting around in her covers- thinking about everything that weighed on her heart.

Her boots crunched soundly against the pebbles spattered across the ground as she made her way to the stables not long after escaping the kitchen, unseen. Her fingers fiddled with the clasp of her green, Scout cloak as she secured it to her body. The charcoal-haired girl ignored the accompanying steps that cracked through the gravel behind her.

After taking two long steps into the stable, her back crashed against the wall, heated lips pressing against hers gently.

She returned the favor, her fingers interlinking with his before squeezing his palm lightly. His kisses would always be so gentle. Yet, every once in a while, he would slip up; growing more urgent. It was always something that intrigued Eden.

Jean let go of a low sigh that recoiled through her. “Do you accept my apology?”

Eden chuckled lowly, standing on her tiptoes as she reached to grab him by the collar. His hands settled against her slender waist, pulling her flush against him.

“You haven’t even apologized yet.”

Rolling his eyes, Jean pressed his forehead against hers, kissing the tip of her nose sweetly. His mouth then met hers tenderly, his tongue gliding against her bottom lip lazily. Eden’s teeth captured his tongue before sucking onto it teasingly. Her arms looped around his neck, a humored smirk lacing itself against Eden’s fatigued features.

“I’m sorry about last night, Eden. I shouldn’t have gotten pissed at you for something that wasn’t your fault.”

“Yeah, but I just don’t get why you didn’t come up to me and let me know what the issue was so we could resolve it. I still don’t know what happened...-”

Jean hesitated, his fingertips stroking the side of her face before he kissed her temple softly. “Can’t you just let me apologize to you, woman?” She laughed under her breath, tipping her chin upwards before he kissed her swiftly.

Her nose flared at the scent of spices and cologne in a way that made Eden feel incredibly comfortable and safe. She knew that whatever happened, Jean would always be by her side; supportive as ever and willing to go through thick and thin for her.

Just as she would for him.

“Kirstein, you’re not wearing your ODM gear. I suggest you get a move on because I don’t plan on prolonging this expedition just because you need help strapping your harness to your ass,” an irked voice barked from the entrance of the stables.

Both Eden and Jean’s heads snapped to the entry-way and the girl pursed her lips as she lowered her head. Jean’s jaw clenched painfully tightly before his brown eyes flickered towards Eden’s downturned face. He let go of her hesitantly and by the way he walked past the Captain, Eden could safely assume he was infuriated.

She fixed her saddle and tightened the reins on her horse before quietly making her way out of the stable. Although her eyes were promptly fixated on the ground, Eden could sense Levi’s presence still lingering around her.

The air was hot and she felt irritated at herself when she began struggling to breath the closer she got to him.

Suddenly, Levi grabbed her by the wrist, shaking her slightly as he furiously stared into her eyes. “What the hell is wrong with you, brat? We’re about to go on an expedition where someone could potentially lose their life and this is what your mind is focusing on?” He scoffed under his breath, crossing his arms against his chest.

Eden’s amber eyes widened slightly, heart stammering in her chest. “I-I’m sorry, what? What do you mean?” She balled her trembling, white knuckles into fists, hiding her hands behind her back; the reins leaving prints on the inside of her palm.

“Don’t act stupid with me, you know what I’m talking about. And then you dare question why I decided to leave out of the previous mission,” Levi snapped at her sharply, iron eyes burning at the utterly perplexed girl. She moved her chin to the side, as though really taking the time to process his words.

None of the answers her mind provided her with explained what he was referring to. Her relationships with other people- specifically Jean- had absolutely nothing to do with the Captain. Yet, standing before him in awe; no words landed on her tongue.

Levi stiffened before shaking his head slightly. He lowered his head as though he were trying to recollect his thoughts. Combed, velvety raven hair toppled in front of his face and through the strands; Eden could see a sense of agitation carved onto his strained features.

He suddenly looked up at her, lips parting slightly and pupils dilating as his hand reached for her neck. Eden stood cemented in her place, the air hitching in her throat as his fingertips grazed the bruises he had inflicted upon her. Her eyes widened comically, eyebrows arching as she searched his blank face for an explanation.

But, he never met her stare.

His fingers gently prodded against the most vibrant bruise and Eden couldn’t rid herself of the fluttering notions within her gut. It made her knees weak and her stomach flipped. Her palms grew sweaty and her mouth went dry. Those feelings grew even more vivid once she caught sight of his stoic face relaxing ever so slightly.

His cold touch brought back memories of yet another heated interaction between them. Yesterday’s training had been impeccably intense; but as much as Eden felt incredibly hurt by Levi contusing her so horribly; she couldn’t help but feel a sense of pride at the fact that she had managed to catch him off guard and swing at him. She knew her powers would never level his; yet she basked in the tiny victory their encounter had bestowed her with.

A cruelly ice-cold shiver ran its coarse along her back and she swatted his hand away, causing her heart squeezed uncomfortably. Levi finally met her stare, but did not say anything.

Eden bit her lip, bouncing on her heels in trepidation as she tried to formulate a singular, coherent response. “W-why do you care what I do in my free time?”

Immediately, Levi’s brows furrowed. He looked very deep in thought as a scowl etched itself across his perfectly sculpted features. Looking away, that scowl transformed into an expression of distaste as a soft scoff slipped through his downturned lips.

“I don’t fucking know,” he growled at her, jaw clenching imperceptibly tighter that what it was before.

Eden watched as he walked away from her without even giving her the chance to respond.

Eden and Armin got assigned to Hange’s squad formation since her team was incomplete. It was like a slap in the face for the girl as certainty crept into her when she imagined how relieved Levi must have felt knowing he can place her under someone else’s direct command and keep her away from him.

Sending her blond friend a wide smile, her own eyes remained blank as she reminisced the recent turn of events. She couldn’t quite put her finger around why his answer bothered her.

Was it because it had left her yearning for more answers or because she just felt like he had pushed her into a bleak vortex of confusion?

Regardless, the expedition had begun and Eden knew better than to dwell on her feelings when so much was at stake.

They headed in the abnormals’ direction and Eden began growing more nervous as the minutes ticked by. She felt confident in her fighting; but it was incredibly difficult for her to split herself from all her overwhelming thoughts. She was an incredibly emotional individual- meaning she struggled immensely when it came to separating herself from a situation that had struck her heart. And it felt worse knowing that out on the open fields where a titan could strike at any moment. Her anxiety surpassed the roof.

Captain Levi had decided that since they were to oversee an affected, exterior part of Wall Rose; it was best for them to ride on the outside side; rather than travel from the inside and then climb up the wall with their ODM gear. That way, if there were any more phenomenal situations; they could deal with it there and then.

Apart from the hooves scraping against the grass, it was quiet on titan territory. Hange twirled her flare-gun from the center of their diamond formation, as though she was bored with the circumstances. Eden pursed her lips and urged her horse to gallop faster.

Thunderous footsteps clashed closer to them; catching everyone’s attention. Hange snapped her head in that direction, eyes widening hungrily as she shot out a black flare through the clear, blue sky. Eden could only assume that Levi and his team would continue towards the sighting, as it seemed purely pointless for them to retreat and jump into a fight.

“Everyone get ready! Multiple abnormals ranking between 12 and 16 meters incoming from your left.” Hange yelled over the horses’ hooves, a wild spark glinting in her eyes.

Eden watched as they mindlessly sprinted towards their squad; their movements bizarre and irritating to look at. She huffed under her breath and readied her swords.

Once the humanoid creatures were in their perimeter; Hange gave the members on the outer positions in the formation the green light and Eden steadied herself on the saddle of her horse. She didn’t really have a plan in mind; so she just winged it. Which was perhaps not the best idea when she was knocking on Death’s door; but now was not the time to go over details.

Squeezing the handles of her gear, the familiar sound of the iron wire slicing through the air echoed around her. She pushed herself off her horse; allowing the wire to guide her through the air before hooking herself against the wall.

Counting the seconds under her breath, her hazel eyes never left the approaching titans’ disgusting faces. The scent of rotting flesh and bones hit her on the tenth second. Scrunching her nose, she began to count down.

Hitting the third second, she pushed herself off the wall, pulling out her blades as her hooks clenched around the skin on the closest titan’s collarbone. The wire recoiled and pulled her towards it with such sheer speed, everything around her grew blurry. With a grunt, both blades sliced through its hardened skin effortlessly, the steam nearly blinding her.

The titan toppled to the ground and in the last moment, Eden craned her neck back to appreciate the long cut that perfectly severed the titan from the inward part of its shoulder; all the way to the other side. A shriek pierced through the air.

She let out a soft gasp as she watched one of her fellow comrades from Hange’s team become crushed to pulp inside a titan’s massive mouth. Eden watched in horror as another girl let out a bloodcurdling screech, reaching for the deceased man. Another titan swooped in and caught her mid-air; pulling her limbs apart as though she was just a rubber toy.

Swallowing thickly, she forced herself to focus on her path; choosing to disregard the way her blades trembled as she landed on another titan. She slashed its nape, blood spurting in her face, burning her skin. She spat the liquid that had fallen into her mouth in disgust and angled her hooks to grip the wall.

Eden watched as Hange and Armin and a few others continued onwards towards the first team and her eyes grew wide at the sight of more titans emerging out of nowhere. Growing cautious, Eden decided it was best to preserve her gas reservoir as much as possible.

The amount of approaching titans made her feel like using a limited amount of gas was the only choice that could possibly gain her another day. She reached the top of the wall and began sprinting forward, eyes calculating how far she would need to run in order to intercept her horse and jump down on its back.

Her comrades looked so small as she looked over the edge of the wall. The sight made her dizzy. When she decided the time was right, Eden flung herself over the edge, using her ODM gear only when she wanted to slow herself down; a breath before she managed to slump onto her saddle. But, her horse whinnied at the earth-shattering footsteps of the nearby titans, throwing her off and sprinting away.

Eden vaguely heard Armin screaming her name as she wheezed out, her lungs burning with adrenaline. She looked up to see a large palm reaching for her, wide, dead eyes peaking over her as it stared hungrily down at Eden. She backed up, fumbling to stand and pull her blades out.

Another high-pitched yell reverberated through the open air. The approaching fingers toppled to the ground as the beast let out a deafening roar. Armin ran towards her, putting his bloodied swords away before grabbing her by the shoulders.

“Are you okay, Eden?” He asked her as she pulled herself to her feet.

“I’m fine, Armin, thank you for that,” she replied, goosebumps appearing against her skin at the sound of echoing cries and pleas for mercy emerged from their fallen comrades. “We need to go, it’s not safe out here. We should head to the rest of the team and figure out what the hell we’ll do when there isn’t a hungry-looking titan looming over us,” she yelled, pulling his sleeve as they ran towards the horses.

Everything slowed down for her once a yellow flare shot through the air in the distance.

Levi’s team.

Eden’s heart faltered as her mind fluttered elsewhere, subconsciously slowing her running down. Armin turned around, face contorting in a horrified manner as he reached for Eden’s hand. There was a static sound that muffled all the noise in Eden’s ears; her lips parting as she felt thick fingers snake around her body. She watched Armin run back to her and she screeched for him to turn around and go.

Tears streaked the ocean-eyed boys’ face as she was hoisted off the ground effortlessly, her fingers slipping away from his the higher she went. Eden thrashed and flailed before letting out a pained cry when the titan’s grip grew more solid. She felt as though someone had poured cement over her body; the pressure close to crushing her bones to dust.

Blood spurted out of her mouth as her lungs begged for mercy and her limbs grew weaker. In that moment, she felt like there was nothing else she could do. She felt so utterly helpless and what pained her the most was the fact that she would probably never be able to say goodbye to her friends, to Jean.

To Levi.

Her life really did flash before her eyes as her eyesight grew foggy, the pressure of keeping her body awake became harder and harder as the seconds ticked by. She saw Armin, Eren and Mikasa’s baby faces; back when they used to play tag in Shiganshina. She watched Connie and Sasha daring her to balance a loaf of bread on her head after training. Jean’s face appeared with the silly, cocky smirk that made her swoon and slap his shoulder.

Then, his face contorted into Levi. His cold, indifferent stare sent chills down her spine.

How could someone so emotionless bring up so much commotion within her?

But, she knew she didn’t have enough time to question it. Eden just focused on every single details of his face she had memorized as the pain seeped through her body, pulling her into a vortex of darkness and serenity.

Tags: @idiot-juice-enthusiast @hadassackerman

As always, the link to the full story in AO3 can be found here: https://archiveofourown.org/works/28919136/chapters/70952145

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ugly-crying-over-bucky-barnes · 5 years ago

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Roguish Women Part 29

Summary: Kate is an American who fled to Paris to escape her past life. Now she's dancing and playing the part of a courtesan at the Moulin Rouge. There she meets Tommy Shelby who thinks she can be useful in expanding his empire. But has he been blinded?

Part 29: Kate tells her truth

Francis Lynch was a wreck. She could barely stand or hold her head up and it had been three hours since the police had left. Three hours since one of the detectives informed her of her husband’s accident. In the wee hours of the morning, Ryan Lynch, drunk as a skunk, had fallen into the Boston Harbor and drowned.

“What am I going to do?” She wailed from her seat at the kitchen table. Her head was in her hands.

Her eighteen-year-old daughter was sitting on the floor, her knees tucked to her chest. “It’ll be alright, mom.” She said quietly. Tears streamed down her cheeks. Her father was never the person he was meant to be. He worked twelve hours a day then spent his free time in the pub. He was never particularly loving toward his only child. After all, she was simply a mistake in his eyes. Young and reckless, he got Francis pregnant and his Catholic father guilted them into marriage.

But Kate was still sad. She still loved him.

“It won’t be alright!” Francis cried. “We’ll lose the apartment, we’ll lose everything!”

“No, we won’t.” Kate stood up shakily and tried to comfort her mother. “I promise we’ll be alright.”

~~~~~

“I worked to help pay the bills and to pay my neighbor for ballet lessons,” Kate explained. She sat down on the bed as she started to explain everything, she had lied to him about. “My mom worked too but my father brought in the most money.”

Tommy wasn’t sure he expected the story to go so far back. In his experience, the farther back a story went, the more lies there were. But he tried to keep an open mind, she was being honest with him even if he was hesitant about it.

“When my father died, we would’ve become homeless in a couple of months.”

Tommy frowned. “You didn’t tell me your father died.” As far as the story went, or at least the one he was led to believe, Kate’s father was the reason for all of her troubles. Someone who was caught up in the American mafia, who placed all the burden on Kate.

“Just, just listen.”

He nodded and went to sit beside her on the bed. The last thing he wanted was for a confrontation so soon after reuniting with her. That’s why he had wanted to at least delay the truth. But he also didn’t want her to feel guilty either.

“I’d known Frank Wallace and his brother Steve for a long time. They were already established as the Gustin Gang by that point and they controlled most of South Boston. I met Frank through my neighbor who taught me lessons. He had helped her rent and legal issues. So, I went to him after my father died.”

~~~

“Girl like you shouldn’t be dealing in those sorta things, Katie,” Frank warned.

They were at one of the bars the Wallace brothers owned. One of the places Kate’s father frequented. Kate looked around the place, wondering if this was the last place her father had been before he left and fell into the Harbor.

“I don’t think I have a choice.” She replied quietly.

“I’ll help you find a good job with better pay.” He assured her. “Don’t worry about your landlord either, I’ll pay him a visit if he gives you trouble ‘bout the rent.”

To anyone else, it would’ve sounded like the perfect scenario. Having friends in gangs sometimes had its perks. But Kate shook her head. “I don’t want that, Frankie. You know how long I’ve been training to dance. I’m not going to give that up so I can work myself to death like…” She paused. “Whatever.”

Frank tapped his knuckles on the table. “But to get into shit like bootlegging? You’re only gonna bring yourself more troubles.”

“It’s what I want to do. I can do this and have enough money to take care of my mom. Meanwhile, I can hopefully get into a ballet company. Then over time, I might make more from dancing.”

The older man sighed. “I know that I can’t fucking do anything to change your mind. But you need to know that this shit isn’t something you can walk away from. Not a little side job you can drop whenever you want.”

“I know.”

~~~

“I used my father’s identity to set it all up. I started to facilitate shipments from Europe to get liquor into Boston and then ship it all over the country. I put any debts in my father’s name and Frank helped me deal with anyone so nothing would be traced back to me.”

Tommy wasn’t surprised that she had managed to create a bootlegging empire. Kate was certainly clever enough to get the job done. He was just unsure why she hadn’t confessed that to him when they initially met. But he wanted to hear her out so he nodded for her to continue.

“I was accepted into the Boston ballet company and began dancing. It became so much easier after that. I started to meet people who were higher up in the city. Rich people, people who wanted things done. Only the wealthiest knew who I really was. Everyone else thought it was my father in control.”

~~~

“That was a beautiful performance, Miss Lynch.”

“Oh, Mr. Weld,” Kate startled as she left the theatre through the backstage door. “I didn’t see you there.”

The wealthy businessman was standing by his expensive, neatly polished car parked in the back alley. Mr. Weld was dressed in a tuxedo, demonstrating that he had seen the ballet performance that had just ended.

“Let me drive you home.” He offered, opening the car door for her.

“That would be kind, thank you.” Kate had no qualms about getting into his car. She was armed with a pistol and even then she doubted the man would attack her. She was far too valuable.

“I do appreciate your work, Kathleen but I came here to voice some concerns.” Mr. Weld said as he got into the car and started it up.

“By all means, tell me what you’re worried about.”

The man sighed anxiously. “I understand you’ve been branching out to Chicago, selling to their bars. Word is you’ve gathered a few men there who act on your behalf.”

“I don’t give out names of people I work with,” Kate replied calmly. “What I do in Chicago won’t affect my business with your bars, Mr. Weld. You’ll get shipments and protection as long as I’m paid.”

“What I’m concerned about is the Chicago Outfit.” He ignored the mild threat. He’d been behind a few times with payments and had learned his lesson early on that it didn’t matter that Kate was a woman. She wasn’t someone to be messed with.

Kate bit her tongue. The Chicago Outfit was frightening to anyone, but she didn’t show fear. “There’s no reason for concern.”

“Pardon my insistence, but there’s been word that you’ve…you’ve been disregarding their territory lines. I would urge you to be careful or to even back out of Chicago entirely. The more you press…”

“What?” She glanced over at him, still conveying that she wasn’t bothered even when her stomach was in knots.

Mr. Weld’s fingers tapped nervously on the steering wheel. “The more attention you’ll call to yourself. I don’t wish to have any ties to someone who upsets them.”

“Then pay me what I’m due and our contract will be finished,” Kate replied with a tone of finality. “You can go over to the North End and ask the Italians for help. Because you won’t get any more help from any of my allies.”

Mr. Weld swallowed. “Just please consider your actions a bit more carefully.” He parked outside of the Lynch’s apartment building.

“I run my business how I see fit,” Kate said, stepping out of the car. “Let me know if you want to continue our business relationship.” She closed the car door firmly.

~~~

“I was making money but not enough to completely stay afloat. , I branched out further to Chicago and made mistakes. I was given a warning but I didn’t listen.”

Tommy had been in the game long enough to know the consequences of ignoring warnings. “What did they do?”

“They took a train to Boston and kidnapped my mother. They tortured her for days but she wouldn’t tell them where I was. They ended up throwing her in the river.” Kate tucked her knees to her chest as she stared at the floor with tears in her eyes. The sight of her mother’s body being hauled out of the river would always be etched into her brain. The guilt was so unbearable she tried to pawn it off to someone else. It was the Chicago Outfit’s fault. It was the fault of whoever gave them her mother’s address. It was her father’s fault for leaving them with no income. But in the end, there was no escaping it. Kate knew it was her fault.

Tommy, although stunned into silence by her history, he instinctually wrapped an arm around her shoulders to comfort her. His actions had led to the death of others. He knew the weight of guilt that would always rest on his soul.

“That same night I went to Santo. I wanted him to get revenge for me. I only knew him because he left me a letter after one of my performances. He hounded me for weeks about a business relationship and then something personal. I knew he was waiting for me after the news spread about my mother.”

~~~

“My condolences, Miss Lynch.” Santo poured Kate a glass of wine. They were sat together in a secluded booth at one of the North End restaurants Santo owned.

“Thank you.” She replied quietly. It still hadn’t quite hit that her mother was dead. Yet, there she was, willing to negotiate for revenge.

“Why is it you wanted to come to see me so soon after your mother passed?” He asked even though there was a twinkle in his eye. A sort of knowing. There was no mystery as to why she was there.

“Because I need the bastard who killed her to pay. I want him dead.”

He raised his eyebrows as if he hadn’t even considered that. “And why should I help you? You’ve never proposed an alliance before, why would I risk any of my men to help you? You must know that the Chicago Outfit are dangerous.”

“Because you’re the only one in Boston who has a feud with them, you would want an opportunity to raise hell, and I would pay you.” Kate knew that talking to gang leaders was never easy. She tended to get right to the bottom line to skip all the fanfare they were so fond of.

“I’m a wealthy man, Kate, why would I need your money?” He adjusted his cufflinks almost as an example.

“What else would you want?”

~~~

“That’s where the deal came in. He killed the man who killed my mother. But when the deadline came, I didn’t have enough money. One of my shipments fell through and I lost a lot of money. I begged Santo to give me more time but he refused.”

Tommy couldn’t help the instinctual anger he felt when Santo’s name was brought up. It only minorly distracted him from the bewildering story Kate was telling him.

�� “I left before he could get me and ended up in France.”

“And that’s where I come in,” Tommy mumbled quietly.

“Yeah.” Her voice was almost at a whisper. Kate was terrified of what he would say to her.

But he didn’t speak for a long while. He kept his arm around her, absent-mindedly rubbing her shoulder.

“Say something, please.” She begged.

“I don’t know what to say, Kate.” He finally spoke. “I just-I don’t know if it changes anything but I don’t understand. I don’t understand why you didn’t just tell me.”

Kate felt like breaking down and just curling into a ball. Hardly anyone knew her true story. If she trusted anyone to hear it, Tommy would be high up on that list. But it was still agonizing to open up her old wounds. “Because when I went to France, I vowed to put it all behind me. I didn’t want to be that person again not after what happened to my mother. But then you came into my life and…” She put a hand to her face. “I don’t know I just thought you might be my ticket out.”

“I don’t understand.”

“You made me feel safe. And if I had to go back to what I was doing before then I trusted you would be able to keep me safe. Especially if Santo ended up finding me.” She tried to explain as best she could. “But I still wanted to be rid of my past so that’s why I lied. Maybe I just didn’t want to admit what I’d done.”

Tommy wasn’t sure what else he could say. Perhaps she had a reason for lying to him. Maybe it was enough that she wanted to put her past behind her. Sometimes, Tommy wished he could just step away from it all and resume a new life. Start off on a clean slate without any debts. But the world didn’t work that way. Kate was now figuring that out.

“I didn’t think I would fall in love with you. I didn’t even plan on staying in Birmingham that long. I had no problem lying because…your family was just another step in the road. But…then I-I fell in love with you and I just didn’t know how to tell you the truth. The longer I waited, the harder it got.” Weary from all the emotions she’d gone through in those past months, she slumped forward over her knees, holding her hands to her face. “I don’t want to be just another person who lied to you.”

“C’mere.” He helped her sit upright so he could cradle her in his arms. “What we have is real, aye? It doesn’t have anything to do with what happened in America. The only thing I care about is what happens between us here.”

Kate buried her face in the crook of his neck. She wanted him to push her away, to look at her with disgust and hatred. She wanted him to hate her for the things she’d done.

But he held her close and kissed her hair. “It’s done, yeah? You’re coming home, you leave all of it behind.”

“Tom, I lied to everyone. I put them at risk I-” She couldn’t say it, but she felt worse than Grace. She had lied for longer than Grace had. She had condemned Grace for lying, yet Kate had been lying all along as well.

“Leave it behind, Kate.” He urged. “You can leave it behind.”

He looked over her shoulder, still processing everything she’d told him. Kate was right, he was blind when it came to the people, he was closest to. So distrustful of the world, but those who had his heart were above suspicion.

They sat there for a long while, sitting with everything said and just getting used to being in each other’s company again.

“How is the rest of the family?” Kate asked quietly, finally lifting her head, able to meet his eyes again. “Have they been alright?”

He took a deep breath. Time for some of his own admission of guilt. “They’re all in prison and they’ve been sentenced to hang.”

//I hope this format was okay to follow. I just didn’t want it to be one huge text block of Kate explaining everything.

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overthinkingkdrama · 5 years ago

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Hi! So, I’ve just recently gotten into K-Dramas, and... I have a small issue, and that is though I LOVE them in the beginning, by the end they always disappoint me? Like, they start lighthearted and fun, and then by the end suddenly everyone’s in mortal peril, and I don’t care? Or they start all fantasy, and then it’s all about the romance in the end? So... Could you possibly recommend me ones that are good, or tone consistent, throughout? Please?

Hi! Thanks for dropping by for recs. These are some of my favorite asks. I just love going back through my watch list and finding dramas that fit a given criteria. It gets more fun the more dramas I've seen.

The thing about Kdramas that makes them a uniquely sticky beast is that many of them are live-shot week to week, at least for part of their run, and often the scripts are not fully written before filming begins. Popular Kdramas will also occasionally receive extensions which can cause further pacing and plot issues and (sometimes) cause a story to sputter out entirely. With the increasing prevalence of entirely preproduced dramas there's been an increase in overall drama quality and consistency in past years. That being said, Kdramas are still a decidedly mixed bag in terms of overall production quality. So it pays to either drop things with extreme prejudice if you stop enjoying them and watch widely, or to have a good drama filter friend (like me!) to give you vetted recs. As a genre a lot of the more "classic" feeling dramas have a tendency to start really light hearted and then swing super dramatic in the latter half. That's something I occasionally like, but lucky for you not all dramas are like that!

Your ask doesn't really tell me what genre of Kdrama most appeals to you, so I went through my list and tried to find you wide a variety of dramas that I think of as being well-paced and tonally consistent throughout. I've also tried to limit myself to dramas that I rated highly on MDL, although my primary criteria was "good and tonally consistent" so this list of dramas is kinda all over the map. But then, so are my tastes. Also, I kinda got the impression from your ask that you're not a fan of the uber-melodramatic side of kdramas and you want something a little more restrained and less soapy, so I tried to steer away from those more makjang dramas but did not entirely succeed, lol. I gave a couple sentences of description so you can more readily narrow down what you're interested in, and if you would like a more thorough review of the dramas some of these have full reviews on my blog which I went ahead linked where they exist.

Age of Youth: A well written slice-of-life ensemble drama about a group of 5 college age women who end up boarding together. There are a couple moments of high drama/trauma toward the end of the show that might be a turn off. But other than the finale the tone is consistent. 9/10

Arang and the Magistrate: A dark fantasy fusion sageuk with a romance. I included this drama because it does a good job of developing the creepy worldbuilding and fantasy throughout. Though at points it can be a bit slow and the special effects are hella cheesy. 8/10

Argon: A tight, journalism driven suspense drama. Not always my genre but I found it very engaging, and at eight episodes it does not overstay its welcome. 8/10

Be Melodramatic: Another female-centric slice-of-life ensemble drama, though with an emphasis on fourth wall breaking comedy and clever dialogue. Very funny and heartfelt. 8.5/10

Cheese in the Trap: Maybe a controversial inclusion, but I very much enjoyed this drama. A slice-of-life college romance with psychological thriller elements. Some critics felt that the drama focused too heavily on the second male lead in the later half of the story, but YMMV. 8.5/10

Coffee Prince: Classic cross-dressing romance and still probably the best of its kind. A wonderfully nuanced and progressive handling of the subject matter, even after 13 years. Deals with serious subjects but doesn't go too melo with it. 8.5/10

Children of Nobody: My best of 2019, a dark psychological thriller about a child psychiatrist and a police detective who have to confront gray morality while attempting to track down a serial killer who only targets unrepentant child abusers. 9.5/10

Ex-Girlfriend Club: On the lighter side, a friends-to-lovers type romantic comedy about the writer of an autobiographical webtoon who has to figure out a way to get along with a group of his ex-girlfriends to make a movie based on his work. Only 12 episodes. 8.5/10

Go Back Couple: Also only 12 episodes (these shorter dramas tend to be better paced I find) a time-slip drama about a divorced couple who get the chance to relive their twenties and end up realizing they still have feelings for each other. This drama is both very funny and it had me bawling on multiple occasions. 9.5/10

Healer: A favorite of a lot of drama fans, this is an action-focused romance about an awkward soft boy with a secret identity as a highly skilled errand boy to criminals and an intrepid tabloid reporter who is his biggest fan. This drama is pretty tropey, but it's fun and the romance is great. 8.5/10

Hello Monster (aka I Remember You): A police procedural with a background love line about a criminal profiler looking for his lost brother and a detective looking for her father's murderer. One of my personal favorites. 10/10

Hit the Top (aka The Best Hit): A time-slip fish-out-of-water comedy about a 90s pop star who winds up in modern day Seoul and ends up befriending his biological son and meets old friends who his disappearance left in the lurch. 9/10

Incomplete Life (aka Misaeng): A realistic office drama that gave me real world work anxiety, focusing on a failed Go player who winds up an intern at a highly competitive shipping company and has to find a way to earn his keep even without the background and college education of his coworkers. Unbelievably well done ensemble drama. 9/10

Just Between Lovers: A romantic melodrama about two people whose lives were irrevocably changed by a tragic mall collapse that nearly killed them as children, meeting again as adults and finding comfort and healing in each other. A rough sit at times, but a wonderful love story with incredible acting. 9/10

Just Dance: High school, slice-of-life, drama about a dance club in a technical high school and a group of working class kids who reluctantly become involved in this club and befriend each other. Only 8 episodes (or 16 thirty minute episodes, depending on how you recon it.) 8.5/10

Life on Mars: Remake of the British show of the same name, this is a surreal time-slip police drama, about a forensics expert who gets shot in the head and wakes up in 1988. Or does he? He could also be dying on an operating table. It's hard to tell. Dark, suspenseful and trippy. 9/10

Matrimonial Chaos: An off-beat comedy about two dysfunctional couples who become inescapably mixed up in each others lives. One that's having a hard time getting divorced and another that's having a hard time getting married, and all the messy weird emotions that go along with that. This is another one of those, makes you laugh/makes you cry throughout dramas I have an affinity for. 9/10

Moment of Eighteen: A heartfelt high school drama about a straightforward but awkward loner who is forced to transfer to a new school, immediately earns the ire of a powerful student and experiences first love. Not my usual thing, but very well written with complex and likeable characters. 8/10

Mother: A cold and socially isolated woman becomes a temporary teacher and upon discovering one of her students is being severely abused and neglected, decides to pose as the child's mother and go on the run with her. Like Children of Nobody, this can be a bit of a rough watch because of the subject matter but it is very well done. 9.5/10

My Mister: A healing, human drama about a structural engineer in his 40s and a debt-ridden young woman in her 20s who end up crossing paths and saving each other from a miserable existence. My current all time favorite drama. Cannot say enough good things about it. Practically perfect in every way. 10/10

One Spring Night: A very restrained and naturalistic slow-burn romance about a woman who is about to get married and suddenly begins to question her relationship and a single father who had given up on love who find themselves irresistibly drawn to one another. 9/10

Prison Playbook: An ensemble slice-of-life drama centered on prisoners and correctional officers in their day to day lives. I find the actual het romances in this drama totally useless, but it's a large and talented cast playing a variety of lovable characters. 8/10

Psychopath Diary: Recent fave. A screwball black comedy about a mild mannered pushover who loses his memory and finds a diary that convinces him he's a psychopathic murderer, which gives him a huge boost of confidence from his new found identity, much to the chagrin of those around him and the actual owner of the diary himself. 8.5/10

Queen In Hyun's Man: A drama about a Joseon scholar who time travels to modern day Seoul and meets an actress who just landed a part playing the queen he served in the past. This one might be on the border line of too dramatic or tonally inconsistent, but it's got one of the most pitch perfect finales in Kdramas and the 45 min episodes keep it a snappy watch that doesn't drag or meander too much. 8/10

Reply 1988: A late 80s nostalgia drama about a group of families who all live off the same alley. Lovely family drama, comedy with a variety of romances. Long ass episodes especially later in the run, but I have rewatched the whole thing and I loved every minute of this show. 9.5/10

Save Me: A dark drama about a young woman who finds herself forced into a dangerous cult by her family, and is desperate to escape, and a group of 4 local young men who try to help her. One of the more unique and well done OCN thrillers. 9/10

School 2013: High school ensemble drama that launched a whole bunch of careers. In general I avoid school dramas (I know there have been three on this list so far, but those are like the only three, lol) but this show got me so invested in all these students and teachers. Also the two male leads are so shippable. 9.5/10

Secret Love Affair: A romantic melodrama about a piano prodigy from an underprivileged background who catches the eye of a married older woman and the two fall into a passionate affair. This drama involves cheating (obviously) but it's beautifully filmed and written and the music is to die for. 9.5/10

Signal: This is a supernatural crime thriller and a perennial favorite in the Kdrama community. An imbittered criminal profiler finds an antique police radio which allows him to speak with a police detective 15 years in the past, and uses this to crack cold cases and try to prevent brutal crimes from ever happening. 9/10

Six Flying Dragons: This one is a bit different from the others on the list, first of all because it's a more traditional historical drama, and secondly because it 50 episodes long. But it is so, so very good. And if you're looking for overall consistency in terms of storytelling and tone this drama has it in spades. 9/10

SKY Castle: A unique melodrama about a group of affluent competitive mothers who will go to any lengths to get they're children into the best medical schools, and a mysterious school coordinator with shady motives who gets brought in as a ringer to give them an edge. This show is kind of hard to sell but very entertaining and watchable. 7.5/10

Stranger (aka Secret Forest): The story of a stalwart prosecutor who, due to a childhood trauma is unable to feel the full spectrum of emotions, works with a bighearted police detective to root out corruption around a series of murders. This one’s rather cerebral and requires your full attention but the leads are amazing and there's a second season coming out this year I'm very much looking forward to! 9/10

The Nokdu Flower: Another sageuk drama about the latter years of the Joseon Dynasty surrounding three people who fall on different sides during the Donghak Peasant rebellion. Incredibly well written and involving historical drama. If you're not sure you're ready to commit to something like Six Flying Dragons, I think this would be another good entry point into the genre. The acting is amazing. 9/10

The Smile Has Left Your Eyes: A romantic melodrama and psychological thriller about a dangerous enigmatic young man on the cusp of becoming either a human being or a monster. He becomes involved in a fraught relationship with the sister of a police detective at the same time her protective older brother begins to focus on him as the prime suspect for a murder. High key moody and tragic if you're into that kind of thing (I am). 9/10

Touch Your Heart: On the complete other end of the drama spectrum, this show is pure unadulterated fluff, which managed to keep me giggling and swooning throughout the run, even though it's typically not my thing. An actress joins a law office as research for a role and falls for the ace attorney she's assisting. 8.5/10

WATCHER: Another OCN thriller about three different people with shady motivations who are connected to the same murder case and become involve in a corruption task force looking into dirty cops. One of those "trust nobody, everyone's a suspect" dramas with lovely complex characters and a fully engaging plot. 8.5/10

Sorry that got so out of hand! This is what happens when you don't give me a little more direction I guess. These are all dramas I quite enjoyed and I believe you will find something in there that will suit your fancy. This is a pretty accurate cross section of my tastes.

Happy watching!

Jona

#asks #answered #kdrama recs #this got stupid long #i got half way through writing my two sentence plugs and was like #omg why did i put so many dramas on this list #lemme just casually throw together a list of 30+ titles that’s what you want right #like wtf #oh well #hope you find something you like anon #i have no idea why i’m this way either

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jalebi-weds-bluetooth · 5 years ago

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There’s More To Her #5

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Sweet Consequences

Arnav, Khushi, Akash and Payal stood by the Gupta House, reeling in their last chuckles.

"Seven times," Khushi began, muffling her giggle as Payal pinched her. "I mean, you punctured your car seven times to be able to meet Jiji." Akash reddened and turned to his cousin for help but Arnav chose to stare at his shoes, a small smile threatening his lips.

They let the moment pass, basking in the happiness the sunset brought. Khushi fiddled with her dupatta, Payal played with a strand of hair. Arnav tapped his foot, Akash cleared his throat.

"Payal ji-"

"Yes Akash ji."

Akash took a soft, tentative step towards her. Khushi and Arnav took a step behind, keeping a watchful eye over their cousins.

"I know a lot has happened. But, can you give me a chance? No, I'm not asking you to marry or even love-"

"Okay," Payal said, her cheeks warm.

"-nor am I asking for any commitment. We can date, at your convenience. And only during daytime, we would not meet for dinners, no, not at all. We can meet at parks, or films? Do you also like Salman Khan? Please only if there are any feelings from your end and after I have a conversation with my family-" Arnav and Khushi rolled their eyes, one of them had to intervene and stop Akash for the sake of his safety.

"Akash," Arnav placed a hand on his shoulder, "Payal said yes." Akash stopped and stared at Payal in amazement.

"But... since we're meeting outside, then I won't come alone." Payal said.

"Oh no of course. No no even I won't come alone, I'll bring Bhai with me. He'll accompany us." Akash grinned, forgetting that Arnav would have liked to have been asked before becoming an invited third wheel to his cousin's date.

"That's great, I'll also bring Khushi with me!" Payal chirped, unaware of Khushi's glare. Khushi could only groan in disbelief, since when did a younger sibling chaperone an older one? And since when did anyone plan on bringing their cousins to a date? Khushi looked up to find a similar expression of disbelief in Arnav's face.

Yet, at the hope of something new for Payal and Akash, it didn't matter if the cousins agreed to the weird courtship.

Akash rolled down the car window, letting the breeze touch his face. Honestly, nothing more had happened apart from Payal accepting to date him, yet, his instinct told him that he had taken the best decision of his life.

Payal gave him a chance. Gave them a chance. And he would prove it to her, for them. No matter how many years it could take.

Arnav watched his cousin stare at nothingness.

"Bhai, every love has its time, does it not?" Akash asked, humming off tune to the radio, "So nothing should be decided in a haste." Akash spoke to himself, not waiting for Arnav's reply.

Arnav gripped the steering wheel, Akash's words haunting him like a warning.

Payal stared at the moon as Khushi massaged oil in her scalp.

"Let the Goddess of Hair shine on you and present you lustrous locks for your date! Hey Devi Maiya, what will I do in this silly date of yours Jiji? I know they say the wife's sister is a half wife but you took this very seriously!" Khushi playfully tugged Payal's hair.

Payal slapped her hand.

"Uff, Khushi! You're crazy. You know I couldn't just meet Akash ji on my own..." Khushi wrapped her arms around her sister's shoulders. She understood her. They weren't raised like that.

"I know. But what's the use of these meetings? You two anyways wouldn't go beyond Akash ji, Payal ji..." Khushi sat by Payal and coyly smiled. Payal threw a pillow at her, "And anyways Jiji, I can handle all this, I wonder how Arnav ji would be, watching over you two. He'll die saying what-the-what-the-what-the!"

"Nothing like that would happen. And it's better if you two don't put your brains to get us together. I like Akash ji, I... love him. But it's necessary we take some time before jumping in to get married. I know, it's not like us... but when it comes to Akash ji I want everything to be perfect." Payal sighed.

There was a lot of ambiguity in their relationship. Payal and Akash hadn't even spoken to each other for more than half an hour, nor had they had a complete idea of who the other person was. She did not want any hindrance, any trouble or any obstacle during their wedding. And God forbid, the storm that his mother was!

"NO WAY!" Manorama yelled. The entire Raizada family gathered in the hall as Akash let them know of his intentions about Payal. Everyone, except Manorama, were glad.

"Maa," Akash, surprisingly calm, held his mother's hand, "What are your reservations about Payal ji? She's cultured, educated, well mannered and has a great personality."

"But she has no class! No money!" Manorama insisted. Arnav looked at Akash and willed himself to stay quiet. With immense confidence he had told Payal that Akash could defend her, now it was time to see it. Especially in her absence.

"And what would I do with more money?" Akash countered.

"No, you don't get it. She will marry you for your money." Manorama argued.

"Did you marry Papa for money?" The family fell silent. Manorama looked away, tears filling her eyes.

"Akash, bitwa, what are you saying. Your mother did not marry me for money." Manohar intervened.

"I know Papa, so how does Maa know that our money is all that Payal wants from me? In fact she has rejected me because of our wealth and class." Manorama looked up, surprised, "And have you ever thought that instead of these Miss Indias I might want a woman like you? A simple woman who married a simple man because she loved him, irrespective of his wealth." Akash said.

"Manorama and simple?" Devyani sneered. Promptly Manorama burst into pails of tears. The entire family groaned.

"Amma," Manohar warned his mother. Of course, there was a stark difference between Payal and Manorama. But there was also a difference between him and his son, Akash. While Akash had the sensibility to take things slowly and detach himself from the Raizada wealth, it was rather the opposite in the case of Manohar.

The minute Manohar saw Manorama he knew he wanted her as his wife. She was loud, boisterous, courageous and extremely ferocious. With a bluntness he saw in very few, she told him she liked the finer things in life. She carried herself with an air that separated her from the other servants. And Manohar was anything but shy. He carried every sense of Raizada in him, flaunting his wealth as a way to get her attention.

Of course, it all changed when they crossed lines and chose to run away and get married - and till now Manorama struggled to mend fences with his mother.

"And Manorama, let's be grateful that our bitwa is speaking to us rather than eloping with Payal bitiya." Manohar stated. Manorama flushed visibly. Clearly, she was outnumbered when it came to deciding Akash's wedding.

"She's not the best person for our Akash." Manorama gave her final argument.

"That... time will tell. He likes her, it's enough. Just like how I liked you." Manohar said, his tone holding a note of finality.

"Don't keep on comparing us with them!" Manorama argued, their relationship was her only weakness.

"Manorama, are any of your arguments different from that of my mother's?" Devyani and Manorama gasped simultaneously. Anjali, Arnav and Akash winced. Out of all the things that Manohar could have said, telling two women who hated each other that they were identical was the worst thing possible.

"Do you think I'm like Manorama?" Devyani seethed.

"And what makes you think I'm like Saasumaa? Am I always ordering the servants? Is the Raizada honor everything for me?" Manorama barked.

"Exactly. And bitwa, tell me which angle of me is obsessed with our class and status in society? Have I pressurized any of my grandsons to marry the way she's been pestering Akash?" Devyani huffed.

"So it's okay if Akash ran away with Payal ji?" Anjali, a silent spectator, finally spoke.

"NO! What will people think!" Manorama and Devyani shrieked, at the same time. Anjali rolled her eyes.

"Yes, you both are not identical." Manohar drawled. Devyani and Manorama glared at him, the sarcasm not missed.

Arnav realized it was time to intervene if his dearest Mama ji wanted to be alive to see any of the family's future weddings.

"Alright everyone. Akash is not getting married tomorrow and it's getting late. We all agree that Payal and Akash are a good match, now let's leave it to the two of them to sort out their issues and give a basis to their relationship. I think the goal of this meeting has been achieved - which is giving Akash our blessings. So let's retire for the day."

Manohar, very wisely, left the room as the two women of his life argued together against him on how they were not identical.

Akash whispered a quick 'thank you' to Arnav. He nodded. Watching Akash handle his mother and the situation with honesty and maturity filled him with pride. He had never been more glad to not be required in a situation.

"But Jiji, nothing starts perfectly. Over time we just learn to handle things better." Khushi advised, "And I know you're mostly worried about 'hello-hi-bye-bye', but give it time Jiji, I think Mami ji is a little crazy but not entirely bad."

"Little?" Payal asked, shuddering at Manorama's insults and outrageous fashion.

"Ok, more than little," Khushi chuckled, "But to think about it, I'm sure Mami ji is annoyed with you because Nani ji is always annoyed with her! When I worked in the Raizada house I realised that Mami ji is like us - she loves item numbers, devours sweets and has no filter in her mouth. If there's a difference it's that money makes no difference for us." Khushi said.

Payal had to agree that Khushi was right. According to Khushi Mami ji was not only the only one to enjoy the Jalebi Bai ringtone prank, but also the one to often give little quips of wit and wisdom every now and then. Probably just like she had stated that Akash didn't know her enough to marry her, she didn't know Manorama enough to finalize her impression on her - even if they had a few, bitter exchanges.

"First impression is never the last impression."

"Hmm," Payal agreed. All the heaviness and uncertainty of her relationship with Akash seemed to fade as the clouds in the night sky. His willingness to be with her, to listen to her, to take time touched Payal's very soul. Arnav's assurance that Akash wouldn't have remained silent gave her hope and butterflies in her stomach.

"Like Arnav ji isn't the way we thought him to be, haina?" Payal braided the rest of her hair on her own and lied on her bed. Khushi remained rooted to her spot, Payal's words haunting her.

"No, he's not." She whispered.

"And look at this, how we've changed. I never thought I would ever tell the man I love to not marry me but- what do you call that- yes, date him! Bua ji would get a heart attack and state that Delhi's uncivilized air has touched us." Payal declared.

"Hai Re Nandkisore! What is this dating waiting? In our days we would only see the photograph - how else do you think I married your Phupha ji?" Khushi swung her braid around her neck and imitated their Bua ji to a perfection.

"Sorry Bua ji, but it's not wrong to take some time, na?" Payal held her ears and apologised to "Bua ji".

Khushi chuckled and flicked her braid aside, "No Jiji, marriage and love is a lifetime commitment. If we take three hours to buy the vegetables we want, then it makes complete sense to at least spend three, proper, weeks to be with the man we want to be. And I'm sure it's different for different people, and some might get their fairy tales. But in reality everyone does not get that opportunity."

Payal looked at her sister who suddenly aged before her. Khushi seemed to be speaking to herself.

"Jiji, we were silly to think fairy tales are real. I, for example, don't have a sweet talking prince charming who'll keep me on top of the moon and stars ." Payal kept quiet.

"In fact my prince-charming is already married - to his anger!" Khushi grumbled. She could still feel his fingers around the flesh of her arm, his nose touching hers and the heat from his gaze. Khushi declared herself as ill to find his anger as another addition to her fondest memories.

How did it matter if he lost all his calm and was shattered at the thought of her getting married to another? How did it matter if she felt the same when he got engaged and made her plan the event?

"Khushi," Payal gently touched her shoulder, "Shyam ji is an angry man?"

Khushi blinked a few times as Payal searched her feelings. Realization began to dawn on Payal, Khushi was not speaking about Shyam.

"E Payaliya! Sanka Devi! Don't you have plans to go to sleep?" Madhumati hollered from the living room, switching off the lights of the house.

"Ji Bua ji!" The girls yelled back and tucked themselves into bed. Payal waited for a few seconds and turned to Khushi but she was fast asleep, snoring slightly. Worried, Payal patted her forehead and went to sleep.

Khushi watched her sister go to sleep and vowed to be more careful when she spoke.

Next Chapter

A/N: I hope you liked this chapter! This story will bite the dust in two more chapters so I'm really looking forward to your notes! Thank you for your time and for reading and don’t hesitate to chat - I love to speak!

Much love (and I pray you and your families are doing well),

P.S: Also read it on: Wattpad

#ipkknd ff #Arshi ff #iss pyaar ko kya naam doon #Arnav Singh Raizada #khushi kumari gupta #Akash & Payal #fanfiction #There's more to her

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venmomejoy · 5 years ago

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The Lucky Ones- part 2

Thank you guys for reading!! I hope you like this chapter :)

Read it on AO3 here !!!

part one / part three / part four

As soon as Neil made it back into his interim home, he spent hours pouring over the script Kevin had given him. Neil immersed himself in the pages of dialogue and stage directions, allowing himself to leave Neil Josten for a while and slip into the mind of Alex Howell.

The Foxes was a lot different than Evermore. Where Evermore focused on magic and fantasy elements, The Foxes had a modern setting, with no supernatural aspects. Rather than flashy effects and gripping action scenes, The Foxes depicted the messy lives and relationships of the students at Palmetto High School, specifically how they interact and respond in the wake of the murder of a classmate, all the while navigating friendship and romance and identity. Neil will be playing Alex, a transfer student who is chock-full of secrets, and seems to know more than he is letting on. The irony wasn't lost on Neil.

He tried to get some sleep, but only managed to toss and turn for a few hours, restlessness forcing his eyes open. Early morning light was just beginning to filter through the windows when Neil inspected the contents of his duffel bag, ensuring all of his belongings were still inside. He never unpacked the thing, or left it out of his sight long enough for someone to go through it, but he would rather be safe than sorry. He couldn't afford to lose these things; he would be completely alienated from all of his connections and resources if he did, losing contacts for quality fake IDs and coordinates for stashes of cash.

Neil desperately needed to run, craving the blankness of mind that comes with pushing his body to its limits, but unfortunately, abandoned houses weren't equipped with running water, and he thought it was probably bad form to show up for his first day sticky with dried sweat, for as soon as they landed in L.A., they would be heading straight to set so Neil could meet the cast and crew.

If the pale pink light coloring the walls was any indication, it was far too early for Wymack to retrieve him, but Neil was too agitated to lie around any longer. He settled for a walk, needing some sort of outlet for the nervousness slowly eating through his sanity. Motion had always been Neil's most conformable state; running was what he was used to, what kept him safe. There was comfort in it- in movement, he was always in a position to escape. Sitting still left him vulnerable. It was in stillness that he could be cornered.

Swinging his duffel bag over his shoulder, Neil turned and took one last look at the house. It was dingy, stains littering the ceiling and carpet, paint peeling off in large chunks, but Neil had kept it pretty clean. No one would suspect he had been squatting there for the past three and a half months. Neil took off without a backwards glance.

With hours to kill, Neil practically covered the entirety of the town as he walked. Residential streets eventually gave way to businesses- restaurants, doctors offices', the lone grocery store. Neil let his gaze dart around, checking for anyone hidden in the shadows, any strange cars passing him on the road. He knew this was a bad idea. Joining one of the most prominent shows on television was the exact opposite of what Neil needed to be doing if he wanted to stay alive. He needed to live in obscurity, and instead, he was pushing himself into the brightest spotlight he could find. Not to mention the fact that his personal life would be put on blast; the media loved to dredge up celebrities' private information. He wasn't sure his story would hold up under that kind of scrutiny. But he needed something, something to ground him, to sate this hunger for more than just survival.

Soon enough, the town started waking up. The streets began filling as people drove to work or dropped their kids off at school. There was a good amount of people walking as well, the town so small that it was easy enough to walk most everywhere you needed to go. Several people smiled as they passed Neil, some even waving in greeting; Neil instinctively dropped his head, letting his dark brown curls shield his face. Neil took the growing activity in town as indication that he should probably head towards the theater to meet Wymack.

Within ten minutes Neil found himself at the front of the theater. The building was deserted- no one had business at the theater at eight a.m. on a Monday morning. Neil sat on the concrete steps leading to the building, his knee bouncing as he waited for the ride that would take him away from this life, away from all he'd ever known.

The theater sat directly across from the high school. From where he was sitting, Neil could see the students lounging outside the building, chatting with their friends, waiting until the last possible minute to run into class. He had chosen to make Neil Josten eighteen when he moved here, even though he would not actually turn eighteen for five more months, so he had never been inside the school. Neil had been disconsolate when he arrived here; in the midst of altering his entire lifestyle so it would function without his mother, he didn't have it in him to bother with school. He also didn't want to worry about forging parental consent, which worked out well for Wymack's offer- being eighteen allowed him to sign the contract and work on set without required notification and consent of a guardian.

A honk startled Neil from his thoughts, his hands flying to his bag as his muscles tensed to run, but he relaxed at the sight of Wymack behind the wheel. Kevin was staring unabashedly at Neil as he stalks over to the black suburban. He slid into the backseat next to Andrew, and the smile he shot Neil was nothing short of venomous. Neil kept his face blank as he averted his eyes.

It was Kevin who spoke first. "Where is your stuff?"

"This is it." Neil tightened his grip on his bag as Kevin eyed it.

"Do you want to put it in the trunk?" Wymack asked. "We have a bit of a drive to the airport."

"I'm fine with it here."He could tell he had piqued Andrew's interest, could feel his eyes roving over his bag with renewed interest, but refused to acknowledge him. He could not give Andrew any indication of what this bag held, any reason to be curious about his belongings.

"Suit yourself," Wymack said, pulling the car onto the road. After moments of silence, he spoke up again. "So, Neil, you're familiar with The Foxes?"

"Sort of. I've seen a couple episodes." Without television or internet access, it was hard to find opportunities to watch.

"Wow, too good to act with us, and too good to even watch the show? You've wounded my pride, Neil," Andrew drawled from beside him.

Neil's jaw clenched, willing himself to maintain his docile persona. He didn't need to draw any unnecessary attention to himself, and certainly didn't need any enemies as dangerous as Andrew Minyard, if the stories about him were to be believed. "It's not that, we just didn't have internet access at my house."

"Your parents spend all that time working and they still can't afford internet?" Neil just looked at the blond, unable to come up with a response.

"Andrew," Wymack warned.

"We're all trying to figure out what the deal with your parents is. Well, I am, at least. My money's on them beating you, but Kevin and Wymack aren't the betting sort, so I'll have to take my wager elsewhere." Neil snapped his head up, meeting Andrew's taunting gaze. Neil knows he's just trying to provoke him, but it still unnerves him how close Andrew was to the truth after knowing Neil for an hour, if even.

"Jesus, Andrew," Wymack groans. "Cut the shit or I'll sign you up for the next marathon."

"I'm quaking in my boots." Andrew busts out in a fit of laughter that no one else joins.

Entirely ignoring Andrew's comments, Kevin steers the conversation back towards the show. "You'll need to watch the first two seasons before we can even think about beginning production." He twists in his seat to look at Neil. "Everything builds on itself in television; the plot of this season will be in direct correlation to the plot of the previous ones. It's important that you understand everything that has already happened, how the other characters behave and interact, so you can properly play your role. A lot of characters' backstories and personalities have already been explored in the earlier seasons, and everything that occurs in season three will be written with the expectation that the audience has seen the previous episodes and already knows these facts; we cannot repeat things for you. So these two weeks, while you familiarize yourself with the cast and the inner workings of screen acting, you will watch the show. Then we can get started on the actual acting.”

Neil knew all of this, of course, and was vaguely annoyed that Kevin was speaking to him like he was stupid, but he had told them he had no experience with screen acting, and an amateur would be hanging onto his every word. Unable to stoop that low, Neil settled on schooling his features into neutrality and offering a nod of understanding. But there was still another issue:

"How am I going to watch it?" Without a phone or a computer, there was no way for him to stream anything.

"You'll be staying with us in the cast house, and we have TVs there that you can use," Kevin said, either unaware of or ignoring Neil's confused stare.

Before he could ask Kevin about the cast house, Andrew spoke up. "Haven't you heard, Neil? We all live together during filming. One big, happy family." Laughter bubbles out of Andrew's chest.

This posed new complications for Neil. On one hand, he wouldn't have to waste as much money on housing and the like. He had been nervous about blowing so much of his resources on a house, since he imagined he wouldn't be able to get away with squatting on abandoned property with so many people watching him. He would probably still have to pay a portion of the rent and utilities, but it would be far less than he was expecting, and that lifted a weight off of his shoulders. On the other, it would make it a lot harder for Neil to keep things confidential. Not only would he be at risk for people looking through his things, if he had to run he would have a whole crowd of people to sneak past. He would have to keep his guard up all the time; one slip-up could cost him his life, and he would no longer have a space to drop his act.

The conversation dwindled after that, and the airport appeared sooner than Neil had anticipated. After checking their bags and going through security, the four of them walked to their gate and boarded the plane almost immediately. Neil was surprised to be seated first class; it made sense, he supposed, since he was flying with an acclaimed director and two of the most famous actors in Hollywood, but Neil had only ever flown in the economy class, he and his mother always opting for the cheapest option possible. The plush seats were roomier than the firm, cramped ones Neil had known.

He was sat with Wymack, Kevin and Andrew sitting together across the aisle. From what he'd heard in the news, Andrew and Kevin were practically inseparable, one hardly ever being seen without the other. If they were as close as the media seems to think, Neil understood why they choose to sit together, but Neil couldn't help a little stab of resentment when he realized they had left him with Wymack. He didn't have anything against the man, but he had a deep-seated fear of any man that was close to his father's age, and Wymack fit the description. Neil tensed as soon as Wymack fell into the seat next to him, his instincts revolting at the idea of sitting in close quarters with him. Neil clasped his hands tightly in his lap, willing his muscles to relax. After the plane plateaued in the air, Neil pulled out his script and begins analyzing the lines, chunks beginning to stick in his memory.

"It's important to read the entire script, so you know what is happening in the show as a whole, but after getting a general understanding of the episode's plot you should focus on your scenes. I know in theatre you have months of rehearsals to nail your lines, but screen acting is far more condensed. You have a couple of weeks now, but typically actors get the script only days before they begin filming. No need wasting brain space on scenes you are not even in."

Neil suppressed an eye roll at Wymack's unsolicited advice. His director filled the first half of the flight preparing Neil for what he would face when he arrived in L.A., explaining what the set would look like and how a typical day of filming would go. It had been many years since Neil had been on a set, and he had been a child at that, so he gladly absorbed all the information Wymack gave him. He told him a little bit about the main cast, and he told him that he and the rest of the cast will have biweekly meetings with their acting coach, Abby, courtesy of Kevin. Apparently, Kevin thought their biggest issue was that they acted as individuals, not as a team. In a scene, the actors need to draw from each other's energies and emotions to make the connection authentic, and Kevin's been working on making the cast more in sync. He and Wymack eventually settled into silence, Neil reading his script and Wymack typing away on his laptop.

The flight was pretty short, only two hours of airtime before they were landing in LAX. The drive to the studio was quiet, the occasional comment fading into silence. Neil was staring out the window, taking in the scenery of his new home. It was dirtier than he expected, but still nice. He assumed the beautiful scenery always seen in movies was towards the beaches, not in the middle of urban life, so he cut the city some slack. The sheer amount of people he saw passing by had him clutching his duffel bag tighter. It was too easy to get lost in a city this big, to disappear and have no one notice you're gone until it's too late. Neil had been looking over his shoulder his whole life, but that isn't always enough when people are coming from all sides.

They drove through security at the studio, providing authorization before parking in Wymack's designated spot. As Neil swung out of the car, he spotted a brown-skinned boy sprinting towards him, a grin breaking out on his face. If the curls didn't give the man's identity away, his personality did: Nicky Hemmick was bubbly beyond belief, his excitement making Neil vaguely uncomfortable. Walking at a much slower pace behind Nicky was a carbon copy of Andrew- his twin, Aaron.

"You must be Neil," Nicky panted, sticking his hand out for Neil to shake when he got close enough. "How was your trip? I hope Kevin and Andrew didn't soil your opinion of us; I swear, the rest of us have manners."

Andrew feigned hurt. "Here I was, expecting a touching reunion, and this is what I'm met with? Slander, and from my own cousin!"

"It was fine," Neil said.

"That's good to hear. I'm Nicky, by the way. I play Henry." Nicky's character had always been a fan favorite; many people found themselves relating to the sweet gay kid and the adversity he faced as he came out.

Neil pulls up a quick smile. "It's nice to meet you."

Aaron didn't so much as acknowledge Neil when he looked over at him. Wymack's gruff voice spoke up. "Is everyone else inside?"

Nicky nodded. "Anxiously awaiting our newest member," he said, sending a wink Neil's way.

With that, Kevin strode forward and Neil followed him into the building, Wymack, Nicky, and the twins flanking him. Kevin was pointing things out as they walked- where the bathrooms were, where the craft service was located- and eventually led him into the lounge, where the rest of the cast was sitting. Almost all of them stood as Neil entered, a tall boy with spiky black hair approaching him first.

“Matt Boyd," he said, extending his hand. "Wymack showed us some videos of you performing, you seem like you have real talent. We're excited to work with you."

"Speak for yourself," Aaron muttered from behind him.

"Thank you," Neil responded to Matt. The man only clapped him on the shoulder, not noticing the way Neil stiffened under the contact.

Matt pointed to the short-haired girl standing behind him, a fierce smile on her face. "This is Dan, our fearless leader." Dan Wilds played Kayla, the shows main protagonist.

"And that is Renee," he said sweeping his hand to a girl with a kind face and rainbow-tipped hair, before moving onto a couple, the girl sitting on the boy's lap, his hands running idly over her thighs. "And the PDA show stars Allison and Seth. Those two are always all over each other. Well, unless their fighting. Then you won't see them speaking unless it's to hurl insults at each other."

"We can hear you, dick," Seth seethes.

Dan steps forward, halting the brewing fight before it could take off. "It's really good to meet you, Neil. Kevin said you have already started looking at the script?"

"Yeah, I studied it last night, and on the flight."

"Perfect, we want you to be as prepared as possible for your first time on set. We have a training session with Abby tomorrow, so that will give us an opportunity to feel out where you are in your skills and how you naturally work with all of us. We can go from there." Neil simply nodded.

"The table read for the episode one will be in two weeks," Wymack says. "In that time, Neil, you need to be caught up on the show and familiar with the set. These guys will all help you if you have any questions. Now, I've got paperwork to do, so you maggots do something useful for once and show Neil around." With that, he strode out of the room.

Neil stood their awkwardly for a moment, unsure what to say, but Dan quickly came to his rescue. "Let's go, Neil. We can take you by your trailer so you can drop your stuff off, and then we'll show you the inner workings of a television set."

Neil followed Dan, with Matt, Allison, Seth, and Renee coming as well, but turned back to look at the group he was leaving behind. Kevin, Nicky, and Aaron were paying him no mind, not even noticing his gaze, but he found Andrew's eyes already on his. Andrew's intense gaze never wavered as a slow smile spread across his face. When Neil didn't break his stare, Andrew cocked his head to the side, flicking his fingers in a mocking goodbye.

Neil had the feeling he would be seeing a lot more of Andrew. And he doubted it would be friendly.

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revisionaryhistory · 5 years ago

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Three Days ~ 3

AO3

~*~Sebastian~*~

I straightened my clothes when I got out of the SUV. I realize my first impression is already shot to hell, but I'm attempting to make up some ground. In front of her door I closed my eyes and took a few deep breaths before knocking. I tried to re-frame my sudden nervousness as excitement. When she opened the door two things happened. My mouth started to water and my jeans shrank at least one size.

I went with it. "You look beautiful." I kept my voice soft and smiled.

The peach shirt and white jacket set off her eyes and slightly tanned skin. I liked the slight swell of her breasts showing out the top of her shirt. Just sexy enough. I mean, I have nothing against naked breasts, rather like them, but this was a good first date look. Believe it or not, there is such a thing as too much. And there's time and place for more. This wasn't it.

Emma smiled and put her hand on my bicep, "Thank you. You clean up nicely."

I laughed, "I didn't really pack for a dinner date."

"I thought you might be limited, so I went with jeans."

My head jerked a little in surprise. "That's really nice. Thank you." I had to stop myself from staring. I'm not sure what I'm more amazed by: her kindness or the ease with which she speaks about her thought process. She says it like it's no big deal, but it is. Or maybe I'm more jaded than I thought. I snapped myself out of my thoughts, "Ready to go?" She nodded and I put my hand on her lower back, leading her to the vehicle.

I started backing out and remembered I didn't know where we were going. I put on the brake, rested my hands on the steering wheel, and looked over, "Which way? Where we going?"

"I had two ideas. In town there's a pub. Typical pub food. Bar on one side. Restaurant on the other. Probably live music, but its not loud on the restaurant side. Or about five miles north there's a place on the river with outdoor tables. They specialize in ribs and barbecue, but have everything from steak to seafood."

"Outside on the river sounds good. Nice night for it." I pointed at the navigation screen. "You put it in. Then we can talk without getting lost."

She laughed, "Are you sure we haven't met before? I'd completely get talking and forget to tell you where to turn."

"I think I'd remember." I smiled and watched her press the buttons. Her nails where longer than her fingertips. Long enough to feel, but not so long as to do damage. I should probably stop thinking like that or my my pants are going to shrink more.

"How is the moving going?"

"Good. They hired movers for the actual move. I'm here to shift boxes to other rooms, hook up electronics, and hang things. I think mom used the move as an excuse to get me to visit. When my step-dad retired they moved upstate. Now they're closer again, so it'll be easier."

"Are you an only child?"

"I am. Mom and I left Romania when I was eight then moved to New York when I was twelve." I didn't know if she knew my history or not. It was very vain to think she'd googled and read interviews. I wasn't sure if she was a fan. I liked how my job wasn't part of the conversation. That couldn’t last, but it was nice for now. "What about you?"

“I have an identical twin. Amelia.”

I don't think she was done talking, but I burst in. “That's so cool. Emiliana and Amelia. Did you switch around to fuck with teachers and boyfriends?”

An evil grin crossed her face. “All the time. Our parents mostly. They could never tell us apart. They tell this story about how my dad was so sleep deprived that he forgot to put on our color coded booties and they're not one hundred percent sure which one we really are.”

“Oh fuck! Priceless.”

“Once we hit our junior year Amy cut her hair and started dying it red. If we wanted to pull anything off we had to pull our hair up and shove on a hat. She's got a daughter now and since we're identical twins Katie is genetically my daughter too.”

My mouth dropped open, "I'd never thought of that." I raised my eyebrows, "Never been out with a mom before."

"First time for everything."

We laughed and conversation was easy the rest of the short drive. She pointed out the river walk and restaurant as we drove across the bridge. I was thinking an after dinner stroll was a good idea.

It was early enough that getting a table by the water wasn't a problem. Either the time or the hostess recognized me. She sat us in the corner of the deck with water on both sides. It was a beautiful view. My date and the scenery. Date was better. Before the hostess left she looked at me, "I'll send your server right over, Mr. Stan."

I guess that answers that.

There was a drink menu on the table. I picked it up and looked at Emma, "Do you drink?" She nodded and I handed her the menu. "A beer on the water sounds good."

The server showed up, took our drink orders, and by the time she brought our beers we were ready to order. There was a lull in conversation between discussing the menu and whatever was going to come next. We both took a drink to fill the space. I pulled at the label on my bottle nervously. "What do you for a living?" I knew I was opening the door for the same question, but it was the next logical topic.

"I teach first grade."

I never had a teacher who looked like her. "Why first?" I liked finding out why people made the choices they did.

"I like teaching the little people to read. Kindergartners are too squirrelly. There's a lot of time just teaching them how to be in school. Lots of crying in Kindergarten. Fifth graders are starting to be smart asses."

I nearly spit my beer across the table.

She laughed and handed me a napkin from the dispenser on the table, "They are! The hormones are starting to kick in. No thank you. Third and fourth are assessment years and it's all about getting them ready. Second is this weird hybrid where you're reteaching what they missed in first and getting their basic skills ready for third." She took a drink and continued. "First graders are perfect. They get so excited when they can put sounds together to make words and then read the words in a book. Or when they figure out three plus two is the same as counting three stars and two stars, figuring out the algorithm. I love teaching them to subitize. That’s knowing how many things there are without counting them. We play songs and games. Their little faces light up and they're so proud of themselves. The ones who struggle. It's hard to figure out how to help them and keep their confidence up. They break my heart." She put her hand over hers.

Her love of what she did was obvious. I couldn't remember talking to a teacher after I left school. My teachers just tortured me with homework, papers, projects, and group work. I shook my head, "Until right this second I had never thought of a teacher being excited about their students learning."

"You either had shitty teachers or hated school."

"Both." I looked up, searching my memory. "Leaving Romania was good, but I didn't speak anything but Romanian. I was a good student, but when we moved to Vienna I had to start over. I couldn't communicate. I couldn't read. It was hard. Mom threw a fit because my teachers used the language issue to not push me. She wasn’t having it. Then we moved here and it was starting over again. I was in that awkward stage, had at least three chins, didn't have any friends, and could barely speak English."

She cringed, "I don’t like your teachers. You have to work harder. There's always kids with stories. Whether they’re new, or a parent has died, or they don't speak English, or they've been abused, or they’re just different. You have to work harder to find a way to connect with them and be different for them. You have to have the relationship to help them learn. I'm not going to lie, sometimes you don't like a kid, but that's the job. You're the adult. Figure out how to make it work."

"Yeah, I didn't have teachers like you. It got better. Puberty helped and so did partying." I smirked around my beer bottle as I drank. "My teachers didn't look like you either. Would have paid more attention if they had. Well, maybe not paid attention, but enjoyed class more."

Her shoulders raised a little and one side of her mouth curled up, "Want me to teach you to read or something, Seb?"

"Now there's a loaded question." She’s still figuring out what to call me. Fuck. I might be sad when she figures it out and sticks to one name.

Luckily or unluckily our appetizers arrived. The flirting was fun, but we’re early into dinner. Lots of time for flirting. Good to mix it up.

We'd ordered a sampler. I picked up one of the fried pickles, "There's a place in Atlanta where these are called frickle pickles."

"I grew up in Alpharetta."

"Did you? I've spent a lot of time in Atlanta." I kept going without even thinking. "The Marvel movies filmed there and most of Falcon and the Winter Soldier will be filmed there." I stopped with a pickle about to my mouth. "Umm."

"There's the elephant in the room." Emma popped a french fry covered in cheese and bacon in her mouth.

I chewed my pickle slowly to buy a little time. What for I don't know. It's awkward. I wiped off my hands and finished my beer. "I was enjoying ignoring the elephant." I leaned forward onto the table. "I liked just being a guy on a date."

"You still are." The look on her face was showed she was amused.

I liked that she wasn’t taking the topic seriously. I'm pissed I brought it up. We were doing fine getting to know each other without the complications of what I do. No one explains that part to you in acting school. You just learn about the craft, business, and what not to do an audition. They don't teach you about someone posting a picture of you laying shirtless in the park. You're doing what everyone else is doing, but if you were anyone else no one would care about you laying in the park getting some sun. This is why actors, and models, and sports stars date other actors, and models, and sports stars. All of those things which become a normal part of your life are normal for them too. It's not normal to other people. And until I mentioned filming in Atlanta I was having a damn fine time being a guy helping his parents move.

I want to fucking scream.

I drummed my fingers beside the plate. "I liked being the homeless guy you met in the baking aisle."

She frowned and put her hand over mine, "I didn't think you were homeless. There's a rehab facility up the road. I thought you were an addict stopping for chocolate before checking in. To help with the withdrawal."

I threw my head back and laughed hard. "Even better!" I turned my hand over, holding her fingers, and rubbing my thumb over her soft skin. "Can I go back to being that guy?"

“You're still the sweet guy running errands for his mom. The one I waited for at the check out. Before I knew his name or recognized him."

My eyes were wide and I was doing that thing I do where I'm licking my lips and playing with my tongue. That can mean lots of things. Right now is intrigued with a side of slightly nervous.

"It's going to be hard to get to know you if you don't tell me about your friends and what you do with your downtime."

She had a good point. I wasn't sure what my plan had been. Her talking about herself all night wasn't going to work. "I can do that. Talk about my friends."

Things have gotten more complicated. Not for the reason I expected. We've pretty much worked around the how do I be an ordinary man with a not so ordinary job problem. Now the problem is I'm holding her hand. It's soft and warm and I don't want to let go. I want to stay touching her. I can not figure out how we're going to eat.

#Sebastian Stan #fanfiction #sebastian stan fanfiction

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zen-garden-gnome · 5 years ago

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REALLY investigating the debate over vaccines (from a lay-person’s perspective).

I want to unravel some things about the vaccination debate, following days of research into the matter. It wasn’t enough for me to know how I felt, already. I didn’t think my personal relationships had to suffer maximally in order for me to live honestly. So I decided to dig in and make myself more knowledgeable, and to let myself empathize with more people. There was so much to cipher through and it took so much time that I had to take notes to help keep things connected. The process reminded me that the internet is not as easily traversed for all its users, and that in the end, the “vibe” one picks up decides a lot of what we’re willing to follow any deeper (particularly, whether or not we even notice a “vibe” in the first place). Zooming way out also reminded me of just how many “entry points” there are for this subject, and helped me empathize with a lot of people. It turns out, “anti-vaxxer” is a term applied to people across a pretty wide range of subtly differing perspectives. I think we can all agree that the despair and disgust and distrust the world is experiencing won’t improve if we can’t get our attention back, ‘cause that’s largely what this is about. We are inundated with so much manipulative information that we struggle to steer our attention toward the core values that we mostly share, which takes us further and further away from each other’s realities. We know less and less about each other but think we know so much more because we’re surrounded by manipulative/self-preserving chatter.

I wanted to cut through the noise and show where some things connect, and where some others only appear to. For anyone who knows there’s a lot going on but doesn’t know where to begin approaching it. For anyone who feels on the fence in any way. For anyone who feels isolated by their view of the circumstances. For anyone who struggles to understand why so-and-so would think such-and-such. For anyone who thinks they already know. For anyone with even a passing curiosity. And of course, for myself. I’ve worked to collect and organize this for all and anyone. I do my best to stay objective without pretending I don’t have my own opinions. My research wound up focusing on a few key people and their research, the theories that have arisen, the science used to address them, and the demographics who are the most moved by it all. This is an entire research paper and I had no idea it would go this far when I started.

Judy Mikovits is a former medical researcher and current anti-vaccination advocate. She has some valid criticisms of how the US government handled the release of treatments for HIV and for the poor ways people treat their immune systems. She claims in her book (and in a viral video that recently hit the internet at the kick-off of the COVID-19 pandemic in the US) that Anthony Fauci barred her from continuing her research at the National Institute of Health (he denies this). She refers to the COVID-19 pandemic in quotes ("pandemic"), refuses to wear face masks, and discourages others from doing so because she thinks that taking care of one’s own immune system and cleanliness is all she should need to do, by her own words. Vaccines (and just temporarily breathing in more of one’s own carbon dioxide) aren’t worth the risk, she says. Mikovits has spoken at numerous anti-vaccination events and her retracted papers are frequently referenced in their propaganda (and there’s no denying it’s propaganda).

When she was a virologist and medical researcher, Judy started working to uncover viral causes of diseases when she was hired by a couple whose child had Chronic Fatigue Syndrome and wanted to find the cause. The work she published in Science magazine about proposed retro-viral causes of CFS in 2009 was retracted when peers from 9 separate labs failed to get the same results and negated her findings (and when two of her co-authors reported that their patient samples had been contaminated by the virus in the lab, as opposed to the virus already being in the samples). Two years later she was fired from her job over the quality of her work and control of her lab samples, which seems relevant considering the apparent reason why her 2009 results were supposedly wrong. She was arrested and tried for stealing lab equipment and documentation when she left. She returned some of the lab notes and the criminal charges were dismissed.

Judy continues to reference her outdated research to this day (the research about specific retroviruses causing some specific diseases). Now she’s using her debunked data to fire up her main argument: that up to 30% of modern vaccines are “contaminated” with retroviruses and the government is trying to cover up a dangerous problem with its vaccines, putting everyone at risk (especially young children who get a large host of vaccines in a relatively short period of time).

This was where I knew I had to learn more about how viruses and vaccines interact with our bodies. A retrovirus is commonly called an RNA virus, which is a virus that uses a host cell to replicate its viral RNA as DNA. This is the opposite of what DNA viruses do, which is to use the host cell to replicate their DNA as RNA. An RNA/retro-virus also has a type of enzyme that allows it to insert its new DNA into the host cell’s DNA. This altered genetic information can lead to increased erroneous cell production, which increases the likelihood of developing cancer and other diseases depending on where the viral DNA is injected into a host cell’s DNA. Whatever gene is changed may cease to function, leading to disease. For example, HIV is a retrovirus that results in a syndrome that makes one prone to all kinds of diseases.

As it turns out, some vaccines do contain retroviruses! And it also turns out that that’s ok. Sometimes that’s part of the genetic material virologists are working with. Some of our vaccines are only possible with that genetic material. The presence of a retrovirus doesn’t necessary do anything to the vaccine. The vaccinations don’t infect patients with retroviruses because the retroviruses found in the vaccine are non-infectious. It’s an extremely important part of how a good vaccine functions. Viruses can cause diseases, but vaccines don’t contain live infectious material. That’s why there were no reported issues with retroviral infection by our vaccine safety systems (systems that exist because vaccines have never been perfect and always have some potential for side effects, so their risk factors are studied thoroughly). When the technology was available to investigate the retroviruses previously unknown to have existed in the MMR vaccine, they were confirmed to be non-hazardous.

Mikovits is clearly a knowledgeable professional in her field and has some valid opinions/points about health, medicine, and federal failures. But her identity seems to be wrapped up with the debunked research that changed her career, and no professional knows everything, even in their field. The wrongness isn’t my concern. It’s what she’s doing with it, and the fact that she’s ignoring the research negating her old findings.

Kent Heckenlively is the co-author of Judy's new book, and an anti-vaccination activist. The fact that he's also a lawyer really stands out to me. The founders of the Westboro Baptist Church (the "God Hates F*gs" group) are ex-lawyers who use their offensive protests to rile people up and then sue them for "hindering their rights." It's how they make their money. Anyway, Kent is co-founder of a group called Age of Autism, which claims to be dedicated to helping kids and families with autism. But as you can probably tell by the name of the group, they're much more concerned with the fact that they perceive a dangerous uptick in autism statistics (an issue that’s related much more to the evolving access and categorization of statistics and disorders than anything else). Age of Autism doesn’t actually tend to involve people on the autism spectrum in their work (other than to use them as examples), and their focus is not on helping (or even understanding) those with autism, but on getting rid of autism--as if the spectrum of conditions related to autism was a single “disease,” and as if it’s unacceptable that people exist with those conditions (more on that later).

As autism has increasingly become a recognized "condition," it's diagnosis has become more common, and because it's really only diagnosed based on social behavior, it may go unnoticed prior to ~18 months, if it’s noticed at all. Many more people live "on the spectrum" than we ever know (did you know Sir Anthony Hopkins is also on the spectrum?), and before it was more widely recognized, we had all kinds of names (and institutions) for people living with more severe effects. Kent's daughter was diagnosed with autism at around the age that she got some of her vaccines, which led the distraught father to believe it was vaccine related. Sometimes people do have mild reactions to vaccines (nothing’s perfect), and I can understand parents being scared and hurt for their children. I can also understand questioning various authorities. We know good and well that governments use poisons (Agent Orange in Vietnam), diseases (smallpox in the colonies, syphilis at Tuskegee), and vaccines as playing cards in their efforts to control people/power (we saw it again when Trump tried to get exclusive rights to the Coronavirus vaccine being researched in Germany). But lots of people see “Thing 1 Happens, Thing 2 Happens After, Which Must Mean Thing 1 Caused Thing 2.” Unsurprisingly, people can develop identities that revolve around getting rid of the "disease" of autism.

But Autism is not a disease. Autism is an umbrella term for a range of neuro divergences (to be diagnosed you have to hit like... 4 out of a possible 15 some-odd behavioral checkmarks), and issues like those relate to aaaallll sorts of things. Things that people with autism talk about often. If anti-vaccination organizations actually advocated for people with autism, they’d let people with autism advocate for themselves. Because people with autism do self-advocate, and they take umbrage with groups like Autism Speaks and Age of Autism. People on the autism spectrum often have lots to say about the agendas of these groups and the resources that are taken from the those who actually need them. From the Autistic Self Advocacy Network: “While no link exists between autism and vaccines, of greater concern is the willingness of those who promote this theory to suggest that exposing children to deadly diseases would be a better outcome than an autistic child. Vaccinations do not cause autism – but the use of autism as a means of scaring parents from safeguarding their children from life-threatening illness demonstrates the depths of prejudice and fear that still surrounds our disability. Autism is not caused by vaccines – and Autistic Americans deserve better than a political rhetoric that suggests that we would be better off dead than disabled.”

Folks on the spectrum sometimes have lots to say about the toxic living conditions of their childhoods, too. About neglect and abuse and trauma. It’s important to keep in mind that the behavioral issues tied to autism are also the behavioral conditions often tied to things like PTSD and ADHD, both of which relate to life events/patterns. As a teacher, I’ve learned a lot about the links between developmental/behavioral problems and the (dis)ability of parents to respond to their children based on their children’s needs (rather than primarily on the parent’s own traumas). For young children, especially with any kind of special need (a very broad term), simply navigating through a world that’s inflexible with their needs can be traumatic. Our environmental conditions can even effect how our genes are expressed over time (literally, sometimes time IS the trigger for gene expression). Everything is born out of its environment—out of our food, our water, our sense of security, our parents’ genes, everything.

Which brings me to one of the biggest stories in the vaccination debate: that of Hannah Poling. I bring this up because this is the one I was most familiar with, and the one I empathized with the most--particularly because there was a court case related to it. When she was 19 months old, she received 5 vaccines, and two days later her parents reported new behavior—lethargy, irritation, and fever. Months later, she was diagnosed with mitochondrial enzyme deficit (MED), which means the conditions she displayed were also contained within the autism spectrum. Her parents successfully sued for compensation under the Vaccine Injury Compensation Plan, a program started by the federal government to address public concerns of vaccine safety in light of the noise raised by anti-vaccination groups in the 80s. However, MED is an autosomal recessive disease, which means both of Hannah’s parents had to carry the gene in order for her to get it. She already had it, and either it hadn’t expressed itself yet, or her parents hadn’t noticed (or reported) the symptoms so early in her development. Indeed, the Poling case only claimed that her vaccines exacerbated her symptoms, but this raises 4 important points: 1) There’s no evidence that this is possible, and not because “no one’s looked.” 2) We should really think critically about whether or not we should withhold treatment for diseases like smallbox and whooping cough under the unfounded notion that some vaccines may exacerbate existing conditions, 3) under-reported is the fact that Hannah presented other immunological challenges prior to her vaccinations, and 4) despite a popular claim made by anti-vaccination groups, there’s actually no evidence that multiple simultaneous vaccines can overwhelm an immune system.

That last one was really important to me, because I had read years ago that a child’s immune system was potentially too underdeveloped to handle so many vaccinations. The notion seemed logical enough, and I felt awful for parents who had these real fears. But it turns out, the immune system of an infant has the potential capacity to respond to thousands of vaccines simultaneously. It has to! Babies are RAW, lol. And it turns out, medical researchers can be pretty damn thorough, so they knew this well before they were delivering grouped vaccines to toddlers. And while the number of vaccines given to children has increased, they contain even fewer antigens than they used to thanks to medical improvements.

But I have another name. Andrew Wakefield was stripped of his medical license in Britain and came to America, where he became a prominent anti-vaccination activist. He published findings in Britain in the mid 90s that claimed that measles (and “therefore” its vaccine) caused Crohn's disease, but peer research failed to repeat his findings and his claims were subsequently debunked. After shifting his focus to the measles vaccine and autism, he wound up leaving the school of medicine where he worked (under “mutual agreement” at the school's request), because he repeatedly refused to re-attempt the research which had formed the basis of his initial claims. Andrew moved to America to continue pushing his theory that measles and its vaccine caused autism, despite already admitting that it was "not proved." He's barred from practicing medicine in the UK and is not licensed in the US.

I bring up Wakefield because the fuss he raised lead scientists and doctors to look into these claims. It makes sense for these potential issues to matter to the medical community, after all. All resulting work refuted any connections between autism and these vaccines. Luckily, this work also looked into some other claims about vaccines, too, such as the concern that mercury in vaccines could cause autism or other conditions. Ethylmercury is used in the preservative thimerosal, which prevents bacterial growth in vaccines. Methylmercury (the mercury found in fish) can be highly toxic to people, while ethylmercury clears more quickly from the body--so quickly that the small quantities used in vaccines don't have time to build up or cause any problems, other than the possibility of a red rash at the injection site (and the fact that, inevitably, some people are allergic to it). However, given the rising concern in the late 90's and gradual improvements in medical science, the use of ethylmercury in vaccines was reduced in 2001, and for childhood vaccines was completely eliminated. Despite this, it remains a popular concern.

There are so many other people and cases and theories, but these seemed to be the big ones.

...But there’s one more variable I need to dissect: The general focus on eradicating autism, as opposed to supporting the autistic. Parents and their supporters are trying to find the right thing to do. It’s their earnest desire to overcome the problems they’ve been led to see, and their energy is being funneled away from them and used against all our best interests. (Perhaps it’s worth considering, too, where everyone else’s energy is being funneled these days…) For me, this is the variable that’s hardest to talk about, because it asks people to look at their own shadows with acceptance and forgiveness.

The development/behaviors of people on the spectrum aren’t necessarily “wrong,” but we’re subtly and explicitly told to see them this way. Many of these behaviors/developments are very natural responses to toxic/inhumane social and environmental conditions and expectations (some of them are even specifically considered evolutionary pros, traits that help people survive these environs), albeit at times difficult to interact with and other times self-destructive. Everything has extremes. And between environments and genetics, parents aren’t always able to recognize the myriad little things that might contribute to developmental and/or behavioral issues. Since so many of these things lie on the autistic spectrum, “autism” becomes a target in and of itself. Parents may see their children as victims of a toxic world, and they may see themselves as strong shoulders under (secretly) unwanted circumstances. Many parents also feel that “no good parent would ever feel that way, so I don’t either.” This kind of inner conflict is incredibly difficult for people to deal with, but the truth is, conflicting thoughts and emotions are perfectly normal. Emotions are valid and thoughts don’t define us. Both are fleeting. Feeling like we’re not “allowed” to feel conflicted makes us feel guilty/bitter/both. (Tested by God” and “blessed by God” have the same ring, sometimes.)

Some parents also experience guilt/bitterness over the possibility of being part of the environmental/genetic (especially genetic) circumstances that contributed to a child’s disorders. Or, guilt over having been unable to bring them into an accepting or supportive society. Plus the guilt over being sometimes unhappy with the resulting circumstances of one’s life. Guilt. Frustration. Bitterness. Sour grapes. Saving someone else from this “burden” and future children from sharing in this “unacceptable” situation becomes a righteous cause. Furthermore, in finding the person/thing to blame, they’d finally be allowed to express all that despair and frustration. The emotional attachment and roiling undercurrent is very attractive to manipulative individuals. I see it happen a lot, and I see people with autism talking about it. My heart truly aches for everyone going through this. But none of this helps the person on the spectrum. Nor does it help the well-meaning parent.

Maybe parents and supporters wouldn’t be so desperate about and fearful of autism (and vaccines) if having a child with special needs wasn’t so isolating. Maybe if our communities, institutions, and organizations focused on empowering and supporting the vulnerable, on creating equity where ever possible, autism wouldn’t be so overwhelming and wouldn’t even be as common. Maybe if we responded to people on the autism spectrum (and everyone else) as they are, instead of how we want/expect them to be, then the whole situation would change entirely.

In my research and personal interactions, the common thread among those who question the overall value and trustworthiness of vaccines is that of a “dark world” full of “bad people.” Things are so dark, apparently, that the global medical and scientific community is less trustworthy than the few who disagree with it on this particular issue. Is it any wonder? Our culture is exploitative and manipulative, and lays out a set of requirements for human value that even the neurotypical struggle to meet. We all hurt! We’re all wary! And of course we are!

But it turns out, much of the darkness we see in the world relates to what we’re looking for (or at the very least, what we’re trained to look for). In an age of endless, algorithmically-driven “information,” it’s very difficult for many folks to navigate, discern, and prioritize--especially when it’s a personal issue, making it easy to exploit our emotions. The machine keeps us fearful and hungry and separate, but perhaps we shouldn’t despair over that. After all, the active effort to keep us fearful and separate reflects our underlying nature to work together, to connect, and to grow.

Researching all this was complicated. Lots dead-ends, seemingly believable stories from once-trusted professionals, self-referential content, emotionally manipulative content, questionable authorities (authority is always questionable), and a shit-ton of complicated medical research. This is the amount of research it took for me to pick through everything. It’s no joke.

And that brings me back to the present. To the stuff happening right now. Areas surrounding anti-vaccination communities are seeing a drastic rise in diseases that had been long gone before the anti-vaccination craze. Not everyone is equally susceptible to pathogens, and our willingness to receive imperfect but well-researched vaccines is about everyone else in all communities, not just ourselves. No matter what anyone chooses to believe about the “source” of COVID-19, it’s disabling and deadly and highly contagious, and just because it may not be highly visible in someone’s community doesn’t mean it’s not ravaging other communities. As for uncertainty over the Coronavirus being “real,” if a person is only willing to believe resources calling for them to be angry and afraid and suspicious of everyone else, it seems to me that one would have to investigate their own worldview, along with one’s view of themselves and their own shadows. If one sees the world as inherently bad and humans as inherently fucked, that relates to how one feels about oneself and an incomplete notion of the lives of other people. That is the perspective of a traumatized person. Self isolation is deadly, so we ought to be wary of things that seek to isolate us. These self-isolating notions are fed back to us by the algorithms guiding our internet activity, keeping our behaviors predictable and controllable. We keep clicking and returning, fed by a sense of tragic righteousness, by the same programs designed to keep people coming back to slot machines. The internet is not a neutral entity because it functions in a capitalist, undemocratic state. It must be used carefully. The book Team Human by Douglas Rushkoff highlights the nature of these algorithms and the systems which use them. But more importantly, it also highlights the things about humans that make us lovable and forgivable. The things that make it possible to manipulate us in the first place. There’s a lot of wild shit going on, but it’s not happening because “humans are bad.” It’s happening because we live in an age forcibly ruled by the most self destructive culture/ideology on the planet. It’s the ideas, not the species. That means we have work to do. Inner work.

Sources:

https://speakingofresearch.com/2019/04/24/celebrating-world-vaccination-week-pt-3-the-post-wakefield-fallout/

https://www.pennlive.com/nation-world/2020/05/who-is-judy-mikovits-and-what-does-she-have-to-do-with-anthony-fauci-and-the-coronavirus.html

https://vaxopedia.org/2018/12/29/are-vaccines-contaminated-with-retroviruses/

https://www.nejm.org/doi/full/10.1056/nejmp0802904

https://autisticadvocacy.org/2015/09/asan-statement-on-gop-primary-debate-comments-on-autism-and-vaccination/

https://autisticadvocacy.org/wp-content/uploads/2017/07/First-Hand-Perspectives-on-Behavioral-Interventions-for-Autistic-People-and-People-with-other-Developmental-Disabilities.pdf

https://sciencing.com/differentiating-rna-dna-viruses-4853.html

https://www.motherjones.com/politics/2020/03/a-fake-pandemic-antivaxxers-are-spreading-coronavirus-conspiracy-theories/

https://www.thechildren.com/health-info/conditions-and-illnesses/q-vaccine-safer-getting-real-disease

Also so much Wikipedia.

#health #vaccines #empathy #autism #virus #society #zgg

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matildainmotion · 5 years ago

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Equality and Diversity: Mothering Difference, Making Art

I have been slow to talk or write about race and diversity because of feeling vastly ill-qualified to do so. I’ve felt I should shut up, listen and let people who do not identify as white, straight and able-bodied do the talking and the writing. But recently I have come to realise that branding myself as ill-qualified feeds into the idea that ‘white’ is all-pervasive, as if white is so much the norm that it isn’t even a race, so what would I know about it? As if I am not part of the problem. I have done enough listening now to understand that structural racism is, in large part, for white people to undo. Just as patriarchy is not only for women to solve, and if you are a wheelchair user then the issue is not your lack of able-bodied legs but the lack of lifts inside the building. As the co-leader, with Lizzy Humber, of a movement called Mothers Who Make, which claims to be for ‘every kind of mother and every kind of maker,’ I think it is probably time I asked whether this is true – are we doing it for everyone, or only a privileged few?

Immediately, it’s complicated. For a start motherhood is a colossal category, so catering for ‘every kind of mother’ is a fantastic and preposterously ambitious claim. We like to try and list them: biological, adoptive, surrogate, foster, expectant, grand, great grand, single, bereaved…..is just the start of the list. Part of the reason for the movement existing at all is that motherhood itself has an ambivalent status in relationship to privilege. ‘Pregnancy and Maternity’ are ‘protected characteristics’ according to the Equality and Human Rights commission but this only covers a mother until 26 weeks after the birth. The remaining 26 plus years of raising the child do not count. I remember at one of the first Arts Council meetings I had with regards to Mothers Who Make, the ACE officer with whom I met said to me, only half-jokingly, “So are you to blame for all the funding applications I am now receiving that include childcare costs?” Whilst being a primary carer is slowly becoming recognised as an access issue, motherhood, the ACE officer explained to me kindly, is not a disability. Becoming a mother is a chosen privilege, not an inherited challenge. You were not born with it, instead, you were the one that did the birthing. This is true, and also not the whole truth. For me, it is true that being able to care for and raise two human beings feels like a huge honour. It is also true that my experiencing and naming my mothering as such is probably a result of my own white, middle class upbringing. It is a result of my having my children in my late 30s and early 40s. But even whilst owning my middle-class-ness, I object to motherhood being framed as a kind of lifestyle choice, as if children were a nice accessory, to be obtained if you wish. Motherhood is not always chosen. In teenagers and young women motherhood is often associated, not with privilege, but with deprivation. And then there is the fact that if motherhood were a lifestyle choice it would be a fairlly terrible one – hours and hours of unpaid, undervalued labour that does nothing for your cultural capital. Meanwhile, for some, missing out on motherhood can be a source of lifelong grief. Like I said, it’s complicated. And that’s just the mothering. Then there’s the making….

When I started Mothers Who Make I decided on the word ‘make’ not just because of the alliteration with the word ‘mother.’ I decided on it because I hoped it would be more welcoming to more mothers to use an everyday verb like ‘make’, rather than a fancy noun like ‘artist.’ You can make a bed as well as a book. You can make it through the day. Make a mess. Make mistakes. Make a difference. Even so mothers are still all too ready to exclude themselves: “Oh, I don’t feel I can come at the moment, I’m not really making anything,” is something I have heard time and again from potential participants and I have to work hard at convincing them that having made some soup is as valid and valued in a MWM meeting as having put a painting on the wall of Tate Modern. The verb ‘to make’ comes close on the heels of the verb ‘to be’ in defining who we are: we are human makings – creatures that create. I have always said that if you understand the need for a group called Mothers Who Make to exist then you can come – i.e if you want to be there, you are welcome. But is that enough? Is it enough to say that anyone can join in if they like? Based on our limited statistics to date, the answer is definitely no- it’s not enough. At present we are predominantly white (96%), straight (85%) and non-disabled (85%) (Stats from 124 equality and diversity monitoring forms, not from on our online community of nearer 3000). To be in a position to have heard of the group at all, to identify with it, to want to participate, to feel able to go through the door of an arts venue (in a pre-pandemic era), I fear already necessitates a certain level of privilege. So, what to do? There is an overwhelming amount to do, but as a start Lizzy and I have put out a call for feedback and am holding two meetings to focus specifically on how to begin to extend and diversify MWM’s reach (for more details see under this blog), and already I have received some incredibly useful responses. Right now, I want to draw on and explore three strands of feedback.

The first (thanks to Lucy Bell) was that MWM’s vibe – in terms of the images we put out, verbal and visual, and the culture of the group – leans towards what is often referred to as ‘attachment parenting.’ Our intention is to hold spaces that are non-judgemental and that do not condone or condemn any particular style of mothering. There is no right answer as to how to mother, how to make or how to manage the extraordinary challenge of doing both. Everyone has to do what is right for their particular circumstances, and their child/ren, and we recognise that ‘right’ even for an individual is an always changing work-in-progress. Part of the point of the network is to share and make visible to one another the enormous range of the answers that people explore and live out. However, in large part because my own solutions to the conundrums of mothering have been attachment parenting ones, I believe this has impacted the vibe of MWM and agree that, if this is not your style of parenting, it might make you steer clear.

The second piece of feedback (thanks to Zoe Gardner), was that MWM’s spaces, in person or online, often invite ambiguity, asking people to wear double identities, and therefore to blend or blur them. It implies in its name a relationship between mothering and making, a mucky mixture of selves and practices. I think this links back to the attachment parenting point – again I recognise it in myself. It’s what I do – I breastfeed my children, whilst typing my blogs sitting on their bedroom floor. I co-sleep with them and with my notebooks. I have carried the children in slings into rehearsal rooms and meetings. Both my mothering and making styles have been thoroughly messy, emergent and have involved much merging of spaces, tasks, beds, books and more. I strongly suspect that this tendency in me, which has in turn, to date, influenced the messaging of MWM, is connected to my relative privilege: if the gates are open to you, then you can afford to experiment with taking the walls down, rearranging the boundary lines; if the gates are closed to you, then messing with the walls isn’t necessarily an option, and might well be off-putting.

There is a further twist in this however- whilst many of these practices now seem white and middle class, their recent origins are most definitely non-western. A key text, written in 1975, which fuelled the whole attachment parenting movement, was The Continuum Concept by Jean Liedloff. Liedloff was inspired by her time spent living with the indigenous Yequana people in Venezuela. The Yequana carried their babies in slings, co-slept with them, breastfed on demand. MWM’s principle of holding spaces that are ‘adult-centred but child-friendly’ is directly linked to one of Liedloff’s key observations of how the Yequana raised their children in the midst of adult activity, as opposed to segregating them off into child-centred environments. I was born when the Continuum Concept first came out, when carrying your baby on your back would have been identified, by most in the UK, as something a woman from Africa might do, not a practice done by a white woman in Oxfordshire (my mother). Jump on forty years and, if you google images of ‘baby on back,’ the first one that comes up is of a white man with an Ergo-baby sling, a white baby inside it, standing smiling in his garden. This feels like dangerous and difficult territory. This shift could be framed as western culture growing more diverse, or as an act of appropriation, or both. Whichever it is, it adds to the complexity of the picture, which brings me to the third piece of feedback.

It came as a question on Facebook (thanks to Wendy Thomson) “Are we in white knight/ saviour behaviour mode?”- are non-white mothers, for example, doing just fine, thank you very much, with their own groups and support networks? And then there was also a response (thanks to Kit Whitfield Thomas) “I don’t think it is white knight mode, just manners. What is the alternative? – not trying to include us and assuming we should just sort it all out ourselves?” And along with this Kit made a request not to assume anything, a request, as a mother of a SEN child, for an acknowledgement that “no experience of motherhood is universal”. I think these are all vital questions and requests. We must keep inviting but be alert to our manners – the manner and the mode of the invitation, to keep making and holding space for, not the universe, but the countless, complex, diverse versions of experiences within it.

These three pieces of feedback have helped me to begin to think more deeply about diversity and equality, inclusion and exclusion in relation to MWM and beyond. Mothers Who Make already excludes – it is explicitly not for everyone – the clue is in the name. I have been challenged on this point repeatedly, most often with the question: “What about fathers?”. My response stems from a belief in specificity and difference. Equal does not mean ‘the same as.’ It may mean having the same pay, the same rights, the same access to opportunities, but it does not mean having the same experiences or identity. For now there needs to be a movement called ‘Black Lives Matter’ not ‘All Lives Matter,’ which doesn’t mean white lives don’t matter; and there needs to be a group called ‘Mothers Who Make’ not ‘Parents who Make,’ even though there are many creative fathers who also need support. Some lives that have not been deemed to matter, need to be visibly valued right now. Some experiences that have been marginalised need a special, protected space. Even in a utopian future, I am not sure the aim should be a world where we no longer need these groups and movements that hold space for specific differences, such as the black, the trans, the queer, the disabled, the maternal– and of course within each of these categories are a thousand further differences. My utopian vision would not be of a colour-blind world, in which no one notices race anymore, but rather one involving ever sharper vision. One in which people would see everything, every colour, pattern, nuance, every difference in ever greater detail.

For the second time this year I find myself reaching for my copy of the parenting classic, ‘Siblings without Rivalry’ by Adele Faber and Elaine Mazlish. One of its chapters is headed “Equal is less:”

“To be loved equally….is somehow to be loved less. To be loved uniquely—for one’s own special self—is to be loved as much as we need to be loved.”

Back in February I quoted this same line within a blog about rivalry. I wrote,

“Yes, this makes sense. Equal is still in the paradigm of quantity. Equal implies that you could have more than me, even if we have the same. It explains my children bickering over identical chocolate bars – they both have exactly the same, and that, in the end, is not enough, not what they want. They want their differences, not their same-ness…as long as we remain in the world of quantities, of equal signs, then there is always an implied risk that one of them could lose - minus, subtraction, less, loss.”

Often ‘equal’ connotes a measure-able amount which results, I believe, in this fear of scarcity. The phrase ‘equal access,’ seems more useful. It is not the gold, but the access to the gold, that needs to be shared. This may seem like a crazy distinction, but I think it is important – it makes equality a dynamic process not an amount, the swaying of the scales, not the stuff weighed out in them. My children are not equal, they are not static, not quantifiable. As a mother, my job is not to treat them the same, but rather to recognise and celebrate their evolving, see-sawing differences. In a way their differences are the gold, and it is plentiful. Diversity involves a generous kind of maths – multiplication – always more. Equality and Diversity monitoring forms, however, involve more difficult calculations- our differences are boxed,tracked and stacked into statistics in pursuit of everyone having equal access. It is hard to keep the sense of equality as a dynamic process when faced with those forms. So, whilst they are a critical tool on a vital quest, I think we also need to keep doing the other sum- the one so long that it never reaches the equals sign but we know the answer to it is infinity – a glorious inventory of our never-ending differences.

As is recognised in the work of Abraham Maslow, in Marshal Rosenburg’s Non-Violent Communication, and in many spiritual traditions, if you go far enough with detailing the differences, patterns begin to emerge – we start to connect up, to equal one another at the deepest level of our needs. “Out beyond ideas of right-doing and wrong-doing there is a green field,” writes Rumi, the 12th C Sufi poet, and once we meet there, there is another inventory to be found, a list of the fundamentals to which we all require and deserve access: food, shelter, rest, warmth, autonomy, play, love……the complete sum of our same-ness.

For the last month my daughter has wanted the same bedtime book. Unprompted she has had her four-year-old finger on the pulse of the world’s process, for she has asked me again and again for ‘Mix,’ by Arree Chung. It is a beautiful, witty picture book, that I would recommend to anyone wanting to talk about difference and race with their children. It opens:

“In the beginning there were three colours: Reds, Yellows and Blues. Reds were the loudest, Yellows were the brightest and Blues were the coolest. Everyone lived in colour harmony, until one day when a red said, ‘Reds are the best!’….”

The colours decide to divide – to live in separate parts of the city. But then a Blue and a Yellow fall in love, and, contentiously, the first interracial marriage takes place. A mixed-race child is born - they call her Green. Slowly the other colours are inspired- more and more mixing follows, until at last they give up on segregation. The final line is my favourite one in the book: “The new city was full of colour. It wasn’t perfect, but it was home.” I love that the happy ending is imperfect – it makes equality dynamic again, not a final prize possession but an unfolding multi-coloured process.

Meanwhile, Mothers who Make will continue to hand out equality and diversity monitoring forms. But alongside these, we will also start to interrogate and diversify the kinds of images and words we use, the places we advertise ourselves, the venues with which we work, the range of events we hold, in an effort to make ourselves more genuinely accessible to mothers and makers of every kind. Right now, I have, not so much a question of the month, as a request to put to you: I want to know about how you are different. I want to know about what you need. I want to know how to access you and how you might best access me, us, MWM. This is a fourfold invitation: you can write to me with your feedback via email - [email protected] . You can come to one of the diversity meetings happening this month (details below). And you can fill in our equality and diversity form so we can gain a more accurate picture of our network: https://forms.gle/wgDm335c1zQbaKer7

Lastly, you can do this: go beyond the boxes- go as deep as you can into your difference. Whether it is your ethnic identity, your neurodiversity, your sexuality, your gender, your disability, your child’s disability, your mental health challenges. Articulate it however you wish. Maybe it will be a list, an inventory. Maybe a letter. A photo. A drawing. A song. Be as specific as you can. Name all your identities, all your differences. This is a creative injunction - I believe it may in fact be where making begins - tracking your difference, your way of accessing the world, as the origin of art.

Our diversity-focussed meetings, via Zoom, open to all, are on: Thursday 9th July 1-2.30pm BST and Tuesday 28th July 10-11.30am BST. Children are welcome too. Email [email protected] if you wish to attend.

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