#like there was a sequence where it was. a single scene

[youngpettyqueen]

I started reading The Laertian Gamble today and this story is like, on par with the quality of a sillier DS9 episode and I love that about it, but god I can see why this book drives people insane. why is every single scene a new chapter. I am... 22% of the way through this book and im on chapter 28. its INSANE

[koushirouizumi]

Digimon Adventure: R E P E A T? [Taichi/Koushiro / Taishiro] (Fic)

Title: REPEAT?_ Chapter Title: Don’t Type: Fanfic (Ficlets) Chapters: 40/?? Fandom: Digimon Adventure (Franchise) Canon Point{s}: Adventure~02 through to some certain post-02 Canon Point{s}, it varies by timeline! {The main one, however, might be mid-Tri, pre-BNM’s exact ending} (Other future/later timelines+AUs may still include BNM’s ending; as this series was originally written before Bokura no Mirai aired!) [This one’s specific timeline AU is during Adventure Episode #30.] Rating: {M/M} R18+ (Ch. 2, some implied elsewhere), PG-13(+) (overall) Characters/Pairing: Koushiro x Taichi (KouTai) / Taichi x Koushiro (Taishiro[u]), this chapter: Yamato Ishida, implied background YamaTaikou / (mutually unrequited?) Yama->TaiKou (Yamato x Taichi x Koushiro as a {background Implied} Poly-ship) Verse(s): post-Repeat verse [my fic verse] {Note: A.M.Vs Route [many made since this part] depicts parallel timelines, invoving both canon!Taishiro and AU!Taishiro{s}, told in A.M.V form!}; Adventure-verse!Taichi (“Original!Taichi”) timeline AU Focus {Main} Fic Summary:  “Taichi wasn’t sure what he was expecting. …He just knew it wasn’t… this…” Notes: (Taishiro timeloops AU based on this a.m.v and fic outline in half-written form?) / advised to read the “main” portion of the initial fic first, as this basically spoils most of the story (up to about Ch./Part 22!) /  you could probably also read up to about Ch. 11? Maaaaybe just Ch. 3? Then this one can be read as a standalone? Maybe it could be read as a standalone overall (+ after watching the specific A.M.V linked above...??) (the end implies things though that connects to other later parts/AUs....) Warnings: (for initial chapters) mentions of / implied character death, injuries, etc. (it gets better??) (for this part: A N G S T ) + referenced death / injuries / blood ... ... ... (it doesn’t go on for a long time though?? ?) (read to the end) (for those who’ve read the fic or up to Ch. 3 OR watched the A.M.V: “the bridge” and The Aftermath of It) {Taichi has More Than a BIT of Self-sacrificial Tendencies going On; Please Take Caution if you decide to read!} Word Count: 230 (on AO3) {Chapter} Summary:   Taichi's -- screaming. Sobbing -- -- A hand grabs at his arm. " TAICHI !! " (  " D O N ' T "  ) READ: AO3

[fortunefavorsthebrave-dude]

saw furiosa it was. a movie.

[secriden]

I thought I was done talking about Style in THK's episode 2, but jokes on me, no I'm not.

I keep thinking about Style and Bison's first interaction and how pure and sweet it was. In the middle of the mess that is this 4-way whirlwind of lies and deception, it felt like a refreshingly honest conversation between two people who are only accidentally lying to each other.

Style seems incredibly earnest when he tells Bison that Kant is "down bad" for him. It doesn't feel like Style is 'wingmanning' Kant here; or if he is, it isn't meant to be malicious or to mislead Bison. It feels like someone being friendly with his bff's crush and hoping that they can get along because he thinks this one's going to stick around.

Similarly, when Bison tells Style to go for Fadel for real, it feels very honest and earnest. Setting aside whatever games Bison is playing with Kant, Bison seems to genuinely want someone for his big brother, and not just so he can date who he wants or as a distraction.

It's also interesting how Style's protest is that he can't see himself actually gaining feelings for Fadel because in a way there's nothing to recommend Fadel to Style at this point. As far as Style is concerned, Fadel is arrogant and condescending, rude and ungrateful (after all, he did replace a bunch of parts in Fadel's car for free), a stick in the mud about his brother dating, and can't seem to take a joke.

We see the polite, pleasant and reasonable Fadel, but Style doesn't.

Which is why I've been obsessing over Style's expressions immediately after the conversation with Bison. Bison's parting insight is "He's rough on the outside, and on the inside," and I think he accidentally piqued Style's curiosity with that line. Because why does Bison still want his brother to have a "real" relationship, then? What makes Fadel worth loving, despite (what Style thinks is) nothing to recommend him?

Ugh I wish I knew how to make gifs because BLESS @airenyah FOR MAKING THESE GIFS!!! Dunk goes through a whole sequence of expressions here that suggests a shift happens in the way he's thinking of Fadel. There's a pensive and thoughtful look and then almost like, "Oh what the hell, might as well see where this goes" kind of amusement at the end. And I think the reason he has this shift is because he's realised that Bison clearly loves his brother and that must mean that there's more to Fadel then his initial impression of the man.

It's interesting that his next attempt at messing with Fadel actually invites Fadel to play along with it. It's so much tamer and more private than the previous attempts because he isn't actively trying to humiliate Fadel this time. And it works?? Fadel engages in the roleplay, indulges Style's ridiculousness, actually chops faster (whilst the most hysterical series of minute expressions play over Fadel's face <3). Perhaps this was Style testing the waters: can Fadel engage with something playful and not take everything way too seriously? Huh, turns out, he can!

The next time Style shows up around Fadel, he's circled back to that playful over-the-top flirting that characterised the garage scene. This is the first time in this episode that Style is actually flirting. Every other time was just to frustrate/humiliate Fadel but notice how he's actively trying to look attractive to Fadel now? He's putting all his best (ahem) assets on display, and poor Fadel has no real protection against this. And, oh, Style is loving this! He's gleefully lapping up every single time Fadel fails to completely hide that he's affected by him.

This, though. THIS precisely is the point I think Style decides that he really does want Fadel for himself. There's so much playing out over Style's face: the determination to push things further, the delighted surprise to see Fadel so rattled, the razor sharp focus, and then desire. Style has finally broken through Fadel's "roughness" and he loves it.

If that uncle hadn't walked in, I'm convinced Fadel would have let Style do anything he wanted, and I think Style knew that.

It's the first time Style immediately chases after Fadel when he walks away from him, and he's absolutely delighted when Fadel all but chokes him against the lockers because that means he still has Fadel within reach.

The whole conversation about "love at first sight" is breathtaking because it feels like Style is discovering what's going to make Fadel crack as he says it and realising just how much he wants this. And no, I don't think he's in love with Fadel yet (not by a LONG shot), but I think he realises that he wants Fadel to fall in love with him. This is such a shift from what he expressed in the diner to Bison. In the diner, there was no hope, no chance for this.

The kisses catch Style by surprise too: you can see that he's just reacting, pushing to see where Fadel will finally draw the line. Because Fadel kisses back in the first kiss and actually fails to push Style away for quite some time in the 2nd kiss (the camera purposely lingers on the way Fadel's hands hover over Style's waist without shoving him back). The third kiss is the point Fadel finally starts fighting, and in the immidate aftermath you can see Style watching so carefully again. And Fadel nearly kisses him again, you see the way Fadel's eyes drop to Style's lips, the way they both freeze and linger in the moment for that one second. The way Style registers that moment and it leaves Style shaken himself.

It's so interesting that this is how we leave Style in this episode (we only see Fadel's fantasy version of Style after this point). I've got two possible interpretations for this line:

Style possibly catches on that Fadel is more dangerous than he seems. Maybe just from vibes, maybe from something in the way Fadel threatened him that kicks off some kind of fearful instinct. This could be what makes Style start questioning if Kant told him the full story and lead to whatever scene it is where Style demands answers in the episode 3 preview.

Alternatively, perhaps Fadel is starting to become real to Style in ways he wasn't before. Fadel was almost a caricature of a man, one which Style didn't like very much before, and that made it easier to fool around with him. But this? This almost tortured man who clearly wants Style but can't seem to give into that desire? Something is going on and Style isn't sure it's worth the game to either of them anymore. Because maybe Style recognises that he's more affected than he should be. And that has implications that Style was not ready for.

[melancholy-of-nadia]

the a(myg)dala (explicit) | myg

title: the a(myg)dala (explicit) - series pairing: mafia leader/detective! agust d x right handman! f. reader ; gang leader! yoongi x right handman! f. reader rating/genre: explicit (18+) ; angst , thriller , smut ; haegeum au , my agustdverse summary: You wake up in a lavish bedroom with no recollection of memories of who you are. The only person who holds the key to this mystery is the owner of the house, Agust D, a mafia boss masquerading as a police detective. He claims you’re his right hand (wo)man and that he needs to protect you from someone who’s after you, as well as a treasure he’s searching for. With danger lurking and your memories a blank slate, can you trust Agust D to uncover the truth, or is there more to his story than meets the eye? note: i have been planning this in my head (like the delusional girly i am) since daechwita came out in 2020, but it wasn't until 2023 with the haegeum mv that it truly solidified me wanting to put together my thoughts to create this. i started out with Distraction and Infatuation as test one shots to gauge at the interest, and now it has lead me to create the first actual chapter of this series. this series is dedicated to my bestie the biggest yoongi smut luvr i know @daegudrama and to my favorite yoongi fic writers @jcoles and @theharrowing. also this is kinda unedited i apologize for any mistakes sndksfjladsafbjka i will edit later on. warnings: the following series is intended for a mature audience and may contain graphic language, graphic violence, weapons (guns/katana swords/chopsticks), blood/wounds mentions, drugs, alcohol, gambling, murder, gang activity, memory loss/amnesia, sassy and on guard reader, unreliable characters, haegeum!agust d, haegeum!yoongi, tale of two MYGs technically, LMAO, TEAM SUGA! appearances as mafia men, assassins, slow burn, fight sequences, power imbalance, future smut scenes that may contain some bdsm elements, multiverse implications, tattoos, etc. drop date: october 29th, 2024, 9:00pm pst word count: 5.5k crossposted on ao3 – –

The world slowly comes into focus, the haze of unconsciousness lifting like a dissipating fog. You blink, your eyelids heavy as if weighed down by lead. The room around you is unfamiliar, dimly lit by a lamp on a nearby table. The scent of damp wood and something herbal lingers in the air. You try to move, but a sharp, throbbing pain in your head forces you to stay still.

Panic surges through you. Where are you? Why can’t you remember anything?

You glance around, the room’s details gradually becoming clearer. It is small and sparsely furnished, with wooden walls and a single window covered by a thick, faded curtain. But the strangest part is that you can't recall how you got here or what happened before. Your mind is blank, a void where your memories should be.

Well, almost blank.

Two things are certain in your mind: your name—whatever comfort that brings—and the image of a man, his face marked by a prominent scar, entering this very room. Yet, in the memory, the man looks different—his features more vivid, his clothing distinct. He is wearing a green jacket. You cling to that detail as if it were a lifeline in the sea of confusion.

Your thoughts are interrupted by the creaking of the wooden floor. You turn your head—slowly, cautiously—and see him. The man from your memory stands at the doorway, his expression a mix of concern and relief.

“You’re up? You’ve been asleep for a couple of days now.”

His voice is deep, carrying a warmth that contrasts with the sternness of his appearance. The scar on his face is unmistakable, and yet something about him seems off, like a piece of a puzzle that doesn’t quite fit.

“Who are—” you start to ask, but the words catch in your throat as a sudden, stabbing pain shoots through your temples. You wince, pressing a hand to your forehead as you try to steady your breathing.

The man’s eyes narrow, his concern deepening. “Easy, doll, don’t strain yourself. You’ve been through a lot.”

Doll?

His tone is soothing, but it only heightens your unease. Why does he look so familiar? And why does the memory of him in that green jacket feel so significant?

“I... I can’t remember… why can’t I remember?” you whisper, your voice trembling with the weight of your fear and confusion. “I can’t remember anything, except your face. But you looked different... the green jacket...”

The man frowns, clearly troubled by your words. He steps closer, his movements slow and deliberate, as if trying not to startle you.

“Listen,�� he says gently, grasping your cheek. “You’ve been through something traumatic. It’s normal to feel disoriented. But you’re safe now, alright? We’ll figure this out together.”

His reassurance does little to ease the growing tension in your chest. As he speaks, you can’t shake the nagging feeling that there’s something he isn’t telling you—something important that lies just beyond your grasp.

But for now, with your head pounding and your body weak, all you can do is nod and hope that the answers will come soon.

His phone rings, the sound slicing through the uneasy quiet of the room. The man glances at you briefly, his expression unreadable, before pulling the phone from his pocket. He answers it without a word, his face hardening as he listens to the person on the other end. After a tense moment, he turns away, stepping out of the room.

The door creaks shut behind him.

You wait, the minutes stretching into what feels like an eternity. Ten minutes pass, then thirty, and still, there is no sign of his return. Your unease grows. Why hasn’t he come back yet? What was that phone call about?

The room feels smaller, the walls closing in as your anxiety gnaws at you. You try to stay still, but the silence is suffocating. You need to get out of bed.

With some effort, you swing your legs over the edge of the bed, wincing as your body protests the movement. Every muscle feels sore, as if you’ve been through something physically draining. Your feet touch the cool floor, and you slowly stand, swaying slightly as the room spins for a moment. Steadying yourself, you look around, eyes settling on the door.

You have to investigate. You need to understand what is happening.

Just as you take a step toward the door, it swings open with a soft creak. You freeze, your breath catching in your throat as a new figure enters the room.

It is a woman, dressed sharply in a tailored black suit that contrasts her bright orange bob cut. She moves with an air of quiet confidence, her eyes locking onto yours with a steady, calm gaze. She seems close to your age, though something about her presence feels more mature, more composed.

“Hello,” she says, her voice smooth and professional. “My name is Adora. Apologies, as Mr. Agust had to step out unexpectedly, but he kept me up to speed with everything going on and told me to help care for you in the meantime.”

You blink, taking in her words, still processing the situation.

Mr. Agust? That’s his name?

Adora approaches the small table by the bed and sets down a neatly folded bundle of clothes. “I’ve brought you some clothes,” she adds, gesturing toward the bundle. “I imagine you’d want to change into something more comfortable.” She glances at you, wearing a white spaghetti-strapped nightgown. Yeah, you need to change out of this.

“Who… who is Mr. Agust?” you ask, your voice hoarse from disuse. The question has been burning in your mind ever since you woke up.

“Oh! The man who was just in here before me. Agust D,” she says happily. “He’s been looking after you since… well, since the incident.”

“The incident?” you repeat, confused. “What happened to me?”

Her smile fades, and a shadow of concern crosses her features. “I’m afraid that’s something only Mr. Agust can explain to you. He’ll be back soon, I’m sure.”

She steps back, giving you space, and nods toward the clothes again. “Go ahead and take a shower before changing. I’ll wait outside if you need anything.”

And once again, you are left alone.

You grab the bundle of clothes, the fabric soft under your fingers as you unfold them. A white, long-sleeved collared shirt, a plaid skirt, and knee socks—an odd combination. Your brow furrows. Is this a school uniform? The thought seems out of place, considering everything else, but you push it aside. Right now, getting cleaned up and dressed feels like the first step toward reclaiming some control.

There is a small door beside your bed that leads to a bathroom. You open it and are greeted by a modest, clean space. The tiles are cool beneath your feet as you walk toward the shower. Your mind feels murky, still clouded by the lack of memory, and every detail around you seems both unfamiliar and strangely mundane at the same time.

As the hot water sprays down from the rain showerhead on the ceiling, you stand still for a moment, letting the warmth wash over you. It feels good, the steam wrapping around your sore muscles, loosening the tension that has built up since waking. Slowly, you begin to move, running your hands through your hair, watching the water swirl around your feet. You glance down at your body, your movements still careful, as though you fear something is waiting beneath the surface of your skin.

And then, you notice them—bruises. Small, fading marks dot your legs and arms, some yellowing at the edges, others still dark purple. Scrapes, too, healed over but unmistakable, mar your skin. You gently touch one on your forearm, wincing at the slight sting.

What happened to you? Frustration bubbles up inside you, making your throat tight. Every mark tells a story, a piece of the puzzle that should be obvious. But all you have are fragments, and none of them make sense.

You close your eyes, trying to summon any trace of a memory, something that could explain the bruises, the scrapes, the pain in your muscles. But there is nothing. Just emptiness.

Your hands shake slightly as you rinse off, the water turning from soothing to overwhelming. You finish quickly, the hot steam doing little to quell the storm of confusion and frustration rising within you.

Stepping out of the shower, you catch your reflection in the small, fogged-up mirror. You wipe it with your hand, staring at yourself, but the person staring back looks just as lost. No answers. No clarity.

With a sigh, you turn away and dry off, pulling on the strange outfit—first the crisp white shirt, then the plaid skirt and knee socks. The uniform fits well enough. Did you used to wear this before as well? You're left wondering too many things...

After slipping into a comfortable pair of slippers that you find beside the bed, you step out of the room for the first time. The hallway greets you with a soft, dim glow, revealing that evening has settled in. Shadows dance across the walls as you cautiously make your way forward.

Adora is sitting in a chair by your door, casually scrolling through her phone. At the sound of your footsteps, she looks up, her orange hair catching the light.

“Miss! All done? Do you need anything?” she asks, standing up swiftly with an attentive smile.

“Yeah, all done,” you say, trying to keep your voice steady. “I just... want you to show me around. I’m having a little trouble recalling some things.” You hesitate, wary of revealing too much. If people know about your memory loss, they could use it against you. But surely Adora had been informed by Agust D beforehand, right?

Adora’s eyes softened. “No worries, Mr. Agust did mention this detail to me.”

You’re correct.

“I’ll show you around and get you updated on the things I’m cleared to inform you on,” she adds.

Cleared? The word hangs in the air, making you wonder just how much is being kept from you. Still, you nod. “That’s fine.”

Adora leads the way down the hall, and your tour begins. The mansion is far larger than you anticipate. As you move from room to room, it becomes clear that this place is no ordinary home. The architecture is grand, with high ceilings and long corridors lined with dark wood paneling and expensive-looking art. Every room seems carefully designed, exuding luxury and power.

Your bedroom is relatively simple compared to the rest of the mansion—modest in size with muted tones, though the bed is large and soft. Across the hall, Adora points out Mr. Agust’s room. Unlike yours, it is locked, and she makes no attempt to open it. The door itself is dark wood, with intricate carvings around the frame. You can only imagine what is inside.

Next, she leads you to his office. It’s a spacious room with floor-to-ceiling bookshelves, a grand desk made of polished mahogany, and a large window overlooking a courtyard. Papers and files are neatly stacked on the desk, though Adora makes no comment about what they contain. The room has an air of importance, almost like a command center.

The kitchen and dining area are expansive. The kitchen, spotless and gleaming, is staffed with a few workers who nod politely as you pass. The dining room is more formal, with a long table capable of seating at least a dozen people. Crystal chandeliers hang overhead, casting warm light across the room.

The living room is one of the most impressive spaces—a large, open area with plush leather sofas, a marble fireplace, and a large flat-screen TV mounted on the wall. The windows here are larger, revealing a darkening city skyline.

“Where are we?”

“We’re in Bangkok. Thailand.”

Bangkok? You know what that place is, but it’s not a location you expected to be in.

As you explore, you begin to notice more people moving through the mansion—mostly bodyguards, dressed in black and stationed at various points. Most of them seem to be Korean, their stoic expressions and quiet movements blending into the background. It’s strange to see so many of them here. A mansion in Thailand, filled with Koreans—it doesn’t add up.

Your curiosity gnaws at you, but you know Adora isn’t the right person to ask. Whatever this is, it feels delicate. You’ll have to wait for Mr. Agust.

After what feels like hours of walking through corridors and staircases, Adora finally leads you to the dining room, gesturing for you to sit at the long table.

“I received word that Mr. Agust has just arrived,” she says, offering you a gentle smile. “You’ll meet him here. The staff has set out some tea and desserts for you while you wait.”

You look at the table. A silver tray holds a pot of tea and an assortment of small pastries. The aroma is sweet and comforting, but the anticipation makes your hands tremble slightly as you reach for a cup and serve yourself some tea.

“I’ll come back to join you two, along with some of the other guards,” Adora continues. “Mr. Agust will be here shortly.”

Interesting. You’re not sure what to make of this situation.

The dining room grows quieter as you sit alone with your thoughts, nibbling on a cookie to stave off the nerves.

Suddenly, the sound of footsteps echoes through the hallway outside the dining room. You freeze, your pulse quickening as the door swings open. A group of men enters, all dressed in dark suits, their expressions stern and composed. They move in unison, fanning out to take seats around the table, but one man stands out from the rest.

Agust D

He strides in with a commanding presence, his sharp eyes surveying the room as he walks. There’s an air of authority around him that makes the space feel smaller. His dark hair is slicked back, his expression unreadable as he takes the seat at the head of the table.

The sleeves of his shirt are stained red… You don’t want to know if that’s blood, but it’s the only thing you can assume.

 Adora re-enters the room soon after, gliding in with her usual grace. She takes her seat across from you, her calm demeanor unwavering as she folds her hands in front of her. The tension in the room is thick, though it seems invisible to her.

Agust turns to you, his gaze piercing but calm. "I hope you’re feeling a bit more settled," he says, his voice low and even.

Yeah, sure, settled, you think, fighting the urge to laugh. Settled is the last thing you feel in this... “house.” 

You nod slowly, feeling the weight of the room pressing down on you. “Yeah, I suppose,” you mutter, unsure how to respond. You reach for a cookie from the tray in front of you, more out of nervousness than actual hunger.

“I know this place might be overwhelming,” Agust continues, leaning back in his chair. “This is no ordinary home, as you’ve probably gathered by now.”

You swallow hard, the cookie crumbling slightly in your hands. No ordinary home is an understatement. The size, the guards, the secrecy—it all screams something far beyond the normal.

“To formally introduce myself, my name is Agust D. I’m the chief detective for the Asia-Pacific Police Force here in Bangkok. Comprised of officers from all Asia investigating international crime,” he says, a hint of amusement playing at the corners of his mouth as if daring you to believe him.

You nod slowly, though something about it doesn’t sit right with you. “That’s... interesting,” you begin carefully, “but I don’t think that’s all. There’s something else, isn’t there?”

“Smart girl. You’re sharp, I’ll give you that.” Agust’s eyes gleam, and a chuckle rumbles from his chest. “No, that’s not all.”

He leans forward slightly, his gaze locking onto yours. “I am a leader of this mafia family you’ve been seeing.”

Your hand freezes mid-bite, the cookie slipping from your fingers and falling onto the table. Your heart skips a beat. Mafia? Your mind races. Organized crime? How the hell did you get involved in something like this? Fear snakes up your spine as your hands begin to tremble slightly. You can feel your throat tightening, your body responding to the panic rising inside you.

Agust’s eyes soften just a fraction, as if sensing your fear. “Relax,” he says, his voice calm, almost reassuring. “I’m not going to hurt you... you’ve been working for me for quite some time before all of this, after all.”

“Working for you?” you echo, incredulous. None of this makes sense. You shake your head, unable to comprehend. “Me? I... I don’t think so. I mean why would I–”

Agust’s smile returns, and he leans back in his chair, his hand disappearing beneath the table. “It is you,” he says firmly, interrupting you. Without warning, he tosses something across the table.

You flinch, instinctively reaching out to catch it—your hand closing around the handle of a heavy object. What the— A sword? Its weight is oddly familiar in your grip. You stare at it, eyes wide, your breath catching in your throat. The scabbard is intricately decorated with a blossom pattern that triggers something deep within you, something familiar.

You’ve seen this before... You’ve used this before.

Grainy and fragmented memories burst through your mind of a time when you’d used this. “Go ahead,” Agust says, his voice quiet but commanding. “Try it out.”

As if under a trance, your fingers move on their own, sliding the blade free from the scabbard. The polished metal gleams in the low light, its sharp edge whispering of battles fought and blood spilled. Before you realize what is happening, you have gotten onto the dining table, moving with fluid precision toward Agust that startles even you.

The bodyguards around the room react instantly, rising from their chairs and drawing guns, all pointed at you. But you don’t stop. You can’t stop. Your body moves on its own, and within a second, you are standing over Agust, the tip of your blade mere centimeters from his throat.

The room is dead silent. Agust doesn’t flinch. He merely raises a hand, a calm gesture to his men. The bodyguards look at him in hesitation, but slowly lower their weapons, keeping their eyes trained on you.

A chuckle escapes his lips. “Did that jog your memory?” he asks, his eyes gleaming with amusement, as if he has been waiting for this moment.

You stare down at him, your chest heaving, adrenaline coursing through your veins. “I... only a little…?” you admit, your voice barely above a whisper. The weight of the sword in your hand feels so familiar, so right, but your mind is still a blur of confusion.

“So much bloodlust you’ve got hidden in those eyes. Are you going to cut me down this time, doll?” he asks, his voice teasing, yet there’s a glint of seriousness behind his eyes.

This time? What does he mean by “this time”? 

Despite the odd question, your heart skips a beat.

“W-What?!” you stammer, not understanding what he means. You pull the blade away, stepping back and lowering it to your side. Your hands are still shaking.

Agust smirks but says nothing more about it. Instead, he leans back, seemingly unfazed by how close he has come to death. “So, do you want some of the answers I can provide?”

Enough of this cryptic stuff.

You blink, still trying to process what just happened. “Are you actually going to answer me this time?” you ask, your voice sharper than intended.

Agust chuckles, clearly enjoying this more than you are. “That depends on what you want to know.”

“Hmm…” You hesitate for a moment while Agust signals his men to sit back down. They sit down, resume their positions, and the tension in the room seems to dissolve as if nothing happened just moments ago.

“Now tell me, doll,” Agust says, leaning forward, his eyes locked onto yours with a predatory intensity.

“First of all, who am I? Why do you keep calling me ‘Doll’?” you shoot back, your tone sharper than intended.

Agust lets out a deep breath, almost as if your question bores him. “You don’t have a name, as far as I know, so I call you doll. It’s cute, isn’t it?”

You give him an exasperated roll of your eyes, and he chuckles, as if he expects nothing less. “But besides me, everyone else calls you ‘Dove’—your code name.”

“Why am I here?” you press on, hoping for a more substantial answer.

Agust’s grin grows wider. “Great to see you moving on to this point,” he says, resting his elbows on the table and steepling his fingers. “I’m protecting you. Your life is at stake, actually.”

You scoff. “Protecting me from…?”

“Someone.” His tone is vague, and your irritation flares at his refusal to offer more.

“Could you be any more vague?” you mutter, rolling your eyes again, daring him to give you something concrete. “Who is it?”

Agust’s expression shifts, his jaw tightening slightly. He clearly isn’t used to being questioned like this. Just as he opens his mouth to respond, one of the bodyguards at his side, a man with sharp features and an intense gaze, speaks up.

“I don’t think you should ask that right now,” he says firmly. “Just for the sake of your life.”

“Yijeong,” another bodyguard—a much older man with long black locks of hair—warns in a low voice.

Yijeong shrugs, his eyes unwavering. “I’m just looking out for her safety.” It doesn’t sound sincere, to be completely honest.

Agust gives a subtle nod, silencing the exchange with a single glance. Then he turns back to you, his gaze slightly softened. “Anyway, it’s exactly as I said,” he continues, his voice smooth, almost practiced. “As part of my daytime role, I’m a detective. And I’m also an underground mafia boss.”

You stiffen, feeling the weight of his words settle over you like a shroud. He isn’t done. “The person after you wants something that you hold the key to—something that we both want.” His tone is steady, a faint glint of ambition in his eyes. “I met you a few years ago and decided to let you live here, by my side, in hopes of finding it.”

You take a shaky breath, your mind reeling as you try to process this. “And I’ve been here ever since… as your right-hand man?”

Agust leans forward, his voice low yet intense. “That’s right. You were essential to our operations. I need you back in action, though. There’s a lot at stake here. We need to find this thing as soon as possible and get rid of this other person trying to kill you.”

You try to wrap your head around the idea that you’ve been living a life entrenched in the shadows of the criminal underworld, working closely with Agust and his organization—yet you can’t remember any of it. The weight of it presses heavily on you, disbelief twisting in your gut.

“So, you’re telling me,” you begin, your voice slightly unsteady but determined, “that I’ve been involved in this… mafia life all this time and now, because of some freak accident that you won’t disclose, I have not a single memory of it?”

“Precisely.” His eyes are fixed on you, unwavering. “Once you start easing into things again, I’ll tell you,” he says, his voice gaining an edge, “but now, I need you to decide.”

The frustration bubbles up within you, and without fully realizing it, you blurt out the most pressing question in your mind. “And what if I refuse?”

“Refuse?”

“Yeah, I mean, this sounds great and all… but I’m not about this mafia life and fighting whatever gang rival you have. Maybe you are mistaken about me.”

“Then…” A dangerous gleam flashes in Agust’s eyes, and before you know it, his hand moves beneath the table. In one swift motion, he pulls out a sleek, polished handgun, the metallic click echoing as he cocks a bullet into the barrel. You flinch, eyes widening as he aims it in your direction, his expression dark but laced with amusement.

“I’ll just kill you right here.” He pauses, letting the threat hang in the air before he lets out a dry laugh.

Holy shit.

What the fuck is that switch-up!?

You knew this man is insane, from the moment he handed you a katana and nearly let you cut him down.

He chuckles softly, an unsettling sound that made your heart race even faster. “Honestly, this could work in my favor anyway.”

Agust tilts his head, eyes narrowing as he keeps the gun trained on you. "Then he will never get his hands on you. Ending it here sounds like a fine choice, doesn’t it?” His tone is almost casual, as if he were discussing nothing more consequential than the weather.

Your throat feels tight, but you hold his gaze, refusing to back down. His words hang in the air, blending with the heavy silence of the room. The other men seated at the table look on, stone-faced, while Adora remains calm, her eyes studying you carefully. You can tell she’s a little worried for you.

“You really think you can just kill me off?” you manage, trying to mask the tremor in your voice. “All this talk about me being your right hand, about me holding the key to something you need. If I’m that important, you can’t just get rid of me. Then you’ll never find what you’re looking for.”

Agust’s lips curl into a smirk. “Oh, doll, I like that fire,” he says, lowering the gun ever so slightly but keeping his gaze locked on yours. Great, just what you need—a compliment from your potential murderer. “You’re right. I can’t just let you go that easily.”

He leans back, his gaze unwavering as he places the gun on the table, almost within reach yet tantalizingly out of yours. “Let’s make something clear,” he continues, his voice softening yet holding that sharp edge. “You’re right. You’re valuable to me, too valuable to throw away—at least for now.”

For now? That’s comforting. What does ‘for now’ even mean in this context? You thought you were friends for a long time by now. Doesn’t sound like it from this.

The tension in the room lessens slightly, though your pulse is still racing. Agust’s words feel like a reprieve, but only just; you know there’s always another game behind his every sentence, and the stakes are dangerously high.

“Alright,” you reply, forcing a bit of calm into your voice. “Then tell me more. You say I’m the key to something… What is it exactly?”

Agust shrugs, crossing his arms, his expression unreadable. “For now, let’s say it’s a treasure—one that’s extremely valuable to both me and… other interested parties.” He gives a small, almost lazy wave of his hand, brushing off the details as if they’re minor inconveniences.

“Other interested parties?” you press, sensing he’s holding back. “Like the person you’re supposedly protecting me from?”

Agust’s eyes narrow slightly, as though debating just how much he wants to divulge. He sighs, running a hand through his dark hair, and gives a curt nod.

 “Yes, exactly like that person. But don’t worry about…them,” he says, his voice dipping lower, almost like a threat wrapped in reassurance. “With me around, you’re safe. They won’t touch you. Besides, doll, you led them on quite a chase right before the accident that happened to you….And now, they know better than to mess with one of the biggest mafias in Bangkok, especially one that has the police wrapped around its finger.”

The words settle over you like a heavy blanket, the weight of the implications sinking in. You haven’t just ended up here by chance, nor is this some benevolent offer of protection. The people after you aren’t merely rivals—they’re people who chased you, people you evaded in the past. And now, you’re under the protection of not just any organization, but a criminal empire with authority woven tightly into Bangkok’s very fabric.

“Wrapped around your finger?” you echo, incredulous but with a hint of fascination you can’t suppress.

He smirks, leaning back in his chair as though he’s merely recounting a successful business venture. “Yes, Bangkok’s finest wouldn’t dare cross me. I’m a chief detective, after all. It’s all very convenient, don’t you think?”

Right, because every girl dreams of being involved with a chief detective who moonlights as a mafia boss. What’s next? A romantic comedy?

You feel your pulse throb in your temples in disbelief. “So that’s why they won’t come after me here?”

“Exactly,” he replies, his tone almost smug. “To come after you here would be a death sentence for them. And they know it.”

You mean, you can’t argue with that logic. Guess you’ll have to stick around this madness for a while.

You slowly slide off the table, feeling the lingering tension in your limbs as you settle back into your seat at the far end of the dining table. Agust watches you with that familiar smirk, clearly pleased with the subtle shift in your demeanor. Once seated, you exhale, steadying yourself before meeting his gaze again.

“And if you continue to stay here,” he begins, his tone softer but laced with intent, “there’s a chance your memories will eventually come back, piece by piece. Trying to leave and figure it all out on your own would be… risky, to say the least.”

He’s giving you an out, it seems, yet he isn’t. The faintest hint of a choice dangles in front of you, a chance to regain who you are—or escape before you learn too much.

Agust’s gaze never wavers. “If you want answers—if you want to understand what’s locked away in that mind of yours—staying is your best option.”

Adora’s gaze is unwavering as well, as though silently urging you to take Agust’s offer. You glance at the others around the table, all of them still and watchful, a powerful, immovable force surrounding you.

“And if I don’t stay?” you ask, your voice barely above a whisper.

He sighs, though his eyes hold the barest glint of amusement. “Then I suppose you’ll be putting all that fire to good use. Running from a lot of people… including me.” His smirk softens, but his words are as sharp as ever. “The most dangerous game. It’s your choice, doll. But remember, what’s waiting for you out there isn’t likely to be as welcoming as here.”

Nice way to put it. A warm welcome with care followed by a bullet?

You lean back, trying to process everything. It’s surreal—being told you’ve been living some double life as the right hand to a mafia boss, that you’ve led people on a chase through Bangkok, and now, because of all this, there are people actively out to get you. Just yesterday… well, whenever “yesterday” is, you have no memory of this life. And now, Agust is offering you a choice. Either stay here and trust him to help you find yourself again, or leave and risk everything on your own.

You look down, hands fidgeting on your lap as you think it over. Realistically? You don’t have a lot of options. Even if you leave, where would you go? How would you survive with no memory of who you are? Just the idea of stumbling around Bangkok, a city you barely even remember, trying to outwit… whoever is after you seems like a suicide mission.

Besides, there’s something oddly reassuring about Agust, even if his methods are a bit terrifying. He doesn’t look like he’s about to pull any punches, and for some reason, that makes you trust him more. He isn’t hiding who he is or what he’s capable of, and he isn’t sugar-coating the risks. The entire mafia thing is insane, sure, but something in you stirs with a strange familiarity when he speaks about it. It’s as if you’ve known all along, buried somewhere deep down.

You steal another glance at him, noting how he’s watching you, calm and expectant. He isn’t pushing you, just waiting for you to come to a conclusion.

Finally, you sigh and look up, meeting his gaze. “Fine,” you say, exhaling as if to release the last bits of resistance. “I’ll stay. You protect me, and I… I’ll do whatever I did before and help you get what you’re looking for. If this is my best chance at getting those memories back, then I’ll take it.”

A satisfied smile curves Agust’s lips. “Good girl. I knew you’d come around.”

Adora, who’s been watching from across the table, gives a small and excited nod, and the other bodyguards exchange glances. The tension in the room eases, like the whole crew has been waiting for your decision.

“All right, then,” you say, half to yourself. “Guess I’m back to… whatever this is.”

Agust chuckles. “Welcome back to the family.”

–

–

➸ let me know what you think OR join the taglist for this series! ➸ a(mygdala) pilot one shot #1 - distraction and one shot #2 - infatuation ➸ all fics masterlist

a/n: thank you so much reading! apologies for the very dialogue heavy first chapter in this series as I needed to set up the vibe and expectation of reader and Agust D. We'll get more into the mafia bitty gritty in the next chapter as well as eventual smut in later chapaters for these two before shit goes down hehehehe im sorry it'll be a bit of a wait since it's slow burn... but there will be a ton of charged up tension leading into it heheheheh

i had planned to release this earlier this month but after a very intensive job hunt for the past year + 7 months, i finally found a new job! yay! cries... so future updates will take some time. but please please feel free to send me your thoughts or suggestions on things you'd like to see in this series in the future and i will make sure to incorporate it. :) until next time!

[jhonny]

things i REALLY want to see adapted in opla (eventually)

sanji seeing a bug on jaya and screaming very high pitched

extremely homoerotic nami vs kalifa fight

the gag from whiskey peak where a nun pulls a gun on zoro

sanji getting kicked in the dick at enies lobby

ace, smoker and luffy's meeting in the restaurant, beat for beat, exactly the same

10 extended minutes of ace and sanji gay eye contact

bon clay using his devil fruit ability to force the actors for the strawhats to play their characters OOC

the straw hats doing a cheerleader pyramid for thriller bark's docking scene

nami, luffy and sanji getting their asses kicked by jamie lee curtis

impel down buggy with long hair and a ponytail

franky having multiple fully-coordinated flash mob sequences

sogeking having multiple full theme song sequences

background gag of zoro lifting increasingly improbably-sized weights

enel having absolutely zero facial acting until the Enel Face Moment at which point we learn he is capable of contorting his face in a VERY hilarious manner

makkenyu doing zoro's Cool Pose on little garden and his call of bravery on skypeia

sanji's appalling skypeia outfit

tiny luffy from gear 3 cooldown

thriller bark but it's filmed and directed like a low budget 70s exploitation film (with camera grain to match)

Gothic Single Father Mihawk

iñaki carrying law's Significantly Taller actor around dressrosa like a sack of potatoes

zou but every mink extra is played by fans in fursuits

omega flowey levels of terrifying mixed media for gear 5 that comes out of your tv and kills you in real life

feel free to add your own✌��

[bo0tleg]

GEMS MY FRIEND SAID WATCHING TOP GUN (1986) FOR THE FIRST TIME:

"Look at those thighs! He's gotta be sitting on a dick, there ain't no way!" (about a random engineer in the opening sequence)

"This guy is too handsome to be a rando" (it was, indeed, a rando)

"Fifteen minutes in and I have no idea who the protagonist is." "Do you know what Tom Cruise looks like?" ".... No."

*Thought Cougar was gonna be the protagonist, was confused as hell when he left*

"The baldo is boring, but I think were gonna keep seeing him throughout the movie." "No, we're not." "We're not? Oh, thank god."

"Whoop, spotted the gay one. That wasn't even hard."

"That guy (Chipper) looks russian." "Nope." "No? What about that one (Slider)?" "It's the middle of the Cold War." "..... So?"

"A gay couple already? Wow."

"The blondie is trying to flirt while the other one is too concentrated on the rivalry."

"OH HELL NAH."

"Every old movie just feels the need for random straight romance– OH SHIT THAT'S HER? HE'S SO FUCKED." (In the scene where Charlie is 'officially' introduced)

"HOLD UP!" *Rewinds the scene* "What kind of flirting is that?" *Plays the scene again* "Did he just... Chomp? At him?"

"He has chemistry with her, but she doesn't want any chemistry with him. I mean, I can see she's attracted to him, but I think she just wants a quick lay." (Repeated this Every. Single. Time. Maverick and Charlie had a scene together.)

"Ah yes, the hetero scene that actually looks really gay." Later, remembering the scene: "How the fuck are you gonna play sports looking like a hot piece of ass without looking gay? You're not supposed to be hot! You're supposed to slap that fucking ball, not be like 'hahaha look at me, I'm so dainty and pretty.' THAT'S GAY!"

"It's cute, Goose treats him like a father would." "Don't you mean an older brother?" "No, he's too gentle for that. They'd be killing each other."

"See, Goose's wife treats him like an older sister would. By annoying him."

Charlie, on screen: "(...) Because I've fallen in love with you." "NO YOU FUCKING HAVEN'T, SHE'S JUST SAYING THAT FOR HIM TO STAY! SHE'S JUST SAYING WHAT HE WANTS TO HEAR TO KEEP HIM THERE!"

*Loud disgruntled noises I could hear from the kitchen over the sex scene*

"That's the one with the hard on!"

"I want more scenes of the blondie (Ice) and Maverick, I don't care about fucking planes."

"Did he die? Oh, no he's fine, the chute is there. Wait, he did die? NO!"

"Did he really need to be in his underwear for this conversation?"

"How cute, he's worried about Mavericks mental health. Shit."

*Screams*

"WHAT ARE YOU DOING YOU IDIOT? SHE LEFT YOU AFTER YOUR BEST FRIEND DIED!" "And put on a song that reminds him of his parents." "AND PUT ON A SONG THAT REMINDS YOU OF YOUR DEAD PARENTS!"

[vidavalor]

The Movie

The most important thing is that he's gone.

If you're feeling sad that it's not the full season and would like some reassurance about the rest of the story being movie-length, though?

Based on where the story is now? They can absolutely do this in 90 minutes. Would it have been more fun if it was the whole season? Of course. But they can do this in 90 minutes-- and do it well. I think there's actually less to go in the plot in the present than we might realize. How so?

I'm pretty sure the next part of the story has never really been plotted to be Supreme Archangel Aziraphale. The end game seems to me to be a bit more they all have to overthrow Heaven to save Aziraphale and that's how they save the world. Meaning, that was Satan with the coffee in The Final 15 and Aziraphale's fall is the plot. The kickoff here in the movie would be the same as it would have been if we had a full S3: the audience gets the hinted at 2.06 twist revealed in full right near the start when they see Aziraphale get to Heaven and be thrown to Hell by The Metatron. The other characters then quickly learn what's happened to Aziraphale. They band together to challenge Heaven--that's the whole Powell & Pressburger's 'A Matter of Life and Death' trial & how it fits into things.

Aziraphale won't accept a verdict that's just for him and not Crowley as well and the process of all of this winds up exposing and overthrowing The Metatron and Hell, freeing the demons. (Gabriel gets his suit back and is their lawyer, you just know it lol.) By coming together to save Aziraphale, the characters fix Heaven/Hell, which then saves Earth and permanently stops the threat of Armageddon. The remainder of the time is wrap up where Crowley & Aziraphale work through what's happened and then head to the South Downs.

All of that stuff in the present that I just said can actually be done inside of an hour, tops. Especially because no one has to set up the characters and story like they would if this were a stand-alone film. They can just dive straight in. That still leaves at least a half-hour--if not a bit more, depending-- for flashing us back to whatever we need to see that supports what's happening in the present (The Vavoom, 1941, probably Jane Austen, likely one or two other things we don't know we need to see yet). More than likely? This is a series of scenes like the S1 cold open more than it is a longer, single-era, flashback minisode. I don't think anyone would complain about another cold open-like sequence? 😊

The movie can work. For perspective? Look at the chart below.

We are at the Big Twist that is The Act II Climax & it's really almost fully done already. All that's left in that Big Twist is to just overtly tell it to the audience because The Final 15 already did all hinting the set up work for it.

As you can see, we're really just moments away from everyone regrouping for the big, final push of the story-- the Act III Climax/overthrowing Heaven-- before we're into the South Downs Cottage ending. This is one of the reasons why I think that S1 showed us Monday-Sunday of The Last Week of the World: Round One with Armageddon being stopped on Saturday but S2 revealed we were watching The Last Week of the World: Round Two... but then stopped the season early on Friday morning. S3, imho, has always been going to pick up within hours of where the 2.06 cliffhanger ended and show us the mirrored Saturday & Sunday of this week that we still have out there.

They won't need to set up at the start of the film where characters are years later because the S2 story we were watching was always written for S3 to pick up basically right where the S2 cliffhanger leaves off. S3 was always going to continue directly the story of S2 rather than come at the story from a place of a dead stop of years having gone by. I think the best way to look at the movie might be as if it is really the S2 finale. Think of it as if S2 actually has 8 episodes but we've only seen 6 of them so far and we're still awaiting the last two.

Each season of the show, in and of itself, follows that above Three Act Structure, even if the overall series of Good Omens is also following it for its overall story as well. Think back on the last two episodes of S1, which would then be similar in some structural elements and in pacing to this movie.

The Act III Climax in S1 is Armageddon being stopped in Tadfield. That will be overthrowing Heaven in the movie. The Obstacle that followed in S1 as a result of stopping Armageddon and which led into the wrap-up conclusion was Heaven & Hell coming after Crowley & Aziraphale/the body swap plot. When Crowley and Aziraphale solved those obstacles-- in short time, as this is part of the wrap-up-- we then left them dining at The Ritz on Sunday afternoon. These episodes were a very clear-cut example of what an Act III in Three Act Structure within a season looks like and it is likely-- structurally-- going to be very similar to what the model for the finale movie will be. The pacing will be a lot alike, just with some flashbacks in the mix.

Think about how little time it actually took to stop Armageddon once everyone was in Tadfield-- and that most of the finale was just getting characters who had already been set up earlier in the story to Tadfield for that to happen. That's about how much time it's going to take them to overthrow Heaven in the movie. We've actually already watched most of the set up in the story to get to that place in S2. Then, think about how the Obstacles part in S1 was the body swap plot... but how that same type of obstacle wouldn't exist in the S3 movie. Why?

Because this movie is going to stop Armageddon permanently by overthrowing Heaven & Hell. Unlike in S1, when Crowley and Aziraphale were still being targeted, they're going to be truly free for the first time ever by this same point in the S3 movie. So, what are the Obstacles then? Their own stuff. This is where we would get the scenes of two of them having the chance to fully talk through The Final 15 of S2 and, in the process, understand where everything went wrong and have the South Downs Cottage then be the happy ending.

There's plenty of space for this in the story because this is where it's all leading and the part about overthrowing Heaven and Hell-- that Act III Climax that sets up this ending? Going into the movie after where S2 left off, we're actually only a heartbeat away from it already.

This is all very do-able within 90 minutes, with plenty of room for things like The Vavoom and 1941. It might not be the full season that we hoped for but the story is in a way better place to wrap this up with a movie than most shows in this position would be.

[dropoutconfessions]

It makes me incredibly angry when people say "Riz is canonically aro/ace" and act like you're a horrible person if you ship him with people. Like. Nowhere in the show is it ever stated that he's aro/ace. The conversation people reference as him being "canonically" aro/ace is just him expressing his lack of very specifically sexual attraction, and even then the response from his dad (and by extension Brennan and the show as a whole) is that it's okay, and that it's specifically unclear whether he's ace or whether it's just not something that's happened for him in specific yet. It is intentionally vague as to whether he is ace or not, and there's genuinely zero indication in the show that he's aro other than that he doesn't have a love interest which could be completely unrelated.

Right so I'd like to share my opinion on this for a brief moment. I am still fully here to give people a voice, but this is just, an issue that kinda hits close to home since I'm demiaro.

The most annoying thing in a lot of media is when representation is shoehorned in as a list of labels and buzzwords we're given. Queer people should not have to turn to the screen and say their full identity in order for them to be canonically queer. That's what subtext is for. That's what good writing does. Is not spell it out for you when it's not necessary to do so. They do not need it to be spelt out for it to be very clear that he's ace/aro.

I am going to assume ignorance here instead of assuming malicious intent. The idea that the reason he isn't ace, is because "it's not something that's happened for him in specific yet", is an extremely common thought process behind asexual erasure. I'm sure that's not what you intended, but that is something to reflect on in general.

Both Adaine and Riz have yet to have relationships or display crushes (not counting junior year since most of the evidence comes from sophomore year) . Adaine hasn't gotten an entire nightmare sequence / arc around dealing with here friends all finding partners and leaving them alone. Adaine hasn't expressed or had conversations about any lack of sexual or romantic feels to the extent Riz has. Adaine is headcanoned as ace/aro by some people. Riz is more than that. Riz is very much canonically ace/aro if you do the slightest bit of character analysis. There's accidental coding and then there's Riz Gukgak.

List of every single Riz trait that is hella ace/aro coded

A lack of sexual and romantic attraction to other people (I'm not counting the time where he said he was kinda into Sexy Rat, that whole scene was a bit, and absolutely insane)

Making up a partner/crush in order to fit in (I have 1000% done that and so have a lot of acespec and arospec people)

A fear of being left behind by his friends because of a belief that they will find partners and move on from him, largely caused by alloromantic culture's insane emphasis on how the most important relationship is a romantic one

The fact that almost every other fantasy high pc has been in a relationship or a crush (kristen had tracker and gertie, gorgug had zelda, unit, and mary ann, fabian had aelwyn, ivy, and mazey, adaine had oisin and possibly zayn depends on your interpretation, and fig has had ayda and a string of professionals in a variety of fields across seasons 1 and 2) with only riz as a single character

The fact his sophomore year arc was entirely about his lack of sexual/romantic attraction and fear of being left alone because of it

Like not even a joke, it was that and his dad, that was the whole arc

His junior year arc was also about his obsession to stay together as a friend group, which like I mentioned above, is very clearly based in his asexuality and aromanticism

I am not going to stop people from shipping characters ever. If you want to rewrite character sexualities, that's fine by me, I'm a big believer in "Don't Like, Don't Read". I am not gonna pretend like characters are not their sexuality in canon so that people feel justified in writing their stories. People who rewrite character sexuality can do so without making everyone else assuage their guilt for them. I know I'm on the "piss on the poor" reading comprehension website, but it's not hard to tell Riz is ace/aro in canon, and pretending otherwise doesn't help your case.

[tentenarchive]

In Defense of Tenten - the Chunin Exams' Written Test and Her Mirrors

A common joke made about Tenten is how obvious her mirror and line contraption, used to share answers with Rock Lee during the written exam, is. In this post, I'll show how her solution is perfectly reasonable and why she wasn't disqualified by the ninja proctors.

Firstly, we have to stablish what the objective of this written test is: to cheat. The written test was designed to be too difficult for ninjas of their level to be able to answer, forcing them to cheat from each other. Such is stated by Ibiki in the end of the First Phase chapters:

Next, the proctors are all higher level shinobi, better prepared and used to seeing various tricks and jutsu. It's not an stretch to suppose they're aware of EVERY cheating attempt made by those Genin, but were responsible for judging if their technique is too sloppy, obvious or ineffective.

My theory is supported by this scene, where Izumo eliminates one of the ninjas doing the test, claiming he took "five strikes".

It implies the competitors are allowed five errors before being disqualified, and one of the eliminated Genin makes it clear to the reader the "five strikes" are five times being caught cheating.

Naruto is also implied to be caught almost cheating when Hinata offers him her test answers (it can be interpreted either as Naruto being closely watched or Naruto's nerves making him think like that, half the proctors' job is to scare the Genin) and even then he is not automatically removed.

Tenten's technique may be obvious for us, as readers who have been shown by the author himself how she did it, but it's a single and successful attempt, and it's not commentated by any other characters, meaning no one caught on her besides the proctors, and they would only disqualify her if she did it more than once (which wasn't needed, she found the mole with all the answers!).

A pettier criticism i've "how isn't anyone seeing the lines?" to which the answer is very simple: manga is a visual media and the author needed the audience to understand how she was manipulating the mirror. If you take in consideration Tenten's fight with Temari in the anime - which is filler, btw, and it's up to you reading this to decide if it's a fair assessment on their abilities or not - she's shown using invisible lines to manipulate her weapons after throwing them. The lines are, conveniently, only visible when the animation needs us to understand how the weapons are moving backwards. Any other frame they're invisible.

You can see in the panel how the lines fade out towards the bottom and only show where they're attached to the mirror.

Finally: that's exactly what Ibiki expected the genin to do. There have been a few posts, specially on twitter, asking "how are you supposed to pass if you don't have a kekken genkai??". Like Tenten. That's how.

Kankuro and Tenten are the only characters which Kishimoto showed us cheating that didn't use an exclusive DNA super power. Kankuro and Tenten both use hidden threads, one uses chakra lines for puppetry and the last manipulates mirrors. They also pass their answers to their teammates, Temari and Lee.

(Sakura is the only confirmed character to do the entire test without cheating. Congrats Sakura!! You could argue Hinata used her byakuugan to cheat like Neji, but if you think she did it by herself, I will give you the pleasure of congratulating Hinata too. Congrats Hinata!)

Tenten's method was practical, and used her specific skill set: summoning and kunai work (where do you think the mirrors came from? a scroll, that's for sure). It was probably set up before the test started, during the commotion Team 7 created with their arrival. We're not shown it because Tenten is a tertiary character and Kishimoto wouldn't invest 2-3 panels of set up for a 3 panel sequence pay-off that works by itself very well. She is smart, did great and made sure her teammate was not left behind.

Tenten is not even the most absurd method used in this exam, so, as a treat, i will show you, in order, the most obvious cheats shown in the manga from least to most!

Sasuke's Sharingan If you're a ninja from the Leaf Village, you know who Sasuke Uchiha is and what a Sharingan is capable of. Unfortunally for him, the Exam is being held at the Leaf Village and all the jounin and chuunin there are from the Village. Any proctor looking at his direction in a position in front of him could see clearly his eyes and know exactly what he was doing.

Neji's Byukuugan Like the Sharigan, you can physhically see when it's activated, with the downgrade of being noticible by people sitting at up to 95º from him, as the veins are visible on the sides of his face too. A fair trade for the ability to see better than the Sharingan, even if you're not able to copy, in my personal opinion.

Ino's Mind Transfer Jutsu The jutsu's hand signal is simple and can be missed, but it's still obvious for any Konoha ninja watching, it is a very recognizable ability. There's also the higher chance of Ino being caught since she needs to do it three times (once for getting Sakura's answers, twice to pass them to Chouji and Shikamaru). Besides, the "dropping dead on the table" thing can be disruptive in a mostly silent classroom.

Akamaru and Kiba's communication Akamaru is barking all the way through the exam, and while the balloon used for the text is the one for thoughts, it's also the same used for whispered conversations up to this point in the manga. The anime makes the barks happen in the real world, and not in their thoughts, and as far as i could find, Kiba can understand dog language but there's no psychic talk between them. By the noise alone he could be caught. I think he wasn't expelled just because a full conversation between dog and human is a novel enough ability to not be considered by most ninjas unaware of the Inuzuka clan's special abilities.

The Most absurd one: Kakuro and his Puppet He put an entire guy no one knows and has never been seen in a room where all the authorities are from the same village and have, at least, a vague knowledge of each other's existence. To increase the absurdity, somehow everyone let Kankuro use his own puppet to guide himself to the bathroom. I cannot express enough how unlikely it is that, in a real info gathering mission inside a single room where all the higher rank ninjas are exclusively from the same village, Kakuro's plan could work. Most decent sensors could also catch the chakra line's signature.

I'll give it to him, making the puppet talk helps with the disguise, but it only fools his fellow attendees, not the proctors. He's too confident that he didn't raise any alarms.

But Ibiki goes as far as insinuating he knows (and has known from the start) about the puppet's existence when Kankuro comes back from the bathroom.

If Kankuro was able to finish the test and not get disqualified, even if he had what I consider the most obvious cheating attempt from the named characters shown, it's fair game for Tenten and all the other important cheaters. Besides, it's a single attempt at cheating, even if it required an entire prep work for it, so it doesn't matter if all the high level ninja's are aware, that's not enough to kick him out.

I cannot leave out the meta reasons why these characters weren't removed from the class: they're important to varying degrees to the story and they need to advance through the first phase to keep readers engaged.

Regardless of how absurd I think Kiba's and Kankuro's methods are, they need to go all the way to the fight tournament after the Forest of Death, where they have important roles to fill: Sasuke and Naruto are main characters and are prioritized by the narrative; Ino and Sakura will have an important character developments and flashbacks during their fight; Neji has an entire arc that only concludes all the way in his fight against Naruto; Kiba is the rival for Naruto in the surprise fighting tournament and he is one of the few characters able to match Naruto's silliness so he can win in a silly way; Kankuro and Tenten are both part of the two strongest cells present in the event, the Sand Siblings and Team Gai, both introduced as real threats to Team 7, and having anyone from these cells lose would undermine the narrative created around then. All of them would get through anyway.

Tenten losing against Temari in future parts of the Chuunin Exam has narrative importance too, a fight I will cover in the next In Defense of Tenten, but in short Tenten was introduced as a threat alongside Neji and Lee, her abilities and experience surpassing Team 7's. Having her lose against one the Sand Shinobi serves to show how big their gap in power is: if someone more experienced and well trained than them can't win against them, Team 7 has no chance. It's part of the build up for the future Naruto and Gaara fight, and the suspense about their real strength (since the fight doesn't exist in the manga, only the result is shown).

Conclusion: people are overly critical of Tenten because she's seen as a "lolcow" in the Naruto fandom, in part by the bad adaptation of her fight with Temari to the anime, which poisoned any feat of hers before and after it; but also because Naruto and Boruto don't give satisfying ends to any of the original female cast besides Hinata (she marries the man she loves and becomes a housewife away from the battlefield, an honorable decision i will never shit on, she never wanted to be a ninja and is a kind mother and wife, good for her!) so all female characters are seem as weak and useless when compared to their male peers. Naruto is a work riddled with undercover misogyny, never out right stated but always preventing the girls to achieve any meaningful resolution or permanent development.

That added to the ever expanding powerscalling abilities and fights make characters with simpler and down to earth abilities and feats outdated by its own universe. Knowing how big the Naruto fights and jutsu get in the future make people look down on crafty solutions like sealing scrolls, kunai and mirrors, when that is a perfectly respectable solution within the series and matches the powerlevel presented this early in the story.

Tenten is not weak, or bad, or useless. She's misrepresented by the most popular media consumed: the anime, and further misunderstood by the fans of said work. Large fandoms can be allergic to text interpretation and infighting is stimulated to the point fans of smaller characters are bullied off social media and forums (i.e. the forum where I got the list of all chapters Tenten is in is filled to the brim with comments about how OP should move the topic to "fan works" since no one would want to read about it in the canon work page, or how the mods shouldn't allow him to have a thread). I respect Tenten's feats, as well as other small characters', and refuse to be fed the same "uselessness" narrative this fandom always had, because i actually enjoy Naruto, even if i have many problems with it, and I take it seriously.

She did great.

[ecargmura]

Dandadan Episode 7 Review - A Mother's Love

If Episode 4 hasn’t put Science Saru on the map for high quality animation, then this episode surely did. I haven’t read the source material, but even as an anime-only watcher, I can definitely see the love and passion the studio puts into this. It’s crazy how a Japanese anime studio owned by a Korean person can make such invigorating quality.

The rest of the fight with Acrobatic Silky was animated well. I love how the kids outwitted her by running away just so her hair gets caught in the nook and cranny of the warehouse. Okarun manages to defeat her by going full throttle. However, their victory isn’t a happy one as devouring Aira caused her to die. Turbo Granny explained that since she’s an ordinary person, being devoured by a spirit would easily kill someone. I sort of like that detail, honestly. There’s no anime logic about how she could survive this. She’s dead and that is what the rest of the episode is about. 

What I also like is that seeing her dead easily causes Momo and Okarun to start doing what they can like telling Turbo Granny to call the ambulance and for Momo to resuscitate her using her psychic hands. Though, it does feel odd that a group of teenagers know how to resuscitate someone so skillfully, even if it’s an attempt. They’re both not doctors and are on the opposite spectrum of them. The only way she can be saved is having Acrobatic Silky connect her aura to Aira’s like connecting two cords together.

That’s where the highlight of the episode comes in the form of Silky’s tragic backstory. Man, it broke my heart seeing Silky’s life before her unfortunate end. She was a single mother working as a prostitute alongside several jobs in order to provide for her and her beloved daughter who was her entire world and her purpose for living. Her daughter was sweet in that she was essentially her light in her life. She worked hard in order to buy the red dress that eventually becomes what she wears as a ghost and she was also teaching her daughter ballet. The tragedy comes from debt collectors or mobsters coming in to assault her and then they later took her daughter away, which is severely tragic because the sequences of her life before the tragedy shows that her daughter just celebrated her fifth birthday. If the mobsters are related to trafficking, this means that her daughter’s fate became that of a trafficked child and that’s horrendous in itself. Also, props to Hina Kino for voicing the daughter. She's excellent at creating a child-like voice, especially with how she wailed.

Silky’s dance sequence before meeting her end was seriously beautiful, yet so tragic. The scenery with the starry night was gorgeous but Silky starts dancing. Ballet is an elegant, graceful and poised style of dancing and that’s how she decided to meet her end. The way it was animated was so gorgeous. Also, if you noticed, Silky’s dancing was used in the full music video of Dandadan’s opening song.

There are some people out there wondering if Silky’s daughter is Aira. She’s not. When Silky became a ghost, she could only stand listlessly until little Aira came and mistook her for her recently deceased mother. Realizing that she had a daughter, Silky latched onto Aira and decided to protect her until it became obsessive and psychotic. 

This sequence also showcases why Aira behaved the way she did earlier. She’s a narcissist primarily because of what her father had said about her needing to become stronger in order to let her mother be proud of her once she sees her again. That was why she developed a high self-confidence in order to one day show her late mother. She may have been insufferable before but the memories have completely humbled her. The way she hugged Silky just so she could have solace and not be forgotten in death was such a powerful scene. This shows that underneath her pompous attitude, Aira had a kind heart. My opinion of her instantly changed after this. Wow. I legit shed some tears.

I wonder if Dandadan’s story is just encountering a ghost or an alien and learning of their stories or what not. There doesn’t seem to be an overall grand scheme of things. I like that honestly. It’s just a story about kids encountering the supernatural and learning a lot of life lessons amidst the craziness. Please correct me if I’m wrong. Anyways, what are your thoughts about this episode?

[gojuo]

so this is how blood & cheese should have went down if hotd had actual good writers: the plotline starts with rhaenyra wailing and sobbing over luke's death on dragonstone. daemon tries to console her as much as he can stand to do so. she tells him that she wants them dead, every single last one of those traitors. daemon grins of course, because this is how he raised her to be: a vengeful, spoiled, hateful, vindictive monster (he has been grooming her since she was 8 years old to hate her half-siblings after all). the next scene in this plotline would have us see to daemon and mysaria in bed together in harrenhal, where he painstakingly details out what he wants her to do exactly. he gives not just mysaria, but us, the viewers, word for word the sequence of events that he wants to happen on the night of the assassination. we the viewers are deeply horrified by his orders, because what he orders is monstrous. book readers would be kept on their toes, because surely the show would change this event in some ways, right? daemon describing it exactly as it was in the book has to be a red herring right?, is what they would be thinking. and show-only watchers would be on the edge of their seats wondering throughout the entirety of the episode if something so horrific would actually take place on screen. both book readers and show watchers would be left with the question of, is this seriously what's going to happen? no fucking way..., when watching the episode unfold. the next scenes concerning the plotline would be mysaria hiring blood and cheese, a scene or two establishing their characters, them getting intel on where helaena and the kids will be, talking about how difficult it would be to break into maegor's holdfast bc of all the guards so the only option is the tower of the hand ... and then eventually night falls over king's landing and we are in the red keep. we'll be near the end of the episode, like the last 15 minutes, and we follow cheese as he leads blood through the tunnels to the tower of the hand where alicent's room is. earlier in the ep we learned helaena always takes the kiddos there to say goodnight to grandma. they sneak into the room where they strangle her maid, kill the guards in front of the door quietly, and beat alicent until she's knocked out and they tie her up and gag her so she cannot be heard. then cheese goes to stand next to the door in preparation for helaena's arrival, while blood sits on a sofa facing the door. the next scenes would be focused on helaena as she gathers the kiddos to go from maegor's holdfast to the tower of the hand, and we are getting eerie, dark gothic grunge vibes from the camera shots as she gets these weird premonitions, shivers crawling up her spine. but she still goes to the tower of the hand, while the viewers would be screaming and yelling and crying and sobbing at the tv begging her not to go there. but helaena goes anyway because this is a canon event baby. i told you in the beginning of the episode what was going to happen :^) and then it happens exactly as described in both f&b and earlier in the ep by daemon. the beheading would of course not be shown but i would have jaehaerys' blood spray all over helaena and alicent while she does the ellaria scream and alicent is crying unable to do anything bc her hands are bound behind her back and she has a gag in her mouth. the final few shots of the episode would be in slow motion (all the while you hear helaena's screams) as the entire red keep hears this harrowed shrieking and so the guards and the maids and the servants all run to alicent's rooms and we see the pools of blood underneath everyone's feet as they go in and out of the room then finally we come to the last shot of the episode which is aegon's frightened face as he slowly walks through the chaos, puts his hand on the slightly closed door, pushes it open (all the while we hear helaena's unending screams), and he quietly says, "jaehaerys?" roll credits.

that's how you write and adapt a fucking book scene @ ryan condal & co you pieces of worthless shit.

[kimberleyjean]

Good Omens S1 Parallels - 1/?

Saturday Morning Funtime is a particularly interesting episode for me, because it suggests something about the structure of parallels Season One. Also, it's easier to start with a single episode than trying to cover the whole show at once. I'm going to show you six different scenes from Saturday Morning Funtime and how they link together.

Let's start with the pun pointed out by Danny Motta in his video (link here to relevant timestamp if you haven't seen it). Danny made the link between this scene near the start of E4, where Aziraphale gets exercise:

And this scene at the end, where Aziraphale was exorcised (according to Shadwell, at least):

Cool, seems like a funny pun. But there's no way to know it was intentional right? Well, I think I can argue it was. Let's look at another scene.

We have this scene where Hastur destroys 3 Erics on the plains of Megiddo. Since each demon has a corresponding animal, I'm going to go ahead and place bets on the Eric's being rabbits, and Hastur destroys 2/3 of them.

And then later we have this scene where Hastur again destroys 2/3 rabbits, but this time they're cartoon bunnies - the first one he beheads like a costume, the second he rips out it's throat.

Ok, but again, why am I linking these two scenes? No deep character insights, or thematic elements are being displayed here... Except that's a key reason I'm pointing them out - they're seemingly pretty pointless, so why bother to make them? Well, maybe the sum is bigger than the parts. One more example and then I'll show you how this comes together.

Here's a scene which I think is pretty good foreshadowing of something that will happen later in the episode - Hastur and Ligur talking about the dripping pipes down in Hell. Hastur has a little bucket he's collecting water in, which he uses in a toast:

And later, we have this particularly gruesome scene of Ligur becoming toast at the hands of a bucket full of (holy)water:

Ok, so six scenes, three sets of parallels... now's where the magic happens... I take E4 as a whole... loop it over on itself like a piece of trick rope from Goldstein's magic shop and....

Tada! Here's the episode laid out in 2 minute increments.

Some pretty interesting places to have parallels, no? That two minute block at the start is a lead in before the opening credits, so the Exercise and Exorcism scenes are coming directly before and directly after the open and close sequence (shown above in blue).

I'd be lying if I said it didn't remind me of the overall chiastic structure that some people have worked on, such as this one by @drconstellation, just on a smaller scale.

It's also interesting to note that each of these parallel pairs relates to someone getting discorporated - Eric, Ligur and then Aziraphale.

What's the point?

So, I promised that I would share a little on why this might be important. In my opinion? It appears like there is some detailed structure to Good Omens, at least in S1.

It should also be noted that these scenes were added only for the show in order to produce this effect - Aziraphale exercising with Gabriel, Hastur and Ligur talking about the pipes, the three cartoon rabbits in the theatre - they were all newly created for the show.

Why go to the bother of creating these little parallel moments at corresponding points along a mirrored structure? Especially when these don't necessarily have ramifications for characters or plot? Is it just good story telling or is it something more? These are all questions worth asking in my opinion. I think it relates to how this show treats words and language in a very Pratchetty fashion. The whole show is a dedication to Terry, after all.

Of course, if things were so simple, I think we would have figured it all out long ago. Parallels, puns, wordplay... they're all quite slippery things. There are things I would consider to be parallels which don't line up with this same structure. For example, the scene from earlier with Gabriel and Aziraphale exercising? The "lose the gut" gut-punch foreshadows this other gut punch scene in E4 too:

Despite examples to the contrary, the presence of parallels and wordplay that do line up along a mirrored structure makes me want to explore this further. If you're also interested in this and want to collaborate, please let me know.

This will be a continuing series, as and when time allows, because parallels seem to be absolutely everywhere. Future posts will look at parallels at different levels (within scenes, across episodes, and across seasons).

Let me know if you spot any others - I'd love to hear about them. They might be hidden in the visuals, wordplay, puns and more...

----------------------

With thanks to all the detectives for keeping me clue hunting @embracing-the-ineffable, @theastrophysicistnextdoor, @noneorother, @somehow-a-human, @komorezuki, @maufungi, @lookingatacupoftea, @havemyheartaziraphale, @251-dmr, @dunkthebiscuit, and @ghstptats <3

[pippin-katz]

One Shots in Red, White & Royal Blue - Part 1: Alex's Room

Modern movies are fucking obsessed with jump cuts. Even scenes where it is completely unnecessary get cut to shreds. There's films I've seen where one, single sentence line got three jump cuts in it.

After watching Red, White, & Royal Blue over ten times now, I’ve noticed so many moments where they could’ve made jump cuts, but didn’t. There were moments where I was expecting it to cut because of how used I am to other movies cutting the shit out of scenes. They did not do that here, and believe me, it makes a difference.

Cuts temporarily remind the viewer that they're watching something scripted, professionally filmed, and edited. It's a subconscious feeling that most people probably don't even notice.

In case you're unfamiliar, a one shot in film is when a sequence happens without any cuts. One of the benefits of using them is the believability they add. Any amount of time could've progressed between cuts, like if they film a scene on two different days. When you see everything happening in real time, it just feels more real.

Red, White, & Royal Blue balanced their editing and camerawork incredibly well, and utilized one shots way more than I see a lot of other films doing nowadays. They use it for a variety of scenes, and it's done very well.

Example No. 1

From this moment, where Henry enters the room:

GIF by taylorz-nicholasg

To Henry pushing Alex onto the couch:

GIF by sheisraging

To when the sequence ends:

GIF by gay-bucky-barnes

is ALL ONE SHOT.

There are no camera cuts during that sequence, and there's a significant amount of movement and activity going on.

They are obviously aggressively making out, and crossing the room at the same time. Tracking this part might be common, but when they get to the couch, and Henry pushes him, I got this gut feeling that a jump cut was about to happen, but it didn't.

Instead, the camera rotates around to that side perspective, and lets Henry come back into frame and onto the couch in real time.

GIF by sheisraging

The camera doesn't change position until Henry moves down, which could've been a cut to Alex's face, but they opted to zoom in on him, keeping the shot connected.

GIF by sheisraging

This is not a small series of events to capture in one shot, and it means that Nicholas and Taylor had to memorize and perform the entire scene's blocking as a whole rather than in parts. If they mess up, they can't just say: "hey try that line again"

A one shot scene like this means that if you mess up at any point during the sequence, you can't use the take. You have to do it again from the beginning. That's the point of a one shot.

I think it's such a testament to Taylor and Nicholas' talent, skill, and dedication that they did such a long shot involving so much intimate, and difficult, choreography.

Breaking it down, they have to kiss for the first part, but it's not just kissing; it's aggressive kissing. Their eyes are closed, and they're grabbing at each other, while crossing the room. Taylor has to walk backwards. They need to have really good spatial awareness in order to move without hitting something or tripping.

Once they hit the couch, Nicholas has to undo the buttons on Taylor's shirt. If you've ever worn a button-down shirt, you know that sometimes you just struggle with those damn buttons; there's a moment in Paris where they joke about them. Nick has to undo them fast, and deliver his lines too. If he's too slow with the buttons, or they get stuck, take ruined.

Nick has to shove Taylor onto the couch. He has to be visibly forceful, but not knock him down so hard he falls off the couch, or land in a way that make it difficult for him to shift into where he's supposed to be. Nick also has to climb around onto the couch fast enough.

Obviously once they're on the couch, the difficulty comes in that they are being intimate, kissing and grabbing each other, and they need to remain in character. Then they have lines, and Nicholas has to get even more intimate by kissing his neck. He undoes another button or two and kisses his chest and down his stomach, all while delivering his lines correctly.

If either of them messes up a line, or breaks character for a second, or loses their balance, or anything, go back to the start, do it all again.

That is so much, and the two of them nailed every part of it. I still admire how they were able to trust each other and become confident in doing all that they do.

This being a one shot created a really incredible scene. It's fluid, and grounded in space and time. It's not the only scene that's drastically improved by the fact that it's a one shot, so I'll probably write more essays breaking down those scenes cause this movie has me in a choke hold.

Update: If you enjoyed this essay & would like to support me, you can give me a tip on my Ko-Fi! ☺️

[warblogs17282]

I just realised stolas is wearing earrings here!

Just wanted to let you know in case you haven't noticed lol

I am still in love with that scene where Stolas was going through multiple outfits, and it's the little things like that which makes me love it even more tbh.

Plus the fact that Stolas manages to look pretty in every single outfit during the sequence as well, that also helps a lot

[flower-boi16]

the "both sides have made mistakes" thing is actively funny to me because as usual it ignores that the real issue is in the framing

the worst ways the narrative twists itself to make Blitzo look better is by making what happened to Fizz just a freak accident (fr the guy carrying the candles if the circus was that flammable is just as responsible for that one) and by not really having M&M chew him out for the stalking. but the show never denies he has issues and causes problems by pushing people away before they can leave. and some places where the narrative suggested ambiguity in season 1 are actively removed to make Blitzo look worse in season 2 - he has a problem with Verosika's alcoholism in s1 but in s2 he's made unambiguously the only bad guy in their breakup

the worst ways the narrative twists itself to make Stolas look better is by: having Stolas and Blitzo both say cheating isn't bad/Stolas' cheating doesn't count as cheating because Stella is mean (basically) on multiple occasions, rewriting Stella from a classist jerk to an abusive monster, having an entire flashback episode devoted to making the viewer feel sorry for Stolas in the most on the nose way possible, retconning in Stolas treating Blitzo like a human being over the phone that happens entirely offscreen, comparing Stolas to all Blitzo's exes even though they weren't dating, massively inflating the number of people who hate Blitzo to make Stolas look better and the most telling thing of all: the entire awful argument in Apology Tour where the writers made Stolas look like a hypocritical gaslighter by ignoring all the ways he treated Blitzo in season 1 and never allowed Blitzo to mention any of them when it would have made perfect sense

Blitzo got a season that built up to the climatic point of having everyone he's ever wronged read him for filth in a mushroom samba sequence.

Stolas got a season where every episode that mentioned or featured him either retconned something to make him look better, inserted something that happened offscreen to make him look better or refused to allow other characters to bring up season 1 events to make him look better. S2 built up to the climatic scene of a trial sequence where no one gets to call out Stolas for making the deal to get sex, he gets to look like a hero for "sacrificing" himself (instead of it being framed like the book fiasco is equally his responsibility, which it is) and he ends the season having lost his daughter (but only because she somehow doesn't know how totally evil Stella is and how totally not responsible Stolas is because she's only allowed to be mad at him for the trial thing) but gets handed the consolation prize of Blitzo's unconditional love which he's done nothing outside of a single grand gesture to earn. Oh, and then he follows that up by freeloading off of Blitzo, trying to wreck his office during a temper tantrum and being a passive aggressive ass, none of which the show frames like something anyone should have a problem with

so, yeah. when it comes to the way the writers don't want to challenge the characters Stolas and Blitzo aren't even in the same postcode, never mind playing the same game. they're just not remotely comparable

^^^^^^^ THIS.

The entire argument that "they both made mistakes/their both in the wrong" falls flat on it's face when the narrative doesn't treat their mistakes as bad as they actually are. Blitzo gets dragged for filth for his mistakes and called about by both the narrative and everyone around him, and his truama and whatever baggage he may have is never used as an excuse by the narrative, which, is good writting, I'll give it that, the problem is that the narrative is holding him accountable using the wrong character.

Stolas' mistakes, however, are either ignored, downplayed, or justified by the narrative so to make it look like they weren't actually mistakes. Him cheating on Stella? Well, Stella was abusive, so Stolas was actually in the right to do that. Stolas repeatedly belittles and dehumaizes Blitz, making him uncomfortable around Stolas all the time and giving the impression that he views Blitz as nothing but a sex toy, continueing to make sexual advances to Blitz even when he can see it's uncomfortable? Actually, Stolas loves Blitz and thinks very highly of him, those sexual comments were actually Stolas thinking that Blitz enjoyed being treated that way, it's just Blitz's fault for not seeing that.

Stolas coercing Blitz? I mean, ya, the deal wasn't right, but let's just pretend it wasn't totally coercian guys!/s

You get the picture. Stolas' mistakes and actions are so frequently recontextualized and excused by the narrative multiple times, and, aside from maybe his mistakes as a father, the series has not called out the full extent of his behavior and I don't think it will.

Many fans like to counter this with "oh, the show will call him out later!", but, the thing is, it should have called him out now. Because the narrative's refusal of calling Stolas out actively harms the writting of not just Stolas, but Blitz as well.

Blitz's character arc of growing to become a better person was kickstarted by having him get gaslit and guilt-tripped into apologizing to his abuser. Even if the show calls Stolas out later, it wont change that unless it directly calls this out and recontextualized.

Series held Blitz accountable for something that he wasn't even in the wrong for. That's the issue, I don't care if Apology Tour was dedicated to calling out Blitz, it did a shit tier job of that because it didn't call out STOLAS. The series needs to start holding Stolas accountable and actually call out the full extent of his actions, not downplaying them, not justifying them, no excuses.

With Octavia their taking a step in the right direction but, we'll have to wait and see if they'll commit to it.