#it had like three different subplots cause i wanted to put EVERYTHING in there and it was too much

[venator-signum]

sometimes (for your own mental health/sanity) you have to look at a fic concept you came up with when you were 15 and/or in the middle of lockdown, scrap half of it and rewrite it with the knowledge and skills you have now to make it actually fucking coherent

[bestworstcase]

I’ve gone back to rewatch 6x3 (Salem backstory) like three times since I heard of the summer joined salem willingly theory and I just never really stopped to FULLY appreciate how unfairly salem had been treated by the narrative before.. like I literally can’t stop ranting about how she’d not really done anything wrong! A grieving woman pulled the classic childhood “mom said no so I’m gonna go ask dad and pretend I didn’t ask mom” and is cursed with immortality!

She’s a smart woman so when she realized they were fallible she made a plan that would potentially end her suffering/life and instead they ruined her life further… eventually Ozma comes back and she realizes that they together could create *paradise* (her words, she has no desire for ceaseless destruction unlike what the story of her falling into the grimm pool and all said) and replace the brothers as the worlds new deities.

He feels conflicted that there are people fighting/dying to spread their new religion and she says (at 21:51) “you said we needed to bring humanity together, in order to do that, we have to spread our word and destroy those who deny it.” Like that’s what fucks me up! It was *his* idea to unify them via religion which meant all along he was using *her* own suggestion of being gods to create paradise to instead bring *back* the gods that cursed her, the ones that she wanted to replace… she literally just goes on to say “don’t you see? None of that matters anymore” like it literally doesn’t! It wasn’t even her idea to spread it to the degree that it would require killing!

Oz could’ve just enjoyed the freedom to live with Salem forever but instead he withheld his true intentions and even tried to twist her cause when even after everything she went through she wasn’t some sort of bloodthirsty monster, she just wanted to create a beautiful world for the people who already existed and for their new family… Salem is literally so tragic 😢

#TeamSalemDidNothingWrong #…UntilAllOfThatMurderThatCameFromNeedingToPreventHerDeathOrNewTypeOfTortureAtTheHandsOfTheGods #EverythingIsBecauseOfOzma

hgfhdgsk step one COMPLETE!

step two is asking, is salem really being treated unfairly by the narrative? are we meant to take jinn as an objective source? she does begin the tale with “once upon a time”—it’s framed as a fairytale. are fairytales treated as the whole truth in any other narrative context? why does the scene get inexplicably washed in glaring red light when jinn says “salem blamed the end of the world on the gods” in a way that insinuates it’s a lie? why is it ruby, not jinn, who asserts that ozma “has to destroy salem,” and why does jinn grin when she tells him he can’t?

V6 builds from the groundwork laid in V5 regarding truth and deception and the importance of critical thinking—think of all the emphasis raven puts on telling yang she needs to ask questions and stop taking every answer she’s given at face value—and what do the kids do after jinn tells them this tale? they ask ozpin what his plan is, and they ask how they’re supposed to defeat salem if she can’t be killed. ruby actively chooses not to ask jinn any follow-up questions because she’s afraid of wasting the last one (<- this happens AGAIN with hazel in V8, the characters don’t ask jinn what salem wants because they assume that their assumption is correct, and that caps off a subplot about all of salem’s hench people bickering over their wildly different ideas of what she’s planning.)

STEP THREE,

is remembering that jinn is a djinn bound to a magical lamp whose three questions were humorously equated to wishes, and ambrosius makes it clear that he gives people exactly, literally what they ask for, and ruby doesn’t ask jinn to tell them the truth about salem, she asks “what is ozpin hiding from us?”, and then you have to smack yourself in the forehead a bit.

step four is going back to the beginning and paying attention this time. what does salem say about humankind? what does she say about the society ozma built after the great war? how does her tone change from one to the other? what does volume one have to say about the nature of evil? is the conspiratorial, paranoid cult of secrets and lies keeping a comatose young woman in the basement until they find a suitable vessel to overwrite with her soul really people the narrative expects us to agree with? is this a good system? what is it for? who does it serve? is ozpin right and ironwood wrong or are both of them wrong in opposite ways? is salem really describing her own methods, or is she mocking ozpin for the self-sabotaging failures of his? what does the narrative think about chosen ones who try to stand alone against the darkness? how does it engage with the concept of heroism? how is it deconstructing the fairytale ethos at the heart of the huntsman system? are the things the characters believe about the grimm accurate? why aren’t there any grimm plaguing kuo kuana, despite it being the most densely populated city in the world and not participating in the huntsmen institution? how is salem’s part of 6.4 annotating her portrayal in 6.3? why does the narrative show us the rage and terror behind her decision to rush to atlas ahead of schedule before ironwood speculates that her greatest strength is a complete lack of emotion? why does she fly off the handle every time someone lies to her? why does the narrative make such a huge point of establishing that no one knows what she wants and then conclude that subplot with the characters actively choosing not to verify their assumptions? what might the narrative be setting up through salem’s treatment of cinder in V8, through salem losing the power struggle because she won’t commit to punishing cinder for her defiance? why does the woman who loathes the gods and praises humanity’s strength and wisdom and resourcefulness and passion really hold ozma, god’s chosen one, in such contempt? WHY DOES SHE LET HER HOSTAGES GO? and so on and so forth.

step five is rewatching the lost fable again for the nth time and staring at a wall and thinking about “creatures known as faunus bore fangs and claws and were locked away in cages” and “frightened whispers that spoke of a terrifying sorceress who commanded dark powers in the wilds, among beasts and monsters” and putting that together with how grimm are used to symbolize the persecution of faunus and ozpin transparently suspecting blake as salem’s spy and how the world of remnant episodes on grimm and faunus and the faunus origin myths all strongly imply a cultural perception that faunus are sort of grimm-adjacent, and having the oh. OH moment where you realize that salem is a faunus and her arc is intricately connected to the faunus narrative.

step seven is going down the feverish rabbit hole of ‘fairytales of remnant’ and tilting at silver-eyed windmills until your brain is thoroughly cooked, at which point you can start yelling on street corners about how the god of animals was a grimm lady and silver-eyed warriors are psychopomps and summer rose is salem’s second in command and rapidly approaching ozma apostasy arc and ozlem reconciliation because lord knows they deserve it, and so forth, ideally with a bullhorn.

step eight is getting cold-clocked by volume nine tearing the last vestiges of ruby’s faith in the huntsman system to shreds like a pack of rabid hyenas so that she can finally tear herself free of the fairytale cult that tried to eat her

and that’s the normal rwby fan to salem club pipeline in a nutshell.

[cardentist]

I haven’t been in the star trek fandom for very long (I’ve only just started binging the series in the last couple months), so it’s been pretty surprising to find out just how negative the perception of the reboot movies are.

this isn’t coming from the perspective of someone who grew up with the series, so it hit different for me than it might for people with a different relationship to TOS, but I thought it was genuinely clever and Respectful with how it was handled.

To quote leonard nimoy: “Well the alternative timeline gives them license to escape from canon concerns. I can’t see people saying ‘they shouldn’t do that because…’ or ‘that doesn’t tie in to such and such’ because it is a different time and place. Am I right about that?” [Link]

the entire Premise is that the original series happened as it was presented in TOS, but an event late in Spock’s life caused the creation of a parallel universe in which everyone’s lives were significantly altered through two key changes to the timeline. this gives them the freedom to Both revel in fanservice And explore different facets of the characters and their relationships. 

the destruction of vulcan Vastly impacts the characters and the plot moving forward, and its a detail that a lot of people take issue with. but the emotional impact of sarek admitting Directly to spock that there is value in his humanity, that his feelings Aren’t wrong, that sarek married amanda because he Loved her cannot be understated. you can read all of these things into sarek as he was in the original series, but he Never had an open conversation about these things with spock. this creates a Believable and Rewarding change in their relationship, where we get to see a different facet of them Because of the changes made. and that’s exactly the appeal. showing us pieces of these characters that we never got in TOS that are nevertheless undeniably Them.

everyone is Different yes, but they’re also fundamentally the same people at their core and that matters.

kirk’s personality obviously takes the biggest change, with him experiencing trauma at a young age, losing his father, and having an implied abusive father figure after that point. he has a harsher personality in reaction to harsher conditions, he’s spikier and harder to love. but he’s also still fundamentally a Good person whose willing to risk everything to help people. he still has what made kirk prime a good captain and a good friend.

I’m not gonna say that it’s the most nuanced story in the world, but it explores a version of kirk that was born from even Less fortunate circumstances than kirk prime, exploring a kirk brimming with potential who learned to bite back after he was kicked down. exploring those themes of trauma and loss, of insecurity and growth, and coming to the conclusion that Fundamentally He Is Capable Of Good isn’t a Bad thing. you don’t have to like it, but his growth into a better person is The Point. they deepened his flaws (all of which were present in a less exaggerated form in TOS) To Show That Growth.

and then of course there’s his relationship with spock.

people are totally justified in not liking that they had a rough start to their relationship, I usually don’t like to see that kind of thing in reboots or hollywood adaptations either, but the way people talk about it is just unfair.

Yes kirk and spock and bones have a very strong relationship in TOS, they also already know each other by the time the show starts. to look at them having to learn to get to know and trust each other when they first meet and say that it’s Bad because they were already full on ride or die for each other in the og series is silly. TOS kirk and spock had to meet and fall in love with each other too, it didn’t just happen over night kings.

secondly, the entire point of the first movie is that Even With reality itself being altered to pull them apart they are fundamentally compatible people that are Bound to each other. they meet each other on bad terms because of circumstances outside of their control, and yet they’re still pulled into each other’s orbit and find the other slotting into place next to them as if they always belonged. one of the first things that spock prime says in the movie is “I am and always will be your friend,” spock and jim are Meant for each other and the movie goes out of its way to explain that. which is what makes it so Weird to see people complaining about how they don’t like each other.

it’s a Different relationship, but it’s absolutely no less steeped in yearning or queer subtext. 

speaking of queer subtext ! some people are Very unhappy with spock’s relationship with uhura.

first thing I wanna say is that making the argument that they’re doing anything that the original series hasn’t done is just, completely untrue. kirk has fallen in love with more girls in the og series than he knew what to do with, leonard nimoy was a heartthrob in his time (and he deserves it, awooga) and spock reflects that ! Spock usually turns the women who come onto him down (or when he doesn’t it’s because a plant has literally altered his mind), but there are exceptions to even that. all of three of the main boys have plenty of romance subplots, it happens. if that takes the possibility of them being queer off the table for you (which it shouldn’t, m-spec people exist) then I’m sorry to say that TOS is not exempt.

now, I can understand why Specifically This Relationship could rub people the wrong way or being disappointed that they didn’t outright depict kirk and spock as having a relationship (if not in the first movie then in the following ones after they’ve gotten to know each other), but even in that context the way I’ve seen people talk about it comes off as insensitive.

no, the relationship did not come out of nowhere. they considered having spock and uhura date each other in the original show (and you can see signs of this in the earlier episodes, where uhura very obviously flirts with him and they spend time together in their down time) before they decided against it, and spock was originally going to kiss uhura until shatner insisted that he wanted to do it (because it was the first interracial kiss on tv). [Link 1, Link 2, Link 3]

nichelle nichols was asked about this exact thing (spock and uhura’s relationship in the movie), you can read the interview in full here [Link] but I’d like to highlight this paragraph in particular:

“Now, go back to my participation in Star Trek as Uhura and Leonard (Nimoy) as Spock. There was always a connection between Uhura and Spock. It was the early 60’s, so you couldn’t do what you can do now, but if you will remember, Uhura related to Spock. When she saw the captain lost in space out there in her mirror, it was Spock who consoled her when she went screaming out of her room. When Spock needed an expert to help save the ship, you remember that Uhura put something together and related back to him the famous words, “I don’t know if I can do this. I’m afraid.” And Uhura was the only one who could do a spoof on Spock. Remember the song (in “Charlie X”)? Those were the hints, as far as I’m concerned.”

the film makers looked at the fact there were Hints for uhura and spock, that they were Interested in exploring an interracial couple for the first time (both before and immediately after interracial couples won the right to legally get married) but Couldn’t because of the circumstances of the times and decided to Make that depiction. you don’t have to Like their relationship just because of that fact, but it’s Incredibly reductive to play down it’s significance as just a No Homo cop out. explicitly queer relationships are not the only progressive or culturally important relationships in fiction.

moreover, if you can’t imagine polyamory in the communist utopian future that’s on you.

moreover, this perception that this was a soulless cash grab is just, unfounded.

leonard nimoy returned to the role as spock for the first time in 16 years (since 1991) and this was Entirely because of the respect they had for nimoy, spock as a character, and the franchise as a whole. 

Lets look at some quotes from nimoy in interviews regarding the film:

Leonard Nimoy: When I first read the script (...) I immediately contacted J.J. and said “I think it is terrific…I think you guys have done a wonderful job. There is still work to be done, but it is very clear that you and your writers know what you are doing and you know how to do this movie and know what it should be about….and I am very interested.” Then as time went by we worked things out with Paramount, but the most important things were J.J. and the script. (...) I am very pleased about that and I am very comfortable with where this is going. I think the writers have done a terrific job. They have a real sense of the characters and the heart of Star Trek and what it is really all about.

(...)

TrekMovie.com: Now in the case of the new movie you have been retired from acting for years. What was it about this one that made you want to act again and go through the make up again? What was it that made you say ‘I really want to do this?’

Leonard Nimoy: You are right, this is a special situation. First it is Star Trek and so I have to pay attention. I owe that to Star Trek. Second place is that it is J.J. Abrams who I think very highly of, he is a very talented guy. Then came the script and it was very clear that I could make a contribution here. The Spock character that I am playing, the original Spock character, is essential and important to the script. So on the basis of those three elements it was easy to make the decision. So those three things: Star Trek, J.J. Abrams, and an interesting Spock role.

[Link]

Praising the cast playing younger versions of characters from the original 1960s TV series, he [Leonard Nimoy] said: “Let me take the opportunity to say this. Everybody at this table [the cast] are very, very talented and intelligent people.”

“They found their own way to bring that talent and intelligence to this movie, and I think it shows. (...)  When Karl Urban introduced himself as Leonard McCoy and shook hands with Chris Pine, I burst into tears. That performance of his is so moving, so touching and so powerful as Doctor McCoy, that I think D. Kelley would be smiling, and maybe in tears as well.”

“The makers of this film reawakened the passion in me that I had when we made the original film and series. I was put back in touch with what I cared about and liked about Star Trek, and why I enjoyed being involved with Star Trek. So, it was an easy way to come on home.”

“[In this Star Trek] they said things and showed me things, and demonstrated the sensibility that I felt very comfortable with, and I think that shows in the movie. I like it.”

[Link 1, Link 2]

again, you don’t have to like it just because leonard nimoy did, you don’t have to Agree. but the idea that nobody working on the film Cared is provably false. near everyone working on the project was already a fan of the series or were excited to be involved and did their homework. it’s genuinely a Miracle just how much of a labor of love this was, and in my opinion you can feel that through the movie itself. I’d highly recommend looking into interviews and behind the scenes details about the movies. they had a respect not just for the source material, but for leonard nimoy as a person.

there’s definitely more I Could say about this, but it’s 4 am now so I’m gonna shelve it jklfdsa

that said! it’s Fine to not like the movie, not everything is going to be suited to everyone’s taste, but the specific criticisms I’ve seen feel very off base

[amphibious-entity]

TMBS Book 1 Brain Dump

~An Embarrassingly Long Post~

I don’t know why I’m writing this or why I’m so determined to do it. Maybe to finally assume my true form and become a mega dork on main, or maybe just for fun!

This is basically a compilation of all the main points running through my head after reading The Mysterious Benedict Society (2007) for the first time. Rather than posting a ton and spamming the tag, everything’s here in one neat package! (hopefully this gets it all out of my system rip)

Contents:

The Book Itself

The Book Itself, for real this time

The Characters

A Funny Parallel

The S.Q. Section

Lines & Scenes I Liked

Spoilers abound!

The Book Itself

Upon acquiring the first three books (don’t judge me pls), I was surprised at just how long they are. Like, they’re still pretty light being paperbacks and all, but these books are hefty lads.

The first book has this Disney+ Original Series circle thing printed on it, which is kind of unfortunate. Regardless, I love the cover illustration and yellow is actually my favorite color :D It made me weirdly quite happy whenever I saw the book lying around in my room

Also, it’s really cute how there’s a letter from Mr. Benedict at the end! (It only reveals that you can find out his first name if you “know the code”, meaning the bit of Morse printed below the summary on the back.) Shock and horror, though, as I realized I’m starting to recognize some of the letters

The Book Itself, for real this time

It’s wonderful how the tone of the book really shone through to the show adaptation. Something about the deliberateness of the aesthetic, from the set designs to the fashion to scene compositions, that really sells that particular style— like it’s very clear that this story is being told to us, rather than one we’re seeing unfold, if that makes sense.

Where that narration style stood out to me the most was the first chapter. We are told (rather than shown) how Reynie gets himself to the point of the second test, and there’s this whole twisty time maneuver for that whole sequence of events that’s really interesting

A super secret fun fact about me is that I wanted to be a writer when I was younger! So this particular balance of show vs. tell is really neat, since it runs counter to my own tendencies. The sheer amount of commas in every sentence is also kind of comforting, since Ahah, I Do That in those few serious-ish attempts at writing lol

Overall this book’s style reminds me a lot of Roald Dahl’s books, which are very nostalgic for me :D The whole “kids are more competent than adults” angle helps a lot too haha

The Characters

Oh boy here’s where I get a little bit critical! Overall I did really like this book!! it’s just that that expresses itself in all this weird “”analysis”” lol

Reynie - much better in the books than in the show

It’s sort of a lukewarm take but I feel like show!Reynie is kind of boring? He doesn’t have a lot going on flaw-wise, and obviously since he’s the protagonist he can’t have too many weird traits or else the kids watching can’t project themselves onto him as easily

(I call it the difference between an aspirational protagonist and a vessel protagonist. Going off of the Roald Dahl vibes, think Matilda vs Charlie. show!Reynie is more of a Charlie)

Thus when we get to see him really struggle with the Whisperer and doubt himself it gives him a lot more dimension, at least in my opinion

It is a federal crime that the white knight scenes were not adapted into the show

Sticky - my son

I’ve long held to no one besides myself and my long suffering sister that Sticky is The Best Member of the Society

He happened to hit a lot of the Bingo squares of Stuff I Like In Characters: glasses, anxious, nice :), kind of a coward but ultimately is there for his friends, etc

For some reason I don’t talk about him nearly as much as you-know-who, but I love him just as dearly

Kate & Constance - I don’t have much to say

Kate is really interesting in this book! I like how we get to see more of her depths, in particular that one passage about her belief that she is invincible being the only thing that keeps her from falling apart? :c

Also her constant fidgeting is relatable lol

Constance is somehow a lot more tolerable in the book. I think I’m just one of those people with no patience for small children, unfortunately lol

(Some of) The Adults

It’s interesting that they had such an offscreen presence for most of the book. Giving them more time was probably one of the stronger changes of the show

However if that decision was made at the expense of the white knight scenes I think the choice should have been clear

I like the way Rhonda and Number Two are written

Milligan always on sad boy hours 😔✊

The “mill again” passage is touching but kind of messes up the pacing of the getaway, at least for me. Maybe I should read it again to make sure I didn’t miss something

Miss Perumal is much better in the show. We see so little of her in the book she doesn’t function well as an emotional anchor for Reynie, imo

The Institute Gang

Jackson and Jillson serve their purpose well, and Martina was surprising to say the least. I like the direction they took her in the show! I can’t imagine how funny it must have been to watch the tetherball subplot come out of nowhere lolol

These sections were written out of sequence, so random tidbit I couldn’t fit in The S.Q. Section: I like how he stumbles over his words. relatable

Mr. Curtain

While I think I know why they decided to not give Curtain the wheelchair in the show, we were totally robbed of Actor Tony Hale’s performance for the reveal during the final confrontation

Speaking of the wheelchair, it’s such a powerful symbol of his need for control or rather, his fear of losing it

The Contrast between him and Mr. Benedict. This point is expanded on in A Funny Parallel

Mr. Benedict

Oh boy, Mr. Benedict… How do I say this

I find it hard to trust Mr. Benedict, unfortunately

I mean to say, I do in the sense that I know he would never hurt the kids, thanks to knowing that a) this is a children’s book series and b) the meta (tumblr) states that he is really nice and lovable and stuff, but seriously. Why do the kids trust him at first?? I probably missed something somewhere

I like to think I’m an optimistic person, but unfortunately I’m also super paranoid. The premise of “a bunch of vulnerable orphans team up with a strange old man” is just so odd to me I don’t know how to explain it

I don’t know!!! I really want to trust Mr. Benedict

One of the strengths of the show is that we get to see him more often, and thus he gets to acknowledge more often that the plan is weird and that he feels really badly for putting the kids in danger and that he’s trustworthy and genuine

But his lack of presence for most of the book just makes him into something of a specter, invisible and unknowable, speaking only in riddles from across the bay

Which is why the white knight scene is so important!! I loved that scene ;-;

Because here’s an actual emotional connection! We can actually see it happening, rather than only being told that it exists

Reynie asking for advice and receiving encouragement, in words that demonstrate that Mr. Benedict actually cares about him and worries about him and agghh

It is a federal crime that the white knight scenes were not adapted into the show

But overall this whole issue didn’t ruin my enjoyment of the book at all! It’s just ->

A Funny Parallel

Okay, ready for my biggest brain, hottest take ever??

Mr. Benedict and Mr. Curtain…. are… the same

I mean obviously not entirely, given that one is benevolent and kind and the other is… Mr. Curtain

But seriously. Genius old man seeks out children (mainly orphans) to enact a plan. Said children often end up incredibly devoted to his cause and deeply admire him this is a little flimsy

Undoubtedly that’s intentional and is supposed to show the difference between them, like some kind of cautionary tale? “Let yourself be vulnerable and let others help you, lest you turn eeeeviiillll”

I guess that’s where the aforementioned epic contrast comes in. You get Mr. Curtain, strapped into his wheelchair and hiding behind those mirrored sunglasses, terrified (but unwilling to admit it) of ever showing the tiniest hint of vulnerability, vs. Mr. Benedict, who can let himself fall knowing that someone will catch him :’)

Anyhow I have nothing against the parallels, I just think it’s funny

The S.Q. Section

The S.Q. Quarantine Thread so it doesn’t leak out everywhere else <3

I’d like to meet the emo angstlord genius who read this book and decided to make SQ into Dr. Curtain’s son. What in the world

Okay I should probably preface this by saying that I absolutely adore both book!S.Q. and show!SQ with all my heart. Somehow, despite being a completely different character in both mediums, he has managed to be one of the best characters in either and certainly one of my favorites (besides Sticky of course) in the entire franchise, despite the fact that I’ve only read the first book/watched the show so far. I am confident in this statement.

But seriously! How?? Why?? I could probably write a whole other essay about why show!SQ is such an interesting character, and the change works so incredibly well. I’m just. Baffled

Okay, focus. book!S.Q. is such a sweetheart, oh my goodness. Like, 100% one of the most endearing characters in the book. Poor guy. I don’t even know where to start!!

He just seems to be a genuinely good guy at heart, despite being technically one of the bad guys. He’s genuinely happy for Reynie and Sticky when they became Messengers and helped Kate when she “fell” and was concerned about Constance when she looked sick and how he was in that meeting with Mr. Curtain and Martina?!!? aaahhhhghgh ;-; he just wants people to be happy TT-TT

Comparing him against literally every character at the Institute is probably what makes him so endearing tbh. When everyone else is so awful to the kids, it really makes him stand out. Like a cheerful little nightlight in the worst, most humid and rank bathroom you’ve ever been in

It’s kind of pointless to theorize about a book series that’s already concluded (I think?) but. Is the implication of S.Q.’s forgetfulness supposed to be that Mr. Curtain used him in brainsweeping experiments somehow? The timeline probably definitely absolutely doesn’t line up but like. How did he get to being a Messenger being the way he is now, given how cutthroat the process is? And then of course Mr. Curtain keeps him around as an Executive because he’s fun to mess with and presumably his loyalty. I’m very curious as to how their relationship develops in the other books, if at all. Those are probably where the seeds of the “let’s make them family” logic were planted

But wouldn’t it be hilarious if the reason we don’t know what “S.Q.” stands for in the books is that he just. Forgot

Another thing that occurred to me. Given that he and the other Executives were Messengers at some point, what were their worst fears? What is S.Q.’s worst fear?? Inquiring minds need to know

One last horrible little anecdote: I was thinking about book!S.Q. while eating breakfast, as one does, and suddenly it hit me.

I want to believe The Author Trenton Lee Stewart had the name for a character, S.Q. Pedalian, and was like, “Hm! What sort of quirky trait should this young fellow have?” Because, of course, in this style of fiction every character has to have at least one cartoonish or otherwise distinguishing trait to stand out in the minds of children. (For instance, Kate has her bucket, Sticky has his glasses, Constance is angry, and Reynie is Emmett from the Lego Movie)

Anyhow, he looks around the room, searching for inspiration. Suddenly he comes across a jumbo box of plastic wrap. Completely innocuous in design, save for one line of text. 300 SQ FT.

“…large… S.Q. …feet? THAT’S IT!” i’m sorry

Lines & Scenes I Liked

In no particular order!

Sticky quotes Sun Tzu, The Art of War

Evil combination aerobics/square dancing in the gym with the Executives

Everyone being happy at the end :’)

Everyone partying after Sticky reunites with his parents, and later finding Mr. Benedict asleep at his desk from the moment they shook hands :’’)

Literally any scene with Sticky in it

Any time Kate says “you boys” or “gosh”

[“Um, sir?” S.Q. said timidly, raising his hand. “A thought just occurred to me.” / Mr. Curtain raised his eyebrows. “That’s remarkable, S.Q. What is it?”] clown prince of my heart </3

S.Q.’s determined monologue about searching for clues after he bungled up the first time

Literally any scene with S.Q. in it (please refer to The S.Q. Section)

Reynie trying to resist the Whisperer.

[Let us begin. / First let me polish my spectacles, Reynie thought. / Let us begin. / Not without my bucket, Reynie insisted. He heard Mr. Curtain muttering behind him. / Let us begin, let us begin, let us begin. / Rules and schools are tools for fools, Reynie thought.]

NO MORE HURTIN’ WITH CURTAIN

Milligan showing up on the island!!

Remember the white knight hhhhhh

“controle”

A Super Secret Bonus Section

I would be extremely surprised if anyone read through all the way down here lol. Regardless, here’s a little acknowledgements section :D not tagging anyone since I don’t want to bother all of these people

Special shoutout to tumblr blog stonetowns for unknowingly yet singlehandedly demolishing my reluctance to read the books by posting a ton of cute quotes. Thank you for your service o7

Thanks to the two OGs that liked the post I made right before this one, for being my unwitting enablers and for sticking around despite being a) technically an internet stranger (hello!) and b) someone I haven’t spoken to irl in literal years (hey!!)

Last but not least thankz 2 my sister for putting up with me ranting about the book when I first got it and for asking about “CQ” sometimes lol. (i desperately hope you’re not reading this orz)

[curioussubjects]

come be a season 12 truther with me; or what if dean and cas got together offscreen

Originally, I wrote this post to celebrate “Galaxy Brain” airing as Berens & Glynn gave us “The Future.” It’s been a while since that episode aired, and some things have changed about this meta. As such, there are multiple versions of this post floating around, so make sure to go back to the source for the most up to date version.  For all intents and purposes, this post functions as a meta manifesto not unlike shipping manifestos from days of LJ past. In keeping with that tradition, this post is a close reading of Dabb Era Destiel in which I argue that by using narrative gaps, queer coding, and romance tropes, Dean and Cas are shown to be in an established relationship. Although beyond the scope of this post, it’s worth pointing out that keeping Destiel mostly off screen was a way for the creatives to bypass network censorship while still remaining true to the characters.

This post is divided into three sections. Section I focuses on giving an overview of why earlier seasons of Supernatural aren’t as compelling as season 12 as a turning point for Dean and Cas’s relationship. That said, special consideration is given to 09.06 “Heaven Can’t Wait” as a potential rest stop in our journey due to it’s significantly placed narrative gap as well as themes in the episode. However, this post isn’t going to examine season 9 trutherism in depth, though it does coexist with and allow for it. Section II analyses season 12 and proposes a timeline and justification for the shifting Destiel dynamic. Finally, Section III will offer an analysis of how Dean and Cas’s relationship has changed dramatically from previous seasons in a way that is most like the shift from a “will they or won’t they” pairing to an established one. 

Before I move to Section I, I’d like to note something this post takes for granted: Dean and Cas are the main romantic subplot of Supernatural, and, in fact, their relationship is elevated to main plot for both characters in season 15. This post won’t argue about the canonicity of Dean and Cas’s feelings for each other, therefore, and so won’t spend time looking at many Destiel defining moments. I’d also like to make clear that this post also takes for granted that Destiel is being intentionally developed by the writers starting with Carver’s Era, and more so in Dabb’s. 

I. Why Seasons 4 through 11 May Not be It

The tl;dr. here is that while there are many moments throughout these seasons that Dean and Cas could potentially get together, none of those moments are ideal for a bunch of reasons that can be summed up as really bad timing. I also think the narrative is actively pushing them towards a moment that works. We get plenty of stepping stones, especially once we hit seasons 8 through 11 (and 11 most of all).

Seasons 4 & 5:

I know there’s been a lot of get together fics over the years set in this time period, but I just don’t see it. Do I see them being intrigued and drawn to each other? Yes. Do I think either Cas or Dean would act on it? Nope. I’m not arguing anything re: Dean’s feelings, but with everything going at the time I find it hard to believe he’d pursue anything with his angel friend. Most importantly here, though, is that during this time Cas was still very alien and other. There was too much angel in him, and while he obviously came to care about Dean (and Sam) very much, I just can’t see him navigating the realm of human relationships. That said, seeing human!Cas in “The End” is the first we see of potential developments for how Cas could behave without his angelness interfering. Being human changes Cas a lot, beyond even his experience existing among humans, though that of course matters too. This development will be important later /wink.

Seasons 6 & 7:

Before anything else let me just recognize that if we could see some sexual tension in seasons 4 & 5, these two seasons come with our first taste of romantic tension. The pining! Also note the difference between season 4 Cas and season 6 Cas in terms of behaviour. He is much less the angel we saw in that barn in “Lazarus Rising.” In season 6, we have a Cas making misguided decisions guided entirely by his emotions – namely, not wanting to involve Dean with the war in heaven – which is peak human, honestly. Put a pin on how sad Dean is in both seasons with Cas’s absence. Finally, put a pin on this being our first moment of Cas doing things on his own to spare Dean and it not ending well (soulless!Sam, Cas “dying” after Leviathan) because this is *the* hurdle in their relationship (along with Dean’s lashing out and self-worth issues). With all this said, the marked distance between Dean and Cas in these seasons negates the possibility of them entering into any kind of relationship. Much like seasons 4 and 5, there’s too much going on.

Season 8:

Ah, yes, the summer of purgatory. If you thought we had pining before…! I think we’re all very clear on season 8 being a turning point for the show, not only because new showrunner, but we also get the bunker. TFW now has an HQ, which pretty soon becomes home. Yes, Baby will always be home, but the bunker becomes the *unmovable* safe haven that Baby couldn’t be. The bunker is a place to coalesce, and for all the amazing things Baby is, she is not that. The acquisition of the bunker marks a shift in the psychology of the show: with the stable home space we can start to imagine domesticity, a place to come home to, the stuff of ordinary living. Most of all, the bunker is emblematic of security, of safety –keep this in mind, as we go forward.

This season also continues to see Cas go down the path of independently solving his problems instead of asking for help from Sam and Dean (his family in a way heaven never was) – note that the better together issue is at play in different ways with Sam and Dean also, but I digress. I also want to point out disastrous instance #2 of Cas’s insistence on figuring it out on his own: he loses his grace, and the angels fall. As for Dean, season 8’s focus for him has much to do with Sam, and them coming face to face with their issues with codependency, which hit catastrophic levels with the gates of hell and Gadreel plots.

So despite all the deliciously angsty get together purgatory fics and spec, there’s too much distance between Dean and Cas on Cas’s part due to his guilt over betraying the Winchesters in s6 plus slaughtering angels plus unleashing Leviathan. We do see Dean being more emotionally open with Cas and continue to voicing his wish that Cas would just stay with him and Sam, and let them help. It’s clear as day how much Dean cares. The timing is still bad, though.

Before moving on to next season, let’s take a moment to appreciate that this is the season Dean admits being kinda done with one night stands because “always with the adios.” Remember the bunker as a sign of stability? Yeah. I wouldn’t say Dean is craving a relationship, exactly, but I think we can see that he does want something more (ahem also I’m nodding to Cas refusing to stay put just cause).

Seasons 9 & 10:

The most important thing to happen between this two seasons is Cas’s stint as a human for an extended period of time. There’s been plenty of spec and meta written over the years about the effects of being human on Cas’s grace (a proto-soul now maybe?). What we can say for sure, regardless, is that Cas is much more humanized once he becomes an angel again. The understanding he gets from being human doesn’t go away once he regains his angel powers. You’ll notice that while we still see some of season 4’s characterization, Cas is not the same as he was – he is alien to angels now and is more intelligible to humans. Additionally, in an interesting reversal from previous seasons, we now get to see the depth of Cas’s feelings for Dean (thanks, Metatron) as well as seeing him be more open emotionally, while Dean does most of the pushing away (first because of Gadreel, then because of the Mark of Cain). In short, the timing is still bad as Dean and Cas are largely kept apart both physically and emotionally.

9.06 Heaven Can’t Wait

This episode is my white whale, friends. While I’ve come to fully subscribe to the idea that something did happen between Dean and Cas during the fanfic gap, I don’t actually think it’s feasible that it marked the start of a relationship -- be it sexual or romantic. My reasoning here is quite simple: the timing is bad. Were it not for external events (Cas regaining his Grace and Dean taking on the MoC), the course would have likely differed. Furthermore, Dean’s guilt over making Cas leave the bunker as well as Cas’s own hurt and self-loathing pose a significant and as yet insurmountable obstacle, which is easily seen with how Dean and Cas’s character trajectories go separate ways.

YMMV on what exactly happened between them in that Motel, but something definitely did. Perhaps one day I’ll have a proper s9 trutherism post to link to here for more details (likely won’t be written by me, though). 

10.16 Paint It Black

From the point Dean gets the MoC until the end of season 10, anything between him and Cas is quite impossible due to distancing, to say the least. Again, yes, the fic is really good, but alas. One of the reasons I’m bringing up this episode in particular is because of the confession scene. One, it’s a rare bit of explicit emotional honesty from Dean, and two, it tells me that while he and Cas may be well aware of the Thing™ between them, it’s still uncharted waters. It’s scary, and murky, and they’re unsure how to navigated it or if they should even try. Makes sense, too, there’s been A LOT going on since s6. Anyway, he’s the full confession:

You know, the life I live, the work I do…I pretty much just figured that that was all there was to me, you know? Tear around and jam the key in the ignition and haul ass until I ran out of gas. I guess I just thought sooner or later, I’d go out the same way that I live – pedal to the metal, and that would be it. […]  Now, um… recent events, uh… make me think I might be closer to that than I really thought. And…I don’t know. I mean, you know, there’s – there’s things, there’s…people, feelings that I-I-I want to experience differently than I have before, or maybe even for the first time. […]  Yeah, I’m just starting to think that… maybe there’s more to it all than I thought.

Can I just say, first, that this confession keeps me up at night because we never actually see anything done with it explicitly? I mean, obviously, I think we do in fact see the effects of this confession in the show, otherwise I wouldn’t be writing this behemoth, but still, like. Damn. Ok, so, remember when I brought up that thing in season 7 about Dean being kinda done with hook-ups? Here’s where that led us. We’re seeing a Dean here who wants more than what he has convinced himself he gets to have. He wants more than dying bloody. And when he talks about wanting to experience people and feelings differently, well, that says a lot not just on the queer coding front or the romantic front. I mean, jfc, Dean is accepting the idea that he can have more in life than just hunt until he drops, and he’s specifically talking about experiences at the interpersonal level.

Do you ever see a character having an epiphany and find yourself wanting to cry because this is it right here. Dean is just blatantly admitting he wants more and maybe he can make himself be open to that (!!!), which all culminates in season 11, so…

Season 11:

The pining is still here, but it’s worse now since it’s the whole plot? It’s been *checks calendar* 5 years of this. How are any of us still kicking I don’t know. Your slow burns could never. Cool worth noting points: Cas says yes to Lucifer (bad decision #2.5, lots of mitigating effects_I don’t actually hold it against him that much but Dean is another story & not entirely rational at this point); for the first time since the early days, Dean and Cas are on equal grounds: they’ve both fucked up a lot and have hurt each other. The issues this season are outside their dynamic. Amara and Lucifer here serve as externalizing forces for Dean and Cas’s problems: Cas checks out with Lucifer because he thinks it’s the only way he can help, Dean is caught up in the turmoil of Amara, the emblem of absence and avoidance of struggle. We do get something like an affirmation from the two of them to each other via Dean calling Cas his brother (and I want y’all to consider the historical queering of that statement, and Cas’s “I could go with you.” It feels like we’re headed to them being on the same page. By the end of the season, though, it feels like we’re getting a clean slate: Mary is back, nobody died, no end-of-the-world in sight, no interpersonal crisis. We’re also getting a new showrunner, so. No wonder. We’re gearing up for something, but I’m getting ahead of myself. What this season does that is super important is that it sets up the stage for the possibility of an actual relationship between Dean and Cas, something that has, up until this point, been pretty much impossible.

11.04 Baby

Y’all know what I’m about to quote here, right? That conversation between Dean and Sam about having something with someone who understands the life. Here we still have Dean reverting to the idea that it’s impossible, which is a direct contrast to the openness in 10.16. It’s understandable, though, considering there’s been little reason to think anything like that would be possible (see all the mess and poor timing from seasons past). The quote in question, though, marks a continuing development regarding the issues Dean is struggling with this season:

DEAN: Piper? That’s awesome. Heather. One-night wonders, man. Shoot, we’re lucky we still get that at all. SAM: Really? You don’t … Ever want something more? DEAN: I’m sorry, have you met us? We’re batting a whopping zero in domestic life, man. Goose eggs. SAM: You don’t ever think about something? Not marriage or whatever. But … Something? You know, with a hunter? Somebody who understands the life?

We wouldn’t be talking about this stuff all these years after Sam and Dean had a serious relationship if it wasn’t important, right? Also who else do we meet this season? That’s right! Eileen! And doesn’t that hit different with season 15 hindsight? And who does Dean have that understands the life? Whose stories have been intricately connected to his? Right now, this is all conjecture. A pipe dream Sam is revisiting, and Dean is skeptical about. Except, well. Look at what we get in “Into the Mystic” and “The Chitters.”

11.11 Into The Mystic

I’m bringing up this episode as a cross reference to “Paint It Black” as well as to complement the talk from “Baby,” and to show, again, that, for all the closeness between Dean and Cas, there’s still a marked distance they haven’t yet bridged. There’s still truths they haven’t told each other. Thanks Mildred for the delicious exposition:

Darlin’…If there’s one thing I’ve learned in all my years on the road, it’s when somebody’s pining for somebody else. […] Oh, don’t try and hide it now. Follow your heart. Remember?

11.19 The Chitters

And here we see some validation to Sam’s imagining of a possible future with someone else. We actually see hunters who not only are married, but they both make it out alive. Jesse and Cesar get their happy ending. They make the dream come true. And the reality of it important not just for Dean to see, but Sam too.

Dean: [with realization] Oh, so … [points back and forth to Jesse and Cesar] Cesar: Yeah. Dean: Okay, that’s… Cesar puts his beer bottle on the table and looks at Dean, while Jesse is being silent. Dean: What’s it like, settling down with a hunter? Cesar: Smelly, dirty. [turns to Jesse] Twice the worrying about getting ganked.

I’d like to point out, too, that the fear of getting ganked is thematic when it comes to the tension between Dean and Cas. More on this when we hit s13.

Alright, now, having said that, let’s take a look at season 12. Bear in mind, this is the official start of Dabb’s era, even if he kinda began taking over in season 11, and the change in vibes is obvious. In fact, 12 jumped out at me as a turning point, in hindsight, after getting smacked by the domesticity of seasons 13 and 14.

II. Why Season 12

[Out of date section. Update coming soon when spoons. After significant debate, I’ve altered the definitive start of Dean and Cas’s friend-with-benefits-with-mutual-pining relationship to between 12.02 and 12.03. I briefly explained why here, and yes it’s a shitpost--still true tho.]

Finally, the promise land, y’all. Getting right to it: what s11 was for Dean in terms of setting up the relationship stage, s12 was for Cas. In its initial beats, any way. That is, until the Kelly debacle, this was the longest Cas has been around the bunker and with the exception of seasons 13 and 14, it’s one of the first times we get to see how Cas might actually fit into the bunker-as-home. Things seem remarkably chill. Of course, we’ll notice that there’s still a lot of baggage hanging around because despite Dean and Cas being in a more stable place, they haven’t actually dealt with their interpersonal problems. I didn’t single out directly this episode, but do keep in mind Cas’s declaration in 12.09 First Blood as far as how much the Winchesters matter to Cas & how we also see Dean and Cas be particularly singled out with them seating together in the backseat of the Impala. What we also see this season is Cas trying to prove he is worthy of this family, his family. He’s not fighting for heaven or to right some grievous wrong (a la s8). No, this season he’s fighting to spare the Winchester, to bring them a win. To bring Dean a win. The major disconnect is that Dean (and Sam & Mary) already sees Cas that way, he doesn’t think Cas has anything to prove. And just maybe, Cas starts believing that too – or, at least, believing it enough.

12.10 Lily Sunders Has Some Regrets

This episode, oh my god, the goodness. In the wake of 12.09 we have Dean and Cas in a tiff because Cas mistake #3 (killing Billie and “cosmic consequences”), this is a pattern. Twice the worry of getting ganked, etc etc. But where this episode really shines is through the contrast between Ishim’s obsession with Lily and Cas & Dean’s mutual affection for each other. Ishim sees no difference here and, to him, Cas’s feelings for Dean are a human weakness. Returning to my point about human!Cas, this episode underscores that Cas’s increasing humanity is what puts him in the place where he can want what Dean wants instead of either being too alien to get it (see s4 & 5) or unable to experience it properly (Ishim).

12.12 Stuck in the Middle (With You)

Cas’s trajectory culminates here with the whole I love you (@ Dean), I love all of you (@ Winchesters). Let’s note too that Cas is dying here, in a way that is much more human than going up in light. This declaration of different types of love is entirely human. It’s also a definitive step wrt to Cas and Dean’s relationship because of what happens in 12.19. This. is. it. Oh, and, of course, let’s not forget to point to Dean’s face when Cas says that “I love you,” and how terrified he is that Cas is dying. Might make one rethink some things, hm?

12.19 The Future

This episode is simply hella suspicious, and all the kudos to Berens and Glynn for writing it. It’ll haunt me forever. Consider watching it again and just questioning everything. So. Weird things:

1. Dean’s reaction to Cas no getting in touch as opposed to Sam’s. Dean is pissed, which is Dean-speak for worried out of his mind. Sam is very worried, too, and puzzled, but he’s mostly expressing his relief that Cas is back. But Cas has gone awol before, but this time Dean is much more worked up about it; Sam takes note of this, too. Now, let’s imagine that maybe the events of 12.12 led to something happening between Dean and Cas. Then Cas decided to leave to find a lead on Kelly, but eventually Cas decides to work with Heaven and goes radio silent. For days. Having taken a chance, and something having happened between them, how would Dean react to Cas just going poof and not contacting him – despite Dean having called Cas multiple times.

2. Cas knows about the Colt. Ok, nothing off there. But when he goes to Dean’s room to talk, right after Dean leaves we see Cas looking around briefly. Like he know Dean would keep it in there. Maybe Cas had looked other places already. Who knows. What we do know is that eventually he does find the Colt not only in Dean’s room, but under Dean’s pillow. Sam didn’t even know the Colt wasn’t in the safe. So how did Cas know?

3.“He came into my room and he played me.” So, this quote right there, makes it seem like some seduction for personal gain, right? But can you see Cas actually doing that if they hadn’t gone there previously? For Dean not to suspect anything and go with it? There’s plenty of plausible deniability here, but the gaps in time in the narrative make me question what is there in those spaces. The scene where Cas tried to give Dean the mixtape back doesn’t read like “playing,” so it’s about a different interaction. Hm. Hmmm.

4. Dean and Cas’s brief conversation in Dean’s room is clearly Dean just wanting Cas to stay, so they can work (and be) together – because they’re better that way. Which, yeah, truth, but also ow.

5.And most importantly: When did Dean give Cas that mixtape??? How did that happen?

Sequence of events: Cas tells Dean he loves him – Dean is clearly shook by it – Dean gives Cas a mixtape (romantic gesture, often a declaration of feelings; in true Dean speak too lolsobs) – Cas goes awol - Dean acts like he got ghosted by his new bf -?????- Cas somehow knows the Colt is under Dean’s pillow – "He went into my room and he played me."

What am I supposed to do with that, hm? Like. Y’all realize they probably had some emotionally constipated getting together moment, right? Something that Dean clearly initially thought meant things were gonna change, now. Something that Cas couldn’t allow to happen until he could give Dean a win. Y’all are seeing this, yeah? I’m not saying they slept together and were full of feelings, except that’s kind of what I’m saying. But YMMV, there are other possibilities beyond sex. The full of feelings isn’t up for debate, though, even if the whole thing is informed by ridiculous amounts of miscommunication.

III. Seasons 13 through 15 As Established Relationship

Regardless of what happened in season 12, exactly, I can’t shake the feeling that something did happen, and something did change. My reasoning here is actually really simple: in comparison to previous seasons, Dean and Cas’s dynamic shifts significantly come season 13. I know some folks have been disappointed with some of season 13 and then season 14 for having dialed back on the destiel side of things. And, hey, maybe there’s truth to that in terms of backstage stuff, but I also want to point out that...well, the dialing back isn’t quite dialing back is it? Let’s look at 13 a little more closely:

Season 13:

So I said the deancas dynamic changed, right? I also think that change caught us unaware because the pivotal turning point that would cue us in never happened on screen as well as being subsumed by Cas’s death and Jack’s birth. But if I ask you about deancas in season 13 what would come to mind? Grief arc? Brokebacknatural? How domestic Dean and Cas are? There’s just something easy about their relationship after Cas returns from the Empty. The tension we’d grown so familiar with over the years is gone. Actually, it feels like we skipped the getting together bit of their relationship and went straight to established relationship and parenting. Some of the most peak married deancas moments we see circulating? Season 13, (and 12.10). It’s a lot, and it’s different, and it’s amazing.

13.01-13.05

Dean’s grief mini-arc. He was acting like a widower. Here’s me vaguely gesturing towards the mapping of Jonh, Mary, Dean, and Sam onto Dean, Cas, Sam, and Jack. And the reunion? I can’t help but be giddy at the song choice: “it’s never too late to start all over again.” To. Start. All. Over. Again. I’m just saying.

13.06 Tombstone & 13.16 Scoobynatural

I’m not going at length about these episodes, I just want to point out that they reveal that Dean and Cas have a whole thing going on off screen: they watch movies together, Cas knows about Dean being an angry sleeper, Cas seems to have been aware of the Dean-cave before Sam was. It’s little things like this that are examples of the narrative gaps surrounding Dean and Cas that have cropped up over the years. I don’t think it’s unreasonable to wonder what else could be hiding there. And when did the movie nights alluded in “Tombstone” happen? Maybe in season 12 when Cas in hanging around the bunker? The same period when Dean and Cas seem to be coalescing into something safer and more stable? Something that we never see come to a head because plot happens and Cas dies? Something that is immediately taken back up once Cas is alive again?

Season 14:

Overall, this season is more of what we got during 13, but it had two high notes I wanted to single out before ending this already too long post.

14.15 Peace of Mind

Look me in the eye and tell me Dean and Cas talking in the kitchen about Jack doesn’t read like husbands talking about their child. Look me in the eye and tell me Cas just texting Dean to gossip about Sam isn’t couple-y as hell.

14.18-14.20

Ah, yes, the divorce arc. Awful. Terrible. The culmination of Dean’s problem in all this: he lashes out, he pushes Cas away, his anger is alienating. Cue all of us suffering. But while Dean is clearly in the wrong in how the deals with his feelings, let’s not pretend some of his anger doesn’t come from a long established, and unaddressed, rift between him and Cas, which had its last traumatic turn when Cas died in s12. Dean isn’t being rational here: he saw Cas doing something on his own, and he saw that his mother is dead. What else could happen? Why won’t Cas just trust they can work as a team? What if Cas died again? And why should Cas put up with Dean’s behavior without knowing the cause? How can any relationship work this way? But notice how caught in the middle Sam was during all this. Notice how Jack is running off and acting out. The whole family is falling apart. Divorce arc, indeed.

Season 15:

But what about what we’re building up in 15? That seems like it could be a getting together plot, too, right? Well, yeah. It could very well be. But I’d argue the tension we’re seeing isn’t a will-they-or-won’t-they because they already have. We’re are watching a getting back together plot! The tension is, instead, will-they-or -won’t-they use their words to talk about the baggage that has kept them from truly being confident about their relationship. That’s the crucial step in their togetherness that they’re still missing, which is also the bedrock of the divorce arc that spanned twelve fucking episodes -- y’all, that’s half a season.

And technically? We’re not even done with yet because Cas never let Dean finish his prayer/confession in purgatory. What’s more, Cas hasn’t grappled with his role in the breakdown of their relationship, either: that he keeps going off on his own and getting hurt (and getting other people hurt), and Dean has to deal with the fallout. The deep emotional understanding, the truly being on the same page is what we’re on the edge of our seats for. We’re waiting to see what else Dean had to say, and what will happen when Cas’s deal with the Empty comes to light.

Finally, could we still have this plot without Dean and Cas having gotten together off screen? Sure, but I think the stakes are higher if they already did have something between them. If they actually have an established romantic relationship going on. Something real and tangible and as of yet much too fragile.

"...you asked what about all this is real. We are."

[ordinaryschmuck]

What I Thought About "Eda's Requiem" from The Owl House

Salutations, random people on the internet who certainly won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...

...

...HOW IS SEASON TWO SO GOOD?! WE'VE HAD SEVEN EPISODES SO FAR, AND EACH ONE OF THEM WAS A HIT!

Take "Eda's Requiem," for example. It's yet another episode where I have NOTHING bad to say about it! That's two weeks in a row where that happened! HOW DOES THIS HAPPEN?!

HOW!

HOW!

...But anyways, "Eda's Requiem." It's another fantastic episode, and I'm about to dive into explaining how and why. Just keep in mind, it's gonna require spoilers to do so, so be wary of that as you keep reading.

Now, let's review, shall we?

WHAT I LIKED

Eda’s Checklist and Grom Photo: Within the first second, "Eda's Requiem" perfectly sets up Eda's central conflict in the episode. Despite spending years being on her own and looking after herself, she now has two kids that she's constantly caring over. Eda can try all she wants to say that she doesn't care, and I bet she has in the past. But given the hard work she's putting into getting King and Luz what they need and having a grom photo of the three of them together pinned in her mirror, it's pretty clear that those two knuckleheads wormed their way into her heart and are never getting out.

Eda’s Worried About King and Luz Leaving: And thus, that's precisely why something like this bothers her so much. Eda inadvertently adopted two rambunctious rapscallions (Yeah, I know. I'll get to it), so the idea of them not being around her anymore is going to be terrifying. That is a situation most parents, especially mothers, can identify with. It’s called empty nest syndrome and it proves just how much Eda loves Luz and King that she can't stand the thought of her babies leaving the nest. It's yet another well-made, wholesome, found-family moment that this series continues to excel at each week, making me extra excited for more like it to come...while also readying myself for heartbreak when one of them eventually does leave Eda.

Eda and Raine’s Music: Ok, I don't know the exact instruments that were played during this episode, but I also don't care because it was all (for lack of a better term) music to my ears. Every time Eda and Raine played resulted in melodies that are so beautiful and filled with so much emotion and feeling that I'm honestly tempted to listen to them again, multiple times, on repeat. Shows rarely do that for me, as background music doesn't always draw me in as much as lyrical songs do. Usually, it takes something so extraordinarily composed to give me the desire to listen again, and that's the case here. So huge congrats to Brad Breek for doing so. Seriously, the man's been killing it this season.

Eda’s Bard Magic Causing Things to Turn to Ash: This was assuredly a surprise side-effect of the curse. The fact that Eda can sort of do magic at all was its own shock. To then reveal that a specific type can do dangerous things to people and environments is...Well, it definitely brings up its own fair share of questions. Like, how can she do this? Will she do it again, one day? And are there other types of spells that can be negatively affected by Eda's curse? We don't get answers for any of these questions, and odds are, we never will. But that's alright with me. Because if a show makes me consider these many possibilities after a brief amount of time, it is a show that has to be doing something right. Even if I don't get the answers I want, the fact that it caused such a reaction makes me less willing to care.

Raine Whispers: Hey, would you look at that. Another fun, interesting, and compelling character added to the list of this shows' other fun, interesting, and compelling characters...how is this series so good at this!?

Joking aside, Raine's pretty good. I like Raine. They could have been this super serious leader who lost all their fun after years apart from Eda, but I'm glad that they're not. There are moments when Raine takes their job as leader of the BATs seriously, as one would, but I still prefer the fact that they kept a jovial nature despite how grim their situation is. It's an admirable trait to have, and it avoids the trope of making leader characters boring just because they're the ones who have to take things seriously.

Oh, and also, Raine's Disney's first non-binary character who has a stake in the plot. This is a tremendous deal, as you don't usually see that many non-binary characters in children's animation, let alone ones that hold importance to the story. So it's pretty cool for the writers to feature Raine, as it helps several kids feel as though they're finally seen and respected. And the fact that Disney of all companies gave the thumbs up is even more impressive. I hear people say that Dana Terrace should have pitched The Owl House to more progressive networks to avoid pushback, and while I absolutely see your point, I'll have to respectfully disagree. Disney is the largest entertainment industry of all time, so if you want to make LGBTQA+ representation normalized, you gotta stop making splashes and start making waves. Because if the same company that made three racist cats in the span of a few years manages to say that being gay is a-ok, then you know there's something wrong with you. Yes, Disney ended up screwing over the show anyway. But for that one moment, when kids felt pride after seeing a character like Raine, then, in the end, it's kind of worth it.

Also, if you're still having issues with more representation like this popping up in kids' shows, then allow me to redirect you to the complaint department.

...I made that post earlier today for this bit. YOU HAVE BETTER APPRECIATED IT!

Day of Unity is meant to be a Secret: At least, that's what I got when Raine stumbled over their own words. So if it's true, then I wonder why? Why does Belos want to keep the most critical change in the Boiling Isles a secret? Does he want to make it a surprise for his grateful subjects, or does he not want to spread worry and fear amongst the wild witches? It has to be something big if he doesn't want his followers to even say the words "Day of Unity." Whatever reason he has, we most likely won't know until the future. A future that I grow more and more afraid of each week.

Hooty Eating Echo Mouse: My heart sank in that brief moment when I thought that Hooty intensely screwed Luz over in getting back home. But looking back...it is pretty funny.

Just the suddenness of Hooty eating the poor creature that Luz desperately tried to earn its trust is priceless in how shocking it was. And also, Luz's expression.

That was the look of a young girl who immediately shoved her hand down an owl demon's throat the second the scene cut away. The Owl House may not always be a hit in the comedy department, but scenes like this prove that when it's funny, it is hilarious.

Luz and King Entering the Grand Prix: Not much to discuss here. It's just a cute subplot that adds frivolity to the intensity of what's going on through Eda and Raine's story. But I will say that I love how both stories occasionally interconnect with each other through the many moments of Eda being worried about King wanting to leave to find his father and avoiding any conversation about it. It helps both plotlines feel like they belong together, without being something like "Through the Looking Glass Ruins," whereas both stories could have been in their own episode. Which is neat.

How Bard Magic Works: I really love how this season is diving into how the other magic types work. More specifically, the ones that seem a little vague. I mean, stuff like healing, potions, and plants are easy to figure out, but what does it mean when a witch's talents are construction, beast keeping, and bard magic? We've been getting a lot of clearing up lately, with bard magic looking like a witch can control their environments and enemies through the power of music. Which is fair. Music is pretty powerful in the metaphorical sense, and I actually love that it's powerful in the literal sense when in the Boiling Isles.

The BATs: Not much to comment on these three either. The BATs have the potential to have an entertaining dynamic, but they do very little in this episode that I can't say much other than I hope they make a return in the future. But I will make this claim: Amber is my favorite. I'm sorry, but her screaming "You're not our mom!" to then go, "Bye, mommy Eda" is just too precious for me not to love.

I'm a simple man who falls for cute s**t. Leave me alone.

Raeda (RainexEda): Well, EdaxCamila, you were a fun crack ship while it lasted, but I'm afraid that this is now goodbye. The current canon has provided an incredibly adorable and believable relationship that I would be a monster not to support with my whole bi-heart. It's been real.

Ok, back in serious mode: I love these two together. Eda and Raine are grown-ups, and they still act all flustered near each other as if they were still Luz and Amity's age. It's definitive proof that you're never too old to get flustered near a crush, and seeing them interact adds a sense of wholesomeness when seeing them together as well as heartbreak when they're forced apart. Plus, we get confirmation that Eda's LGBTQA+! Whether she's bi, pan, or whatever, now that we know Eda can catch feelings for someone like Raine, it's yet another case that The Owl House is the most important series to the community. Because having the main character be queer is fantastic in its own right. But having the same apply to the motherly mentor figure? That's is an extra bit of normalization that anybody would be willing to appreciate.

Unique Guard Designs: Not many fans are going to appreciate this, primarily compared to everything else this episode does perfectly. For me, I actually like that you see a few Coven Guards looking differently from the others, as it helps make them less like clones and makes it seem like anybody of any body type could be a part of the coven.

Gus Looking Uninterested when Presenting Grand Prix with his Dad: I am positive that you didn't notice this (I didn't even notice it until someone else pointed it out), but there's something to dissect here. It hints that perhaps Gus isn't as interested in his father's field of work as one might think. If he did, he would look a lot less bored and much more excited to be helping Perry Porter present the race. It could just be the race itself, but judging from Gus' expression, it really seems like the kid would prefer to be anywhere but there. And why would he have that reaction to a race that his best friend is competing in? To me, this seems like an inkling of what Gus' relationship with Perry could be, which may not actually get time to shine, what with how little wiggle room the series has now (Thanks Disney). Regardless, it is interesting to notice, and it will certainly have fans thinking for a while.

Bump Being Smug of Luz Being in the Lead: That's it. Principal Bump looking smug as his human student is beating the students of his rivals is yet another moment that proves why Bump is easily the best cartoon principal.

Darius: First of all, this guy is f**king fabulous, and I love him. *Snaps*

Second, he is definitive proof that you do NOT want to f**k around with Coven Leaders. Lilith may have had her intimidating moments, but none of them compare to the guy who can turn himself into an abomination monster where only magic that hasn't existed before can take him down. It's genuinely scary to see Darius lose control, and I fear for the day when Luz inevitably ends up in his crosshairs.

With that said, Darius' still a ton of fun! He may be threatening, but he's just a flamboyant guy that hates the idea of getting his outfit the tiniest bit dirty. And I love that. I love that these Coven Heads have actual personalities instead of being generically evil. I consider it preferable to make villains entertaining rather than blatantly scary as I'll remember the personalities first and the villainous acts last.

Eberwolf: But this one's my favorite. I told you: I'm a simple man who gets easily swayed by cute s**t. And Eber? I mean, just look at her:

She's just a cute widdle rascal! I just want to pinch her cheeks, give her a belly rub, and--

...Eberwolf is not a cute widdle rascal. She is a strong, independent woman, and I will respect her as such from this moment forward...lest I feel her wrath.

That is all. Let's move on.

Eda and Raine Attempting a Final Performance: This was the best scene of the episode. It looked gorgeous, it shows the dedication Eda and Raine have for stopping Belos, and it says so much through so little. Go back and look at how Eda and Raine regard one another when performing Eda's requiem. Through their expressions and a few short words, you know they understand that if they complete the song/spell, they probably won't make it in the end. And yet, they don't care. They both know bad stuff will happen if Belos wins, so Eda and Raine put everything to the side, both their feelings for one another and the people they leave behind if it means putting an end to a tyrant. That level of dedication...Words can't fully describe how powerful that is.

Raine Sacrificing Themselves Instead: But in the end, Raine can't do it. Not when they know the life that Eda has and the people she'll be leaving behind. It's an extra bit of nobleness to the character seeing that Raine refuses to take away a woman from two kids who need her the most. A tad bit selfish, sure, knowing what Belos has planned. But when it comes to love, the romantic, familial, or platonic, the best decisions aren't always the logical ones.

Eda Crying: Luz crying tears me up, but seeing Eda cry is a whole different level of heartbreak. Like Lilith, Eda has her emotions locked up tight, with the closest she came to weeping were those two tears in "Young Blood, Old Souls." In "Eda's Requiem," she cries but almost quickly stops herself. As if she knows that doing so isn't going to save Raine. That is...even worse than seeing Luz break down after losing Eda. The fact that Eda refuses to give herself time to mourn losing someone she loved is tragic because crying is the most natural way of showing grief. Turning that off isn't healthy, and seeing her do it with little resistance is sad to me. It's sad to see a character I love can easily shut off all emotions despite how badly she may want to embrace them. It's one of those moments that, again, by doing so little, it shows so much.

“No one watches Crystal Balls anymore. It’s all about streaming.”: Oof. Even I felt that burn towards cable.

King’s Message: King's message was the pick-me-up I needed after the heart-wrenching sadness this episode put me through a few minutes ago. Seeing King say who he is and listing all the things he loves is nothing short of adorable. On top of that, I adore that Eda willingly recorded the whole thing. She may not want King to leave, but that doesn't mean she'll sabotage the one thing he wants. Especially not after Raine gave up everything so Eda could be with her kids. The opening scene may prove how much Eda cares about a rascal like King, but this heartwarmingly sweet moment reveals just how far she'll go to make him happy.

King’s Dad Reveal: ...ok, I'll be honest, I did not think we'd get that reveal this soon. Dumb of me to say, considering the number of times I've said that these writers don't waste time getting to the s**t, I know. But still, it's pretty cool knowing that King's dad is alive and well, added with the fact that we've got a fair idea of what he looks like. At this point, it's only a matter of time before we see him figure out where the Clawthorne residence is and witness the tear-jerking moments that will follow.

King Changing his Name to King Clawthorne: Not the official adoption I was expecting Eda to make...but DANG IT, is it still diabetes-inducing levels of sweetness!

Personally, I feel like the main reason why Eda breaks down this time is not only because she shouldn't be worried about King leaving her life, but also because Raine's sacrifice wasn't in vain. Her kids really do need Eda because no matter how far apart they'll be, she will always be a part of their life...dang it, I'm going to cry too!

What those Coven patches really do: Well...that was horrifying to see.

...Writers, if you kill off the best non-binary character in animation (it's a short list, I know), we are going to have PROBLEMS!

IN CONCLUSION

"Eda's Requiem" is--surprise surprise--another A+. The emotions hit hard, the representation hits harder, Raine is a fantastic addition to the cast, and it was all surprisingly cute at times. Season Two is currently on a hot streak, constantly winning with every episode that's come out so far. When a bad episode does eventually show up (IT'S GONNA HAPPEN!), I'll be sure to sing my requiem then. For now, I'm just gonna enjoy the ride.

[razorblade180]

Overall thoughts on V8? Assuming you didn't answer this already.

I meant to do a volume wrap up review but I got incredibly busy and it fell to the waste side. The thing about me judging RWBY I have to come at it from two angles or I won’t feel like I judged it appropriately. There’s the casual, first time seeing the episodes and seeing this through the lens as a casual watcher who probably only sees the episodes once or twice. But then there’s the other side to that coin. I review these episodes, write aus, theorize, check extended lore, listen to the music, etc; that means I have to go back and watch episodes several times for any given reason and that’s when you start noticing the holes or picking up on things you didn’t before.

As a casual watcher, I’d give this an 8/10. There’s plenty of moments where characters do things that got me excited and plot points I wanted explored. This volume actually gave a decent amount of things I wanted for quite some time and some things I didn’t know I needed. Certainly there are things I don’t like in this but I’m open and curious to see where RT takes their storie because it’s their story.

Okay, now as a someone who’s had to deep dive and take a step back multiple times for a variety of reasons. 6.5/10 maybe a 7/10 if I’m being generous. A lot of my problems with this volume are problems that aren’t new to RWBY and that’s just how surface layer portions of arcs are and how a variety of choices/bonds don’t exactly make sense with what we were previously shown, or they only make sense because the writers don’t want introduce other complexities even though they should be there realistically. I’ll give a couple examples of these and yes, I’m aware what I say doesn’t bother everyone but it bothers me.

Qrow was never angry at or brought up Robyn being the reason their airship crashed in the first place because she started the fight; which aids in Clover dying.

Emerald follows Cinder, not Salem. Even if Cinder is working under Salem, why would Emerald be so willingly to complete shift to the side that actively goes against Cinder? There’s been no grand revelation to make Emerald believe Cinder doesn’t give a damn about her. Leaving made sense because she was about to get tortured. Going full turncoat right now doesn’t. No change happened. Emerald always hated being near Salem but adored Cinder no matter the crimes and the show hasn’t done anything to switch that view point.

I’m happy Whitley and Weiss had a touching sibling moment that implies they’re okay and making/made up, but there was never a conversation about the actual problem and thoughts that had them at odds in the first place. Weiss saving his and Willow’s life shouldn’t be the thing that smooths things over. It would’ve been terrible if Weiss do something to save their life. Whitley helping Penny is okay I guess because he really had no reason to contribute but did anyways. Even so, a person doing a morally correct thing doesn’t automatically warrant the conflict between him and Weiss’s resolved.

We got Cinder’s backstory; it didn’t tell us anything about how she eventually came into contact with Salem. Honestly her back story felt more in line of her main goal through the series was an absolute freedom by the means of breaking down the systems that trapped and didn’t give a damn, rather than her quest for power. Yes you can argue gaining power means it’s easier to maintain her freedom to do whatever she wants but I personally think that’s a little off the mark when you gave her a story that involves her trapped by rules and time rather than being too physically weak to gain freedom.

This show has built up that the Schnee family has suffered various types of abuse because of Jacques and uses Weiss as a medium to build towards breaking free from that. Not just overcoming but confronting the abuse by cementing it’s place below you. We don’t really get that. There will never be a moment where the siblings and mother truly get to break out of Jacques grasps emotionally and then put him in his place because he’s dead! Yeah they never have to worry about him again but even last volume they showed Winter still having turmoil and being able to get strung along by him. We don’t even really know how Whitley perceived his father. It feels so lackluster. Then they care to mention how it’s Weiss’s idea to save him like it’s an empowering moment when in actuality, it would be against her character, values of a huntress, and morality to let a person die in cell when you’re the reason they’re in a cell! Letting him die in there would just terrible. I don’t even know why he wasn’t let out in that scene! He’s a coward! He’d follow their orders to save his skin. All he has to do is shut up and walk through a portal.

Ironwood and Oscar both knew they could remove that staff to use it and Atlas wouldn’t drop immediately. Why did nobody have any kind of compromise with one another since there’s nothing stopping them from using the staff for something and then putting it back? They had this morally gray thing going on which I liked but then they decided to make Ironwood go full evil. I’ve never had to say this before but the song he got in V7 and the character they made him be in V8 just don’t connect. I got upset listening to that song recently because I liked that Ironwood.

Clover’s importance. RT tried making a character who had no more than 9 minutes in the series and one meaningful line of dialogue into the cornerstone of a side plot. Clover is such a nothing character. Vine did more than Clover. They try to make him have such a profound impact to the people around him but we never see him bond with his team; Harriet specifically. We get one scene of Clover telling Qrow the kids are fortunate to have Qrow even if he doesn’t think so. First, I doubt Clover knows Qrow decided to get drunk in a ghost town and the kids nearly died and cellar while he did it so that compliment doesn’t hold much weight for me. Second, We see nothing meaningful between the two. V7 has a time skip and just expects viewers to be on board with Clover being this influential change on Qrow without showing anything outside of a witty remark and Clover flexing his semblance. I would’ve bought it more of Qrow almost relapsed and Clover stopped him then had a real meaningful conversation.

Ruby goes against Ironwood only to then want to do a plan that’s aligned to longer term thinking than even his, talks about how everyone should be working together, but then adds a part in her video to actively antagonize and vilify Ironwood. Afterwards, she wonders where everything went wrong and doesn’t think of a plan or do anything to immediately help either kingdom until the final hour between the ultimatum being made, to everything getting destroyed. The inciting incident was disagreeing Mantle should be left in favor of Atlas but the main character didn’t do anything to help Mantle 90% of the season and hindered Atlas’s safety up until the final plan.

Yang is used to be the devil’s advocate in a bunch of situations, but she’s wrong most of the time or her lines just don’t make any sense. They weren’t doing just fine before Atlas. They almost died every step of the way. The team didn’t beat a Leviathan; silver eyes and a robot take credit for that. Why would Blake think less of Yang for wanting to go save people immediately? Blake was never mad at anyone to begin with. Yang consistently calls out people for following orders as if it’s objectively wrong, but is never called out on the fact she hasn’t followed anybody’s orders but her own and added discourse to every situation. I get RT is making her ask questions because that’s what Raven told her to do, but all she’s really doing is picking fights and disobeying every order. Yang states to Ruby they accomplished more than they expected. That’s false, getting Oscar back is correcting a mistake caused by her own plan that she didn’t even complete.

It took 6 volumes before Yang had anything to do with the Summer Rose subplot again and 7 volumes before her and Ruby had a sister to sister conversations; 5 if you wanna count Yang telling Ruby to leave at the end of volume three. The reason I bring this up is because in V8 , they treat their argument as if it’s a big deal but then have every character say it wasn’t that big a deal; but then have two circle back to that conversation later after having neither character discuss to anybody that the argument actually did weigh on them. Yang doesn’t think about Ruby until she sees her again and the closest we get with Ruby is Blake reassuring her that people need her and how Blake admires her. I like that scene but it’s not the same as Ruby actually airing out the specific point that Yang said something that Ruby found hurtful. Vol8 in general people trying to comfort others but nobody ever actually addresses what made them uncomfortable to start with. Except Ren.

This one is a nitpicking but I’ll say it anyways. Penny getting hacked only served as a purpose to go to the vault, a thing Ironwood already wanted them to do. Nobody got her because she was hacked. You can’t even say her getting hacked is the leading factor to her actually dying because Penny became a vulnerable human afterwards that can’t be rebuilt. Pietro was gone, and already stated last volume he doesn’t have the aura to build Penny again. If she died as a robot then it’s still permanent death. No core, no Pietro, and no aura; hacking her was just to create a Hound reveal situation and make them go to the vault on a different set of terms. I’m not exactly upset with this, but I don’t understand why the extra steps. The Hound was hunting her anyways. I would’ve brought some kind of value if she hurt a friend and it caused them to potentially hinder the plan later on or remove them entirely. Penny could’ve rekt Yang and it only adds value to Yang getting one shot later. I don’t know. I’m rambling.

I think I’ve wasted enough people’s time. Honestly, I do like this volume. I’ve enjoyed a bunch of it. But there’s things that legitimately make me think it’s not as good others and makes V7 even worse.

[thesaltyoceanwaves]

Adrien’s Room and Memorabilia: A Sequel Post

Well, I hinted at a similar arc for Adrien in this post, so let’s brainstorm.

CW: mentions of harassment

The major difference between Adrien and Marinette in this instance is that Mari’s room is about her working through her social anxieties and developing meaningful relationships. Adrien’s focus is on his lonely nature, as well as discovering and cultivating hobbies that he really enjoys, and aren’t just forced upon him by his father.

His room starts off with very few photos of his loved ones, namely his parents, Chloe and Felix. These photos are professional in nature, clean, crisp and very much lacking in color. Even Chloe and Felix are behaving for the sake of the photos. Notably, their photos show them when they are much younger, to indicate that Adrien hasn’t spent time with them lately.

There’s a large emphasis placed on the amount of stuff that Adrien has in his room. The video games, the TV, the climbing wall, etc. Everything is completely clean and dust free, because he spends a lot of time in his room, but he doesn’t have anything he’s particularly drawn toward, so whenever he’s done with something, he puts it away and grabs something else. His room is also likely clean due to his strict father demanding he keep up appearances.

The only exception to this are video games, but they are very specific ones: simulators. Particularly, ones that focus on dating and romance. Life simulators, farming simulators, RPGs that offer a romance subplot, etc. Even if the sim only offers the option to make friends, Adrien is fine with that. Stuff like Animal Crossing, Stardew Valley, Harvest Moon/Story of Seasons (the ones made by Marvelous), The Sims, Undertale and so forth are right up his valley. And again, lots of dating sims.

Following his mother’s “passing,” and at the start of the show, Adrien keeps a corner of his room dedicated to her. As more time goes by and Adrien gets closer to his new friends, this will shrink down to a photo of the two of them, and most of her memorabilia will be stored away. This will show that he’s open to the possibility of his father dating someone else, as was shown in “Felix”. 

He will often turn to photos of his mother when he wants deeper, more worrying thoughts that he wants to voice and get off his chest, or if he needs advice about something and he doesn’t know who to turn to. S1 would focus more on friendship advice, because in this version, he would need to put in more time and care to make friends (Nino and him would still stay buds, Mari is still crushing on him but is hesitant to approach, and Alya is kind but cautious, with the rest of the class being wary because of his friendship with Chloe). Later on, he’s more likely to ask about plot-relevant stuff, his feelings for Ladybug and Kagami (and romance in general), his growing resentment towards his father, his meet-ups with his friends, and his discomfort with Chloe and Lila’s touchiness. Coupled with Felix’s harassment in “Felix,” this causes Adrien to realize his boundaries are being violated, and to also wonder if he has adopted similar behaviors. He goes to speak with either Sabine, Tomoe or Nino’s mom about the matter (maybe all three to get a variety of perspectives), and then with Ladybug. I would set this conversation sometime after “Frozer,” with him mentioning how he acted there, and apologizing for leaving her in the middle of battle (if the episode isn’t rewritten to include that there).

Overtime, he would start to depend less on talking to Emilie’s photo, and instead talk to whoever he asked for advice. Instead, he would talk to her prior to a larger battle or facing a bigger threat and had something he wanted to get off his chest.  

At the beginning of their superhero career, Adrien is into collecting Ladybug merch - he’s likely to even have one of those “Do it for her” boards set up. He has some Chat Noir stuff as well, but it’s not as prominent. When other heroes arrive on the scene, he’ll have stuff of them too. He would even go so far as to recreate the heroes in his games (mostly in what Sims knock-off this universe would have), and roleplay scenarios with Ladybug. He doesn’t fully get rid of his merch over time, but he does likely downsize as he spends more time getting to know Ladybug and the team.

There’s also the obligatory Ladrien scene that I hinted at in Marinette’s post. To recap, Chat Noir, during an emotional moment with Marinette, mentions that he has Ladybug memorabilia in his room, and that he ought to downsize. Sometime later, Ladybug comes to check up on Adrien for plot-related reasons, and discovers that he “too” collects Ladybug merch. Adrien is notably embarrassed by this, but Ladybug replies by saying that she’s a fan of his as well. This will allow two sides of the ship to feel closer to each other and open up about certain things.

Similar to Marinette, Adrien will start picking up little things as mementos from previous episodes to decorate his room with (a class photo from “Reflekta,” a copy of the movie from “Horrificator,” his autographed Jagged Stone CD from “Guitar Villain,” etc).  I also imagine him holding onto clothing items such as Nino’s hat or Kagami’s jacket, that get left behind after hanging out. Over time, he is eventually gifted a mannequin to display these items.

I remember seeing a post that called into question whether Adrien’s activities were something he genuinely enjoyed or if they were just foisted upon him by his father. I like the idea of a laid out arc that explores what Adrien might like to do in the future, by having him go through various hobbies (sort of like Daphne in “Be Cool, Scooby Doo”). 

One hobby I’d give him from the start is tricking. (For those not familiar, tricking combines moves from martial arts and gymnastics, usually flips and kicks, and can be used to create super cool combos, yes I am biased about this). We often see him showing off stunts in battle and would fit Chat’s tendencies to be flashy. I could also see this becoming a hobby he shares with Nino and Kagami later on, maybe with the three of them sneaking out to meet other trickers at gatherings.

(For those who need visual reference.)

However, I also want to give Adrien a more traditionally feminine hobby. There’s a couple of ideas I had for this, including, again ones that he cycles through as he explores himself a bit more. After meeting Luka and noticing that he paints his nails, Adrien might tiptoe in nail art. I could also see Adrien getting really into writing romance, starting off as a fanfic writer and eventually writing his own novel or comic. Alternatively, he becomes a poet. Maybe he spends an episode learning to sew with Marinette so he can make his own cosplays. Or he starts a cottagecore aesthetic blog, and additionally starts taking care of some plants to give his room some needed greenery.

I think for the sake of irony, it would be interesting to see Adrien eventually take up baking as a hobby. I know there’s a couple of AUs involving this concept already (I forget who it was, though I’m tempted to say @lenoreofraven​ ​ but correct me if I’m wrong), but I like this idea because it would give him something extra he and Marinette could bond over in the future, especially since he doesn’t want to do modelling long-term. It would also give him a good excuse to visit the Dupain-Cheng bakery, and grow closer to Sabine and Tom. Perhaps they take him up as an apprentice, or give him a delivery boy job alongside Luka (giving that relationship a chance to grow as well, as well as a Delivery Boy shenanigans episode).

When he’s either in between hobbies, in a tumultuous state, or growing distant from his father, his room will appear far messier. In the latter case, it may be an attempt to rebel against Gabriel, saying “it’s my room, I can do what I want!” If he’s not comfortable immediately speaking out against his father, he may rebel in more passive aggressive ways. I could also see him roleplaying scenarios in which he tells his father off or planning escape routes for hero patrol or tricking gatherings. I think he would also have padded mats stored somewhere in he case he can’t leave, and wants to practice, or have his own tricking gathering in the house.

As he collects more mementos, they start filling up the empty spaces in his room, so when his father prevents him from leaving the house, he doesn’t feel as lonely. He starts finding ways where, from the comfort of his room, he can hang out with friends (like in “Anansi” where he uses the facecam to see what everyone is up to). More friendly, casual photos give the room some life. These mementos may also cause him to start downsizing on the Ladybug and Friends merch.

He will only attempt to remove them altogether if his identity is revealed to Marinette, and she doesn’t seem to process it well (at least at first). Anything pertaining to her, as Ladybug or Marinette, he may attempt to remove, until he realizes just how present she is in his life. He would then consult his mother’s photo about what to do. 

And similarly to Marinette at the end, when they start dating, he would start to incorporate couple’s photos. I think both of them would have those photo booth strips, but I could also see Adrien commissioning posters of his OTP, LadyNoir, and bringing back some of his merch (in a teasing, well-meaning way). 

[fictionadventurer]

Top 5 unpublished stories (unfinished, in-progress, etc. yours or others' - things posted on tumblr fit, but not indie or traditional publishing)

To be clear, I’m limiting this to:

Works that have at least a partial scene drafted. If it exists only in outline or in idea form, it’s ineligible. There has to be some writing for me to reread and like.  

Stories that are not current WIPs.

So, in no particular order, here are five favorites that I’m fond of.

(Warning: Very Long Post)

1. Airship Sleeping Beauty.

In this world, parents buy fairy gifts for their children at birth. Most people are limited to two or three. Seraphina Crowne (please call her Sara) was gifted with twelve. Her impoverished parents had friends among fairy kind who were able to bend the rules to give this child enough gifts to survive in their harsh environment. Thus, Sara has everything from enhanced beauty and grace to strength and speed and musical skill, which makes her an unstoppable force of (super)nature. She loves a challenge and decides to support her parents by becoming a sailor on a flying sailing ship, where she rockets up through the ranks.

Our POV character is Jack Sanders, who serves under her as second lieutenant. Jack has spent years struggling through the ranks with only one unsuitable fairy gift. The father who chose his gift was an insomniac, and gave his son the gift of helping people fall asleep. Surrounded by people with more useful skills like strength or navigation, Jack languished as a midshipman for years until he served under a captain who realized the greater uses of his gift. Jack hates Seraphina Crowne, assuming that she’s the daughter of a rich man who has enough money to bend all the fairy gifting rules for his precious princess.

As they travel through a tropical land, they run into many adventures, and Jack starts to respect Sara. He learns that she comes from a much less privileged background than he’d assumed, and they slowly become friends. Then one day, they’re taking a day of shore leave on a flying island when they get into a fight with some local ruffians. Sara falls over the edge and is impaled on one of the metal spikes that serve as a barrier between the island and the open sky. But she doesn’t die. She climbs up with a gaping hole through her torso, and the should-be fatal wound heals within hours.

Sara is forced to tell Jack her greatest secret--she actually has a (highly illegal) thirteenth gift. Her mother’s greatest friend among fairy kind was a fairy who was banished from the guild for giving gifts that were too powerful. This fairy wanted to make absolutely certain that her friend couldn’t possibly lose this child at a young age. Her gift to Sara was that she would die by being pricked on the spindle of a spinning wheel--which means that nothing else can kill her. Not disease, injury, old age--she is invulnerable as long as she stays away from spinning wheels, which is easy to do in this industrialized age when your average person has never seen such a thing.  

Jack promises to keep Sara’s secret and they return to the ship. But Jack isn’t the only one who heard her confession. There’s a local airship pirate who supports his business by adopting infants and getting them the illegal fairy gift of being able to transform into birds. One of these bird-children also heard Sara’s story, and they inform their pirate father, who make plans to attack the ship and take out its most powerful asset.

I never finished the story because the climax falls apart. The pirates were going to attack and stab Sara, but Jack is able to stall her death by putting her to sleep--and I could never figure out a way to save Sara without it feeling cheap and predictable and/or detouring into a completely different plotline that takes us away from the story. But I think of the rest of it as one of the best fairy tale retellings I never wrote.

2. Faraway House

This one is my middle-grade portal fantasy for adults. Mara meets Adrian, a mysterious, magical man whose house sits in a space that connects to three different universes--ours, one that has a more medieval fairy tale vibe, and one that’s more steampunky and involves lots of chimeras and people with animal traits. People in need of help tend to fall into this in-between space, and Adrian lets them stay at Faraway House for as long as they need.

There are tons of characters who drop into this story and provide little subplots, but my favorite part was an overarching plotline involving Adrian and Mara. Adrian, who was originally from the fairy tale world, was the evil magician of every childhood nightmare, a powerful man who did all sorts of horrible things to people. He became obsessed with immortality and eventually got it--at a great price to the rest of the world and to himself. He was caught, stripped of a lot of power, and left to live his long life and see the consequences of his actions. He spent a few centuries wandering the three different worlds and undergoing a ton of character development. As a newly humbled man, he was given charge of Faraway House, since his magical talents would be valuable to keep the area and the portals stable. Now, he’s the nicest, sweetest guy you’d ever want to meet. He rarely tells anyone about his past, and most people wouldn’t believe it if you told them.

Anyhow, after Mara’s been staying at Faraway for a long time, she and Adrian go through a portal that links to Adrian’s home universe. They soon realize that it links to his world several centuries in the past, when Evil Adrian was at the height of his power. And he’s very interested in Mara, because her adventures in Faraway have given her some kind of magic that will help him reach the Well of Immortality (or something like that--it’s a very nebulous, fairy tale idea). Unfortunately, taking this magic will kill Mara, so Older Adrian does all he can to save Mara. He succeeds and gets her back home. But his younger self is still on the lookout for her, and he eventually makes his way to Faraway, where he drains the magic and escapes, leaving Mara dying.

And I know this is the most cliche way to end this, but I like my stories predictable and cheesy, and Older Adrian ends up saving Mara by giving up his immortality, which kills him. It’s all very Disney-moving. The story ends with Mara being made the new caretaker of Faraway. And I give away the ending because I’m never going to write this, but I’m still fonder of this story than it deserves.

3. The Island

Anne of Green Gables meets fairy tales.

The Island is a place full of magic. Amphibious mermaids swim along its shores. A fairy forest fills the heart of the Island. Selkie live on the tiny islands off its shore. Pixies cause trouble in the farmyard’s back garden. It’s amazing to the relatively low-magic areas of the rest of the world, but it’s all part of daily life to the farmers and fishermen who live here.

The Fairy’s Daughters, a retelling of “The Twelve Dancing Princesses”, had the most words written in it, but I think I’m fonder of some of the shorter sketches set a generation earlier that highlight little bits and pieces of the world. I started with the tale of Lizbet, an ordinary orphan girl living with her aunt who befriends Gideon, a half-fairy boy who eventually becomes the town’s magical doctor. Their friends include the widow lighthouse keeper who tries to adopt an orphan boy and is surprised to get Amy, who’s a girl--and a mermaid. There’s Captain Avery, a fierce-looking old sailor with a gentle heart and a surprising amount of experience with magical creatures. There’s Auberon, a fairy prince and eventually king who’s racist against humans, spends some of his younger years traveling in human lands to import human-made products, and becomes even more racist because of it.

I think my favorite thing in this universe are the sylphs. I borrowed Andersen’s idea of the “Daughters of the Air”, and made my sylphs into invisible, benevolent creatures who do good deeds for people, and can accomplish magical feats far beyond what any fairy can do. The sketch I reread most often is a scene where Amy, out for a swim in a storm, is rescued by a sylph who has taken a human (though translucent) form, and gets invited in for tea by Amy’s grateful friends.

It’s a fun universe to play in, but not one that I’m very good at finishing stories in, so I think it needs to stay as a pretty aesthetic and a fun sandbox.

4. Clever Anne

A retelling of “Kate Crackernuts” set in a non-magical Regency-esque setting. Anne is the beautiful, intelligent daughter of a duke. Kate is her bold, daring stepsister. They are deeply devoted to each other, but Kate’s mother hates Anne for being so much more beautiful than her daughter. She gets one of the servants to push Anne into the embers of the fire, leaving her face badly burned. Kate throws a veil over Anne’s face and gets her out of the house, insisting they’ll go off to make their fortune.

Anne was childhood friends with a young man who, through a convoluted succession crisis, unexpectedly finds himself on the throne. They stumble upon him in their travels, and find themselves able to help him by investigating the mysterious behavior of his half-brother, who resents that he was passed over for the throne and may be plotting something sinister. I was never able to figure out a good political-intrigue parallel to the “dancing all night with fairies” portion of the plot, so it never got written. The only really good scene I wrote from this story was the moment where Kate finds out about Anne’s injury and insists on leaving the house. But even in that one scene, their relationship is so strong and so vivid in my mind that I love their story even if I never finish it.

5. The Beast’s Mechanic

This is the one on the list that’s closest to being a WIP. I actually edited some of the beginning in March. It’s a sci-fi take on “Beauty and the Beast” set in a world where two planetary empires are at war. The war destroyed Monique’s father’s shipping business, forcing the whole family to move to a desert planet where they run a small spaceport. Monique is a top-notch mechanic, her sister Gemma is a pilot, Gemma’s twin Joanne stays at home to take care of the house and the two youngest siblings, and Leo is a seventeen-year-old rapscallion who is desperate to join the war as soon as possible.

Their world is upended when, for the first time in years, their mother wants to meet with them. A former starship captain, she and her husband disagreed over the war, and she left the family years ago to join the war effort. But now her starship is in for repairs and she wants to take some time to reconnect with her family. There’s some controversy among the family--do they really want to open these wounds again when they’ve finally moved on?--but Monique the peacemaker insists that, even though it’s impossible for the whole family to make the trip, her father should take the chance. He goes to meet his wife, but on the way there, his spaceship breaks down in the middle of nowhere, and he’s rescued by the Beast, an infamous cyborg outlaw. He also breaks important equipment on the Beast’s ship, and is only able to keep from being thrown out of the airlock by insisting that his daughter can fix it.

Monique nearly does, except that the authorities show up just before she’s done with repairs, forcing the Beast to take off with her in the ship. She comes to learn that the Beast is far from an evil criminal and has been helping people wronged by the government, and she helps him get home to his family (in the enemy empire), but her patriotic starship captain of a mother takes all of these events in very much the wrong light.

I’m very fond of this story for the ways that it avoids some of the usual BatB retelling tropes. There’s much more to this story than the romance, and little focus on the mystery of how the Beast became a Beast, and there’s much more focus on family. The Beast hasn’t even shown up yet, but I’m just incredibly fond of Monique’s family and their everyday working-class life on a desert planet. I hope I can make more progress on it someday.

[featuringthecreature]

Reviews for Every Movie I Watched in March+April

Kinda fell off on watching movies after January due to some mental health shtuff, but I’ve slowly been getting back on that horse and I wanted to talk about the movies I’ve seen, so here we are. Take my number ratings with a grain of salt, they’re mostly off the cuff and giving a movie a numbered grade is pretty arbitrary anyway. 

March 1: The Wizard of Oz (1939)  dir. Victor Fleming - 9/10

It is STUPID how good this movie is for 1939. I really do like almost everything about this movie, from the fun characters to the bright and colorful set design to the iconic music. In fact, the only parts of the movie I don’t like are that ugly ass Cowardly Lion and those godforsaken Munchkins.

March 1: Kick-Ass (2010) dir. Matthew Vaughn - 8/10

Even when Matthew Vaughn is bad, he is still amazingly fun, and this movie is by no means a bad movie. Nicolas Cage gives the best performance, I love his delivery on some of his lines. This movie is so much fun y’all. Just watch it, you’ll have a good time. (And yes, I know both Quicksilvers are in this, you don’t have to tell me) 

March 13: There Will Be Blood (2007) dir. Paul Thomas Anderson - 10/10

This is a fuck-you movie. This movie curb stomped me, spat in my face, and told me I’d never make it in this industry. I don’t need to tell you this movie is incredible, ‘cause if you’ve seen it you already know, and if you haven’t you are seriously missing out.

March 14: The Philadelphia Story (1940) dir. George Cukor - 7/10

I had a hard time deciphering how I feel about this movie. I watched this for a Classic Film course, so I had a couple days to listen to and share some deeper analysis, and I feel like this film is actually pretty good. I don’t have any strong feelings on it, check it out if you like classic film.

March 14: Moulin Rouge! (2001) dir. Baz Luhrmann - 8/10

This movie is bombastic as hell, and even if this is a bad movie, it’s a good movie in my soul. Ewan McGregor, please return my calls.

March 15: The Ruthless (2019) dir. Renato De Maria - 5/10

I guess this movie just isn’t for me, I don’t know. I really do like Riccardo Scamarcio in this movie, but that’s the extent of the really good things. I was on a “Santino from John Wick” kick, I can’t really explain it. 

March 20: The Host (2006) dir. Bong Joon-ho - 9/10

Bong Joon-ho has never disappointed me once, and I don’t think he ever will. This is one of the best monster movies I have ever seen (granted I don’t think I’ve seen a lot of monster movies). Watch this movie, it has a wonderful heart and a wonderful monster.

March 20: Citizen Kane (1941) dir. Orson Welles - 10/10

Anything I can say about this movie has already been said, so I’m going to leave you with “I wrote a paper on this film and got a C so fuck this movie” and call it a day.

March 27: Sound of Metal (2019) dir. Darius Marder - 9/10

I am so glad a watched this movie. Riz Ahmed gives an award winning performance if only he hadn’t been competing against Anthony Hopkins. Paul Raci is also really, really good in this movie, and I don’t think that’s mentioned as much, and I think it should be. 

April 6: Casablanca (1942) dir. Michael Curtiz - 9/10

I did not think I would enjoy Casablanca as much as I did, but yeah. This is a great movie. I wanna go on record and say Humphrey Bogart is not tall, he is 5′8″. He wears pumps in this movie and they’re really funny to look at.

April 10: Dr. No (1962) dir. Terence Young - 7/10

This was my introduction to the Bond universe, and I thought it was a pretty good way to get me into the character of James Bond. Sean Connery is the strongest part of this movie as Bond. It is by no means a perfect movie, some aspects are extraordinarily outdated. But as a first crack this movie gets two thumbs up from me.

April 18: The Godfather (1972) dir. Francis Ford Coppola - 10/10

This film is truly something special. I am lucky that I was able to experience the story basically blind (I knew about some specific plot points and some famous lines, but for the most part this was all new to me), and I was extra lucky that I got to watch it with my dad. Being able to watch The Godfather with someone who has a deep love of the genre and the film itself is something that enhances almost every movie going experience. The Godfather is one of the greats. 

April 19: Mank (2020) dir. David Fincher - 6/10

I am not in love with this movie. I don’t hate it, but I don’t particularly like it either. The production design is great, and as a general appreciator of classic cinema I liked those aspects just fine. There’s just something in here that’s preventing me from fully liking this movie. 

April 21: Judas and the Black Messiah (2021) dir. Shaka King - 9/10

The only way I can describe this movie is “important.” King gives us a story of a often left out part of the Civil Rights movement, and it’s a story that everyone should be aware of. Fred Hampton was only 21 when he was assassinated, and yet he left such a mark on the fight for racial equality. Daniel Kaluuya absolutely deserved his Oscar win, he is a dream in this film. This is an uncompromising, tragic, and endlessly relevant movie.

April 23: The Father (2020) dir. Florian Zeller - 10/10

Yeah I cried. Anthony Hopkins is... I don’t think his performance can be summed up in words. It’s heartbreaking, everything about this movie is soul-crushing. 

April 24: Promising Young Woman (2020) dir. Emerald Fennell - 8/10

(You can tell I was cramming for the Oscars at this point) It is really hard to review Promising Young Woman. It’s incredibly polarizing to the film community, and it’s also polarizing in my own opinion. I really don’t know how I feel here, all I know is my feelings are strong. Also every time Bo Burnham was on screen I had a big stupid grin on my face, I can’t wait for his new special to come out. 

April 25: Nomadland (2020) dir. Chloe Zhao - 9/10

What a beautiful experience. This movie, on top of being absolutely gorgeous, has such a wonderful soul that completely shines through Zhao’s directing. There’s a monologue about maybe a half hour in that describes so succinctly the beauty of nature, and as someone who lives in a much more urban area of the world, it’s a description that I don’t get to see that often in my life. That’s why I love film. If Promising Young Woman made me angry at the world Nomadland made me fall back in love with it.

April 25: Minari (2020) dir. Lee Isaac Chung - 8/10

Watching Minari is like being gently set on fire. My feelings aren’t as strong as they were for Nomadland, and I don’t have much to say, but I still adore this movie and think it’s worth watching. 

April 26: Singin’ in the Rain (1952) dir. Gene Kelly, Stanley Donen - 8/10

I think my film teacher puts it best in describing this movie as “just so stinkin joyous.” That’s what this movie is, it’s joy put to film. I love how you can clearly see the excitement over making film that comes through in older movies, I feel like you don’t really see that anymore. 

April 28: Some Like It Hot (1959) dir.  Billy Wilder - 7/10

As glaringly outdated this film is, I still managed to have a pretty good time with it, although I can totally see why the plot could put some people off, or even make them outright dislike the film as a whole. Marilyn Monroe playing a ukulele made me feel very seen. (This is my first Marilyn movie as well!)

April 29: Snowpiercer (2013) dir. Bong Joon-ho - 8/10

CHRIST this movie is intense. The best part of Snowpiercer is it is engaging as hell. Unfortunately I had to duck out about three quarters of the way through to get some dental work done, but rest assured under different circumstances I would have been glued to the screen from start to finish. The premise is chilling (ha ha, get it), and the subplot of class disparity is also really compelling. If you know me you’ll know that I love me some John Hurt, Song Kang-ho has been great in pretty much every movie I’ve seen him in, TILDA FUCKING SWINTON rocks every scene she’s in. My only real problem here is sometimes Chris Evans is a bit hit or miss for me, I really like his performance at times, and I like it less at others. It has been cool to see him grow as an actor over the years, you can definitely see his improvement in more recent movies. In any case, I stand by my previous statement, Bong Joon-ho has never disappointed me once, and I don’t think he ever will.

[lunatic-fandom-space]

Comparing RWBY and YGO DM: The Handling and Evolution of Themes

Hey! Its been a hot minute since I last posted anything RWBY-related but Im laying in my bed right now and Im sick and bored so I guess we're doing this. Today I will do my best to analyze what I percieve to be the main themes and messages of both of these shows, or more specifically, how theyre handled narratively. Im mostly focusing on that part because, while these series do have similar themes and messaging, they are still a few things in which they are wildly different. And with that, lets start with this essay-post-thing!

1. Theres something we need to adress first

Okay so, before we can really talk about this, theres something I feel the need to clarify here: Neither of these stories was "planned from the beginning".

Now, I dont think a story being planned from the beginning or not nesscessarily makes the story any better or worse by default, however, it is still important to acknowledge because the way the story is planned is going to affect every facet of it. Things are not going to be foreshadowed properly, things are gonna be set up only for nothing to come of it, the story might drastically change directions, characters might act differently, etc, etc.

And, this is bit off-topic but, it's much better to just admit that the story was not planned than trying to pretend that it was. Like, there are a lot of reasons why I tend to be so forgiving towards YGO even though its not very good, but one of them is definitely the fact that, as far as Im aware atleast, the guy who wrote it isnt pretending to have had this big master plan all along and neither is the fandom. With RWBY on the other hand... yeaaaah, its kinda the opposite. From what Ive seen of RWBYs fandom, there seems to be this pretty popular narrative that everything was planned even though it clearly wasnt. Thats pretty bad and honestly lowers my opinion of the writers so much more than if they would just admit to not having a proper plan.

Like, I initially consumed YGO like this: Yu-Gi-Oh Duel Monsters, Yu-Gi-Oh (aka Season 0), like, a quarter of the Yu-Gi-Oh manga (I still havent finished it)

In all three of these we have the character of Yami Yuugi, or just Yami. Broadly speaking, he is an ancient egyptian gamer spirit who lives in a magical puzzle that has not been solved for 3000 years until this highschooler named Yuugi Mutou comes along and solves it, thus setting him free and allowing him to possess Yuugi and have access to the vague magical powers of the puzzle.

In Duel Monsters he's perfectly fine most of time, morally speaking. There is an instance of him almost murdering a guy and its a bit unclear what exactly happens to those he mindcrushes but overall he's very much a pretty good guy. In Season 0 most of what he does is set up these games for bad people, where they will go insane no matter what they do. From how I understand this whole Shadow Game, Penalty Game stuff, if you lose a Shadow Game, you get violent and intense hallucinations and you will always cuz yknow, gamer spirit. But if you try to cheat, which most of the bad people do in this show, you get violent and intense hallucinations as a punishment.

Since the two anime are generally considered two different continuities, its perfectly fine that Yamis characterization is wildly different in both of them. But in the manga both of these characterizations appear, basically one after the other with no real arc or consequences, for that matter. Why is that? Simply put, someone thought it was a good idea to try to turn an episodic, very slice of life-y light-horror manga into a more traditional, more plot-driven battle shounen. From what Ive heard, it was apparently largely because of network interference or something, but the point is, it changed directions incredibly drastically with little planning and everyone knows this and I can understand that for the most part.

In RWBY we have the character of Blake Belladonna, who, in the first 3 volumes/seasons atleast, was this aloof, more toned down loner-type character with a pretty strong sense of justice. She's an in-universe marginilized racial minority and she clearly cares about racial injustice. The way its initially framed makes it seem like she had a very hard life and no stable support system, which is what eventually pushed her to join a Civil Rights group/Terrorist organization (good god, the Faunus subplot is so awful, I could write a whole essay about it but Im already de-railing rn so I'll just save that for later).

Then, in volumes 4-5 it turns out her father is actually like, the mayor or chief of this island-place called Menagerie and she grew up in this big mansion with multiple guards/servants. Oh and also, apparently "space is a commodity" on there, so theres that. She still retains large parts of her personality but she's kinda like, worse somehow I think. I cant really describe it in a meaningful way but I hope you get what Im saying anyway. Then in Volume 6 she confronted her emotional abuser Adam (sorry for not mentioning him sooner but yeah, he was like, her abusive boyfriend, which is something that a lot of people disagree with but I wont really say anything about it either way because I dont really feel any specific way) with her friend, Yang, and ended up killing him.

After all that, she pretty much lost the rest of her personality, as well as her arc about all the Faunus stuff. She just kinda became the meek, generically nice, recovering abuse victim. Why? Well, the actual reason is that they didnt plan out shit and are just kinda flying by the seat of their oversized clown-pants and if they and the fandom just admitted it, I would have less of an issue. I still wouldnt be as forgiving towards RWBY as I am towards YGO because the crux of the issue, for me, is just that I dont particulary like RWBY but also like. Do you really expect me to take MKEK seriously as writers after admitting to not have a timeline because iT wOuLd CaUsE pLoThOlEs?

However, since they want us to believe that everything was planned out from the beginning, the explaination would be.... Idk, they deliberately butchered one of their main characters?? Because.. they hate her?? Maybe????

So yeah, that was quite a detour however, I would like you to keep this mind going forward.

2. Themes of the Early Series'

First, what do mean by 'Early Series' for both of these shows respectively? Well, for YGO that would have to be Season 0 or if youre reading the manga, everything pre-Duelist Kingdom. Basically, the part of the series thats a episodic, very slice of life-y light-horror series.

For RWBY that would be the first three Volumes, also known as the Poser-Era. Back then it was just kinda an action series that took place at Anime Warrior Academy (also known as Beacon) with some pretty bare minimum worldbuilding, character-driven plots and developments but now its more of an epic high-fantasy story with more of an emphasis on plot as opposed to just action.

The themes and messages in Early YGO are kinda vague, very confusing to me and if you were to follow any of it literally that would be pretty bad. For now Im just gonna say the main themes are Friendship and Identity and mostly focus on the Identity aspect.

Now, it took me a little while to figure out RWBYs deal but I think the main themes for Volumes 1-3 are also Friendship and Heroism. Once again, I'll mostly focus on Heroism and touch on Friendship more briefly later.

I dont have much more to add to YGOs themes right now, so I'll briefly go over Heroism in RWBY.

In RWBYs setting there are these man-eating monsters called Grimm that have basically infected the planet. In order to deal with that, they have people called huntsmen and huntresses that kill them and protect people. Theyre trained at special academies like Beacon and go on missions there and stuff like that. Our four main characters, Ruby, Weiss, Blake and Yang, are training to become huntresses and one day they go on this mission to clean up a grimm infested city block with one of their teachers. Obviously, that takes a long time so they have to camp out in one of the empty houses. Weiss, Blake and Yang cant sleep because theyve been thinking about this question that their teacher asked them when they were fighting grimm: "Why do you want to become a huntress?"

They have a heart to heart and we find out about their motivations; Weiss wants to bring honour back to her family, Blake want to distance herself from the White Fang (that terrorist organization I mentioned earlier) and as an extension from Adam, Yang wants to have a life of adventure. They also talk about why Ruby wants to be a huntress and it turns out that she judt wants to help people. Unlike the others, she has no motivation besides that. We're meant to listen to that and look at her as a sort-of personification of Heroism: kind, but not naive, strong and most of all, selfless. The others on her team are not portayed as bad for not being like Ruby by any means but we are clearly meant to admire her the most out of all of them.

Okay, now comes the part Ive been looking forward to the most:

3. How did these themes evolve in the Modern Series'?

Alright, before we can really delve into the way they evolved in YGO I'll have to give you a brief summary of the character progression. At the start of DM, during the Duelist Kingdom arc, Yami Yuugi is just that; A darker Yuugi. Hes more confident, bolder, his voice is deeper, hes somehow taller, more ruthless, all that good stuff. Notably, he doesnt actually seem more skilled than Yuugi even at the start of this story, but he's still dependent on Yami. Yami on the other hand, has no identity of his own or even hints at one at this point. He's just The Other Yuugi.

Then during the Battle City arc, they find out that Yami was actually a pharao prior to being sealed in the puzzle, he just didnt know because of amnesia, I guess. So now they need to find out his real name and then send him to the afterlife because hes meant to be dead, but not before saving the world from being swallowed by darkness, which is also a thing they have to do now.

Then we finally get to the Memory World arc, where Yami, Yuugi and the rest of the gang astralproject to ancient egypt via puzzle magic. Yami is trying to figure out what the hell is going on and who all these familiar people are, while Yuugi & Co are trying their best to help him. Then some weird shit happens and it turns out that all of that is not just Yamis sealed away memories, but also a giant D&D Shadow Game that will destroy the world if Yami loses. So now theres Pharao!Yami who is still clueless on the metaphorical and literal playing field and Player!Yami, who is kinda controlling himself now? I guess?? Yamis opponent, The Spirit of The Ring, has something similar to that going on where hes both controlling and properly participating in the game. So Player!Yami is now fighting against Player!TSoTR, Pharao!Yami is now fighting against Thief King Bakura (who is like, the human, ancient egyptian version of the Ring Spirit) and Yuugi is now fighting against Yami Bakura (who is like, the human, modern japanese version of the Ring Spirit). Yuugi gets Yamis real name, he and the gang go over to Pharao!Yami and tell him his name, meanwhile Player!Yami is also somehow helping as well and they defeat the Ring Spirit, thus saving the world. Then they travel to modern Egypt, the Ceremonial Duel happens and Yuugi wins, sending Yami to the Afterlife where he can finally rest and that was the series!

I originally wanted to recount the stuff that was going on with the Ring Spirit and his host as well because they parallel eachother, but this summary is already far too long and I think youll get the point without me needing to explain any more.

My point here is, that the story went from being vaguely about Identity, maybe? to being very clearly about Self-Discovery and Learning to Be Independent. I think this is a very good way to evolve the messaging of your story. How does RWBY track on that?

Well, uh... its not great. I will acknowledge that they have tried to introduce new themes and ideas since, even though I wont really be talking about them in this post. But yeah, the whole Heroism thing really regressed.

Like, I didnt explicitly say it when I was explaining grimm earlier, but theyre not going away. The grimm have always been there and people who sign up to become huntsmen and huntresses are effectively signing up for a job that will never truly be done, no matter what they do. Characters like Ruby and even more minor ones like Phyrrah have shown us that that doesnt matter when youre a hero. No life isnt worth saving, no grimm isnt worth killing, no criminal isnt worth arresting. Then, in volume 6 they find out about Salem. Salem is the Big Bad of the show, shes immortal, controls the grimm and is supposed to be very powerful.

What do our heroes do? They give up. Sike! They were just mindcontrolled by monsters or some shit, of course they didnt give up their mission (which is to bring an Important Macguffin to a city called Atlas, sorry I didnt mention it)!

But then they arrive in Atlas (which is llike, a city thats floating over another city called Mantle) and yknow, they do some plot stuff thats not really important right now until the city gets invaded by Salem and this big grimm army she has.

What do our heroes do? Well, Ruby, Weiss, Blake and some side characters are chilling, drinking tea in a mansion and Yang and the B Team were actually trying to do something, but even those efforts seem incredibly minimal.

Oh wait, I also forgot to mention that Ironwood (a fairly minor, vaguely antagonistic character up until now) wanted to lift Atlas even higher to save Atleasian civilians from danger while leaving Mantle vulnerable to Salems invasion.

What would be the most heroic thing to do?

A) Let Ironwood lift Atlas, get as much support as they can down to Mantle and save as many Mantle civilians as they can from the invasion

B) Prevent Ironwood from lifting Atlas but then split up in order to protect both Atlas and Mantle civilians

C) Prevent Ironwood from lifting Atlas and then dont do anything else

Congrats! If you choose C, you think exactly like the writers!

And I just

This is so mindboggling to me, I feel like I shouldnt even have explain how this is bad. And like, it wouldve been so easy to actually make them seem herokc through their actions, to make it seem like they did try but no.

I have never seen a central theme be this botched, how in the world did they do that? Why did they think it was a good idea for Ruby "The Embodiment of Heroism" Rose to sit in a mansion doing nothing, no planning, no organizing just ..... God, how are they this bad? Like, this doesnt even have anything to do with it being planned in any way, this is just straight up incompetence

4. Very briefly touching on friendship

The friendship is awful and its not solely because they all have the same opinions. They barely interact with eachother outside their designated pairs which leads to it all feeling incredibly hollow. Theyre also practically indistingushable from one another now, which is a shame because it wasnt always like that. Like, I dont think the characters were that well-developed in earlier volumes but they were very well-characterized. But now we've gotten to a point where you can literally copy and paste one characters dialogue onto another and literally nothing changes, it really sucks.

5. Some closing words

Damn, this took way longer than I thought it would and now Im pretty exhausted. I have no idea how yall always write these but props to you! I feel like this ended up a bit rambly but overall, Im pretty proud.

Please let me know what you think of the points I brought up! Id also really appreciate some tips on how to get better at these longer posts because I am planning on writing more in the future (not the near future, probably but yknow).

Thats all I have to say for now, thanks for reading!

[sagesilentfire]

I'm looking for a trans sensitivity reader (for Marcie) and possibly a poc sensitivity reader (for the monsters vs mewmans plot), so if you're available, please tell me, and we'll figure something out.

Forgive my inability to draw humans, please.

I know this is a big departure from my usual content, so I'd like to make sure you know that watching SVTFOE is not necessary to enjoy this AU, as everything needed to understand the plot is explained in-story. In fact, I'd love to have someone who's never even heard of a svftoe to read it so I can make sure it makes its own logical sense.

Anyways... 

(putting this under a read more for your scrolling purposes)

Hi. I'm Sage, and I would like to talk about a show I really liked. The past tense being the operative, as it used to be good, but...

I started watching SVTFOE after watching the great Steven Universe, which meant I had high expectations for it. And it met those expectations! From the beginning I was hooked. It was a good show. But as the seasons went on, it started to... rot.

Now, something to know about me is that I do not invest myself wisely. I love the things I love deeply and with passion. I get attached easily, and I love to theorize about the things I love. So I was heartbroken when SVTFOE ended the way it did, with none of my questions answered.

And when my theories were better than canon, well, that meant I had a new project: a complete rewrite of Star vs. the Forces of Evil. This AU will start similar to canon, but gradually diverge from it until it's something completely new. It will also have five separate "seasons".

So here's my AU: Star and Marcie and The Forces Of Evil (aka samatfoe). This AU will tear apart the scraps of lore that we got from SVTFOE and expand on it and make new lore, all narrated by my lovely OC, Sílthéy. And I promise I will get to as much as possible. If you're worried, check the titles of all of the chapters, which will hopefully reassure you that, yes, I will get to everything (or at least everything I've thought of ;)).

Dramatis Personae:

Star: Star will mostly stay the same in the first few seasons, but I'll try to have her actually grow and mature while staying a good person in the later seasons. She'll also be a bit more fire-aligned, because I wanted to be able to tell my Star and the canon Star apart easily. (She also doesn't get those wings until Mewberty.)

Marcie: is a trans girl. The entire second "episode" will be about her being trans. And I will, again, try to not have her act like a jerk in later seasons. She also won't be an adult trapped in a teenager's body, as that was waaay too weird for me. Instead she won't age in the Neverzone, period, and there will be an episode dedicated to her re-adjusting to Earth and discussing what the whole "spent a decade and a half in eight minutes" thing means for her. And, of course, she'll be more involved with the Mewni plot, as she will be interested in learning the lore behind Mewni from the beginning and push Star to find out more about Mewni.

Ludo: Ludo's story will not effectively end with the Battle for Mewni. He will get a redemption arc, with all the pitfalls and trip-ups that come with that. And all of his flaws and issues will be brought up, now just forgiving him for everything he did because he had bad parents. And Dennis will continue to be a cinnamon roll. Some things never change.

Buff Frog/Yvgeny: will not change. He is good lad.

Toffee: This is the big one. Where to start, and how to start it without spoiling everything I have planned? Well, let me tell you this: Toffee is getting a complete overhaul. For one thing, I now made them agender for various complicated reasons that will be revealed in-story, eventually. And for another thing, they will get an actual backstory and personality! Isn't that a novel idea! And they will not die abruptly and nonsensically in Battle for Mewni, so don't worry about that.

Jackie: Oh, Jackie. You poor dear. Jackie will not be delegated to the role of "one-time love interest who just skateboards out of the plot". First of all, Marcie will only have a squish (a platonic crush) on her, because I don't trust my aro/ace self with the weird things people in romantic love do to get together, but I do know what it's like to desperately want to be friends with someone. Secondly, while she will be out of the spotlight in later seasons, it'll be because she's on an exchange trip to France, not because we're abandoning her character and her world for no good reason.

Janna: never changes. Pretty sure she's the one constant of the multiverse.

Tom: will have his redemption arc earlier in the story so I can use him for things, but other than that will not change much.

Moon: First of all, she will not betray everything her daughter stands for by siding with Mina this time. There are plenty of other ways Mina could rise to power, so there's no need to ruin her character by making her do a stupid, illogical thing that even a five-year-old would see was stupid. I mean, she's still going to be kind of racist, but she's well-established to be level-headed and even a little clever, so she will not do something that would so obviously blow up in her face. Secondly, she will be a bad ruler, hence why Mewni is a total mess, but she will learn and become better and help Star's efforts to improve Mewni.

Glossaryck: is... changing. He won't "lose" his sanity for season three, but he will also not be in a totally heroic role. It's a complicated thing and a bit of a spoiler, so I'll leave it at that. Also, he's a dragon now Because Reasons (no, seriously, I have a reason for it. It's also a spoiler).

River: River will be goofy, like usual, but he won't be plot-destroyingly stupid. I'll try my best to not make you question why he's even king while still making him a foil to Moon. It's the tightrope I must walk.

Angie and Raphael: Will not completely disappear from the plot in later seasons, but will instead be like a second family to Star and will be a refuge when her overbearing Butterfly side gets too much.

Kelly: Will not be involved in a stupid romantic subplot with Marcie. Sorry. Other than that, Kelly will remain pretty much the same, aside from now being tiny, because that's just how she came out in my art. She's pretty cool.

Miss Heinous: Will not be Meteora this time around. I disliked how Heinous hurt so many people and was a horrible person, but as soon as her Tragic Backstory™ was revealed, all that pain and suffering she caused was ignored in favor of making her Super Duper Tragic™. So I'm separating the characters. Don't worry, though, she'll get the backstory and character arc she deserves.

Saint Olga: Saint Olga will be the main motivator for Miss Heinous's actions, as she is desperate to please the robot. Other than that, Saint Olga won't actually get much character. She's a bad guy, pure and simple.

Meteora: will not turn into a baby. She will deal with the consequences of her actions like a mature, responsible sixteen-year-old. But because she's sixteen, things won't be too harsh when she does snap. She'll still have her mother and father to help her and guide her.

Eclipsa: Regarding Eclipsa's design, I tried to make her fat, but... I don't know if it translates well in my art. I'm just not that good at art yet. But aside from that, making her cheekmarks dark gray (spades are a black card, not a red card! That bugged me so unreasonably much), and giving her as much of a connection to Toffee as the show implied, I'm not changing much about her. She was one of the good characters.

Globgor: Will have fought against mewmans in the past, but not have eaten them (what were the writers thinking?! Making your metaphorical poc eat people is... not good). And it will be more of a case of Star and Eclipsa knowing he is good and should be released from the crystal, but the general mewman populace not accepting it, until Cornonation, where he proves he's a good guy.

Shinjai: Is a new character I am thrilled to introduce to you all! She came from me thinking that for someone who supposedly wants to end mewman-monster racism, Star sure doesn't have any monster friends (Buff Frog doesn't count. He's an adult, and they don't really hang out so much). So here's Shinjai! She's a septarian, and is introduced instead of Princess Smooshy in Sleep Spells. She's a very minor minor monster noble, and her family has about as much political power as your average worm on a sidewalk after it rains, but all noble monsters must go to Saint Olga's Reform School for Wayward Royalty, so she runs away and gets help from Star and Marcie. She's mostly made to replace Pony Head: she's spunky and... uh, actually she's nothing like Pony Head. She's also unafraid of asking difficult questions and knows more about the plot than she lets on.

Rasticore: is very different from his canon counterpart: he only allies with Heinous and Saint Olga to keep an eye on them for ~someone~, and thoroughly dislikes them, despite agreeing to their mission. He also can regenerate as quickly as Toffee, he just chooses not to for ~reasons~. He also has a mysterious partner, but we all know it's – *gets clubbed over the head by Síthéy*

Mina: Making fun of mental illnesses isn't funny kids. Therefore, Mina is the only neurotypical member of the cast. She does boring neurotypical things like... I dunno, cleaning? And she's still a threat: bigotry and hatred are not exclusive to people with mental illnesses, after all.

Lilacia: Now, Lilacia Pegasus, the horse formerly known as Pony Head, will... exist. She won't be as overwhelmingly annoying, hopefully, as she is in canon. And to make sure she feels consequences for her actions, there will be a subplot in season two about her and Star growing apart as Star grows and leaves Lilacia's annoying party girl antics behind. Lilacia will have to realize that her immature actions are making Star leave her behind, and she'll have to grow as a person because of it.

Then there's a mysterious character who is very mysterious and does mysterious things and has a mysterious personality and is generally mysterious... mysterious. She'll be introduced in the second season and will be as mysterious as promised, I swear.

And finally, of course, it will be narrated by Sílthéy. She will tell this story, and her part in it, for all to hear. Or read? It's a bit of a strange medium, storytelling on paper. Or on a screen, whatever.

Now, of course, by now you must be wondering: What about the shipping? The shipping's the most important part, right? Well, here is my answer: There will be no ship wars. There will be no love dodecahedrons. There will be no cheating, no lies, no throwing other characters under the bus for stupid romantic drama. Why? BECAUSE STAR AND MARCIE ARE BOTH ARO/ACE. Suck on that, Starco! I am the last person to trust romantic drama with, so all of the romantic relationships in this bandwagon will be established, healthy relationships that have decades of chosen love and appreciation for one another behind them. And past!Tomstar and brief, schoolchild-crush-esque Star/Oskar but that doesn't count.

So, I believe that about wraps things up for this post. I'll start posting chapters soon, and will post two chapters every other week, and I'll release the descriptions of them two weeks before I post them. If you have any questions, please ask them! I want to work on my drawing skills, so I might even draw something for them!

Description for next episodes:

Star's Birthday: Star is a young, wild princess who is about to receive her family's most precious heirlooms.

Trouble in Diazland: Star is put under the care of the Diaz family, but can't quite seem to connect with their son, Marco.

And, finally, I have thank yous! These are mostly people I watched but haven't really interacted with yet, so if you get tagged know that you don't know me, I just followed you for svtfoe content. And for, you know, your personality.

Thanks to ankle-beez for being hilarious and reminding me why I made this AU when you relentlessly drag svtfoe. Thank you to @full-moon-phoenix, @dappercritter, and the lizard squad for my regular dose of Toffee. Thank you morningmark and @jess-the-vampire for keeping me invested in svtfoe as a whole. Thanks to svtfoe-critical and @twinklecupcake for good ideas. Thank you to TBlofeld on AO3 for your amazing AU, Monsters, Mewmans, Magic, that, while we took things and ran in completely opposite directions, still inspired me to complete mine. And thank you to Blue Order, whose deeply hilarious and deeply accurate video "How Star Vs the Forces of Evil Fell From Grace" inspired me to create this story in the first place. And, of course, thank you to whoever on the svtfoe wiki writes down the transcripts to every episode. You've helped me so much. I admit that I didn't follow all of your guys' advice, but you did help me get here, every one of you. So thank you.

[no-gays-in-russia]

Someone Has To Die: Review

TRIGGER WARNING: mentions of suicide, murder, homophobia.

SPOILER ALERT: major spoilers for all three episodes of Someone Has To Die.

Introduction: Someone Has To Die (”Alguien Tiene Que Morir”) is a Spanish/Mexican miniseries of three 50 minutes long episodes set in the 50s which follows the story of Gabino, a young man who has just come back to Spain after living in Mexico with his mother’s family for 10 years. With him he brings his friend Lazaro, a Mexican ballet dancer. Soon, rumours start spreading that Lazaro and Gabino are in a relationship, fueled by Lazaro’s profession (everyone believes that a male ballet dancer must necessarily be gay) and by the intimacy between the two of them. However, Lazaro is straight and actually attracted to Gabino’s mom, Mina (spoiler: it’s mutual), while Gabino is in fact gay and has feelings of romantic nature towards Lazaro, despite them not being reciprocated. Although they are fake, those rumours keep growing, with the help of Cayetana, the girl that Gabino is supposed to marry and sister of Alonso. Alonso is an old friend of Gabino and it’s made clear throughout the show that before the latter left for Mexico something of homoerotic nature happened between the two of them, although it is never specified exactly what; long story short, Gabino is the only one to know that Alonso is also gay and let me tell you, homeboy has a shit ton of internalised homophobia. When the rumours reach their maximum height, Mina tries to help Lazaro and Gabino run away to Paris, but Gabino’s father, who works at a prison, finds out and, advised by his mother, gets Gabino arrested, while Lazaro is able to escape. Mina and Lazaro are then found having sex in the woods and that’s when chaos ensues- Gabino’s father wants to kill Mina and Lazaro, he tells Gabino to do so, Gabino refuses and points his shotgun at his father, his father points his gun at Gabino, then Alonso kills Gabino’s father, Gabino’s grandma kills Alonso and then Lazaro and finally Gabino kills his grandma. And that’s how the show ends. Another important element of the plot is that, while everyone believes Gabino’s grandpa died in a hunting accident, he was actually murdered by Gabino’s grandma, and young Gabino witnessed it (this is a big part of the reason why he was sent to Mexico shortly after); there’s also a subplot involving the family’s maid, quite significant because it leads to Gabino’s dad finding out the truth about his father’s death, but I don’t want to go into too much detail so I’ll stop here.

General opinion: after watching the masterpiece that is Young Royals (I will make a post on it soon), this struck me as a pretty average show; not bad, but not exceptional either (there are some great elements, but they are an exception). The acting is realistic but stiff, the characters are mostly unidimensional and sometimes unlikeable when they shouldn’t be, and the ending sort of leaves you thinking: what’s the point? The show as a whole is not meaningless at all (quite thoughtful and sensible at times, actually), but that’s what the ending feels like- everybody’s dead, now what? What does that mean? How was that significant to the plot? I liked Alonso killing Gabino’s father, because it shows that after all he cared for Gabino and was willing to help him, and I also liked Gabino killing his grandma, showing his strength and proving everyone who described him as fragile wrong, but I feel like Alonso and/or Lazaro should have been kept alive.

The characters: now, the characters are the most important thing in a tv show for me; if everything’s good but I hate the characters I cannot keep watching it, if everything’s horrible but I hate the characters I will keep watching it. The fact that I got through the entire show proves that they are not terrible, but I didn’t love them either. I will now analyse all of the main characters one by one, starting from Gabino. About Gabino, I noticed a discrepancy between the way he is described by other characters and the way he appears through his own actions and words. The adjectives that are most used to describe Gabino in the show are “dreamer” and “fragile”. Now, I’m not saying Gabino is not a dreamer, but since the other characters stress this aspect so much I would have expected his behaviour and words to demonstrate that much more than they actually did. And speaking of fragile, to me Gabino seemed the absolute opposite- I actually perceived him as an incredibly strong character. Throughout the entirety of the show he went through Hell so many times (got rejected by the man he loves, got beat up by Alonso, got put into jail by his own father, witnessed half of his family and closest friends dying in front of him) and he never gave up. He always responded with strength, murdering his grandma, not committing suicide when Alonso advised him to. However, this discrepancy might be caused by the fact that it had been 10 years since any of the other characters had last seen Gabino (although if I’m not mistaken Lazaro too describes him as a dreamer), so they might describe what they remember him as without realizing how much he’s changed throughout the years. But I still felt like in his case the show did too much telling and not enough showing. But now, let’s move onto the other character involved in the rumours: Lazaro. With Lazaro, I have a different issue: I felt as though he was supposed to be a likeable character, but I ended up really disliking him. At first we see him as a bit naive, a very good friend to Gabino, extremely passionate about dancing, a dreamer more so than Gabino (he repeatedly voices his fantasies about visiting Paris and getting to dance at the Opèra); but in the end, he proves himself as being selfish and unfaithful, as he literally has sex with Mina while Gabino is in prison. Your best friend has just been arrested and your first thought is to fuck his mom? And let’s not forget that Lazaro knew that Gabino loved him, so he knew this would hurt him even more. And when Cayetana pretends to offer to him to leave for Paris with her, he agrees- again, proving how little he cares about Gabino being in prison. He has some very good moments as well, including one of my two favourite scenes in the show, but my overall opinion on him is not positive. Now let’s talk about the three characters that we were actually supposed to perceive as negative: Cayetana, Gabino’s grandma Ampara and Gabino’s dad Gregorio. Cayetana’s sole personality trait is that of being evil- there doesn’t even seem to be a motivation behind her actions, she just does it because she is an a-hole. That’s pretty much the same with Ampara, with the small exception that she justifies her actions by saying it’s all for her family (hard to say whether she actually believes her own words or not). But in the end, both characters fail at being fascinating, meaningful villains: they’re plain and unidimensional. The case is a bit different for Gregorio: he’s overall a despicable character, but further traits are added so that he is not just a plain villain- he is a bad person, and that makes a big difference. In particular, I love that they make him a conflicted character, portraying the contrast between the pain he causes Gabino and the pain he himself feels realising how much he’s hurting his son. However, in my opinion, the best, most interesting and most lovable characters in the show are Alonso and Mina. Alonso may be interpreted as a negative character himself, but he sort of redeems himself towards the end. He does some very good things (killing Gregorio to protect Gabino, Mina and Lazaro), some very bad things (kidnapping Gabino and Lazaro, hurting Lazaro’s leg, beating Gabino almost to death) and some things that weren’t exactly good but which he did with good intentions (repeatedly advising Gabino to leave Spain forever, bringing him a gun while he’s in prison and advising him to kill himself). I think the only mistake they did was making him hurt Gabino and Lazaro in such a way, because they wanted him to be a redeemable and likeable character but honestly that was almost unforgivable. But at the same time I can see that Alonso’s violence on Gabino was the result of him taking his feelings towards Gabino (probably some feelings of romantic nature and jealousy towards his supposed relationship with Lazaro) and transforming them into something that he felt to be more acceptable and more manageable, and on top of that it was the manifestation of his disgust, fear, anger, frustration for his own homosexuality. All in all, Alonso is a very complex and conflicted character, sometimes submissive and others extremely corageous, good and bad, selfless and selfish. But if perfection was almost reached with Alonso, we move even closer to the perfect character with Mina- I want to slap her and hug her at the same time, and that’s what I love. Even more than Alonso, she is an incredibly complex character. I think she’s the main character more so than Gabino- so many interesting clues about her personality and her personal history are continously thrown around and you just want to know more and more about her. From her clearly feeling inadequate and different because she’s Mexican and leaving in Spain to her love story with Lazaro (who is Mexican like her- something to note), to the contrast between her desire to help others and her fragility which often makes it impossible, Mina is a well explored, multi-dimentional, lovable and despicable character.

My favourite scenes: finally, I want to discuss two scenes that I thought to be absolutely brilliant (if the entire show had been like those two scenes I would have considered it a masterpiece). The first takes place when Gabino and Lazaro are back home after Alonso’s attack; Lazaro is mending Gabino’s wounds, when the latter stops him and tells him he’s sorry for getting him involved. Lazaro replies he’s not done anything wrong, but Gabino states: <<I love you, and that’s the problem.>> Lazaro says: <<I love you too.>> and Gabino: <<But not in the same way.>> And that’s when Lazaro says the most beautiful line in the show: <<But I love you still, and that could never be wrong.>> That line equates platonic and romantic love, stating that despite them being two different kinds of love they are still exactly the same thing: love. So just like no one would ever say Lazaro is wrong for loving Gabino platonically, at the same time Lazaro states that no one could ever say Gabino is wrong for loving him romantically, because that’s exactly the same thing: love. And love is never wrong. The second scene takes place after Mina and Lazaro have been found together in the woods close to the club and Gregorio gets Gabino out of prison to take him there with him. Gabino is alone in his father’s car, Alonso sees him and goes to sit in the car with him. Alonso tells Gabino about how terrible he feels having to lie every day about who he really is, and then asks him to describe what it is like having sex with a man. Gabino tries to resist, but after Alonso begs him he gives in and recounts the first time he had sex with a man. Alonso is profoundly moved by his story and visibly tries to contain his emotions, but he fails, as tears start streaming down his face; then, once Gabino is done talking, he grabs the gun he’d given him in prison and tries to shoot himself. Gabino is able to stop him and Alonso breaks down crying, hugging Gabino while the latter promises him that they’re always going to be there for one another. Such a touching moment.

[ordinaryschmuck]

What I Thought About the MCU (Phase Three Part One)

...I’m gonna have to split this one into two parts. Because Phase three is when these movies start getting good, and which in turn results in my have a LOT to talk about. So, here’s the first half of this phase.

10th place: Captian Marvel (6/10)

This is not the worst MCU movie. This isn't even close to the worst thing in the MCU. THAT honor goes to Inhumans, which might just be the most boring TV show that I ever had the displeasure of watching. And if you're a person who only counts the movies as part of the MCU, then there is no way you can look me in the eye and tell me that Captain Marvel is worse than Thor: The Dark World. Because this movie actually has better action, a handful of funny moments, a decent (albeit predictable) story, a fantastic tribute to Stan Lee, and Goose the Cat. Who is free from any criticism due to being equal parts adorable, hilarious, and awesome.

However, there is one major issue that this movie has, and that is Brie Larson's Captain Marvel. Before you say anything, no, it's not because she barely smiles (shut it, if you think that's actually the problem). The problem is that I just don't know what they want her character to be. Is she meant to be playful yet mysterious, like Marceline from Adventure Time? Is she meant to be a stoic badass with a deadpan sense of humor like Garnet from Steven Universe? Or is she supposed to be this perfect hero with witty remarks like Kim Possible from Kim Possible? Because at times, it feels like the people behind this movie are trying to do all three personalities at once, which makes the character feel disjointed. Plus, it's probably not a good thing that I listed three female characters in children's shows better than this character in this movie for teens and adults. Nor is it a good thing that every actor, including the males, act circles around Brie Larson, who is known for giving Oscar-worthy performances. Still, I'm willing to allow the benefit of the doubt that this issue will be solved in time for Captain Marvel 2, as it took both Captain America and Thor a while before they finally became fan favorites. For now, while Captain Marvel is nowhere near the worst, I wouldn't exactly jump the gun and call it the best, either.

9th place: Doctor Strange (6/10)

This movie is somehow both memorable and forgettable at the same time. The visuals alone help make Doctor Strange memorable, seeing the world bend and morph in a way that is best experienced on the most gigantic screen you can find. The visuals even lend to making the fight scenes unforgetable, resulting in action that's hard to forget. It's still just punching and kicking, but the way this movie uses punching and kicking that makes it fun to watch. Such as having Strange fight wizards as astral projections, or while the world is reversing in on itself, dodging debris as it puts itself back into place. Plus, that ending is not only the most unique defeat of a bad guy that any MCU movie has done, but it also proves how selfless Doctor Strange can be as a hero. So I won't be able to forget bits and pieces of this movie...but I can easily forget everything else. The jokes, plot, characters, and especially the villain are things I tend to lose track of on each rewatch. Which might honestly be worse than it sounds. Because while it's still a fun movie that I recommend, it's not a good thing that I constantly forget it, even as I'm writing this.

8th place: Ant-Man and the Wasp (7.5/10)

How is Ant-Man and the Wasp a dividing movie for MCU fans? People either really hate it or just think it's ok, and I don't get that. Because personally, I think this movie is really good. Yeah, there are leaps in logic, and the ending is a huge cop-out, especially since this movie came after Avengers: Infinity War. But I think Ant-Man and the Wasp incredibly improve upon the original with a tighter story and better-written characters, who all have great personalities and fantastic chemistry. Sure, these characters fall flat during certain dramatic moments, but really succeed when written for comedy. My personal favorite is Cassie, who might just be my favorite little girl character in fiction. She admires her father for everything he does, going so far as to smile with glee as he's wreaking shop in the finale. 

Speaking of her father, I really love how Ant-Man and the Wasp differentiate Scott Lang from the rest of the Avengers. In a world of gods and supersoldiers, you have Ant-Man, who's basically just a regular guy. The best example that shows how it that montage of him doing stuff while under house arrest. If any of our other heroes were in this situation, they would take advantage of the time to train, build cool s**t, and maybe even meditate. But for Scott? He wastes time singing karaoke, practicing close-up magic, and crying himself to sleep while reading The Fault in our Stars. It's a great way of showing how he's a little fish in the world's biggest pond. And I like that.

This movie may not be perfect, but every now and again, it's nice to get something small-scale (get it) and personal within the grand adventures in the MCU.

7th Place: Captain America: Civil War (8/10)

There are three camps of people who argue about this movie. The first camp is the people who fight about whether this is a Captain America movie or an Avengers movie. The second camp is the people who disagree on how Captain America: Civil War is the same as Batman v. Superman-Dawn of Justice. The third and final camp argues whether or not the movie is better than the comics. And I'm about to address each and every one of these camps.

First off, this is an Avengers movie. Captain America may take a more primary role, but consider that Thanos is easily the main character in Avengers: Infinity War, and how that movie isn't called Thanos: Infinity War. The fact that Cap barely takes center stage kind of ruins this being his movie, which is why it's arguably the worst Captain America movie by default, but that doesn't change how good this is. Mostly because it's easily a better Avengers movie than Age of Ultron.

As for how this movie is the same as Batman v. Superman, I can tell you right now that it isn't. They're similar in concept, I'll give you that, but their differences meet with the execution of said concepts. Yes, both movies have two people with different ideas fighting it out due to heroes causing collateral damage while inadvertently doing what an evil mastermind, with a tediously complicated plan, expects them to do. But you wanna know what Civil War has that BvS doesn't? Comedy. Marvel's ability to laugh at itself, to realize that what they're making shouldn't be taken too seriously, is what makes it worth the watch. Every. Time. Plus, I find it hilarious that a movie with four times the amount of superheroes manages to give each character a proper story and subplot than the film with just three.

This leads me to my third point: The movie is much better than the comics. Would it have been more awesome to see the number of characters we have now battle it out than seeing the relatively small one in this movie? Maybe. But look at Infinity War and Endgame. As good as those movies are, there were still many characters that got the short end of the stick. By keeping the cast small, Civil War gives each hero time to have an understandable motivation to pick one side or the other while giving each of their stories a proper conclusion. Even Black Panther and Spider-Man, introduced in this movie as sequel bait, still somehow manage to have clear motives and satisfying stories. Plus, where the comics make it hard to pick a side between Captain America and Iron Man because both made awful decisions after awful decisions, the movie makes it hard to pick and choose because both have to make hard decisions. Both Cap and Iron Man have clear reasons for their choices as well as hesitations. But they still see the point of view of the opposing side and try to talk things out. Which makes things all the more heartbreaking when they finally disagree. Something that never happened in the comics even once.

Overall, Captain America: Civil War is a great movie. It may not entirely be a Captain America movie, and the villain's plan is, again, tediously complicated. But it's still good because it understands the importance of characters and even a sense of humor. Which is something that I wish I could say about Batman v. Superman: Dawn of Justice.

6th place: Guardians of the Galaxy Vol 2 (9/10)

It's not every day that the sequel is better than the original, let alone being equally good. And yet, Guardians of the Galaxy Vol 2 is just as fun as its predecessor, if not a smidge better. Everything that I love about the first movie is here in spades, with a few improvements added to the appeal. Like the visuals, which not only have the colors and gradient turned up to thousand, but there are also some spectacular shots that at times look like they could be panels in a comic book. Plus, Ego the Living Planet is a much better villain than Ronan ever could be. Ego's motivations are typical, but his charming personality creates a character that's fun to watch while also showing how dangerous a person like Ego could be when his true motivations are revealed. Although, despite improvements, there are still some elements that Guardians of the Galaxy Vol 2 takes away. Because while most of the jokes are funny, there are some scenes where it's hard to tell if I'm supposed to be laughing or feeling emotional. Also, I just hate what they did to Drax in this movie. In the first one, he was a stoic badass with a deadpan sense of humor. Here, he's written as a dumb a**hole who gets one emotional scene. And it's a powerful one, sure, but it's not enough. Still, I love this movie. If I had to pick which one is better, I would probably say it's Vol 2, but even then, it's a close race, in my opinion.

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And that’s all for now. Here’s part two.

[twentiethcenturymoviesandtv]

Episode Spotlight: Star Trek Season 1: Episode 5: The Enemy Within

“Captain’s log, stardate 1672.1. Specimen gathering mission on planet Alpha 177. Unknown to any of us during this time a duplicate of me, some strange alter ego, had been created by the transporter malfunction.”

The first of Captain Kirk’s Captain’s Logs of The Enemy Within serves as a relatively apt description of the episode in whole, the fifth of the opening season of this new science-fiction show: Star Trek.  Written by Richard Matheson (A frequent writer of Twilight Zone episodes and the author of I Am Legend) and directed by Leo Penn, The Enemy Within aired on October 6th of 1966, and became a codifier of many things Star Trek would become known for, including Mr. Spock’s Vulcan nerve-pinch (invented by Leonard Nimoy, who portrayed the character) and Dr. McCoy’s catchphrase: “He’s dead, Jim.”  This would also mark the beginning of the ‘transporter malfunction’ episodes, creating a plot-device that would be used multiple times as the show progressed.

The Enemy Within has become something of a fan-favorite among Star Trek audiences, ranked highly among episodes of both the original series, and the franchise as a whole, praised as a solid episode in story, concept, and execution, with special compliments to William Shatner’s performance.

Today, we’re going to see if that praise is merited or not.  Join us for today’s Episode Spotlight as we take a closer look at the episode: The Enemy Within.

The episode goes something like this: (Spoilers below!)

The Enterprise is in orbit around the planet Alfa 177 as an away team performs a planetary survey on its surface.  The team, led by Captain Kirk, hits a brief hiccup in the survey as a geological technician named Fisher falls, injuring his hand, and getting covered in a fine magnetic powder.

After checking on the crewman, Kirk orders Fisher to beam up to the Enterprise and report to the Sickbay to treat his hand.  Fisher obeys, but as he does so, there’s a brief problem with the transporter.  Chief Engineer Scotty and another engineer, Wilson, look over the equipment, and although he sends Wilson to do another check, Scotty feels confident enough to beam up Kirk to the ship, which he does.

As he arrives, Kirk feels a little off, light-headed and dizzy.  Scotty helps the Captain to his quarters, leaving the transporter room unattended for a brief minute.

Naturally, it’s just long enough for the plot to get going.

After Kirk and Scotty leave, the transporter activates again, with no one at the control panel.  Another figure appears on the transporter pad: an exact duplicate of Captain Kirk.

Wilson returns to the transporter room and offers to give him a hand.  The duplicate of Kirk completely ignores him, and leaves.

While the original Kirk goes about his business (receiving reports from Yeoman Rand, etc. before going for a nap), the duplicate storms into Sickbay, where Dr. McCoy is patching up Fisher.  Ignoring the work going on, the duplicate Kirk demands a bottle of Saurian brandy, and staggers off, searching for Yeoman Rand’s quarters.

Meanwhile, Mr. Spock arrives at Kirk’s quarters, explaining that McCoy had reported Kirk’s odd behavior in Sickbay and thought it deserved to be looked into.  Kirk laughs it off, explaining that McCoy must have been playing a joke on him.

Kirk (now wearing a different shirt, so we can differentiate the two) and Spock are called to report to the transporter room, where Scotty reveals a potential problem: the landing party has sent up an animal native to the planet, and it split in two: one docile, one savage and vicious.  Scotty explains that he is worried about the possibility of beaming up the landing party, fearing what it would do to a person.  This wouldn’t be a problem, if it wasn’t for the fact that the planet’s surface reaches temperatures of 120-below-zero degree weather at night.  If he can’t get the transporter working again, the party will freeze to death.

While all this is going on, the Kirk duplicate finds Yeoman Rand’s quarters, and assaults her, attempting to force himself on her.  She breaks away, defending herself and leaving a series of scratches on his face as she gets away.  During the struggle, Fisher, who was walking through the hallway outside Rand’s quarters, calls security, and the duplicate Kirk attacks him, knocking him unconscious and escaping.

In Sickbay, Rand explains to Spock, McCoy, and the original Kirk what happened, backed up by Fisher’s testimony.  Kirk is confused, denying everything, (obviously) despite Rand’s insistence that she was attacked by Kirk, and that she scratched his face.  Spock admits that they found the brandy in Rand’s quarters, but he has an alternate solution to just blaming Kirk: he believes there’s an imposter on board.

Naturally, this doesn’t come as a surprise to the audience.  From the beginning, the episode has shown the viewers exactly what’s been going on, leaving us with no ambiguity (thanks to the dark underlighting and the other Kirk’s behavior) as to the situation: There’s two Kirks, a Jekyll and a Hyde, one good, one bad.  The surprise and suspense is not in the actual explanation, but more in the conclusion: now that they know there’s another Kirk, what are they going to do about it, and how are they going to put them back together?  On top of that, the subplot of the crewmen on the planet surface, in danger of freezing to death, offers a neat time-crunch scenario, ramping the tension of the episode even higher.  It’s a good setup, albeit one outside of the realm of science, and it’s all about to come to a head in the second act.

In the meantime, Scotty has figured out that the magnetic ore that Fisher beamed up with is what damaged the transporter, but he can’t figure out how long it will take to fix it.  Kirk, now becoming increasingly indecisive, implores Spock to help him figure out not only how to catch the duplicate, but also to keep up the facade to the crew that the captain is invincible and perfect.  If his image slips, he runs the risk of losing the faith of the crew, and in the end, command of the Enterprise.

Kirk knows this, and admits that he doesn’t know how he forgot.  Instead, he makes an announcement to the crew: explaining that there’s an imposter on board, identified by the scratches on his face.  The announcement sends the duplicate of Kirk into a fit, causing him to wreck the captain’s quarters, screaming:

“I’m Captain Kirk!”

After this, he rummages through the Captain’s drawers, finding some makeup that he uses to cover up the scratches on his face.  He leaves Kirk’s quarters and heads down the hallway, attacking Wilson and stealing his phaser.

Meanwhile, Spock has figured out something very important: The duplicate of Kirk has all of the knowledge and experience as the original, rendering him twice as dangerous.  He and Kirk discuss possible hiding places for the duplicate, and Kirk realizes that if it were him, he’d hide in the lower decks of the ship.  He and Spock head for the engineering deck, and once there, find the duplicate.  After a tense game of cat and mouse, Spock renders the duplicate unconscious with the Vulcan nerve pinch, and they take him to Sickbay, restraining him to a bed.

This seems kind of an odd place for this to happen.  It would seem to make the most sense from a dramatic standpoint if this scene, as tense and interesting as it is, happens later in the episode, but there’s still plenty of time left.  The episode’s main tension seems to be gone.  After all, with the hunt for Kirk’s duplicate over, it seems like a lot of potential scenes of crewmen trying to determine which was the real Captain have gone to waste.

But it’s here that the episode switches gears.

It’s already been hinted at that something isn’t right with the original Captain Kirk.  He’s been just slightly off: still more himself than this duplicate, but he’s lost his willpower, his determination, his decisive nature.  The episode has changed the problem, and the conflict by introducing the concept that the duplicate is not simply a duplicate, but is instead a darker half of Kirk’s personality that has already existed, hidden underneath and alongside his positive nature.  In other words, the question has changed from: ‘how do we find the duplicate?’ to: ‘can Kirk live without the darker side of his personality?’

It is in this element that the episode truly begins to shine, as the tension ramps up.  You see, during the fight with the duplicate, the stolen phaser went off, damaging some components to the transporter, effectively complicating the problem of retrieving the landing party, trapped on the freezing planet surface.  Despite best attempts, no heaters beamed down do any good, producing ineffective copies of the originals.

Kirk attempts to reassure Sulu from the Enterprise, but falters, becoming more and more uncertain in his command abilities.  Spock steps in, telling Sulu to hold on for a little longer.  In the meantime, the Kirk duplicate, strapped to the Sickbay bed, is in intense pain as a result of his body’s biorhythms being weakened from the duplication process.  To put it simply, he’s dying.  The original Kirk urges the other Kirk to use his mind, and to not give in to his savage nature.

McCoy helps Kirk realize that, as much as Kirk doesn’t want to admit it, he needs the other half of his personality, the darker, savage nature, in order to continue as a whole person.  The argument, less an example of innate good vs. evil, and more a discussion of the ego, superego and id (funnily enough, the three elements that Kirk, Spock and McCoy themselves embody).  The ‘darker’ aspects of Kirk’s nature, the fear in the decisive ‘instinctual’ nature, fuel his natural compassion, courage, and intelligence present in his personality, and he can’t live as one half of a whole.

In the transporter room, Spock and Scotty have repaired the transporter as best as they can, and put the duplicated animal(s) through in order to test it.  It works – sort of.  The animal reappears as a whole, but the process brings it back dead.

Spock is of the opinion that Kirk’s intelligence would give him the strength of mind to survive the process, but McCoy’s concern is that the error is something in the machinery or the process itself.  McCoy wants another check on the machinery and to give the animal an autopsy, but there’s no time: the landing party is in serious trouble.

Kirk, increasingly stressed, makes a decision: he’ll go through the transporter, but sends McCoy to check on the animal in the meantime.  Alone in Sickbay, he tries to take his duplicate to the transporter pad at phaser-point.

Unfortunately, as previously established, the duplicate is just as smart as Kirk is, and tricks him, knocking him out, scratching his face so that the two are identical, and changing his shirt in order to match.  He makes for the bridge, meeting Janice Rand on the way and convincingly pretending to be the original Kirk.  Once on the bridge, the duplicate orders the ship out of orbit, abandoning the landing party.

It looks like he might get away with it, until the original Kirk, along with McCoy, arrive on the bridge to stop him.  After a brief tense moment, the duplicate Kirk collapses, and both Kirks go through the transporter, emerging as a whole, live person.

The unharmed, confident captain steps off the transporter pad and orders the landing party beamed up, immediately, just in time.

The day is saved, Kirk is back to normal, and the Enterprise moves on to a new mission.  The end.

The Enemy Within serves as one of the most memorable episodes of the original series of Star Trek for multiple reasons.  Not only was it the origin of the legendary Vulcan nerve pinch, the engine room set, Kirk’s green tunic, and the catchphrase: “He’s dead, Jim”, it also served as the first uses of plenty more Star Trek essentials: character interactions and storytelling.

The Enemy Within serves as the beginning of the functioning trio of Kirk, Spock, and McCoy, slowly beginning to grow accustomed to their dynamic: Kirk in the center, with Spock as the intellect and McCoy as the heart.  Notably, in this episode, whereas later Kirk would be able to make decisions based on the pair’s suggestions, he is reduced to switching sides repeatedly, waffling between the two, unable to choose.  It’s an interesting look at the dynamic that would become familiar in later episodes.

Another Star Trek staple that makes its debut in this episode is the idea of the central story itself.  Star Trek would go on to make a name for itself in the realm of science fiction and drama, focusing attention on characters, their struggles, and questions about the human condition, in this case: can we live without our ‘bad side’?

The Enemy Within is meant to make the audience think, presenting to them a question, and a few potential answers coming from multiple different people.  The episode wants the audience to consider the question and value its answer, not just because it’s an important question, but because it’s vital to the characters, who are, by now, well-realized in Star Trek canon.  

This episode also marked the beginning of Spock’s mixed heritage, half human, half Vulcan, and how it affects him:

“Being split in two halves is no theory with me, Doctor. I have a human half, you see, as well as an alien half—submerged, constantly at war with each other. Personal experience, Doctor—I survive it because my intelligence wins over both, makes them live together.”

These tidbits, as early as episode five, begin to strengthen and deepen the show’s cast of characters and use of stories, as they begin to delve deeper into the human condition and how it can be explored through the lens of science fiction.  These things are important, to both television history and Star Trek history, but when it’s all said and done, The Enemy Within is just a good episode.

The episode is one of the poster-examples of the best of Star Trek, demonstrating everything it would be good at and known for in the future.  The cast’s chemistry is on fire, a clear showing of how the group interacts, and even William Shatner’s performances as both sides of Captain Kirk are distinct and interesting, his body language making it easy to tell which is which, even without the scratches.  Fittingly, mostly taking place on the Enterprise, the episode has a claustrophobic feel to it that adds to the constraints and tension of the rest of the episode, making it an interesting watch, one that can surprise you, even if you know that of course, Captain Kirk will be fine.

It’s a daring story, one that confronts its audience with the information that their lead has some darkness to him, and one that forces them to ask questions, and debate their own answers much as Spock and McCoy do throughout the episode.  It was an early glimmer of the legacy that Star Trek would leave, a genuinely exciting, interesting episode that well-deserves its place as a beloved installment in an equally beloved show.

Thank you guys so much for reading, and I hope to see you guys in the next article! If you’re interested in more Star Trek, check out my 8-part series on the original series as a whole, and stay tuned for more episode spotlights!

[writing-with-olive]

A starting place for self-editing your novel

I wrote this in a reblog to one of @boy-who-can-fly​‘s posts, but as I couldn’t add any tags to that that would make it findable to more than just my followers, I figured I’d make the same content in an original post because YAY TAGS!

Without further ado...

1) Take a break.

Some authors have suggested taking a break for six or so weeks, but I find anything longer than three makes me too distanced from my story, and I have to work a lot harder to get back into my protagonist’s head. During this break, don’t so much as look at your story. Instead, focus on something else. Maybe growing your author platform, planning or developing another wip, or researching the publishing industry if publishing is the end goal for your book (this goes for both traditional and self pub). The point of this is that without some distance, it’s going to be a lot harder to see larger developmental flaws.

(this is a very long post, so the rest of the steps are below the break)

2) The first read-through.

After your break has ended, and you’ve got to be a little stern with yourself not to extend it farther than what you set, or else you’ll never return to it, do a readthrough. This means either just reading it off you’re computer or kindle, or going to somewhere like staples and getting it printed and spiral bound (this costs money, but I found it helpful down the line). Two rules: 1) no editing. 2) look at the first rule. This read-through is going to help give you a general sense of what is and isn’t working in your book; the problems you notice here are likely going to be the biggest ones. (if you want, you can combine this step with step three, but I found it more helpful to keep them seperate)

3) Outline.

It doesn’t matter whether you outlined before, or whether you decided to pants it. By the time you get to editing, you need to have an outline that’s reflective of what you actually put on the page. Go through your story, chapter by chapter, and for each new scene write down

what is your character’s goal in this scene

what is standing in their way

what is the outcome of the scene.

This list should not go into depth; one short sentece per point, MAX. That being said, make sure to keep things specific, so “MC wants to convice X to go with them to Y.” is going to be a lot more useful to you later on than “MC tries to convince them to go.” This outline is going to help you objectively look at your story structure, as you can see a lot more of what’s happening at once, without being quite so overwhelmed by the sheer mass of the words you wrote. Yes, this step can be a bit tedious, but it is so, so worth it.

4) Sort out what you need to fix, aka start making a game plan for your edits.

Now that you’ve read through your wip at least once through, and probably twice, you probably have a pretty good idea of what you need to fix. The key here is that right now, you want to be fixing on the global edits - the things that span beyond just a single scene or chapter. The reason why is that you don’t want to be spending hours perfecting a scene that you’re just going to need to cut later because it doesn’t advance the plot.

In a new document or spreadsheet (whatever you think will work better for you, I liked using a google doc), write issues you see with:

Each of your main cast (regarding character development, motivations voice, etc)

Setting/s (consistancy, realism for your world)

General worldbuilding (consistancy, things poorly explained/set up)

Main plot (following a given plot structure, building tension, etc)

Each subplot (how it intertwines with the main plot, plot structure, building tension, etc)

Other major things you noticed during your readthroughs

These things tend to be larger scope, and generally are worth addressing first.

5) Picking your edit.

Look at the list of edits, and see which one is going to cause the most ripples through your story. This is going to be the first thing you look at to fix. If there are more than one edits that will all have major impacts on the story, think about which edit would make the other ones easier.

For example, in my wip, Project Toxin, my plot was, well, a trainwreck and a dumpster fire’s love child. But my characterization for my MC was also a wreck. Still, getting the overall plot more in order would make it easier for me to edit my MC, so I chose plot first.

6) Make a game plan for your edit.

Before diving in and ripping through your first draft, come up with a game plan. Brainstorm possible solutions to the edit you’ve chosen, and look at what ripples it would cause. You want to make sure that what route you take isn’t going to upset something major or crucial to your story. Most likely whatever solution you choose will cause some other upsets, so just make sure to think through what makes most sense for your story.

For example, when working on my story, I was fixing plot first. Figuring out my game plan meant looking at my scene list and moving things around/adding/cutting content until I had a plot that was much more satisfactory, and that was, in my mind, not a wreck.

Possible game plans for different types of edits:

1. Plot:

Look at your scene list. What helps to advance the plot? What is dragging the pacing. Are there any elements that you are adding or cutting in your overall story that need to be accounted for? With this in mind, cross out scenes that you want to cut, move scenes around that need to come in a different order, add scenes that need to be added, and mark scenes that need to be combined into one.

2. Characters:

For each of your characters, look at their character development. It’s going to be hard to make them come to life better on the page unless you’ve got a grasp of who they are, even if you didn’t plan them out originally. If you have not, consider listing in a spreadsheet or google doc what their backstory is, what their goals are, why they want those goals, and what a few of their strengths and weaknesses are. Also think about their voice: what words do they use more often? Sentence structures? What do they sound like when they’re talking? Stuff like that. If your character is inconsistant, pick one version of them that you want to follow (knowing that they will likely change over the course of the story), and look at what parts of them you will need to change to accomodate that.

3. Setting/Worldbuilding:

I’ve put these together here as they’re somewhat similar. For poorly explained aspects of worldbuilding, look at where you might add in little details so you can better set that foundation (this is not usually a global edit). If things are inconsistant, look at what makes the most sense for your story, and like what we talked about with characters, alter the rest to accomodate that.

7) Making edits.

This is where you really get to dig in and really move things around. Using the edit you’ve picked and the game plan you’ve developed, go through scene by scene and make the changes. I strongly recommend having a seperate doc from your rough draft to store your second draft in. Currently, my process is to have both open at the same time, and if a scene is already fine, I’ll just copy/paste it over. At least for me, however, it’s usually not, and I’ll either make tweaks to fix it up, or, more often at this early stage, I’ll rewrite it. As an added bonus, I also find that rewriting it makes my prose a lot stronger, since I’ve grown so much as a writer since I originally wrote the scene.

Since you know your story better, you may find other elements that you want to change are improving as you edit. If not though, don’t worry - they’ll get their own editing pass.

8) Repeat steps 5-7

You made a list of edits you needed to make back in step four. Now, follow steps 5-7 to make all of those edits and changes.

9) Repeat steps 2-8

Two steps telling you to repeat in a row? Yes. The deal now is that you want to make sure you’ve cleaned up any global edits before moving on to anything smaller. If you’ve been thourough thus far, this will be a very fast step. If not, think of this step as a safety net. There may have been ripples that you didn’t notice earlier on, and it’s a good thing you’re catching them now.

10) Chapter edits

At this point, we’ve cleaned up all the big edits. Now we’re going to look at each chapter. Within each chapter, there needs to be a mini-arc. A beginning, middle, and end. This is the time to really focus on that. Also focus on things like tightening up prose, combining or compressing paragraphs, making sure you’ve adequately set the scene, etc. If you’re over the word count limit regarding your genre, also focus on cutting a certain number of words from each chapter to put your story back within those limits.

11) The little things

This is about combing through your wip to find all of the little errors that have made their way through edits. Typos, weird or incorrect grammar, useless adverbs, things like that. At this point, everything is on a more superficial level.

Beta Readers

Given that this has gotten quite long, I’m not going to go in depth about beta readers here, but around step 10/11, you’re going to start recruiting beta readers (you’re going to want to try and have multiple rounds of somewhere around 10 betas each, which is why having a good author platform is useful: recruiting is easier). Between each round, you’re going to look at their feedback and make the necessary edits. After several rounds of beta readers, you’re going to look it over a few more times, and then if you’re going the traditional publishing route, you’re going to query agents. If you’re going the self-pub route you’re going to look to hire a professional editor. If you’re not looking to publish, this may be the end of the line.

Good luck editing!