#more relationships to these characters in the movie

[steddieas-shegoes]

slowly, then all at once

for @steddielovemonth inspired by the quote "as he read, i fell in love the way you fall asleep: slowly, then all at once." from the fault in our stars by john green

rated t | 731 words | cw: nightmares | tags: pre-relationship, feelings realization, literal sleeping together, cuddling

📖📖📖📖📖📖📖📖📖📖📖📖📖📖📖

Steve’s nightmares aren’t a secret. The severity of them, along with the frequency, and how shitty he feels after, those are all secrets. Not even Robin quite knows how bad it gets sometimes.

The summer is worse: the memories of the Russians, the way the pool reflects off his window at night, the humidity clinging to his skin reminding him too much of the way dust and ash and mud clings in the Upside Down.

He feels stupid after spring break, that he should even still have traumatic memories when Eddie almost died. But he does. They’re worse now. He isn’t being tortured, Robin isn’t even in these ones. It’s always Eddie.

Eddie bleeding.

Eddie’s broken body.

Eddie not breathing.

Eddie dying.

It’s weird how quickly he took over Steve’s brain, how he went from being someone Steve barely knew from school to being one of his closest friends. Near-death experiences tended to do that, he supposes.

But it’s almost every night, and he rarely gets more than a couple hours of sleep before they hit, so he’s in a constant state of exhaustion these days. It’s not great for all the volunteering he does, and the usual taking the kids where they need to go, and trying to find a new job, and trying to convince Robin he’s fine. The bags under his eyes and the constant slump of his shoulders says everything.

She worries, but she knows he just has to get over the hump.

They all do.

Eddie stays with him late into the night a lot. It’s like he senses that being alone is the catalyst.

He finds excuses, tries to make it seem like he’s the one who doesn’t wanna be alone. Steve appreciates it, but he’s far past the point of feeling any shame for being afraid of being alone.

He doesn’t turn him away, though. Eddie sticks around for hours most nights, well past the point he should. Sometimes they watch movies, sometimes they just turn music on and sit quietly in the living room. Eddie is always moving a little, fingers tapping, leg jiggling, head bobbing. It’s good, though. It’s nice.

And sometimes he lays down in Steve’s bed with him until he falls asleep. He doesn’t touch him, or really do anything more than just exist in the space while Steve closes his eyes and drifts off. He’s always gone when Steve wakes up.

Tonight, he’s got a book open and Steve’s curled up under his blankets. His bones ache from how tired he is, and he wonders if his body will ever get to the point where exhaustion keeps the nightmares away. Steve’s eyes are closed, but he’s not asleep. Not yet.

Eddie’s voice is soft, accents coming through for some characters, colorful inflections describing the scenery. Steve smiles to himself as his eyes start to feel heavy.

It’s nice to be read to. He doesn’t know which book this is, but it sounds like a dream.

Maybe he’ll dream about this instead of bats circling a body he loves.

Oh.

His eyes open and he looks up at Eddie, who doesn’t stop reading, even when Steve knows he can feel his eyes on him. It’s a beautiful thing, to see Eddie so enraptured in a story that he’s probably read before, to see him still putting the effort into giving Steve a show even though Steve was mostly asleep.

He loves him.

Steve loves Eddie.

Not the way he loves Robin, or the kids. Maybe closer to how he loved Nancy, but even that didn’t feel quite like this.

This feels like a later sunset after a long winter, a fresh breath of air after being stuck in the Upside Down, a glass of cold water in the middle of summer.

It’s refreshing, and waves of calm take over his body.

He settles.

He reaches out, places his arm over Eddie’s stomach, curls his fingers into his shirt. He buries his face into Eddie’s side.

Eddie pauses for a moment, just long enough that Steve worries he shouldn’t have done this. But then one arm covers Steve’s body and he continues, voice softer but no less enthusiastic.

Steve closes his eyes and falls into a deep sleep.

When he wakes, it’s calm. There’s no crying or screaming, no thrashing, no fighting.

Eddie’s there, holding Steve against him.

He loves him.

[woooshworldtwo]

AT A LOSS

TAGS: WIFE!READER [Originally just mentioned once in dialogue but otherwise just spouse is used when describing said relationship between characters], Husband!Caracalla x Reader x Unrequited!Geta, Mentions of sex, Brief mentions of slavery [gladiators in the Colosseum], Brief mentions of animal cruelty [animals participating in the Colosseum], Historical inaccuracies, I'm not sure what else.

FIRST NOTE: I think I wanted to try accentuating the care he wants to give reader and therefore ends up treating those around him as what he sees them as- disposable and like shit. Geta is a TERRIBLE man so I guess I just wanted him to be pining for someone he knows is out of reach. I was gonna make it a series to like Caracalla x partner reader x unrequited Geta. if this is the first chapter, ngl idk where to trail off from there. i kind of write while im smoking just to fuck around so maybe i could write at least five-ish chapters if i think of a good enough plot. WHAT DO YOU PEOPLE THINK?? who knows i could even do the same with Caracalla, it could make sense cause he literally kills his brother in the movie

SECOND NOTE: pov ur me, high off like five tokes and u watch Gladiator 2 the day it comes out on Paramount+. BOOM, obsessed, love it, don't even care about the historical inaccuracies. For some reason, as someone as not all there like Caracalla is, having that deep relationship with his brother, once he notices that lil interest Geta has, or even just the doubts of others finally becoming to a point where my guy has to LOCK IN to keep his partner w him. not cause they don't love them, I think it would be cause he loves THEM too much. I'm talking bristling at the notion whenever he thinks of them together. JUST UNSPOKEN TENSION. do u guys enjoy that?

THIRD NOTE: unfortunately, i have more to talk about but no one to say it to so ur my audience. yelling into the mic i ask, do you guys think I should write porn of Caracalla and reader FUCKING?? idk if it would even include Geta- IT COULD, WHATEVER YOU GUYS WANT. I sort of just wanted to explore writing intimacy as an actual action instead described as thoughts. leave ur thoughts on what u guys think on that too bc im literally so curious.

PLEASE DON'T COPY MY WORK, I BET YOU

Summer in your lungs, and alcohol swimming in your stomach; Caracalla wonders if he's seen beauty such as yours. Never alone in the hours of the night, the lovers he takes soon notice how harder he is to satisfy, to sedate into a warm puddle wrapped in expensive sheets- instead becoming unflinching to the pleasures that usually melt his tortured mind.

Intense with his emotions, he swears this affection was there from first glance. Taken sight of you at in your hazy glory; the clothes accentuating the shade of your skin, the warmth of your eyes, it only takes months before you two wed.

From there, days are blissful. Misery always follows, but he finds with your company at his side, falling into the episodes of madness are rarer and rarer.

Perhaps it's the sweetness of your soul mending what his lacks, or having the closeness of your body distances the pestering thoughts appearing out of thin air. No matter what is it, with his claws dug into your being- he refuses to let go.

Dimmed by what other's consider insanity, it's difficult not to see Caracalla's growing lucidness. Coming face to face with it, Geta realizes any foes and enemies of Rome has never been as close as his brother has to the inner workings of his mind.

Divided by grace, the affection for you has been its limit. As the eldest, Caracalla bears the pitying glances from other's in the palace; to have the responsibilities laid on Geta is blasphemy, but who else can handle its weight when his mind is in two?

Who else to lessen its everlasting ache if not you? For that reason, such as many others, is why he cannot risk this becoming what he has grown familiar with- sharing with his brother.

Holding the same curiosity he did in the faint moments of childhood, his Adam's Apple bobs faintly- and when you look to follow its movements before returning your gaze to him: a faint shiver is felt and repressed in that same breath. "Caracalla?"

Asking in a murmur, he knows what you're referring to. Living with you these past handful of months, he can recall the number of times you've cut each conversation he's thought out into nothing more than small talk. In one worded questions, he cannot help but admire the relaxed sight of you.

So much so, he allows you to each time. Tossing the unspoken plans of connection for small talk, he nods. A hint of a smile is seen, and alone from that, you beam back at him.

Genuine like the sun, to continue seeing it, it makes it easy for him to keep spew out half thought words in hopes something he says would land. "He will arrive shortly, do not worry.", it ends with your name, echoing from his mouth, and although the God's have given him the same glory they themselves hold at their fingertips; nothing has sounded as holy.

Bounded by faith, the prayers he spills are ingrained in the folds of his brain, but once consumed in these times of power, he wonders if he should dare step closer to the soul he swears should beat for him.

"... Geta?", Unknowing for how much time has past, the beaming smile you once held is melted into a small frown. Quietly urging him to the present like he's seen you do with his brother, there's a warmth blooming in the hallow part of his chest.

Cherishing the brief concern, it only seems to remind him what Caracalla has naturally and what he takes the scraps of.

Still leaned back into the expensive marble, the wall itself is a pale enough color to forget about, instead focusing on the features he, too, fantasizes of in passing moments alone.

"Where did you go?", Too familiar with speaking to the other emperor, the question is thoughtless when spoken, yet its weight is felt nonetheless. "Nowhere. Just here.. Are you enjoying yourself?", Taking a pause, he eventually speaks again. It's done when walking to the the throne nearing Caracalla's; the one you sit in.

"Quite the spectacle.", Your eyes peer down at the sight below; bloodshed in the Colosseum's sand doesn't make your stomach twist like it once did, however when watching captured men swing weapons- and seeing another one fall, you look to him again.

Sitting at his own throne, you find his eyes already on you; a quirk upturning on his lips to show the pleased buzz your words give him. Gladiators from conquered lands, their purpose in Rome is to win their survival and amuse any passing visitors. Yet in the past year or so, since your arrival, he's found a deeper sense of pride at their display.

Growing passed the Senator's praise, passed continuing his parents past teachings, he has found serenity in the amazement you hold so clearly.

Seeing your wonder at the captured animals; their stature towering over the sand's flat ground, using its strength to trample over any competitors- he finds himself chasing the occasional bursts of attention he manages to keep with in your magenta sunlight.

Never promising loyalty to anyone; he chases it when you're unable to give it, the mess of concubines and courtesans who he cannot remember the names nor the faces of, only remembering their similarities to you- their purpose has been asked for more as of late, and neglected all the same soon after.

No matter if it was seeing a person with hair similar to yours, a familiar sounding voice, even just dressed in clothing resembling your own; they were sought out after in hopes of finding you in them.

He finds it only lasts briefly.

Of course sex is endless, at the call of his voice and at the stop of a groan; services are there to satisfy whatever craving he has. But after each round of breathlessness, he finds that hunger for what is missing growing into something insatiable.

Hours spent, feeling their bodies, picturing what your own must look like underneath the white moonlight casting into his bedchambers. Each thrust is heavy with yearning he cannot mend, moaning for warmth he cannot have; he damns Caracalla in those times for finding you first before he did.

Perhaps then would you be his spouse. To bed you the same way his brother does would be true nirvana, to hear those same whimpers he knows you're able to make, to feel you shiver and tighten around him the same way those people do; it's what he longs for.

He's certain then he'd be more than just rough, chasing whatever high is made in a blurry of orgasms- it becomes difficult to differentiate who is with him and who is imagined; not when his eyes are shut and your image is all he sees in its darkness. Tenderness is taught, and if his brother was able to learn to extend that same to you; there is no doubt he'd do the same.

"Are you enjoying it?", Turning your focus back onto Geta, his answer is a hum. The sound is husky from passing thoughts, and strain for what should be hidden; he takes a moment to gather his words.

"I always favor your company, the spectacle is merely entertainment.", Repeating what you said only minutes ago, the unexpressed emotions behind it is registered in your mind- and although brushed off originally, that denial you have becomes harder to not believe Geta's feelings becoming more noticeable in the time spent at his brother's side.

"The ambience of cheering Roman's, animals in pain, and dying men; no wonder we have such lively conversations in these times.", Another quality of yours he finds endearing is your dryness. The harshness soaked into your veins from being raised by your family has not changed you the way it has him he notices; viewing the cruelties of Rome in whatever light you could shed, he once again almost smiles, a quirk of his lips turning upwards showing.

"Complaining to the emperor for the privileges he's given you? What an ungrateful wife you are.", Breaking out into a smile, what is said is anything but malicious. Leaving Caracalla unmentioned; unsaid, his mind is soothed from its ache, mending itself when remembering it's just you and him- hidden away.

Alone in a place where he can pretend you two are more than in-laws, there's a warm stirring at the sound of your laughter. Filled with humor you express so freely, it reminds him of conversations with your father throughout the years; his stories of your youth.

Defiant in ways he wishes he'd seen, and mischievous in ways he knows you still are; the only changes is now you're not tangible. Yet, lost in affections like he never got to be as a boy, he doesn't mind who he's face to face with now. Not in the slightest.

"Forgive my insolence, emperor; I plead for it.", Clearly you speak to Caracalla too much because the shiver trailing up his spine goes directly into that heated feeling in his abdomen. Aware you're unknowing to the effect you have, it only worsens at the hint of playfulness heard.

"Oh, you're forgiven. The God's have extended their mercy onto you today, but be wry, they could change their mind.", Unwilling to give into the arousal brewing, the tension he's created in his body, he replies with a smile- one that lingers too long.

Mischief isn't needed to be noticed in the palace, not with the two emperor's having their souls intertwining themselves with your own- no longer being unheard by those around you, that streak remains. It brings an amusement greater than bloodshed to Geta, and even more so to Caracalla. Smoothness of your words he swears is coated with the sweetest of wines; it disarms what would be seen as scrutiny as nothing more than a jest.

With humor being forgotten in such trying times; outside of what the Colosseum offers, and outside of the different celebrations of another conquered land- Geta finds your spirit is lightening to what is constantly dampening in his.

Shouts of Roman's are heard, like you predicted, and another man falls. However, with neither of you truly paying attention to the sight; their deaths were not offered the same graciousness you're given so carelessly, so frivolously: and when one of the last remaining takes their bow to surrender- only then do you look away.

To see your eyes of amusement grow into something unreadable, his own smile dims into a frown.

Standing from the throne, his hands rest on the Bisellium's railing, he grips onto it tightly when seeing below. Blood stains the sand as always; the deceased laid out over it in the afternoon heat, and the two lone man kneel. Meters away from one another, your eyes flicker between them, and soon Geta speaks up again.

Mercy is yelled in the air, and when he asks you, his voice is quieter than intended, "Shall we show mercy?"

Sparking what was lost, you nod, and another smile is seen, "Mercy."

Prayers do not solve what is inevitable, he finds, not when the God's blood soars through his body. The threat of rebellion, and the stings of betrayal, that mask that hides it all becomes wavering whenever he's with you; wishing to you like he did as a child to the God's for power, to worship you in ways he only should deities- it almost feels blasphemous.

Even more so now, when you don't understand the importance behind what he says; the grace he offers, the laughs he lets slip out- it is only the beginning of what he could promise you.

FOURTH NOTE: Now that you've made it this far, I wanna like drift away from what I was writing on my old account. it was just small paragraphs, but writing on a laptop just HITS DIFFERNT- literal hours spent doing this shit. I don't rlly wanna take requests bc i feel like my time is just too hectic for that, BUT I WOULD LOVE to hear your guys thoughts!! Okay, small series on these characters- Quinn Mossbacher, Simon Kalivoda, Ethan Russell, DIMITRI KRAVIOFF, DANIEL MARKOWITZ, JASON HOCHBERG, and finally our beloved; Caracalla. bad part is I haven't most of the movies they're in, so i don't want it to be inaccurate.

FIFTH NOTE: currently i'm writing a Johnny Storm fic series inspired by the new Fantastic Four trailer (writing the third chapter of what could be a five or even eight part series if I get to understand that franchise better), an Eddie Muson fic mainly just to fuck around and post that old one I never got a chance to. also an Adrian Chase fic i found on my laptop, another one for Koby from the one piece live action (I was inspired when the show first came out), and joe goldberg

FINAL NOTE: I've wanted to get into watching Yellowjackets. LOVE THE SHOW. Another thing I wanted to ask bc when I write for women characters, i like to write them as WLW. SO would you guys like it if i also wrote for Iris (Companion), SISTER BARNES (Heretic), Jinx (Arcane), Lucy Maclean (Fallout), Rhiannon Lewis (Sweetpea)?? one day if i sell out and get a membership to Prime or those silly addons; I WILL.

[laurelwen]

Sorry, it's me again. There's this thing that has been...whispering in the back of mind since I read this post for the first time. Nigel wrote: "... I removed a rat's heart and pretended to be disgusted" Why on earth would he feel the necessity to PRETEND to be disgusted in front of Alex?

I've taken a minute to answer this because it's a very good question but difficult and complicated to answer within the context of the film. For those who aren't sure what you're referring to, please see this post transcribing Nigel's notes.

The short answer is: I don't think the people making the props were entirely consistent with the character as scripted. I think most likely they were given some general directives (such as "make sure it highlights the words "egocentric megalomaniac with delusions of grandeur") Outside those few directives, they just sort of let their poetic license run free, injecting their own ideas of a what a "fucked up weird guy who dissects animals" would say into the text, and creating a different version of Nigel than the movie presents us with. The worst example of that is the newspaper article in Alex's book--which doesn't make ANY sense in the context of the film. No one really expected crazy fans to obsessively pause the movie and use photo enhancing techniques frame by frame to determine what was written in his journals or the text of the article, so I think there was a lot of leeway and perhaps some laziness when it came to the props.

It's hard for me to come up with an IN character justification for Nigel to have written that, because it doesn't gel with my observations of him as presented in the film. The journal entry itself is written before he is kidnapped by Alex and the dynamic of their relationship shifts. This IS the entry that made Alex angry enough to kidnap him and teach him a lesson in the first place. This is the Nigel who barely responds to Alex's confrontational anger over the dissection in the dorm room, the Nigel who seems to be completely unmoved by or even very aware of how his actions might impact others. He doesn't care enough to even consider what effect he has on others, and even if/when he is aware, I sincerely doubt he'd bother to *pretend* anything. Nigel doesn't seem interested in pretending to be anything other than what he is, a defining trait that causes him a lot of problems.

Later in the movie, Nigel does shift a bit into a more puckish role. He fucks with Alex in a variety of ways, very noticeably in the train scene when they're going to visit his secret room. He's playful, mischievously antagonistic, poking and prodding Alex and seeming to enjoy his discomfort. This demeanor is more in line with the kind of guy who might write about deliberately messing with his roommate's head. But I still don't know why he would feign disgust in the middle of the dissection given that he's been dissecting animals regularly and Alex would have no reason to think he's grossed out by it.

I suppose if we apply that puckish attitude backward and say that Nigel was already trying to mess with Alex even before the kidnapping, we could sort of squint our eyes and imagine him being very over the top Fake Disgusted as he waves the heart around in Alex's direction. I still don't find that very likely, but it's the best I've got.

If you wanted to, you could use this as part of a theory that Nigel was the real instigator all along and had been intending/planning to manipulate Alex from the moment he was transferred to the school and forced to share a room. In such a reading of the film, all of his behavior could be seen as pretense in some way, including his initial lack of reaction to Alex--calculated to rile Alex up, put him off balance, etc.

I don't personally buy in to that interpretation, just as I don't buy into Alex being the sole instigator. I think either reading ascribes far too much power and control to these teenagers, however intelligent and manipulative they may be. But if you want to go that route, here's a supporting piece to add to your puzzle.

Thanks for the ask and I hope this rambling mess makes at least some sense!

EDIT: please read my reblog of this post. @silhioutte pointed out the very obvious mis-read of this line.

[Like Minds Masterpost - Main]

[aren-after-hours]

Okay but each of the other movies are just as emotional. They may be more action packed, but they have just as much meaning.

Ice Age 2, as previously mentioned, highlights the struggle of survivors guilt, Manny thinking he's the last Mammoth, finding Ellie, the complexity of their relationship (love vs "save the species), it's very focused on Manny the entire movie.

The third movie, Dawn of the dinosaurs, is focused on Sid. Manny and Ellie are happily together and expecting their baby, Sod is trying his best to be helpful and supportive and involves but he keeps fucking up. Despite his best efforts, he is always doing the wrong thing and making Manny more stressed. He copes with this by claiming the eggs as his children: he's lonely, he wants to nurture, and did not think through the consequences of his actions bc of that purity and innocence mentioned earlier. The whole movie for Sid is about realizing, he can't just make these dinosaurs his family. He can't project his longing and need on this random family that he disturbed. There's subplots, obviously, such as Buck, and the groups' quest to retrieve Sid, but those are secondary. This movie is about Sid and his growth.

The fourth movie, Continental Drift, is so very obviously about the complexities of parenting. Manny has a strained relationship with his now teenage daughter which is left unresolved do to natural disaster. Him, Sid, Diego and Grammy get caught up by pirates, who I see as akin to looters after hurricanes in real life, individuals who are taking advantage of people in a time of crisis. Also in this movie, Sid reconnects with one member of his family, the other "black sheep", his Granny, who is ditched on him by the rest of his family. If I remember correctly, this is the only time we ever see his family on screen, too. She's not kind to him, but he loves her anyway and it is an excellent depiction of an elderly person and their caregiver, to an extent. Granny very much reminds me of my grandmother, who suffered from dementia, and because of it was prone to aggression. It's also to be inferred that Granny initially abandoned Sid as well, and the only reason she hasn't left him is because she can't, she needs him to take care of her. Furthermore, this is the movie where Diego finally begins to show much more vulnerability, cracks forming in his solo tough guy act by having a love interest introduced. Diego had previously never had a love interest of any kind, or even reference to relationships or even family. He had his pack, but that was more like being in a gang than anything else, not loved, romantically or familially. He has that familial bond now, with Manny and the others, but begins to realize that maybe he needs more than that. His love interest, Shira, is exactly like he used to be. She's in a dangerous group, doing dangerous and questionable things, just to survive. She's a foil of him, and reaching out to her is both healing and painful for him. Of course Peaches is also introduced as a strong female type character, and she also is learning who is really there for her and who was, for lack of better terms, was being a fake mother fucker, which is an important lesson for a teenager to learn.

Finally, Collision Course. A bit more campy and comedy based, yes, I will admit. But it again, focuses on that complex father/daughter relationship. Manny is watching his little girl fall in love with a guy that Manny perceives as a full out idiot. He's worried for her, for her future, for her happiness. Ellie and Peaches are very defensive and it's causing a rift in their family unit. Diego and Shira are navigating being carnivores in a predominantly herbivore community. Kids are scared of them, which makes them worry if their own children would be able to make friends, if they had them. Sid is now chasing romance, giving the impression of a more teenage mindset than a child like one. He has had girlfriends, but he goes too much too fast, and they don't last. Buck is forced to come to the surface, which is a HUGE change for him. He had the chance to in Dawn of the Dinosaurs but ultimately decided to stay because it was his home, but he left that familiarity to try and warn Manny and the herd, which is monumental. When they get to Geotopia, the community inside the original asteroid, it's very similar to a cult. The one charismatic leader, who turns out to not be so charismatic. Sid finds the love of his life, a perfect match. His antics come in gain though, and when the crystal falls apart, Brook is aged. The way they both respond to this is so so so so important. He still loves her, still thinks she is beautiful, does not understand why her being older would prevent them from being together. Brook, as well, is still enamored by him, even though she's lost her home and youth because of him. The Llama LOOSES it and blames Sid very angrily and Brook DEFENDS him. They both continue to love each other despite their perceived flaws. He's no longer alone or abandoned because he "messes up". To her, he is perfect, and vice versa. Manny and Peaches sort their shit out in the typical "near death experience" kind of way, but Diego and Shira, we don't see things change for them till the very end, at Peaches' wedding. The children that were previously scared of them, are eager to hear Diego and Shira's story about helping save the world. They still have their fangs and claws, but their actions proved that they are kind and caring and the children noticed that. In return, it eases the fear the two sabers had about their own future children.

In summary, do NOT bullshit me and say that the series as a whole is not impactful, because it is. There's so much more I could say about it, if I included historical context as well but I didn't to keep it a little shorter.

I think a lot about how in Ice Age 1 a huge theme is the slow but unstoppable advancement of the human species as they start to threaten previously unchallenged megafauna (hunting the pack of the antagonist sabertooth and killing Manny the mammoth’s family) and then in all the sequels they just fuckin disappear

[randomfoggytiger]

The Truth Is Out There: David Duchovny, Collaborator and Vancouver Captive

1995 David Duchovny was grimly resigned to five unexpected, grueling years in Vancouver. (Thankfully for philes-- and his pocketbook-- he stuck around and contributed heavily to the series, including the idea which connected Mulder's family to the Conspiracy.) He was also very chatty and very complainy; and, even then, tended to gravitate to lower-stakes projects that put little pressure on him (acting is, after all, something he wanted, even then, to remain "fun".)

Previous parts of Brian Lowry's Book 1 here, here, and here. Transcripts below will be fonted in italics.

BITS FROM THE BOOK

Before the [first] season began, Fox officials were clearly more effusive in praising "Brisco County" and its star, Bruce Campbell, than The X-Files. In that regard, when Grushow commented that he’d “eat my desk” if Campbell didn’t become a star, Duchovny’s competitive spirit was piqued, feeling like The X-Files was being dismissed and slighted. Carter remembers Duchovny returning from an event where Grushow made those comments and joking about serving him the condiments for that meal. The attitude, Duchovny says, was that Fox was touting the other show and treating their entry as an afterthought-- as if it were “and oh yeah, there’s this other little show called The X-Files.” 

The net effect, in fact, turned out to benefit the show on virtually every level-- creating, as Duchovny puts it, “a unique mythology for television.” The complex alien abduction/government conspiracy story that was concocted to explain Anderson’s brief hiatus actually solidified the Mulder-Scully bond, striking an extremely responsive chord with the show’s hard-core fans. As Duchovny points out, there were also parallels between Scully’s abduction and that of Mulder’s sister, giving their relationship even more emotional resonance. 

…One of those regularly contributing ideas [to the second season] is Duchovny, who’s become personally close with Carter (the two are occasional squash partners) and has shared story credit with him on certain episodes. 

The producer has no qualms about letting his star in on that process. “He’s got good ideas for the show,” notes Carter. “Why not use them?” As for Duchovny, he says that once it became apparent the show would be around for a while, he had an interest as an actor in making his character as interesting as possible to play. 

As for Duchovny, the actor had little enthusiasm about doing a television series at the time-- his feature career having taken a promising turn with "Kalifornia", which cast him opposite Brad Pitt. The X-Files turned out to be the only pilot script his manager decided to send him that year. “I read it, and I thought it was a really good story and that UFOs would get boring after three or four episodes,” Duchovny recalls. ‘I thought I could go to Vancouver for a month and get paid, and then go on and do my next movie.” 

“I love it!” Bowman proclaims as the scene ends, watching the shot through a monitor and lauding his star as “One-take Duchovny.” 

…Bowman has to deal with five actors (Anderson, Duchovny, and Gunmen Dean Haglund, Bruce Harwood, and Braidwood) in a relatively confined space, so the staging will be critical. After Bowman aligns them one way, Duchovny suggests an alternative in handling the shot, and various configurations are tried. As they begin rehearsing, everyone still seems a bit punchy, and the mood is light. Haglund keeps wanting to call a Nazi scientist “Kempler” instead of “Klemper”, and Duchovny has a hard time not laughing each time Braidwood (who comes up roughly to the actor’s chin) approaches him, with Frohike supposed to act relieved to see Mulder alive after the events that closed the second season. “Did you ever see the 'Star Trek; where Spock thought that Kirk died?” Duchovny tells him with his trademark deadpan delivery. ‘That’s what you want to be doing.” 

IN HIS OWN WORDS

…By virtue of starring in “The X-Files”, Duchovny also seems destine to have a shot at major feature-film stardom, but again, not via the precise route anyone assumed he’d follow. …Duchovny felt he was on his way and as a result had serious doubts about doing a television series. “It’s like a horse race,” he observes, enjoying a relaxed moment, clad in work shirt, boots, and jeans outside his trailer on “The X-Files” set in Vancouver. “You’ve got fifteen guys who are going to be ‘the next big thing,’ and three of those guys are going to finish.

“I was making a living,” he notes. “It seemed like I would get my shot at some point.”

Duchovny was willing to wait for his chance. He’d done some interesting features, and thanks to the vagaries of Hollywood, he knew a hit movie-- any hit movie-- would move him up to the next echelon of actors. “I always had an abiding belief that things would work out for me,” he says. “I didn’t know how. And then my manager, who was agreeing with me in that I didn’t want to do any television, sent me the script for ‘The X-Files’ because she thought it was a really good script. She read all the pilots, and that was the only one she sent me.” 

Duchovny remembers thinking he could do the pilot-- getting paid to spend a month or so in Vancouver-- and then be off to his next feature. In the midst of another 12- or 14-hour day, he can only shrug at the irony, adding with a sly grin, “It didn’t really work out that way.” 

…Prone to introspection as he is, however, Duchovny feels the weight of the expectations riding on him and wears the mantle of stardom uneasily, having found that sudden celebrity is not without its drawbacks on a personal level. 

…”Year one was just about survival-- am I physically going to survive? It’s what I imagine those triathletes feel: When you first start competing you just want to finish, then eventually you start wanting to get a good time. 

“There were many days the first year when I would just go home and think, ‘I can’t do it. I can’t go back to work anymore.’”

Although that situation didn’t ease much in terms of shooting requirements during the second season-- particularly with costar Gillian Anderson’s pregnancy compelling Duchovny to shoulder more responsibility for a time-- the actor found the show’s creative direction alone lightening the burden. “Last year I just think the work was so much better. That was kind of inspiring,” he says. 

Ever a tough critic, Duchovny felt there were some good episodes the first year and enjoyed doing something that was different from most primetime television shows. As for his contribution, he says he was “occasionally kind of happy with my work.” 

By contrast, in the second season, he believes, “we really became the best show on television,” saying he’s grateful that the series survived so its performers, writers and directors had the opportunity to mature together. The third season will be more of the same, he predicts, with trademark sarcasm, “before we slide back into mediocrity.” 

…Stardom does have some advantages, in that Duchovny has been able to add his stamp to the show creatively, providing story ideas and helping contribute to “The X-Files” mythology….

…Part of Duchovny’s goal has been to flesh out the character of Fox Mulder-- which, he points out, was understandably vague when the show began-- in order to make the part more enticing for him as a performer. “It’s definitely been exciting, just something added to my experience, in terms of being able to guide the destiny of the character,” he explains. “Because the character had no destiny. Like any TV show, you’re forced to eventually create a history for the character that it never had.” 

Once “The X-Files” had survived the initial Nielsen weeding-out process and he and Carter realized the show was going to be around for a while, Duchovny offers, “it became important to me as an actor to make that history as interesting as I could.” 

The second-season finale, entitled “Anasazi,” and revelations about Mulder’s family played out in the two opening episodes of the third season, offer such mythic highlights, exploring Mulder’s character and family history, down to his father’s role in alien experimentation. Those episodes also shed light on the abduction of Mulder’s sister, Samantha, which figured prominently in the character’s motivation….

Those episodes, he maintains, couple with earlier story arcs have “created a unique mythology for television in the character, and I’m really proud of that fact-- that I was conscious enough to say to Chris, ‘Look, I have some ideas, I want to be involved with the creation of this myth.’” 

Duchovny contends that Anderson’s pregnancy and brief absence unwittingly contributed to that emotional resonance. Having Mulder search for her echoed the loss he felt in losing his sister, while Scully’s abduction gave her an experience to draw upon-- all of which, in Duchovny’s eyes, provided “raw material to use in the future.” 

According to the actor, the depth of those episodes stands above “a kind of formula that we were drifting into the middle of last year” with stand-alone installments dealing with whatever monsters and/or paranormal phenomena the writers could dream up….

Now the show can go back and forth, delving into its mythology, then pulling back to do more standard and self-contained episodes. “The intensity’s too much, and it can get melodramatic,” Duchovny says regarding the need to break up the mythology segments, adding that the producers have achieved a “nice balance now” between the two. 

Seemingly as much of a perfectionist as Carter, Duchovny acknowledges that he occasionally bristles when he’s presented with a deluge of gobbledygook dialogue-- those sequences where Mulder launches into remarkably detailed explanations about some event or series of events from the past. “At first it was almost impossible-- it’s kind of a muscular thing,” he says. “You try and make it interesting from an acting point of view…. [But] sometimes it’s just like you memorize… and spit it out.” 

…Duchovny can be equally blunt in elaborating on his views regarding fame…. “Celebrity’s no fun,” he says flatly. 

“There’s really nothing nice about it. Celebrity is being known. It’s no fun to be known. I imagine it’s fun to be known for something good that you did, or for something noteworthy, but unfortunately the kind of celebrity television brings is monochromatic.”

…”I understand that it’s part of the territory,” he allows, “but sometimes it’s hard to be amused when you’re just trying to live your life and you don’t feel like people snickering or pointing. In this culture that we live in, everybody wants celebrity, everybody wants to be famous. If I’m going to be famous, I’d rather be famous ‘for’ something.” With a shrug of resignation, he adds, “I don’t think I have a choice at this point.” 

Duchovny’s comfort level with fame remains low. Asked the worst part about life under the microscope, he simply says, “It doesn’t leave you room to make mistakes, to do something stupid. Everything becomes kind of calculated in the worst way. You’ll have an impulse and you’ll go, ‘Can I do that? Is anybody watching me?’ It’s like being Catholic,” he quips. 

Not that Duchovny would trade in his ‘The X-Files’ experience. Far from it. “This is wonderful, and it affords me economic security” while hopefully creating the opportunity, he says, to do interesting feature-film work either after the series completes its run or during the hiatus period….

The travails of fame notwithstanding, things have certainly worked out, if not perfectly…. After all, how many people get to bring their dog to work with them? Duchovny’s pet, Blue, a well-behaved mutt with some border collie in her, is almost constantly at his side and less apt to complain than her master. “She gets excited to go in the car every morning-- much more excited than I do,” Duchovny says. “This is like her pack.” 

…Born August 7, Duchovny was so quiet growing up in Manhattan that his brother Danny, who is four years his senior, used to enjoy telling his friends David was “retarded….”

Duchovny admits to being shy as a youth, seldom dating during high school. His parents divorced when he was 11, and Duchovny has said in interviews those events may have contributed to both his drive to succeed academically and his personality, which at times can be construed as a bit standoffish…. 

In 1987, just short of gaining his Ph.D. at Yale in English (his dissertation topic was “Magic and Technology in Contemporary Poetry and Prose”), Duchovny began to truly pursue acting….

“It was never really a decision I made,” Duchovny says in hindsight. “I was doing both of them at once”-- teaching while working on his Ph.D. and acting-- “and I guess I just realized that I didn’t want to be a professor.” 

According to Duchovny, “Red Shoe Diaries” proved pivotal, allowing him to exhibit a different side of what he could do. In addition, he began to feel more comfortable as an actor, describing “The Rapture” as “a difficult experience” and “Twin Peaks” as an oddity. After appearing in low-budget films that put little pressure on him, “Red Shoe Diaries” also offered him his first leading role. “To see that I could do that was very important,” he suggests. 

In his customary manner, Duchovny would probably be the first to say the schedule associated with producing “The X-Files” is grueling and at times frustrating, but his faith in and commitment to the series’s quality pushes him along, much as he might like to grumble about the tongue-twisting dialogue and exhausting pace. As he puts it, in characteristically understated fashion, “It’s hard work to make a bad show, too.”

TRIVIA

[Duchovny meeting his girlfriend]: He was shopping for a suit (his first in many years), and asked Perrey Reeves, who had come in to shop for lingerie, which suit he should choose-- the gray one or the blue one? She told him to buy both. 

“Ice”: The Arctic-bound entry featuring a gruesome space-worm, which Duchovny has dubbed “the first really rocking episode.” David Duchovny’s own border collie, Blue, is the daughter of the dog featured in this episode. 

“The Jersey Devil”: The X-Files is filmed in Vancouver, so Mulder was not really in Atlantic City casinos. Instead, Duchovny was filmed in front of a blue-screen and stock casino footage was matted in later-- considerably cheaper than a location shoot in New Jersey would have cost. 

“Fire”: The famous “black silk boxer shorts” scene was originally a “Jockey underwear” scene….

“Genderbender”: During filming of the crime scene at the beginning of Act One, Mitch Kosterman (Det. Horton) flubbed his lines and said “chum chippy” instead of “some chippy.” For the rest of the shoot, David Duchovny joshed him about that line.  

“Miracle Man”: In an interview David Duchovny once said that he would consider Mulder Jewish until told otherwise.

“Darkness Falls”: Shooting in the forest near Vancouver, production was delayed frequently and made more difficult by heavy rains. “It was miserable,” Carter recalls, noting that the actors were soaking wet much of the time…. One saving grace was the casting of Jason Beghe…. A childhood friend of David Duchovny’s, Beghe had prodded him to pursue acting…. Having him on hand (at Duchovny’s suggestion) helped lighten the mood around the set, making the shoot something of a reunion and thus less of an ordeal for the cast. 

“One Breath”: The episode also lightly pokes fun at the show’s fans on the Internet, with one of the Lone Gunmen telling Mulder he should join them Friday in “hopping on the Internet to nitpick the scientific inaccuracies of Earth 2.” 

“Firewalker”: Gordon saw Trepkos’s obsession and the toll it exacted upon him in terms of losing someone he loved as a means of exploring the darker side of Mulder’s commitment to his search. “The natural endpoint of this quest for the truth is madness,” he notes, suggesting that Mulder’s decision to let Trepkos go at the end represents the bond in that respect between Mulder and Trepkos-- their shared ‘Heart of Darkness’. 

“Paper Clip”: …[Carter] also points to the mythic elements in Mulder being told that he has in a sense become his father-- one reason Duchovny has likened the narrative course of these three episodes to another trilogy, “Star Wars”, with a touch of “Sophie’s Choice”, perhaps, thrown in for good measure. 

BONUS

An excerpt from Brian Lowry’s second book “Trust No One: The Official Third Season Guide to The X-Files": 

Never one to settle for success, Duchovny-- who continues to play an active role in the series’s creative direction, working in concert with Carter and co-executive producer Howard Gordon on certain episodes-- is pleased with the third season but looks forward to expanding the show’s emotional range even further. Referring to one of the early second-season episodes, he notes, “I think when we did ‘Duane Barry’ the show became a really great show, and we maintained that level for a while, but we haven’t gone beyond it. I’m waiting to go beyond it. We won’t go beyond it technically, but we will go beyond it in terms of character, introducing a personal life of some kind. I think it’s inevitable. You have to do it.”

When it’s pointed out that the show’s most fervent loyalists, as well as Carter himself, have been especially vocal about not wanting to see Mulder and Scully romantically involved with anyone but each other, Duchovny simply shrugs and says the nuances he refers to don’t necessarily have to involved ‘romance’. “Give Mulder a friend. Give him a squash partner,” he suggests. “It’s got to happen. I really don’t care what anybody thinks we should or shouldn’t do.” Anderson remains more sanguine regarding such matters, though she indicates some interest as well in stretching the characters while understanding that such an evolution must occur within the show’s parameters. 

CONCLUSION

It's darkly comedic that Mr. Duchovny signed onto a (wildly successful) show thinking it would fail, only to be effectively held hostage for ten months out of twelve, 12- to 14-hours a day in a place that was completely opposite to the Cali weather he wished to sun bake in.

Also: props to him for contributing to the "domestication" of the show (more on that in future parts.) It's mind boggling just how much he contributed to The X-Files (and how much effort he put into later seasons together, despite his absence-- post here.)

Thanks for reading~

Enjoy!

[rad-roche]

The way you write intimate scenes with Gloria and Nick are so hot and special and unique I hope we get more one shots of their life together

Sincerely me, a robot sex enjoyer

aw, thank you!! i'm very glad to hear that. i remember way, way at the start, when i was deciding to do a pastiche of 30s detective novels, i was laying out exactly what i had to do. well, it has to have this sort of tone, and use approximately this sort of language, and the character i'm making (who would become gloria) has to do this sort of thing... and i remember reading over the list and lingering on just how sexually charged a lot of those books are and thinking ah, fun to write, but it's not like i could actually follow them into the bedr... and being like. wait. why can't i? i like writing sex! and that was that decided. ditto gloria's truly, truly gigantic amount of swearing. that wouldn't fly in the time period, but if i took it out, she wouldn't feel like gloria, would she?

the written series is concluded, but as far as comics and pictures go, i'm always down to do more. if you didn't know, i host the nsfw stuff offsite. just as an aside, a thing that really vexes me in books, tv, not so much movies since their runtime is limited but you get the gist, is when the getting together/will they won't they is sooo charged and tantalising and makes you want to chew through your arm, but the minute they actually sleep together it goes out the window! it's like oh, relationship resolved. sex has been had. it is time to move on. character chemistry is a weird, tricky mistress, that's about as hard to pin down as the real thing, but i tried my damndest to make my audience go oh alright it's been two years and they're gnawing on each other like starving animals i see it, even if they're doing something totally unrelated and not sexy at all. thanks again, anon! it's not an aspect i've seen people bring up much, so i'm really glad it's resonated

edit: oh i almost forgot! keep your peepers peeled for this year's valentine's picture

[princess-glassred]

Todays been awful so fuck it, IT fandom unpopular opinions! (And they're actually unpopular for once!).

-As much as I hate to say this, I think getting mad at people for not liking Mike Hanlon is shifting the blame from who's really at fault for this and that's Andi Muschietti. Yeah it sucks that Mike is always forgotten by this fandom but this fandom is dominated of fans of the movie and the movie and book are totally different. If some 13 year old has only seen the IT movies I don't blame them for not caring about Mike because he got dicked over by Andi's racial bias. And don't say "well they should watch the mini series or book to appreciate him then" as if being in a fandom is supposed to require homework. A lot of people only like IT 2017 and that's fine, and they're not less of a fan for that. It's okay to not like certain members of the losers, as long as your reasons are valid.

-I wish fanfiction would potray Sonia and Eddie's relationship (and honestly Sonia/Myra) with more depth. I am NOT saying Sonia isn't abusive, she absolutely is, but i have seen A LOT of ridiculous portrayals of Sonia and it bugs me. Even good fic writers often pigeon hole her relationship with Eddie to just being him secretly hating every thing about her with no complicated feelings at all. As someone who grew up in an abusive household, majority of abusive relationships aren't like that. That's why abusive relationships are so sinister in the first place, they're hard to get out of because you convince yourself you love your abuser. Most kids, especially heavily manipulated ones like Eddie, would struggle with feeling pure hatred for their mother. And that's interesting! I wanna see that portrayed in Eddie's character, especially since he struggles with his own identity and feelings about himself quite a lot already. If you cannot handle a portrayal of an abusive relationship being more than just two dimensional awfullness 24/7, i don't think you should be reading something as heavy as IT.

-Similarly, the way people talk about Sonia, Myra, and to a lesser extent Belch is really gross. IT actually condemns fatphobia in the narrative by having Henry attack ben, and i see people complain all the time about how ben lost wait as an adult but suddenly when it's Myra, Sonia and Belch you can fat shame to your hearts content. I have seen so many posts from people, either roleplay accounts or otherwise, calling these three fat bitches or hogs or even fanfics that deliberatly use Sonia's weight as short hand for her being terrible instesd of letting her actions speak for herself. Fat shaming isn't suddenly cool when it happens to someone you hate. Molly Ranson is a real person and that is her real body, there are probably people in this fandom who even LOOK like Sonia out there. This also applies to insulting the appearance of any other actor btw.

-I think Ben Hanscom in the it 2017 continuity is honestly kind of a creep. He kisses Bev while she's unconcious depsite not actually knowing if it'll pull her out of the deadlights (he didn't even have a reason to think it would work at all), he holds onto her yearbook signature in his wallet for 27 years even tho he literally forgot everything, spends most of IT chapter 2 coping and seething that Bev isn't attracted to him, and never says anything to defend her from Richie spreading slutty rumors about her. The only time he defends her from slut accusations is when its henry and shes there to see him do it. If Henry did any of this you guys would be all over him, but because it's Ben and they play sappy music over it it's suddenly cute and whimsical.

-I also think Richie gets away with a lot of shit that if it was done by any of the antagonists the fandom would rip 'em to shreds. People give me shit all the time for sympathizing with Henry Bowers becaude he's racist and mysoginistic but Richie says many mysoginistic and racist things across adaptations and nobody cares. Of course he spreads rumors about Bevs promiscuity, but in the book he does quite a few racist impressions and bits like when he says "You know the worst part about getting AIDS? Trying to explain to your mother that you got it from a Haitian girl.". Hell, at least Henry is 12, practically groomed into it, and so mushy brained from the pills he can't think straight, what's richies excuse? I don't even care that Richie is gay, does being in the closet justify anything? Did being attracted to Henry absolve Patrick of the fact he killed a baby? No? The same goes for Richie. Ofc you can still like him, but i don't like it when richie fans act like he's all pure and ignore his worse moments just to grand stand.

-It 2017 is actually just as ewwy towards minors as the book. Just because you removed a gang bang scene doesn't mean you aren't still weird with minors. Mr. Muschietti still thought it was appropriate to make a scene where young Bev is forced to flirt with a pedo pharmacist, another where she gets kissed unconscious, and one where her friends oggle her in a bra. Yeah it's cool you got rid of the sewer stuff but WHY ADD ALL OF THAT IN.

-The whole "omg what if the ritual was going to work but richie had to sacrifice eddie as his token instead and thats why it didnt work" is kinda dumb. it implies that the native americans who created the god damn artifact couldn't do the ritual right but these random white guys could all along. The movie straight up says the ritual has never worked and Mike saying he believed it would work because of their connection is treated like it's wrong. Maybe Eddie was Richies token but I don't think that's why they defeated IT and I also don't think it would have worked to begin with.

[qoldenskies]

Thinking about Rise Splinter hate… it always makes me kinda sad. Like YEAH, it wasn’t right the way he treated the boys. But like, Rise is really good at expressing subtle familial dynamics, and one of the big ones for me is the fact that like… there’s always an undercurrent of “It’s complicated” to their interaction with Splinter. IRL, it always pisses me off to see people casting judgments on people’s relationships with their family, because you don’t know!! Yeah, they hurt you, but not everything’s black and white. It’s complicated. Because you love them, and sometimes you get to understand a little bit better why things happened as you get older.

In a matter of smaller importance, hate for him loses so many opportunities in his character… even things that might just be kinda off-handedly mentioned.

He fought for SEVEN years—give me Splinter with chronic pain. Splinter relating to his boys with their neurodivergence—it’s HIS fault they have it!!!

That was seven years of imprisonment, or even simpler, an abusive relationship. What did he learn from that? How did he change? What things are skewed in his worldview?

His childhood! We saw his relationship with his grandfather a bit, but how did Splinter grow into his dream of being a movies star? HIM BEING A MOVIE STAR. He was both a rebellious team and a literal celebrity, this guy probably took empyrean at some point without knowing it, just like. Recreationally or something LMAO.

I maybe just need more of his old man knowledge. Him being so loser-core was a great move by the Rise team, and I could SEE where his story was going—ROBBED. We were ROBBED.

splinter hate is CRAAAAZY when he's such an INTERESTING character who does actually have a lot of obvious depth. like he's goofy and he's objectively flawed as a parent but he does go out of his way to improve himself and LEARN throughout the show, and he does listen and apologize when he knows he's messed up. his issues are so similar to leo's actually, leo's a kid so he's got more leeway to be shitty but idk when people act like its endearing on him and not on splinter. splinter's hilarious free my man

on the other side of the coin i dont really like when people make him a perfect loving parent either,,, i think people going for all kinds of interpretations in order to serve whatever story they need is fine but i do prefer kind of messy parent splinter, i think its kind of sad to see him reduced down to bad or good. he LOVES his boys so dearly and he would NEVER intentionally want to hurt them, but he's quick to cast judgement when he's angered/feels disrespected (evil league of mutants comes to mind, but also in turtle dega nights when donnie first stops the tank) and he's really a lot more inattentive than he should be. but there are REASONS behind this, coming out of an abusive relationship, fighting in bloodsports against his consent for years, you could probably count the whole draxum thing as traumatic (its presented as kind of silly in the show, but considering what it lead to,, its a pivotal moment in the backstory. its one of those things that i reasonably feel can be recontextualized because its so essential) and then dealing with crippling body dysmorphia and being forced into the sewers with no company other than his children,, it really adds up

idk like ,,,, you can still be extremely traumatized and be a horrible parent. in fact trauma can be a direct CAUSE of being a bad parent because that kind of thing influences every facet of your life and if youre unprepared emotionally, yeah. but splinter isn't the kind of person to double down and become more overtly nasty when he feels cornered. if he gets the feeling that his kids are actually upset with him, he backtracks. this is actually kind of a key trait of his, that he does try very hard to correct himself when he messes up. he's communicative and apologetic, and he tries very hard to be that way.

and also this is maybe something that i just have a wider problem with when it comes to the way people interpret things in cartoons at times but splinter's actions in eps like lair games (especially in lair games) and flushed but never forgotten are meant to be like. jokes. its absurdist comedy that's meant to catch you off guard. there are more serious emotional beats in rise you can use but i think when youre adapting this world and characters into a more serious tone you have to keep that kind of thing in mind because some things are meant to be surprising and absurd for the sake of making you laugh. i think the best comparison i can think of is how in musical movies they're not actually singing (in most cases, sometimes the fact that they actually are is played for laughs it depends. but yk what i mean). the joke is that this is kind of a shitty thing he's doing but taking the actions themselves seriously in a vacuum in order to cast shame on a character has always been odd to me. that'd be like calling raph abusive for rolling up the window on mikey's neck in late fee. or calling the teetz murderers because they caused a robot mass suicide that one time. it just doesnt make any sense

[queer-ragnelle]

ngl, i don't understand why arthuriana gets a bad rep for incest. mordred in vulgate and malory aside, i can't think of any OTHER instances of incest. even then the incest arthur committed is quite literally and explicitly condemned in both. Like gee, i wonder what the dream arthur saw meant.....

+ mordred isn't even an incest baby in other medlit as far as i'm aware of? please feel free to correct me if i'm wrong. i don't understand the obsession in modern arthuriana to add MORE incest that wasn't even there. and even worse, to be pro-incest. like what? did we read the same books???

it's TH White and MZB's fault, we've been knowing. but still.

Dark themes under a cut obviously.

Imagine thinking Arthuriana has excessive incest when Greek Mythology is right there. It’s quite literally Marion Zimmer-Bradley’s and T. H. White’s faults. THW started it with Morgause choosing to rape Arthur to become pregnant with Mordred, also a little side incest with Agravaine’s attraction to his mother and ultimately killing her out of jealousy or some shit. Then MZB comes along in the 80s and has the “Old Religion” trick Morgaine and Arthur into sleeping together.

But it’s gotten so much worse since then I’m afraid.

Even media I love and still recommend has this issue. Henry Treece wrote Gwenhwyfar/Arthur as siblings in one of his books. Mary Stewart wrote Morgause seducing Arthur knowing their relation and then later she tries to start something with her teenage son Mordred. Sharan Newman wrote Morgan seducing Arthur knowing they were siblings and then her son Mordred has an ongoing sexual relationship with his aunt Morgause. Persia Woolley wrote Morgause seducing her brother Arthur and mocking his trauma about it then Guinevere’s cousin Maelgwn raping her. Lavinia Collins wrote Morgause madly in love with her brother Arthur and then Mordred raping her, on top of that Collins combined Ector de Maris with Ector the father of Kay, so Lancelot/Kay are uncle/nephew and have a life-long sexual relationship fully aware of this. Merlin and the Sword (1985) has Mordred and Morgan in a sexual relationship, he even calls her “auntie.” I could go on but I won’t.

The point really is that these creators can make whatever they want but if people try to “justify” the dark content because of one instance of incest in the legends, that’s a stretch at best. Write your stories however you want I don’t care but it does ruin otherwise great books/movies for me personally. Like nothing in the story would change if that aspect was taken out, it’s not as if the stories are really dealing with the psychological traumas of these acts, it’s rarely a theme. (Persia Woolley did make sexual abuse a theme, I’ll give her that, she absolutely dealt with it related to multiple characters, I just hate evil Morgause and the rape of Guinevere was excruciatingly detailed.) Incest is often just a shorthand to show a character is especially evil, like if they kicked a puppy, but for some reason they go to an extreme of sexual violence when none of these medias are in the horror genre where they belong and none of them confront the implications of such things. It’s wild to be enjoying a romance or adventure story and then get blind sided by an incest sex scene or worse a rape. Like why.

For all the faults in Arthur Rex by Thomas Berger I appreciate how the situation was handled throughout the book, firstly showing Arthur and Morgause had a one night stand mutually and neither knew the truth. Then Arthur was so anxious about what happened once he found out that part of his attraction to Guinevere was borne of knowing without a shadow of a doubt they weren’t related. Later, Arthur was kind to Mordred when he arrived at court but the shadow of what happened followed him for the rest of his life. The text doesn’t demonize Morgause for this, for cheating on Lot sure but it wasn’t something she planned. She was a spy and shit happened, she wasn’t an aggressor. Alternatively I liked that Bernard Cornwell and Edward Frankland both wrote Mordred as a brother of Arthur instead of son or in BBC The Legend of King Arthur where Mordred is Arthur’s nephew, the son of Lot and Morgause just like big bro Gawain. It can be done one way or the other just write something meaningful. Adding this shit for shock value is getting so old.

[thesuntookgoodcareofme]

Ramblings about Adolescence of Utena

The adolescence of utena nanami cow scene is often remembered as a disappointing one, and I cant disagree. It's very underwhelming what they did for nanami since she is such an important character. But I do believe It can have some sense behind it, not that I'm saying anything new. But what I think is that adolescence of utena is framed from anthys perspective upon finding utena where they met the first time. I've seen someone say this here before, but such an absurd archicteture is probably pictured in the sense of it being dangerous, big, scary, and also illogical, since ohtori is a place where akio uses mind games and unreality to confuse the children and make them more vulnerable, lonely, hateful, insecure, prone to abuse. Even though it is completely senseless anthy walks there fast as she knows that quite well. Better than the real world. The characters all act different, but they also provide some other insights that can be anthys and the idea they have of them. For example the twins kaoru that have that incestual love hate relationship she knows very well. Akio is dead because the Idea of a prince is dead to her. She once believes it (when she is seem dresses as a princess a child) but she is now well aware that a prince does not exist. Akio paints her pictures because she is his "muse'" to all of the abuse. He even stabs her with a paint spatula. And although I think it could be a stretch, I'd say the nanami scene is also similar to the idea that the movie is framed from anthys perspective, and she is a cow because to highlight the absurdism of ohtori aswell as the spite anthy feels for her. ChuChu is seem in nanamis nostrils causing her to suffocate, because even though anthy is very "small" and lack agency within the system, she does try to make nanamis life harder because she did try to publicy humiliate her in multiple occasions. Also, there is a small crocodile if I remember well in that scene, the same that shiori draws in tougas skin in another moment. Could be a representation of nanami having problems with both touga and anthy, that are the closest to akio in terms of being abused. And they both try to regain agency in their own ways that often result in hurting other victims of akio. They are all animals in that scene (i dont mean this to say that they are literally inhuman to act with desperation and hurt people while being abused, to clarify). It's kind of one more time where nanamis suffering is put as comical, which the show subverts in the end to make a critisism about our own ideas of what the girl that is mean to others and 'funnily' in love with her brother goes through. But I think that even the not very elaborate scene from the movie can have some meaning to it. Though I think the movie is quite literal while allegorical (for example utena turns Into a literal car for being anthys drive to save herself) but that scene is just not as a direct symbolism and I might just be over thinking it

[shmisky]

What if Stan has been born with polydactyly instead of Ford? How do you think this would affect their relationship and their lives? And what if they still maintain their original personalities?

Ooh, I believe their personalities would have been greatly altered, especially Ford’s.

So much of Ford’s personality is centered around the fact he’s special and/or a “freak” that taking away the very birth defect that made him develop such a mindset in the first place would be taking away a good chunk of his character.

Ford’s own words in Journal 3:

“Who am I? To put it simply, I am strange. I was born strange, I am attracted to the strange, and the strange has always been attracted to me.”

This is how he defines himself! The first thing he thought worth mentioning!

And according to Stan in AToTS, this is likely due to his polydactyly:

“As if his abnormally high IQ wasn’t enough, he also had a rare birth defect: six fingers on each hand. Which might have explained his obsession with sci-fi mystery weirdness.”

Ever since he was a child, Ford’s status as a “special” person and his polydactyly have been associated in his mind:

So removing that would change a lot!

I can’t decide if he would be more or less arrogant than in canon, hahah. On one hand, he wouldn’t have anything holding him back, no bullying about his fingers, no repressed self-loathing regarding the fact he’s supposedly a freak. On the other, a lot of canon Ford’s arrogance/ego is based off the fact he sees himself as special/different from everyone else and his urge to prove himself. It’s true that a five-fingered Ford would still be “abnormally” intelligent, in Stan’s words, but the attention Ford’s intelligence got in canon has always been positive, as something worthy of praise. I think this Ford would be more balanced and well-adjusted, all things considered.

As for Stan... woah, poor Stan! Stan has already got the short end of the stick regarding a lot of things and that would make life even worse for him. He would be the one bullied for his fingers instead of Ford. I imagine Ford would be also somewhat bullied for his social awkwardness and nerdiness, but what is stereotypical American school bullying (from what I see in movies and TV shows, hahah) compared to what Stan would suffer? Not only the “sweatier, dumber” version of Ford that is always outshined by Ford’s intelligence and talent but also the six-fingered freak.

Their dynamic would also change, yes. It would be significantly more unbalanced, more than it already is. Stan’s low self-esteem and inferiority complex would be even bigger. Perhaps Ford would grow to be more protective of Stan. Perhaps their separation wouldn’t even happen, considering Ford’s possible protectiveness and lack of urge to prove himself, or perhaps it would happen even more certainly, given Ford’s even greater potential of success. It depends on which direction you want it to go.

[monvirtu]

What about quackity and reader doing a wine stream ( they get drunk ) by the end of the stream they confess there felling for each other. It kindly reminds me of a the Spanish song of (no me mires con esos ojos )

𝐖𝐈𝐍𝐄 𝐒𝐓𝐑𝐄𝐀𝐌

⋆ precis ~ while it wasn't shocking you and quackity got drunk during a wine stream, the only thing that was surprising was when you both started talking about your feelings for each other.

⋆ tags ~ alcohol, kissing, use of quackity's real name, romance, and drunk fluff.

⋆ notes ~ thank you for the request, and i hope you enjoy!

to your viewers, it was never surprising to see quackity's name in your stream titles.

'PLAYING MINECRAFT WITH QUACKITY'

'IT TAKES TWO WITH QUACKITY'

'COOKING STREAM WITH QUACKITY'

it got to the point where it was a shock to not see his name pasted on their screens whenever you started a stream.

and just like all the other times, today was no exception.

laughter filled your office as you and quackity held wine glasses in your hands—the crimson liquid swirling in your cups while you both answered questions that filled the chat.

most of them were harmless. it was just people questioning you both about your lives, what things you liked, and what future plans you had for streaming. some were stupid, like asking what your favourite type of cheese was or what lego movie character you were.

but as the stream went on, and the wine bottle slowly grew empty, you stared to notice your chat getting more curious.

ilovemen3423: why are you and quackity always together? are you both dating?

BITEOF87KID: ARE YOU AND Q DATING???

sillybillies: do you and quackity have a romantic interest in one another?? perhaps a little relationship or a 'kiss the homies goodnight' fellow type of thing?

"alexis..." your words were mumbled as you drank from your glass, and his small hum rang out in question. "chat wants to know if we're dating."

"i wish."

"WHAT!?" quackity let out a loud laugh as you grinned widely—narrowing your eyes at him. "you're lying!"

"NO!? i actually wish that—like, every time i hear your name, i wonder what it would be like if we dated."

"what do you think it would be like if we dated?" you questioned, and you watched as quackity shrugged. "i mean, we could find out—"

you both fell silent before bursting into a fit of laughter—the alcohol hitting your mind a bit harder than it usually did. though, you didn't understand why you thought it was funny. it wasn't. he just admitted to liking you, but maybe you just thought it was funny because you didn't believe it. he was drunk.

but even if he was drunk, it had you questioning what it would be like if you both dated.

you stared at him as you leaned against your armrest—examining him.

it's not like you hadn't noticed him before, but now that you looked more deeply at him, he was fairly cute. his eyes were a deep brown—just like his hair. speaking of his hair, it looked good in a beanie, but you liked it better when he didn't have a hat on.

he was also sweet, and funny. you both had a lot in common.

you both had been friends for a while.

would it hurt to give it a shot?

your thoughts were cut off as you heard quackity let out a breathy chuckle, and you could only stare at him in confusion before he spoke.

"stop staring at me with those eyes, amor..." his words were slightly slurred as he took another sip from his glasses—his eyes never leaving yours.

you didn't understand why he was commenting on how you were staring at him when he couldn't even look away from you. his eyes were coated in a gleam of admiration, and he peered at you as if you had just given him the world on a silver platter.

"with what eyes?" your sarcastic remark only earned a drunken smile from him as he placed his glass down on your desk, and he leaned towards you in his chair before tilting his head.

"like you wanna kiss me..." his taunting words trailed as his lazy smile slightly faded—his eyes falling into a lidded gaze before they flickered to your lips. "do you wanna kiss me, amor?"

yes.

no.

definitely.

maybe.

you didn't know.

you stared at him for a minute before you placed your glass next to his—the glasses clinking together as you hummed. "i don't know..."

"well, i know. i want to kiss you, and you should kiss me."

"you're only eager to kiss me because you're drunk, alexis." you words earned a frown from him—though, it looked more like a pout as you slightly smiled.

"drunk words, sober thoughts."

a laugh left your throat at his statement, and while you thought he was joking, the serious expression on his face shut down that thought.

"please, amor? if you're okay with it..." his words seemed so saddened as he asked to make sure you were content with his words, and you could only let out a quiet sigh. "you do realize this is going to get clipped, right?"

"i don't care." he mumbled while you shifted your chair closer to his, and his eyes lit up while one of your hands cupped his cheek.

"you say that now—"

"and i'll say it until the day i die. can you just kiss me now?" you smiled at his question before you placed your lips against his, and you could practically feel quackity melt into the kiss while one of his hands placed itself on the back of your head. the other one grabbed your free hand as he gently squeezed it.

the taste of wine on his lips was evident as you eventually pulled away, and your eyes glanced at his tinted lips due to the alcohol.

"does this mean that you like me back?" quackity blurted out the question while you let out a snicker, and he frowned at you as he gently squeezed your hand. he wanted an answer.

"yes, it does, alexis."

a wide smile replaced his frown as he pulled you closer—your chairs being pressed against the other while quackity wrapped his arms around you.

"can i stay over here tonight?"

"only if you help me clean up after stream."

quackity fell silent for a moment as he slowly turned to look at the camera. "i forgot about that—"

but he surely wouldn't forget it tomorrow when you and quackity's name were trending on almost every social media platform.

©𝐌𝐎𝐍𝐕𝐈𝐑𝐓𝐔𝟐𝟎𝟐𝟓

writings are to not be reposted, translated, or plagiarized. if you wish to show your love for my work, feel free to reblog, comment, or like.

[postsforposting]

getting the picture

When Wade first meets Vanessa, he asks, "What's a nice place like you doing in a girl like this?" It's a transposed cliche, but it's also a reference to a surrealist short film by the same name.

It's unclear if the titular "nice girl" is Algernon himself or if it refers to his wife; I think it's both. This feeds into the character gender fuckery in the Deadpool movies that becomes more explicit later. Vanessa is not a "nice girl"; she's a euphemistically bad girl, a gender neutral "nice place"--a nice commercial break--in Wade's worse world.

The film is about a man who is pushed into buying a picture he doesn't want, only to become so obsessed with it he can't function. It's of a man in a boat, his friends tell him it's not much to look at. He's alienated from everyone around him.

The way the film is set up, we hear Algernon (the main character, a writer, he repeatedly insists) assert things BEFORE we see the other characters do them, as if he's clairvoyant. He gets married to a painter in an attempt to stave off his obsession, but "all good things come to an end"--like Wade and Vanessa's relationship. Algernon gets newly obsessed with a painting by his wife of the ocean. The film ends with him inside the painting, after he follows the directions of his psychoanalyst to "stare it down" because "it's all inside his mind and he has to fight it". He doesn't win.

Wade, however, starts off as fiction in one of our stories. He's already inside the frame. After becoming Deadpool, he breaks the fourth wall and reaches out to us from inside the frames of the film. He transposes the cliche to show us that he's our painting we obsess over, that he's the one trapped in a surreal--beyond real, aka fictional--world trying to get out. I suspect that, if there is a next Deadpool movie after DPW, that he'll do exactly that: reach through the fourth wall to become his own writer. He's already become his world's big bang originator, after leveling up the stakes in each movie from saving his own life to rewriting his timeline. He next needs to take down Loki god of stories, who stands in for us as the author-god-painter outside the frame.

Algernon went from having an unwanted photo of a man in a boat--a guy keeping his head above water--pushed on him to being so obsessed with it that he joins not the man in the river, but the ocean itself as the endpoint and source of water. At the end, he appears to be drowning even though he sounds cheerful about it. Much like Wade using humor to cover pain, no? Life is fraught with peril, so you might as well give in to the absurd.

Wade wants to go the other way: he's already in the ocean of surreality and he wants out. He tried to avoid becoming our main character, our obsession he can't escape from, by derailing his story with Vanessa as Algernon was initially saved by his wife. When he failed to derail his story, Wade left her--left her out of it--to save her from the same fate.

All good things come to an end, because all good stories require drama, but it isn't a very nice thing to inflict on someone you love. In dp2, Vanessa gets cut out of the story by death; Wade turns around and rewrites the past, but cut her out of his future (broke up with her) in order to save her. He actually cuts himself out of his own future too, in giving up the suit. I think he cuts Cable out too in order to save Cable--both Cable's family and Cable himself from being part of Wade's story. Cable couldn't save his own family and so is not immune to drowning in the narrative. In the comics, Wade stays away from people because he believes he ruins everything; movie Wade pushes people away so they're not fridged by the crossfire of his narrative. Wade's going to give himself one nice AU where nothing goes wrong, even if it kills him. On the inside or the outside.

Worstie Logan's impossible to kill. He can't be sucked into the narrative waters. He's both safe from the narrative and has the ability to save people--to change the picture for the better. Wade wanted that power but couldn't get it until Logan saves him back, which nobody else could have survived.

Wade pulled Logan from his narrative, saving him; Logan jumped into the matter streams FOR Wade. Whether they survived or not, they'd have escaped *our* moving picture narrative that we pushed them into.

[kezdispenser]

Breaking Character pt13/13

Summary: You are the new cast member of 'The Boys' and you play Butcher's cousin and Soldier Boy's new love interest 'Solene'. You're introduced to the cast by the director at a dinner and you're seated next to Karl and Jensen to "bond".

Jensen had spent weeks trying to figure out the perfect way to propose. It had to be big because this woman had changed his entire life, turned it inside out, and made him better—but it also had to feel like them. He didn’t want a flashy, red-carpet moment with paparazzi. He didn’t want to do it at some fancy event with a million eyes watching.

This was about her, him, and the kids.

So, he planned. And over-planned. He ran through every possible scenario, debated for hours with Jared and Misha, even called his mom for advice.

And in the end, it came down to one question:

"What would make her laugh, cry, and call me an idiot all at once?"

The answer?

A freaking treasure hunt.

It was supposed to be a normal night. A simple, quiet evening at home.

At least, that’s what Y/N thought.

She was curled up on the couch in one of Jensen’s hoodies, flipping through a book while the kids played a game on the floor. The air smelled like popcorn and chocolate, leftovers from their earlier movie night.

And then, out of nowhere, JJ climbed onto the couch and plopped directly onto Y/N’s stomach.

Y/N groaned. “Kid, I love you, but you weigh more than you think.”

JJ just grinned and shoved a folded piece of paper into her hands. “You need to read this. Now.”

Y/N raised an eyebrow. “What is this? Your report card? Am I supposed to be proud or concerned?”

Zeppelin giggled. “It’s a clue.”

Y/N’s eyes flickered to Jensen, who sat on the opposite couch with a smug as hell expression. Arms crossed, looking way too pleased with himself.

“Oh no.” Y/N groaned. “What did you do?”

Jensen smirked. “Read it and find out, sweetheart.”

She narrowed her eyes at him but unfolded the note anyway.

"For someone who stole my heart, it’s only fair you find the missing pieces. Clue #1: Where Zeppelin always hides when it’s bath time."

Y/N barked out a laugh. “Under the stairs? Seriously?”

Zeppelin gasped dramatically. “HOW DID YOU KNOW?”

Y/N ruffled his hair. “Because I see you, little dude.”

The kids shrieked and took off running toward the hiding spot under the stairs, practically dragging Y/N along.

Jensen stayed behind for a second, just watching. Watching her. Watching the way she fit so seamlessly into their lives, the way the kids clung to her, the way her laughter filled every corner of the house.

He exhaled slowly.

"This is it," he thought. "This is everything."

And then, shaking himself out of his thoughts, he followed after them.

Each clue led her through different parts of the house—each one tied to a moment in their relationship.

The kitchen, where they had their first real argument because Jensen used the wrong kind of cheese in the mac and cheese (she still hadn’t let him live that down).

The living room couch, where the kids had first told Y/N they loved her.

The porch swing, where they had shared countless late-night talks, their hands intertwined, the world quiet around them.

Every single stop was a memory. A reminder. A piece of their story.

By the time she reached the final clue, her fingers were trembling slightly as she unfolded it.

"Look to the sky. Your last clue is waiting."

Y/N frowned. “Look to the—”

And then she heard it.

A loud, whooshing sound.

She turned around—her eyes widening as she took in the giant hot air balloon in the backyard, glowing softly under the fairy lights that Jensen had strung up in the trees.

Y/N froze. “You have GOT to be kidding me.”

Jensen, standing next to it with his hands in his pockets, just grinned. “What, you scared?”

She turned to the kids. “Are you guys going in this?”

JJ nodded, bouncing on her feet. “DUH! It’s gonna be so fun!”

Arrow beamed. “Dad said it’s safe.”

Y/N shot Jensen a glare. “You trust him?”

“Hey,” Jensen scoffed, holding a hand over his heart. “I take great care of you guys.”

Y/N narrowed her eyes. “You almost cut your damn eye out trying to open a bottle of wine last week.”

“…Okay, but—”

“I had to drive us to the ER.”

“Technicalities, sweetheart.”

Y/N sighed, shaking her head, but she still let Jensen take her hand and lead her toward the balloon. “If we die, I’m haunting you.”

Jensen smirked. “Wouldn’t have it any other way.”

The view from above was breathtaking.

The town below looked so small, the sky was painted in streaks of orange, pink, and deep purple. The air was crisp, the world quiet except for the occasional gasp from the kids as they looked out over the edge.

Jensen turned to her, his heart hammering.

This was it.

“Y/N,” he started, pulling her attention back to him.

She blinked. “Yeah?”

He exhaled sharply, running a hand through his hair before pulling a small velvet box from his pocket. “Look—I’ve thought about doing this a million different ways. Something big, something crazy, something quiet. But at the end of the day, the only thing that really matters is you, me, and these little monsters.”

Arrow gasped. “Did you just call us monsters?”

Jensen smirked. “Affectionately.”

Y/N let out a breathless laugh.

“The truth is,” Jensen continued, “I didn’t think I’d ever do this again. I thought love like this wasn’t in the cards for me. And then you came along, and you made everything easy. Even the hard shit. Even the fights, even the chaos—you made it all worth it. You made me worth it.”

Y/N’s eyes were already glossy with unshed tears.

“So,” he said, finally flipping open the box, revealing the ring. “Here I am, in a fucking hot air balloon, with my heart in my hands, asking you to marry me.”

JJ nearly screamed. “SAY YES!”

Y/N covered her face, laughing and crying at the same time. Then she dropped her hands, shaking her head.

“You absolute idiot,” she muttered.

Jensen swallowed. “…Is that a yes or—”

She lunged forward and kissed him, hard.

The kids cheered. Jensen was grinning into the kiss. And when she finally pulled back, pressing her forehead against his, she whispered, “Of course I’ll marry you.”

Jensen slipped the ring onto her finger, pressing a lingering kiss to her knuckles.

And as the hot air balloon floated higher into the sky, carrying them into forever, he whispered, “Good, ‘cause you’re stuck with me now.”

Jensen had never been the kind of guy to dream about his wedding day. Not really.

But this? This felt right. No over-the-top, Hollywood-style spectacle. No paparazzi swarming the venue. Just their closest friends, family, and the people who had been part of their journey from the very start. It was grand, because loving her deserved something grand. But it was also intimate, because this was theirs.

And today, she would become his wife.

The wedding was held at a private ranch in Texas—wide open fields, towering oak trees, and the sky stretching endlessly above them. Fairy lights wrapped around the wooden beams of the barn, candles flickered on every table, and wildflowers lined the aisle leading to the altar. It was rustic but elegant. Warm and inviting.

Just like them.

The sun was beginning to set, casting golden light over everything, and Jensen stood at the altar, hands clasped together, heart pounding in his chest.

Jared, his best man, leaned in and muttered, “You look like you’re gonna puke, man.”

Jensen let out a breathless chuckle. “Not helping.”

Misha, standing on the other side, smirked. “You cry, I cry. That’s how this works.”

Jensen rolled his eyes, but his grip on the inside of his jacket tightened. He hadn’t seen Y/N all day, hadn’t even spoken to her since last night.

And then, suddenly—

The music started.

A soft, acoustic version of “Iris” played through the air.

And there she was.

Jensen felt his breath hitch the second she stepped into view.

Y/N was stunning.

Her dress was everything he imagined it would be—timeless, effortless, breathtaking. The fabric hugged her in all the right places before flowing out, delicate lace trailing behind her. The setting sun bathed her in golden light, making her look almost unreal.

But it wasn’t just the dress.

It was her.

The way she looked at him like he was the only person in the world. The way her lips curved into a soft, knowing smile. The way her eyes shimmered with unshed tears.

Jensen swallowed hard.

Jared nudged him. “Dude.”

“Yeah?”

“You’re crying.”

Jensen blinked rapidly, clearing his throat. “Shut up.”

When Y/N finally reached him, Jensen exhaled deeply, taking both of her hands in his.

“Hey, sweetheart,” he whispered.

She grinned. “Hey, husband-to-be.”

The officiant started speaking, but Jensen barely heard him. His world had shrunk down to just her—the feeling of her fingers interlaced with his, the way her chest rose and fell with every nervous breath.

And then, it was time for the vows.

Jensen cleared his throat, pulling out a small piece of paper.

“I tried to write something short,” he started, voice rough with emotion. “But you know me. I suck at keeping things simple.”

A soft chuckle rippled through the crowd.

“I’ve been in love before,” he started, voice thick. “I thought I knew what it meant. I thought I understood what love was. But I was wrong. Because love isn’t just the easy parts. It’s not just the good mornings, the kisses, the date nights. Love is the days when nothing makes sense. When everything is falling apart. When you feel like you’re standing in the middle of a storm, and you don’t know which way is forward.

And Y/N—" He exhaled shakily, tightening his grip on her hands. “You were my way forward. You are my way forward.”

A tear slipped down her cheek, and Jensen reached up, brushing it away with his thumb.

“I love you,” he said. “Not just for the person you are, but for the person you make me want to be. I love the way you laugh too loudly, the way you steal my coffee even though you have your own, the way you take care of everyone around you. I love every little piece of you, and I promise you—” His voice cracked. “I promise to choose you. Over and over. Every single day. For the rest of my life.”

Y/N let out a soft, choked laugh, wiping at her eyes.

She sniffled, blinking up at him with so much love it nearly knocked the breath out of his lungs.

Her voice was shaky when she started, full of emotion. “Jensen… I spent so much of my life thinking love had to be complicated. That it had to be a battle, something to fight for, to prove. And then I met you. And you taught me that love doesn’t have to be a war.”

She squeezed his hands, her lips trembling.

“You showed me that love can be safe. That it can be warm, and steady, and something I never have to second-guess. You have been my best friend, my partner, the person I trust with every part of me. And today, I get to call you my husband.”

A single tear rolled down her cheek, but she was smiling.

“I promise to love you,” she said softly. “In the big moments and the small ones. In the quiet mornings and the stormy nights. I promise to stand beside you, to fight for you, to be the person who reminds you every single day that you are so, so loved.”

Her voice broke on the last words, and Jensen felt a tear slip down his own cheek.

There was silence—just for a second. Just long enough for the moment to settle deep in his bones.

Then, the officiant spoke.

“You may now kiss the bride.”

And Jensen—he didn’t waste a second.

He cupped her face, pulled her in, and kissed her like it was the first time, the last time, and every time in between.

The world melted away.

It was just them.

It had always been just them.

And now, forever, it would be.

They had fought for this, for each other, for the family they had built together. From the chaos of their early days, the ups and downs, the moments of doubt and confusion, they had weathered every storm. The kids, their laughter, the fights, the makeups—each part of their life together was like a piece of a puzzle, finally fitting into place.

As they stood there, exchanging vows, Jensen’s voice cracked with emotion. He wasn’t just making a promise to Y/N in that moment; he was sealing everything they had been through together—every single sacrifice, every shared moment of joy. And Y/N, with her heart full of everything she had ever hoped for, knew they had finally found their way home.

Later, in the quiet of their home, as the world outside settled into peaceful slumber, they curled up together on the couch, their fingers intertwined. Their hearts beat in sync, the weight of their journey no longer a burden but a testament to their love.

They had been through hell and back, but now, they were ready to face whatever came next. Together.

And as Y/N rested her head against Jensen’s chest, she knew that no matter where life took them, they had found something unbreakable. They had found each other.

THE END

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

A/N: so yes, i did cry. im so sorry if this wasnt what you guys were expecting but this is all i could do, i've got finals in three days but here it is! This is the end of Breaking Character, and i'm so proud of how this entire series turned out, I didn't expect so much love from you guys. Thank you all <3

@justwhisperingfantasies @impala67rollingthroughtown @deansimpalababy @jackles010378 @winchester @barnes70stark @nancymcl @oceean @spnaquakindgdom @ladysparkles78 @sexyvixen7 @spxideyver @stoneyggirl2 @star-yawnznn @quietgirll75 @iloveeveryoneyoureamazing @palerogue1 @writtenbyhollywood

[mrjester27]

THE SILLY DUO

Between Socrates and Plato

Plato may not understand what is happening but he will still support his friend.

Socrates straight up enters the game

supports ,ask questions later

From this silly image

[anominous-user]

Double Indemnity, Veritas Ratio and Aventurine

This was originally a part of my compilation post as a short analysis on the Double Indemnity references, linking to this great thread by Manya on Twitter. However, I've recently watched the movie and found that the parallels run much deeper than just the mission name and the light cone itself, plus as the short synopsis I've read online. Since there isn't really an in-depth attempt at an analysis on the film in relation to the way Aventurine and Ratio present themselves throughout Penacony, I thought I'd take a stab at doing just that. I will also be bringing up things from Manya's thread as well as another thread that has some extra points.

Disclaimer that I... don't do analyses very often. Or write, in general — I'm someone who likes to illustrate their thoughts (in the artistic sense) more than write. There's just something about these two that makes me want to rip into them so badly, so here we are. If there's anything you'd like to add or correct me on, feel free to let me know in the replies or reblogs, or asks. This ended up being a rather extensive deep dive into the movie and its influences on the pairing, so please keep that in mind when pressing Read More.

There are two distinct layers on display in Ratio and Aventurine's relationship throughout Penacony, which are references to the two most important relationships in the movie — where they act like they hate/don’t know each other, and where they trust each other.

SPOILER WARNING for the entire movie, by the way. You can watch the film for free here on archive.org, as well as follow along with the screenplay here. I will also be taking dialogue and such from the screenplay, and cite quotes from the original novel in its own dedicated section. SPOILER WARNING for the Cat Among Pigeons Trailblaze mission, as well.

CONTENT WARNING FOR MENTIONS OF SUICIDE. YOU HAVE BEEN WARNED.

To start, Double Indemnity (1944) is a film noir by Billy Wilder (and co-written by Raymond Chandler) based on the novel of the same name by James M. Cain (1927). There are stark differences between the movie adaptation and the original novel which I will get into later on in this post, albeit in a smaller section, as this analysis is mainly focused on the movie adaptation. I will talk about the basics (summaries for the movie and the game, specifically the Penacony mission in tandem with Ratio and Aventurine) before diving into the character and scene parallels, among other things.

—

[THE NAME]

The term "double indemnity" is a clause in which if there’s a case of accidental death of a statistically rare variety, the insurance company has to pay out multiple of the original amount. This excludes deaths by murder, suicide, gross negligence, and natural causes.

The part of the mission in Cat Among Pigeons where Ratio and Aventurine meet with Sunday is named after the movie. And before we get further into things, let's get this part out of the way: The Chinese name used in the mission is the CN title of the movie, so there's no liberties taken with the localization — this makes it clear that it’s a nod to the movie and not localization doing its own thing like with the mission name for Heaven Is A Place On Earth (EN) / This Side of Paradise (人间天堂) (CN).

—

[SUMMARY OF THE 1944 MOVIE]

Here I summarised the important parts that will eventually be relevant in the analysis related to the game.

Insurance salesman Walter Neff, wounded from a gunshot, enters his office and confesses his crime on a dictaphone to his boss Barton Keyes, the claims manager. Much earlier, he had met Phyllis Dietrichson, the wife of Mr. Dietrichson and former nurse. Neff had initially wanted to meet Mr. Dietrichson because of car insurance. Phyllis claims her husband is mean to her and that his life insurance goes to his daughter Lola. With Neff seduced by Phyllis, they eventually brew up a scheme to murder Mr. Dietrichson in such a way that they activate the "double indemnity" clause, and the plan goes off almost perfectly. Initially, the death is labeled a suicide by the president of the company, Norton. 

Keyes finds the whole situation suspicious, and starts to suspect Phyllis may have had an accomplice. The label on the death goes from accidental, to suicide, to then murder. When it’s ruled that the husband had no idea of the accidental policy, the company refuses to pay. Neff befriends Phyllis’ stepdaughter Lola, and after finding out Phyllis may have played a part in the death of her father’s previous wife, Neff begins to fear for Lola and himself, as the life insurance would go all towards her, not Phyllis.

After the plan begins to unravel as a witness is found, it comes out that Lola’s boyfriend Nino Zachette has been visiting Phyllis every night after the murder. Neff goes to confront Phyllis, intending to kill her. Phyllis has her own plans, and ends up shooting him, but is unable to fire any more shots once she realises she did love him. Neff kills her in two shots. Soon after telling Zachette not to go inside the house, Neff drives to his office to record the confession. When Keyes arrives, Neff tells him he will go to Mexico, but he collapses before he could get out of the building.

—

[THE PENACONY MISSION TIMELINE]

I won’t be summarising the entirety of Aventurine and Ratio’s endeavours from the beginning of their relationship to their final conversation in Heaven Is A Place On Earth the same way as I summarised the plot of the movie, so I will instead present a timeline. Bolded parts means they are important and have clear parallels, and texts that are in [brackets] and italics stand for the names of either the light cone, or the mission names.

[Final Victor] Their first meeting. Ratio’s ideals are turned on its head as he finally meets his match.

Several missions happen in-between their first encounter and the Penacony project. They come to grow so close and trusting with each other that they can guess, understand each other’s thoughts, way of thinking and minds even in high stakes missions. Enough to pull off the Prisoner’s Dilemma (Aventurine’s E1) and Stag Hunt Game (Aventurine’s E6) and come out on top.

Aventurine turns towards Ratio for assisting him in the Penacony project. Ratio's involvement in the project is implied to be done without the knowledge of Jade, Topaz, and the IPC in general, as he was only sent to Penacony to represent the Intelligentsia Guild, and the two other Stonehearts never mention Ratio.

Aventurine and Ratio cook up the plan to deceive Sunday before ever setting foot on Penacony. Aventurine does not tell Ratio the entirety of his plan.

Aventurine convinces Topaz and Jade to trust him with their Cornerstones. Aventurine also breaks his own Cornerstone and hides it along with the jade within a bag of gift money.

[The Youth Who Chase Dreams] They enter Penacony in the Reverie Hotel. Aventurine is taken to the side by Sunday and has all his valuables taken, which includes the gift money that contains the broken aventurine stone, the jade, and the case containing the topaz.

Aventurine and Ratio speak in a “private” room about how Aventurine messed up the plan. After faking an argument to the all-seeing eyes of Sunday, Ratio leaves in a huff.

Ratio, wearing his alabaster head, is seen around Golden Hour in the (Dusk) Auction House by March 7th.

[Double Indemnity] Ratio meets up with Sunday and “exposes” Aventurine to him. Sunday buys his “betrayal”, and is now in possession of the topaz and jade. Note that this is in truth Ratio betraying Sunday all along.

Ratio meets up with Aventurine again at the bar. Ratio tells Aventurine Sunday wants to see him again.

They go to Dewlight Pavilion and solve a bunch of puzzles to prove their worth to Sunday.

They meet up with Sunday. Sunday forces Aventurine to tell the truth using his Harmony powers. Ratio cannot watch on. It ends with Aventurine taking the gift money with his Cornerstone.

[Heaven Is A Place On Earth] They are in Golden Hour. Ratio tries to pry Aventurine about his plan, but Aventurine reins him in to stop breaking character. Ratio gives him the Mundanite’s Insight before leaving. This is their final conversation before Aventurine’s grandest death.

Now how exactly does the word “double indemnity” relate to their mission in-game? What is their payout? For the IPC, this would be Penacony itself — Aventurine, as the IPC ambassador, handing in the Jade Cornerstone as well as orchestrating a huge show for everybody to witness his death, means the IPC have a reason to reclaim the former prison frontier. As for Ratio, his payout would be information on Penacony’s Stellaron, although whether or not this was actually something he sought out is debatable. And Aventurine? It’s highly implied that he seeks an audience with Diamond, and breaking the Aventurine Cornerstone is a one way trip to getting into hot water with Diamond. With Aventurine’s self-destructive behaviour, however, it would also make sense to say that death would be his potential payout, had he taken that path in the realm of IX.

Compared to the movie, the timeline happens in reverse and opposite in some aspects. I will get into it later. As for the intended parallels, these are pretty clear and cut:

Veritas Ratio - Walter Neff

Aventurine - Phyllis Dietrichson

Sunday - Mr. Dietrichson

There is one other character who I feel also is represented in Ratio, but I won’t bring them up until later down the line.

For the sake of this analysis, I won’t be exploring Sunday’s parallel to Mr. Dietrichson, as there isn’t much on Dietrichson’s character in the first place in both the movie and the novel. He just kind of exists to be a bastard that is killed off at the halfway point. Plus, the analysis is specifically hyper focused on the other two.

—

[SO, WHAT’S THE PLAN?]

To make things less confusing in the long run whenever I mention the words “scheme” and “plan”, I will be going through the details of Phyllis and Neff’s scheme, and Aventurine and Ratio’s plan respectively. Anything that happens after either pair separate from another isn’t going to be included. Written in a way for the plans to have gone perfectly with no outside problems.

Phyllis and Neff —> Mr. Dietrichson

Goal: Activate the double indemnity clause by killing Mr. Dietrichson and making it look like a freak train accident

Payout: Twice or more of the face value of the life insurance ($100,000)

Main Actor: Walter Neff    |    Accomplice: Phyllis Dietrichson

During the entire time until the payout, Phyllis and Neff have to make sure to any outsiders that they look like complete strangers instead of lovers in an affair.

Step-by-step:

Neff convinces Mr. Dietrichson to sign the policy with the clause without him suspecting foul play, preferably with a third party to act as an alibi. This is done discreetly, making Mr. Dietrichson not read the policy closely and being told to just sign.

Neff and Phyllis talk to each other about small details through the phone (specified to be never at Phyllis’ own house and never when Neff was in his office) and in the marketplace only, to make their meetings look accidental. They shouldn’t be seen nor tracked together, after all.

Phyllis asks Mr. Dietrichson to take the train. She will be the one driving him to the train station.

On the night of the murder, after making sure his alibi is airtight, Neff sneaks into their residence and hides in their car in the second row seating, behind the front row passenger seat. He wears the same colour of clothes as Mr. Dietrichson.

Phyllis and Mr. Dietrichson get inside the car — Phyllis in the driver’s seat and Mr. Dietrichson in the passenger seat. Phyllis drives. On the way to the train station, she makes a detour into an alley. She honks the horn three times.

After the third honk, Neff breaks Mr. Dietrichson’s neck. The body is then hidden in the second row seating under a rug.

They drive to the train station. Phyllis helps Neff, now posing as Mr. Dietrichson, onto the train. The train leaves the station.

Neff makes it to the observation platform of the parlour car and drops onto the train tracks when nobody else is there.

Phyllis is at the dump beside the tracks. She makes the car blink twice as a signal.

The two drag Mr. Dietrichson’s corpse onto the tracks.

They leave.

When Phyllis eventually gets questioned by the insurance company, she pretends she has no idea what they are talking about and eventually storms off.

Phyllis and Neff continue to lay low until the insurance company pays out.

Profit!

Actual Result: The actual murder plan goes almost smoothly, with a bonus of Mr. Dietrichson having broken a leg. But with him not filing a claim for the broken leg, a witness at the observation platform, and Zachette visiting Phyllis every night after the murder, Keyes works out the murder scheme on his own, but pins the blame on Phyllis and Zachette, not Neff.

Now for Aventurine and Ratio. You can skip this section if you understand how deep their act goes, but to those who need a refresher, here’s a thorough explanation:

Aventurine and Ratio —> Sunday

Goal: Collect the aventurine stone without Sunday knowing, ruin the dream (and create the grandest death)

Payout: Penacony for the IPC, information on the Stellaron for Ratio, a meeting with Diamond / death for Aventurine

Main Actor: Aventurine    |    Accomplice: Veritas Ratio

From the moment they step onto Penacony, they are under Sunday’s ever present and watchful eyes. “Privacy” is a foreign word to The Family. They have to act like they don’t like each other’s company the entire time and feed Sunday information through indirect means so that the eventual “betrayal” by Ratio seems truthful to Sunday. Despite what it looks like, they are closer than one would ever think, and Ratio would never sell out a person purely for information.

Step-by-step:

After Sunday takes away the bag of gift money and box, Aventurine and Ratio talk in a room in the Reverie Hotel.

Aventurine establishes the Cornerstones’ importance, and how he lost the gift money and the case containing the Cornerstones to Sunday. Ratio turns to leave, saying “some idiot ruined everything”, meaning the Cornerstones were vital to their plan. (Note that Ratio is not wearing his alabaster head while saying it to said “idiot”.)

Aventurine then proceeds to downplay the importance of the Cornerstones, stating they are “nothing more than a few rocks” and “who cares if they are gone”. This lets Sunday know that something suspicious may be going on for him to act like it’s nothing, and the mention of multiple stones, and leaves him to look up what a Cornerstone is to the Ten Stonehearts of the IPC.

Ratio points out his absurd choice of outfit, mentioning the Attini Peacock and their song.

Ratio implies that without the aventurine stone, he is useless to the IPC. He also establishes that Aventurine is from Sigonia(-IV), and points out the mark on his neck. To Sunday, this means that Aventurine is shackled to the IPC, and how Aventurine may possibly go through extreme lengths to get the stone back, because a death sentence always looms above him.

Aventurine claims Ratio had done his homework on his background, which can be taken that this is their very first time working together. (It isn’t, and it only takes one look to know that Aventurine is an Avgin because of his unique eyes, so this comment does not make sense even in a “sincere” way, a running theme for the interaction.)

Ratio mentions how the true goal is to reclaim Penacony for the IPC, establishing their ulterior motive for attending the banquet.

Ratio asks if Aventurine went to pre-school in Sigonia after saying trust was reliant on cooperation. Aventurine mentions how he didn’t go to school and how he doesn’t have any parents. He even brings up how friends are weapons of the Avgins. This tells Sunday that the Avgins supposedly are good at manipulation and potentially sees Ratio possibly betraying Aventurine due to his carelessness with his “friends”. Sunday would also then research about the Avgins in general (and research about Sigonia-IV comes straight from the Intelligentsia Guild.)

Ratio goes to Dewlight Pavilion in Sunday’s Mansion and exposes a part of Aventurine’s “plan”. When being handed the suitcase, Ratio opens it up due to his apparent high status in the IPC. He tells Sunday that the Cornerstone in the suitcase is a topaz, not an aventurine, and that the real aventurine stone is in the bag of gift money. This is a double betrayal — on Aventurine (who knows) and Sunday (who doesn’t). Note that while Ratio is not officially an IPC member in name — the Intelligentsia Guild (which is run by the IPC head of the Technology Department Yabuli) frequently collaborates with the IPC. Either Aventurine had given him access to the box, or Ratio’s status in general is ambiguous enough for Sunday not to question him further. He then explains parts of Aventurine’s gamble to Sunday in order to sell the betrayal. Note that Ratio does not ever mention Aventurine’s race to Sunday.

Ratio brings Aventurine to Sunday. Aventurine offers help in the investigation of Robin's death, requesting the gift money and the box in return.

Sunday objects to the trade offer. Aventurine then asks for just the bag. A classic car insurance sales tactic. Sunday then interrogates Aventurine, and uses everything Ratio and Aventurine brought up in the Reverie Hotel conversation and their interactions in the Mansion, as well as aspects that Ratio had brought up to Sunday himself.

Aventurine feigns defeat and ignorance enough so that Sunday willingly lets him go with the gift bag. After all is said and done, Aventurine leaves with the gift money, where the Aventurine Cornerstone is stored all along.

Ratio and Aventurine continue to pretend they dislike each other until they go their separate ways for their respective goals and plans. Aventurine would go on to orchestrate his own demise at the hands of Acheron, and Ratio… lurks in the shadows like the owl he is.

Profit!

Actual Result: The plan goes perfectly, even with minor hiccups like Ratio coming close to breaking character several times and Aventurine being sentenced to execution by Sunday.

This is how Sunday uses the information he gathered against Aventurine:

• Sunday going on a tirade about the way Aventurine dresses and how he’s not one to take risks — Ratio’s comment about Aventurine’s outfit being peacock-esque and how he’s “short of a feather or two”. • “Do you own a Cornerstone?” — Ratio talked about the aventurine stone. • “Did you hand over the Cornerstone to The Family when you entered Penacony?” — Aventurine mentioned the box containing the Cornerstones. • “Does the Cornerstone you handed over to The Family belong to you?” — Aventurine specifically pluralized the word Cornerstone and “a bunch of rocks” when talking to Ratio. • “Is your Cornerstone in this room right now?” — The box in the room supposedly contained Aventurine’s own cornerstone, when Aventurine mentioned multiple stones. • “Are you an Avgin from Sigonia?” —Aventurine mentioned that he’s an Avgin, and Ratio brought up Sigonia. • “Do the Avgins have any ability to read, control, and manipulate one’s own or another’s minds?” — Aventurine’s comment on how friends are weapons, as well as Sunday’s own research on the Avgins, leading him to find out about the negative stereotypes associated with them. • “Do you love your family more than yourself?” — His lost parents. “All the Avgins were killed in a massacre. Am I right?” — Based on Sunday’s research into his background. • “Are you your clan’s sole survivor?” — Same as the last point. “Do you hate and wish to destroy this world with your own hands?” — Ratio mentioned the IPC’s goal to regain Penacony, and Aventurine’s whole shtick is “all or nothing”. • “Can you swear that at this very moment, the aventurine stone is safe and sound in this box?” — Repeat.

As seen here, both duos have convoluted plans that involve the deception of one or more parties while also pretending that the relationship between each other isn’t as close as in reality. Unless you knew both of them personally and their histories, there was no way you could tell that they have something else going on. 

On to the next point: Comparing Aventurine and Ratio with Phyllis and Neff.

—

[NEFF & PHYLLIS — RATIO & AVENTURINE]

With the short summaries of the movie and the mission out of the way, let’s look at Phyllis and Neff as characters and how Aventurine and Ratio are similar or opposite to them.

Starting off with Aventurine and Phyllis. Here is where they are the most similar:

Phyllis is blonde and described as a provocative woman. Aventurine is also a blond and eyes Ratio provocatively in the Final Victor light cone.

Phyllis was put under surveillance after Keyes starts figuring out that the so-called accidental death/suicide may have been a murder after all. Similarly, Aventurine was watched by Sunday the entire time in Penacony.

Phyllis never tells Neff how she's seeing another man on the side to possibly kill him too (as well as how she was responsible for the death of her husband‘s previous wife). Aventurine also didn't tell Ratio the entirety of his plan of his own death.

Phyllis puts on a somewhat helpless act at first but is incredibly capable of making things go her way, having everything seemingly wrapped around her finger. Aventurine — even when putting on a facade that masks his true motives — always comes out at the top.

Now the differences between Aventurine and Phyllis:

Phyllis does not care about her family and has no issue with killing her husband, his previous wife, and possibly her daughter Lola. Opposite of that, Aventurine is a family man… with no family left, as well as feeling an insane level of survivor’s guilt.

Really, Phyllis just… does not care at all about anyone but herself and the money. Aventurine, while he uses every trick in the book to get out on top, does care about the way Jade and Topaz had entrusted him with their Cornerstones, in spite of the stones being worth their lives. 

Phyllis also uses other people to her advantage to get what she wants, often behind other people's backs, with the way she treats Neff and Zachette. Aventurine does as well (what with him making deals with the Trailblazer while also making a deal with Black Swan that involves the Trailblazer). The difference here is Phyllis uses her allure deliberately to seduce men while Aventurine simply uses others as pawns while also allowing others to do the same to himself.

Phyllis makes no attempt at compromising the policy when questioned by Norton. Aventurine ends up compromising by only taking the gift money (which is exactly what he needs).

The wig that Barbara Stanwyck (the actress of Phyllis) wore was chosen to make her look as “sleazy” as possible, make her look insincere and a fraud, a manipulator. A sort of cheapness. Aventurine’s flashy peacock-esque outfit can be sort of seen as something similar, except the outfit isn’t cheap.

Moving on to Ratio’s similarities to Neff… There isn’t much to extrapolate here as Ratio is more of a side character in the grand scheme of Penacony, however this is what I’ve figured out.

Neff has dark hair. Ratio has dark purple hair.

Neff almost never refers to Phyllis by her name when speaking with her, only as “baby”. The few times he refers to her as Phyllis or Mrs. Dietrichson is during their first conversations and when he has to act like he doesn’t know her. Ratio never calls Aventurine by his name when he’s around him — only as “gambler”, sometimes “damned” or “dear” (EN-only) gambler. Only in the Aventurine's Keeping Up With Star Rail episode does Ratio repeatedly say his name, and yet he still calls him by monikers like “gambler” or, bafflingly, a “system of chaos devoid of logic”.

Both Neff and Ratio committed two betrayals: Neff on Mr. Dietrichson and Keyes, and Ratio on Sunday and Aventurine. With the former cases it was to reach the end of the trolley line, and with the latter it was on a man who had put his trust in him.

As for the differences…

Neff is described as someone who’s not smart by his peers. Ratio is someone who is repeatedly idolised and put on a pedestal by other people.

Neff is excellent at pretending to not know nor care for Phyllis whenever he speaks about her with Keyes or when he and she are in a place that could land them in hot water (the office, the mansion when there are witnesses). His acting is on the same level as Phyllis. With Ratio it’s… complicated. While he does pull off the hater act well, he straight up isn’t great at pretending not to care about Aventurine’s wellbeing.

Instead of getting his gunshot wound treated in the hospital like a normal person, Neff makes the absolutely brilliant decision of driving to his office and talking to a dictaphone for hours. Needless to say, this is something a medical doctor like Ratio would never do.

Now here's the thing. Though it's very easy to just look at Phyllis and Neff in the movie and go "okay, Aventurine is Phyllis and Ratio is Neff — end of story" and leave it at that, I find that they both take from the two leads in different ways. Let me explain. Beginning with Aventurine and Neff…

Neff is the one who hatches the plan and encourages Phyllis to go through and claim the double indemnity clause in the first place. He is also the key player of his own risky plan, having to fake being the husband to enter the train as well as fake the death. Aventurine puts himself at great risk just by being in Sunday’s presence, and hoping that Sunday wouldn’t figure out that the green stone he had uncovered wasn’t the aventurine stone.

Adding onto the last point, Neff had fantasised about pulling off the perfect murder for a long time — the catalyst was simply him meeting Phyllis. Aventurine presumably sought out Ratio alone for his plan against Sunday.

Neff makes a roulette wheel analogy and talks about a pile of blue and yellow poker chips (the latter in the script only). I don‘t even have to explain why this is relevant here. (Aventurine’s Ultimate features a roulette wheel and the motif is on his belt, thigh strap, and back, too. And of course, Aventurine is all about his chips.)

Neff has certain ways to hide when he’s nervous, which include hiding his hands in his pockets when they were shaking, putting on glasses so people couldn’t see his eyes. Aventurine hides his left hand behind his back when he’s nervous: Future Aventurine says that "they don't know the other hand is below the table, clutching [his] chips for dear life", and in multiple occasions such as the Final Victor LC, his character trailer, and even in his boss form in the overworld you can see that Aventurine hides his left hand behind his back. And he is also seen with his glasses on sometimes.

Neff says a bunch of stuff to make sure that Phyllis acts her part and does not act out of character (i.e. during their interactions at the market), like how Aventurine repeatedly tries to get Ratio back on track from his subpar acting.

Neff is always one step ahead of the game, and the only reason the plan blows up in his face is due to outside forces that he could not have foreseen (a witness, Keyes figuring out the plan, the broken leg). Aventurine meanwhile plays 5D chess and even with the odds against him, he uses everything he can to come out on the top (i. e. getting Acheron to kill him in the dream).

Even after coming home on the night of the murder, Neff still felt that everything could have gone wrong. Aventurine, with his blessed luck, occasionally wavers and fears everything could go wrong whenever he takes a gamble.

Neff was not put under surveillance by Keyes due to him being extensive with his alibi. After witnessing Robin’s death with eyewitnesses at the scene, the Family had accepted Aventurine’s alibi, though he would be under watch from the Bloodhounds according to Ratio.

Neff talks about the entire murder scheme to the dictaphone. Aventurine during Cat Among Pigeons also retells his plan, albeit in a more convoluted manner, what with his future self and all.

Continuing with Ratio and Phyllis, even with their personalities and motivations being quite different, they do have a few commonalities.

Phyllis was a nurse. Ratio is a medical doctor.

Her name is Greek of origin. Veritas Ratio, though his name is Latin, has Greco-Roman influences throughout his entire character.

The very first scene Phyllis appears in has her wearing a bath towel around her torso. Ratio loves to take baths to clear his mind.

Phyllis was instructed by Neff to be at the market every morning at eleven buying things. Ratio is seen in an auction house with his alabaster head on so no one could recognize him.

Phyllis mostly acts as an accomplice to the scheme, being the one to convince her husband to take the train instead. She is also generally seen only when Neff is involved. Ratio plays the same role as well, only really appearing in the story in relation to Aventurine as well as being the accomplice in Aventurine’s own death. Even him standing in the auction house randomly can be explained by the theory that he and Aventurine had attempted to destabilise Penacony’s economy through a pump and dump scheme.

With these pointers out of the way, let’s take a closer look at select scenes from the film and their relation to the mission and the pair. 

—

[THE PHONE CALL — THE REVERIE HOTEL]

Before the murder, there is a scene with a phone call between Phyllis and Neff discussing the plan while Keyes is in the same room as Neff. Neff has to make sure that Keyes doesn’t think of anything of the phone call, so he acts like he’s calling a “Margie”, and says a bunch of stuff that sounds innocent out of context (“Can’t I call you back, ‘Margie’?” “What color did you pick out?” “Navy blue. I like that fine”), but are actually hinting at the real plan all along (the suit that Mr. Dietrichson wears.)

In a roundabout way, the conversation between Ratio and Aventurine in the Reverie Hotel can be seen as the opposite of that scene — with the two talking about their supposed plan out loud on Penacony ground, a place where the Family (and in turn, Sunday) has eyes everywhere. Despite being in a “private” room, they still act like they hate each other while airing out details that really do not make sense to air out if they really did meet the first time in Penacony (which they didn’t — they’ve been on several missions beforehand). It’s almost like they want a secret third person to know what they were doing, instead of trying to be hushed up about it. The TVs in the room that Sunday can look through based on Inherently Unjust Destiny — A Moment Among The Stars, the Bloodhound statue that disappears upon being inspected, the owl clock on the left which side eyes Ratio and Aventurine, all point to that Sunday is watching their every move, listening to every word.

Rewinding back to before the phone call, in one of the encounters at the marketplace where they “accidentally” run into each other, Phyllis talks about how the trip was off. How her husband wouldn’t get on the train, which was vital for their plan, because of a broken leg. All this, while pretending to be strangers by the passersby. You could say that the part where Ratio almost leaves because Aventurine had “ruined the plan” is the opposite of this, as the husband breaking his leg was something they couldn’t account for, while Aventurine “being short of a few feathers” was entirely part of the plan.

—

[QUESTIONING PHYLLIS — THE INTERROGATION]

This section is going to be a little longer as I will cover two scenes in the movie in a more detailed manner — Mr. Dietrichson signing the policy, and Phyllis being questioned — and how they are represented in the Sunday-Aventurine interrogation and the prior conversation between Ratio and Sunday in multitudes of ways.

Going about their plan, Neff has to make sure that Mr. Dietrichson signs the policy with the double indemnity clause without him knowing the details, all the while having Phyllis (and Lola) in the same room. He and Phyllis have to pretend that they don’t know each other, and that this is just the standard accidental insurance process, instead of signing what would be his downfall. To sell it, he gets Mr. Dietrichson to sign two “copies” of the form, except with Mr. Dietrichson’s second signature, he’s duped into signing the accident insurance policy with the respective clause.

You can tie this to how Ratio goes to Sunday in order to “expose” the lie that the suitcase didn’t actually contain the Aventurine Cornerstone, as well as there being more than one Cornerstone involved in the scheme. Ratio must make sure that Sunday truly believes that he dislikes Aventurine’s company, while also making sure that Sunday doesn’t figure out the actual aventurine stone is broken and hidden in the gift bag. The scheme turns out to be successful, as Sunday retrieves the two Cornerstones, but not the aventurine stone, and truly does think that the green stone he has in his possession is the aventurine.

This whole scene with Sunday is also reminiscent of the interrogation scene in the middle of the movie, where Phyllis was questioned by the boss (Norton) who was deducing that Mr. Dietrichson's death was a suicide, not accidental death. Neff, Phyllis, Keyes and Norton were all in the same room, and Neff and Phyllis had to act like they never knew the other. Phyllis acts like she knows nothing about what Norton insinuates about her husband and eventually, Phyllis explodes in anger and storms out the room, even slamming the door. Her act is very believable to any outsider.

Now back to the Ratio and Sunday conversation. One glaring difference between the movie and here is that his acting isn’t great compared to either Phyllis nor Neff. It never was throughout the Penacony mission. He even comes very close to breaking character several times, and is even defending Aventurine in a somewhat aggressive manner during his one-on-one conversation with Sunday, as in he literally tells Sunday to see a shrink. It’s very different from the way he was acting in Herta Space Station — like Ratio cares about Aventurine too much to keep his hands off.

It's also worth pointing out that Neff doesn't speak a word when Phyllis was being interrogated. Similarly, Ratio is silent throughout the entire scene with Sunday and Aventurine, with his only “line” being a “hm”. When Aventurine calls him a wretch to his face, all he does is look to the side. In fact, he can only look at Aventurine when the other isn’t staring back. Almost like him uttering a single word would give them away. Or his acting is terrible when it has to do with Aventurine, as he has no issue doing the same thing in Crown of the Mundane and Divine (Mundane Troubles).

So, Sunday finds out about the Cornerstones and reveals them to Aventurine, and reasons that he cannot give them back to him because Aventurine had lied. Note that in that same scene, Aventurine attempted to use the two murders that had occurred beforehand against Sunday to retrieve his own cornerstone. Similarly, when it was revealed that Mr. Dietrichson did not know about the accident policy and that the so-called “accidental death” was not, in fact, accidental, the insurance company refused to pay out the money.

Unlike the movie, this was all planned, however. The double-crossing by Ratio, the gift money being the only thing required for Aventurine’s real plan. All of it was an act of betrayal against Sunday, in the same manner as the meticulous planning as Mr. Dietrichson’s murder — To sign the policy, get him to take the train, kill him on the way, and to have Neff pose as the husband on the train until the time is right to get off and lay the body on the tracks. A key difference is that they could not have expected their scheme to be busted wide open due to forces outside of their control, while Ratio and Aventurine went straight down the line for the both of them no matter what.

From here on out, we can conclude that the way Ratio and Aventurine present themselves in Penacony to onlookers is in line with Neff and Phyllis.

—

[“GOODBYE, BABY” — FINAL VICTOR]

And now for the (in)famous light cone, Final Victor. The thing that truly kickstarted the Ratio and Aventurine ship in the fanbase, and the partnership between the two in general. It’s a direct reference to the final confrontation between Neff and Phyllis in the movie.

I’ll fire through all the similarities between the two scenes.

During the respective scenes, Aventurine and Phyllis both outsmart their partner one way or the other: Aventurine with his one-sided game of Russian Roulette, and Phyllis hiding her gun underneath the cushions until Neff turned away.

The guns are owned by Phyllis and Aventurine, not Neff and Ratio.

Phyllis couldn’t bring herself to fire any more shots after she realised she truly did love Neff. Ratio could do nothing but watch as Aventurine did what he did — he couldn’t even pull away if the LC animation is anything to go by him struggling as Aventurine firmly keeps the gun to his chest.

Neff says he doesn’t buy (believe) that Phyllis loved him. She then goes “I’m not asking you to buy […]”. The LC description has Aventurine ask Ratio “You don’t believe me?”, while in the LC animation Ratio straight up says “You expect me to believe you?” and Aventurine answering “Why not, doctor/professor?”

The visual composition of the LC and the scene are nearly identical, from the lighting to the posing to the way Aventurine looks at Ratio — Aventurine and Ratio are even wearing different outfits to fit the scene better. The background in the LC is also like the blinders in the movie, just horizontal.

In the shot where Phyllis’ face is more visible, the way she looks at Neff is strikingly like the way provocatively looks at Ratio. Even their eyes have a visible shine — Phyllis’ eyes brightly shining the moment she realised she really fell in love with Neff, and Aventurine having just a little light return to his eyes in that specific moment.

And now the differences!

Neff holds the gun in his right hand. Aventurine makes Ratio hold his gun in his left.

Neff is the one who takes the gun from Phyllis‘ hand. Aventurine is the one who places the gun in Ratio’s hand and fires it.

Three gunshots are fired. In the movie, Phyllis shoots the first shot and Neff the second and third. Aventurine unloads the gun and leaves only one bullet for this game of Russian Roulette. He pulls the trigger three times, but they all turn out to be blanks.

Phyllis does not break her façade of not smiling until the very last moment where she gets shot. Aventurine is smiling the entire time according to the light cone description, whilst in the animation, it’s only when he guides the gun to his chest that he puts it on.

So, you know how Neff meets Phyllis and it all goes off the rails from there. The way Neff goes from a decent guy to willingly involve himself in a murder scheme, having his morals corrupted by Phyllis. His world having been turned upside down the moment he lays eyes on Phyllis in that first meeting. Doesn’t that sound like something that happened with the Final Victor LC? Ratio, a man all about logic and rationality — a scholar with eight PhDs to his name — all of that is flipped on its head the moment Aventurine pulls out his gun in their first meeting and forces Ratio to play a game of Russian roulette with him. Aventurine casually gambles using his own life like it’s nothing and seemingly without fear (barring his hidden left hand). All or nothing — and yet Aventurine comes out alive after three blanks. Poetic, considering there’s a consumable in the game called “All or Nothing” which features a broken chess piece and a poker chip bound together by a tie. The poker chip obviously represents the gambler, but the chess piece specifically stands for Ratio because he plays chess in his character trailer, his Keeping Up With Star Rail episode and his introduction is centred around him playing chess with himself. Plus, the design of the chess piece has golden accents, similar to his own chess set. In the end, Aventurine will always be the final victor.

Furthermore, Neff had deduced that Phyllis wanted to kill her husband and initially wanted no part in it, but in a subsequent visit it was his own idea that they trigger the double indemnity clause for more money. As the movie progresses though, he starts to have his doubts (thanks in part to him befriending Lola) and makes the move to kill Phyllis when everything starts to come to light. It’s strikingly similar to how Ratio initially wanted no part in whatever Aventurine had in mind when they first met, but in the subsequent missions where they were paired up, he willingly goes along with Aventurine's risky plans, and they come to trust each other. Enough so that Aventurine and Ratio can go to Penacony all on their own and put on an act, knowing that nobody in the IPC other than them can enter the Dreamscape. The mutual respect grew over time, instead of burning passionately before quickly fizzling out like in the movie.

Basically, in one scene, three shots (blanks) start a relationship, and in the other, it ends a relationship. In the anan magazine interview with Aventurine, he says himself that “form[ing] an alliance with just one bullet” with Ratio was one of his personal achievements. The moment itself was so impactful for both parties that it was immortalised and turned into a light cone.

—

[THE ENDING — GOLDEN HOUR]

The ending of Double Indemnity that made it into the final cut has Neff continue his confession on the dictaphone until he realised that he wasn’t alone in the room. Keyes had come inside at some point, but none had said a thing, only listening to a dead man speak of his crime. When Neff sees Keyes, they talk for a moment, Neff says he plans on fleeing to Mexico. Keyes does not think he will make it. He tries to leave, only to collapse at the front of the elevator, Keyes following just behind him. Neff attempts to light a cigar but is too weak to do so, so Keyes does it for him.

Parts of the ending can still be attributed to the interrogation scene between Sunday and Aventurine, so I’ll make this quick before moving on to the conversation in Heaven Is A Place On Earth, Ratio and Aventurine’s final conversation together. Once Sunday mentions how quickly Aventurine gave up the suitcase, he inflicts the Harmony’s consecration on him, which forces Aventurine to confess everything that Sunday asks of. In a way, it’s the opposite of what happens in the movie — where Neff willingly tells the truth about the murder to his coworker. Aventurine does not like Sunday, and Neff is close to Keyes. Ratio also does not speak, similarly to how Keyes didn’t speak and stood silently off to the side.

Post-interrogation in Golden Hour, Ratio worriedly prods at Aventurine and asks him about his plan. He then gives him the Mundanite’s Insight with the Doctor’s Advice inside when Aventurine tells him to leave. Throughout Heaven Is A Place On Earth, Aventurine gets weaker and his head starts to buzz, until he falls to the ground before he can hand in the final gems. Similarly, Neff progressively grows weaker as he records his confession. Keyes says he’s going to call a doctor and Neff says he’s planning to go to Mexico. And when Neff collapses near the elevator, they talk one final time and Keyes lights Neff’s cigar as the other was too weak to do so himself.

—

[OPPOSITE TIMELINES AND DEVELOPMENTS]

Remember how I said the way certain events happen in the movie and the game are mostly opposite and reverse of one another? 

The Final Victor LC is the first meeting of Ratio and Aventurine, and Neff killing Phyllis is their final meeting.

Between that first and last meeting between Phyllis and Neff’s whirlwind romance, their relationship becomes strained which ultimately leads to Neff not trusting whatever Phyllis has to say at the end point of the movie. As for Ratio and Aventurine, the exact opposite had happened, to the point where Ratio trusts Aventurine enough to go along with his plans even if they went against his own ideals. The basis of the mission involved Veritas Ratio, whose full name includes the Latin word for “truth”, lying the entire time on Penacony.

Aventurine is sentenced to the gallows by Sunday after his unwilling interrogation. The movie starts and ends with Neff willingly confessing everything to Keyes.

It bears repeating, but I have to make it so clear that the trust between Ratio and Aventurine runs incredibly deep. Being able to predict what your partner says and thinks and plans in a mission as critical as the Penacony project is not something first-time co-workers can pull off flawlessly. All the while having to put on masks that prevent you from speaking sincerely towards one another lest you rat yourselves out. You have no way of contacting outside reinforcements from within Penacony, as the rest of the IPC are barred from entering. To be able to play everybody for fools while said fools believe you yourselves have handed your case on a silver platter requires a lot — trust, knowledge of the other, past experience, and so on. With Phyllis and Neff, the trust they had had been snuffed out when Neff grew closer to Lola and found out what kind of person Phyllis truly was on the inside. Phyllis did not trust nor love Neff enough and was going behind his back to meet with Zachette to possibly take Neff and Lola out. And the whole reason Neff wanted to perpetrate the murder was due to him being initially taken by Phyllis' appearance, which single handedly got the ball rolling on the crime.

Now then, how come trust is one of the defining aspects of Aventurine and Ratio’s relationship, when Phyllis and Neff’s trust eventually lead to both their deaths at the hands of the other? Sure, this can be explained away with the opposite theory, but there’s one other relationship involving Neff which I haven’t brought up in excruciating detail yet. The other side of Ratio and Aventurine’s relationship.

—

[NEFF & KEYES — AVENTURINE & RATIO]

Here is where it gets more interesting — while Phyllis and Neff are at the centre point of the movie, there is another character to whom Neff has a close relationship with — Keyes. It’s also the only relationship with no pretences, at least, until the whole murder thing happened and Neff had to hide his involvement from Keyes. Watching the movie, I couldn't help but feel there was something more to the two than meets the eye. I knew that queer readings of the film existed, but I didn't think too much of them until now. And though Aventurine and Ratio parallel Phyllis and Neff respectively, the fact that they also have traits of their opposite means that it wouldn’t be completely out of the question if parts of their relationship were also influenced by Keyes and Neff on a deeper and personal level. Let me explain.

Keyes and Neff were intimate friends for eleven years and have shown mutual respect and trust towards one another. They understood each other on a level not seen with Phyllis and Neff. Even after hearing Neff confess his crimes through the dictaphone (and eventually standing in the same room while Neff confessed), he still cared for the other man, and stayed with him when Neff collapsed at the front door. The only reason Keyes hadn’t deduced that it was Neff who was behind the murder was because he had his absolute trust in him. Keyes is also Neff’s boss, and they are always seen exchanging playful banter when they are on screen together. Neff even says the words “I love you, too” twice in the movie — first at the beginning and second at the end, as the final line. There’s also the persistent theme of Neff lighting Keyes’ cigarettes (which happens in every scene where they are face-to-face), except in the end where it’s Keyes who lights Neff’s.

Doesn’t that sound familiar? Mutual respect, caring too much about the other person, the immense amount of trust… Ratio says he’s even the manager of the Penacony project (which may or may not be a lie), and despite their banter being laced with them acting as “enemies”, you can tell that in Dewlight Pavilion pre-Sunday confrontation that Aventurine genuinely likes Ratio’s company and believes him to be a reliable person. From the way he acts carefree in his words to the thoughts in his head, as seen in the mission descriptions for Double Indemnity. Their interactions in that specific mission are possibly the closest thing to their normal way of speaking that we get to see on Penacony.

Not to mention, this is the way Neff describes Keyes. He even says (not in the script) “you never fooled me with your song and dance, not for a second.” Apart from the line about the cigar ashes, doesn’t this ring a bell to a certain doctor? “Jerk” with a heart of gold?

After solving the puzzle with the statues, Ratio jokingly offers Aventurine to join the Genius Society. Aventurine then goes "Really? I thought you’ve given up on that already", and then Ratio says it was, in fact, a joke. Solving the puzzle through brute force has Ratio telling Aventurine that the Council of Mundanites (which Ratio himself is a part of) should consider him a member. In the movie, where the scene with the phone call with Neff and Phyllis reiterating details of their plan happens, Keyes actually offered Neff a better job (specifically a desk job, as Keyes’ assistant). The two pairs saw the other as smart, equals, and were invested in each other’s careers one way or another.

Because of all this, the character parallels for this side of the relationship are as follows:

Aventurine - Walter Neff

Veritas Ratio - Barton Keyes

With the way I’ve talked about how Aventurine and Ratio take from both leads in terms, it does fit to say that Aventurine is Neff, and Ratio is Keyes in this layer of their relationship. Since we’re on the topic of Keyes, let me also go through some similarities with him and Ratio specifically.

Keyes says the words “dimwitted amateurs” in his first on-screen conversation with Neff. You can’t have Dr. Ratio without him talking about idiocy in some way.

Keyes almost only appears in the movie in relation to Neff, and barring a single interaction in Neff’s house, is also only seen in the office. Same with Phyllis, Ratio also only ever appears regarding Aventurine.

Keyes genuinely wanted the best for Neff, even offering to celebrate with him when he thought the case truly had been busted wide open by forces when Zachette entered the picture. You could say the same for Ratio, as he hoped that Aventurine wouldn’t dwell on the past according to his response on Aventurine’s Interview, as well as telling him to “stay alive/live on (CN)” and wishing him the best of luck in his Doctor’s Advice note.

Whether or not you believe that there was more going on with Neff and Keyes is up to you, but what matters is that the two were very close. Just like Ratio and Aventurine.

—

[THE ORIGINAL FILM ENDING]

Something that I hadn’t seen brought up is the original ending of Double Indemnity, where Neff is executed in a gas chamber while Keyes watches on, shocked, and afterwards leaves somberly. The ending was taken out because they were worried about the Hays Code, but I felt it was important to bring it up, because in a way, you can kind of see the Sunday interrogation scene as Sunday sending Aventurine to his death in seventeen system hours. And Ratio doesn’t speak at all in that scene, and Keyes doesn’t either according to the script.

Another thing that’s noteworthy is that Wilder himself said “the story was about the two guys” in Conversations with Wilder. The two guys in question are Keyes and Neff.

—

[THE NOVEL]

With the original film ending covered, now it is time to bring up the novel by James M. Cain. I bought the book just to read about the differences between the adaptation and the original source material, and to list a few more similarities and opposites I could gather. For this section alone, due to the changes in the (last) names of certain characters, I will be referring to Walter Huff (Neff in the movie) as Walter, and Mr. Dietrichson as Nirdlinger. The plot is pretty much the same as the movie’s apart from a couple of changes so there isn’t a need to recount everything.

From my two read-throughs of the novel, these are the following passages that stood out to me the most. Starting with Aventurine:

Walter, as a top businessman of the company, knows how to sway a deal and to get what he truly wants with what the other gives him. Aventurine is the same, reliant on his intuition, experience and whatever information he has on the table to claim the win. Him luring out Sparkle in Heaven Is A Place On Earth and his conversation with Acheron in the Nihility is indicative of that.

• "But you sell as many people as I do, you don't go by what they say. You feel it, how the deal is going. And after a while I knew this woman didn't care anything about the Automobile Club. Maybe the husband did, but she didn't. There was something else, and this was nothing but a stall. I figured it would be some kind of a proposition to split the commission, maybe so she could get a ten-spot out of it without the husband knowing. There's plenty of that going on. And I was just wondering what I would say to her." 

Phyllis, like in the movie, had been hiding her true intentions of talking to Walter in their first conversations, always saying things that she didn’t actually mean. In a similar vein, Aventurine consistently says stuff but almost never truly means any of it, which is all part of his façade.

• "And I could feel it again, that she wasn't saying what she meant. It was the same as it was the first afternoon I met her, that there was something else, besides what she was telling me. And I couldn't shake it off, that I had to call it on her."

When discussing the murder plan with Phyllis, Walter makes this comment, kind of like how Aventurine seems to operate in a way where he has a plan, but is ready to improvise and think fast when needed.

• "And then it's one of those things where you've got to watch for your chance, and you can't plan it in advance, and know where you're going to come out to the last decimal point."

Remember the roulette wheel line from the movie? In the novel, the gambling metaphor that Walter makes about the insurance business goes on for two paragraphs, mentioning a gambling wheel, stack of chips, a place with a big casino and the little ivory ball, even about a bet on the table. Walter also talks about how he thinks of tricks at night after being in the business for so long, and how he could game the system. Needless to say, insanely reminiscent of Aventurine.

• "You think I’m nuts? All right, maybe I am. But you spend fifteen years in the business I’m in, and maybe a little better than that, it’s the friend of the widow, the orphan, and the needy in time of trouble? It’s not. It’s the biggest gambling wheel in the world. It don’t look like it, but it is, from the way they figure the percentage on the oo to the look on their face when they cash your chips. You bet that your house will burn down, they bet it won’t, that’s all. What fools you is that you didn’t want your house to burn down when you made the bet, and so you forget it’s a bet. To them, a bet is a bet, and a hedge bet don’t look any different than any other bet. But there comes a time, maybe, when you do want your house to burn down, when the money is worth more than the house. And right there is where the trouble starts." • "Alright, I’m an agent. I’m a croupier in that game. I know all their tricks, I lie awake thinking up tricks, so I’ll be ready for them when they come at me. And then one night I think up a trick, and get to thinking I could crook the wheel myself if I could only put a plant out there to put down my bet." • "I had seen so many houses burned down, so many cars wrecked, so many corpses with blue holes in their temples, so many awful things that people had pulled to crook the wheel, that that stuff didn’t seem real to me anymore. If you don’t understand that, go to Monte Carlo or some other place where there’s a big casino, sit at a table, and watch the face of the man that spins the little ivory ball. After you’ve watched it a while, ask yourself how much he would care if you went out and plugged yourself in the head. His eyes might drop when he heard the shot, but it wouldn’t be from the worry whether you lived or died. It would be to make sure you didn’t leave a bet on the table, that he would have to cash for your estate. No, he wouldn’t care."

Returning home from the murder, Walter attempted to pray, but was unable to do it. Some time passed and after speaking to Phyllis, he prayed. Aventurine presumably hadn’t done the prayer ever since the day of the massacre, and the first time he does it again, he does it with his child self.

• "I went to the dining room and took a drink. I took another drink. I started mumbling to myself, trying to get so I could talk. I had to have something to mumble. I thought of the Lord's Prayer. I mumbled that, a couple of times. I tried to mumble it another time, and couldn't remember how it went." • "That night I did something I hadn’t done in years. I prayed."

Phyllis in the book is much more inclined towards death than her movie version, even thinking of herself as a personification of death. She’s killed ten other people (including infants) prior to the events of the novel. Something to keep in mind as Aventurine had mentioned several times that he attempted to kill himself in the dream, plus his leadup to his “grandest death”. Just like Phyllis, he’s even killed at least a few people before, though the circumstances of that were less on his own volition and more so for the sake of his survival (i.e. the death game in the maze involving the 34 other slaves where he was the winner and another time where he murdered his own master). Instead of Phyllis playing the active role of Death towards everybody else, Aventurine himself dances with Death with every gamble, every time his luck comes into play. Danse Macabre.

• "But there’s something in me, I don’t know what. Maybe I’m crazy. But there’s something in me that loves Death. I think of myself as Death, sometimes." • "Walter, The time has come. For me to meet my bridegroom [Death]. The only one I ever loved."

Moving on to Ratio:

Walter says several times that it’s hard to get along with Keyes, and how he says nice things after getting you all worked up. A hard-headed man to get along with, but damn good at his job. Sound like someone familiar?

• "That would be like Keyes, that even when he wanted to say something nice to you, he had to make you sore first."  • "It makes your head ache to be around him, but he’s the best claim man on the Coast, and he was the one I was afraid of."

Keyes sees Walter as smarter than half the fools in the company. Ratio can only stand the company of Aventurine in regards to the IPC.

• "Walter, I'm not beefing with you. I know you said he ought to be investigated. I've got your memo right here on my desk. That's what I wanted to tell you. If other departments of this company would show half the sense that you show—" • "Oh, he confessed. He's taking a plea tomorrow morning, and that ends it. But my point is, that if you, just by looking at that man, could have your suspicions, why couldn't they—! Oh well, what's the use? I just wanted you to know it."

After going on a rant about the H.S. Nirdlinger case (Phyllis’ husband) and how Norton is doing a horrible job, he ends it by saying that it’s sheer stupidity. “Supreme idiocy”, anybody?

• "You can’t take many body blows like this and last. Holy smoke. Fifty thousand bucks, and all from dumbness. Just sheer, willful, stupidity!"

Phyllis’ former occupation as a nurse is more elaborated on, including her specialization — pulmonary diseases. One of Ratio’s crowning achievements is curing lithogenesis, the “King of Diseases”.

• "She’s one of the best nurses in the city of Los Angeles. […] She’s a nurse, and she specialized in pulmonary diseases. She would know the time of crisis, almost to a minute, as well as any doctor would."

As for the murder scheme, they talk about it a lot more explicitly in the novel. Specifically, Walter mentions how a single person cannot get away with it and that it requires more people to be involved. How everything is known to the party committing the crime, but not the victim. And most importantly: Audacity.

"Say, this is a beauty, if I do say it myself. I didn't spend all this time in the business for nothing, did I? Listen, he knows all about this policy, and yet he don't know a thing about it. He applies for it, in writing, and yet he don't apply for it. He pays me for it with his own check, and yet he don't pay me. He has an accident happen to him and yet he don't have an accident happen to him. He gets on the train, and yet he don't get on it."

"The first is, help. One person can't get away with it, that is unless they're going to admit it and plead the unwritten law or something. It takes more than one. The second is, the time, the place, the way, all known in advance—to us, but not him. The third is, audacity. That's the one that all amateur murderers forget. They know the first two, sometimes, but that third, only a professional knows. There comes a time in any murder when the only thing that can see you through is audacity, and I can't tell you why."

"And if we want to get away with it, we've got to do it the way they do it, […]" "Be bold?" "Be bold. It's the only way."

"I still don't know—what we're going to do." "You'll know. You'll know in plenty of time."

"We were right up with it, the moment of audacity that has to be be part of any successful murder."

It fits the situation that Aventurine and Ratio find themselves in extremely well: For the first point— Aventurine would not be able to get away with simply airing out details by himself, as that would immediately cast suspicion on him. Having another person accompany him who not only isn’t really a part of the IPC in name (as the IPC and The Family have a strenuous relationship) but would probably be able to get closer to Sunday because of that means they can simply bounce off each other without risking as much suspicion with a one-man army. Which is exactly what Ratio and Aventurine do in the conversations they have on Penacony. Secondly — they knew how Sunday operates: as a control freak, he leaves no stone unturned, which is how he became Head of the Oak Family, so their acting required them to give off the impression that a. they hated each other, b. Ratio would go against Aventurine’s wishes and expose him in return for knowledge, c. there were only the two Cornerstones that were hidden. This would give Sunday the illusion of control, and lead to Sunday to lower his guard long enough for Aventurine to take the gift money in the end. The pair knew this in advance, but not Sunday. And thirdly — the plan hinged on a high-level of risk. From breaking the Aventurine Cornerstone, to hoping that Sunday wouldn’t find it in the gift bag, to not telling Ratio what the true plan is (meaning Ratio had to figure it out on his own later on), to Sunday even buying Ratio’s story, it was practically the only way they could go about it. “Charming audacity”, indeed.

An interesting aspect about the novel is that the ending of the novel is divergent from the movie’s final cut and the original ending: Phyllis and Walter commit suicide during a ferry ride to Mexico. The main reason this was changed for the movie was because of the Hays Code, and they wouldn’t allow a double suicide to be screened without reprecussions for criminals. There’s also a bunch of other aspects that differentiate the novel from the movie (no narration-confession as the confession happens in a hospital, less characterization for Keyes and instead a bigger focus on Lola and her boyfriend, the focus on the murderous aspect of Walter and Phyllis’ relationship instead of actual romance, Walter falling in love with Lola (with an unfortunately large age gap attached), etc.)

As for the ending, this wouldn’t even be the first romance media reference related to Aventurine and Ratio where both the leads die, with the other being The Happy Prince and San Junipero (in relation to the EN-only Heaven Is A Place On Earth reference), which I normally would chalk up as a coincidence, though with the opposite line-of-thought I have going on here (and the fact that it’s three out of four media references where the couple die at the end…), I think it’s reasonable to say that Ratio and Aventurine will get that happy ending. Subverting expectations, hopefully.

—

[THE HAYS CODE — LGBT CENSORSHIP IN CHINA]

I’ve brought up the Hays code twice now in the previous two sections, but I haven’t actually explained what exactly it entails.

The Hays Code (also known as the Motion Picture Production Code) is a set of rules and guidelines imposed on all American films from around 1934 to 1968, intended to make films less scandalous, morally acceptable and more “safe” for the general audiences. Some of the “Don’ts” and “Be Carefuls” include but are not limited to…

(Don’t) Pointed profanity

(Don’t) Inference of sex perversion (which includes homosexuality)

(Don’t) Nudity

(Be Careful) Sympathy for criminals

(Be Careful) Use of firearms

(Be Careful) Man and woman in bed together

What does this have to do with a Chinese gacha game released in 2023? If you know a little bit about miHoYo’s past, you would know that pre-censorship laws being upheld to a much stronger and stricter degree, they had no problem showcasing their gay couples in Guns Girl Z (Honkai Gakuen 2/GGZ) and Honkai Impact 3rd, with the main three being Bronya/Seele, Kiana/Mei (admittedly the latter one is a more recent example, from 2023), and Sakura/Kallen. Ever since the Bronya and Seele kiss, censorship in regards to LGBT content ramped up, causing the kiss to be removed on the CN side, and they had to lay low with the way they present two same-sex characters who are meant to be together. They can’t explicitly say that two female or male characters are romantically involved, but they can lace their dynamics with references for those “in the know” — Subtext. Just enough to imply something more but not too much that they get censored to hell and back.

So what I’m getting at is this: The trouble that Double Indemnity had to go through in order to be made while also keeping the dialogue of Phyllis and Neff as flirtatious as they could under the Hays Code among other things is quite similar to the way Ratio and Aventurine are presented as of now. We never see them interact outside of Penacony (at least up until 2.2, when this post was drafted), so we can only infer those interactions specifically until they actually talk without the fear of being found out by Sunday. But, there’s still some small moments scattered here and there, such as when Aventurine goes near Ratio in the Dewlight Pavilion Sandpit, he exclaims that “the view here is breathtaking” (he can only see Ratio’s chest from that distance) and that Ratio could “easily squash [him] with just a pinch”. Ratio then goes “If that is your wish, I will do so without a moment’s hesitation.” Not to mention the (in)famous “Doctor, you’re huge!” quote.

It’s not a coincidence that Ratio and Aventurine have three explicit references to romance media (Double Indemnity, Spellbound, Oscar Wilde’s The Happy Prince), possibly even four if you take the EN-only Heaven Is A Place On Earth as a reference to Black Mirror’s San Junipero. It’s not a coincidence that the storylines or characters of said references parallel the pairing, from surface-level to deep cuts. It’s not a coincidence that the CN voice actors were asked to “tone it down” by the voice director when it came to their chemistry. It’s not a coincidence that Aventurine has only flirted with (three) men throughout Penacony, even referring to a Bloodhound NPC as a “hunk of a man” inside his thoughts, all the while ignoring Himeko and Robin when it came to their looks — women who are known across the cosmos with a myriad of adoring fans. There are so many other so-called “coincidences” related to the two that you could make an iceberg just based on versions 2.0-2.2 as well as content miHoYo themselves have put out on social media. They absolutely knew what they were doing, and were trying to get their point across through subtle means — the extent they went to with the Double Indemnity reference while also keeping it under wraps from a “surface” level point of view is proof of this — the implications are there if you take the time to look for them, and are simply hard to ignore or deny once you do find them.

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[CONCLUSION]

This was supposed to be short considering the other analyses I’ve seen were also pretty short in comparison, but I couldn’t get the movie out of my head and ended up getting carried away in the brainrot. I hope you could follow along with my line of thinking, even with the absurd length of this post, and the thirty-image limit. I tried to supplement context with some links to videos and wiki pages among other sources wherever I can to get around it.

I will end it with this though — the love in the movie turned out to be fake and a farce, going off track from what was a passionate romance in the beginning because of the murder scheme. Meanwhile, the whole reason why Ratio and Aventurine can pull off whatever they want is because of their immense trust in one another. What was initially shown to be distrust in the Final Victor LC grew into something more, for Ratio, someone who would have never put faith into mere chance and probability before this, put his trust in Aventurine, of all people.

TL;DR — (I get it, it’s over ten thousand words.)

Not only is the relationship between Neff and Phyllis represented in the deception and acting side of Ratio and Aventurine, but the real and trusting side is shown in Neff and Keyes. They have a fascinating, multi-layered dynamic that is extremely fun to pick apart once you realise what’s going on underneath the bickering and “hatred” they display.

Many thanks to Manya again for making the original thread on the movie. I wouldn’t be here comparing the game and movie myself if it weren’t for that.

By the way, I really do believe that Shaoji totally watched this movie at least once and really wanted that Double Indemnity AU for his OCs. I know exactly how it feels.

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Other points I'd like to mention that didn't fit anywhere else in the main analysis and/or don’t hold much significance, have nothing to do with the Penacony mission, or may even be considered reaching (...if some of the other points weren’t). Just some potentially interesting side bits.

Phyllis honks three times to signal Neff to go for the kill. That, and the three gunshots in the confrontation. Aventurine is all about the number three.

The height difference Aventurine and Ratio have going on is close to Phyllis and Neff’s.

Phyllis had killed her husband’s previous wife and went on to marry Mr. Dietrichson, pretty much taking the wife’s place. Aventurine killed his previous master, and had taken certain attributes from him like his wristwatch and the rings on his hand and the “all or nothing” mantra.

When calling Ratio a wretch (bastard), Aventurine smiles for a moment. This is exclusive to the EN, KR and JP voiceovers, as in CN, he does not smile at all. (Most definitely a quirk from the AI they use for lip syncing, but the smile is something that’s been pointed out quite a few times so I thought I’d mention it here.)

Sunday specifically says in the CN version that he knew of Aventurine's plans the moment Aventurine left the mansion, meaning that he realized he had been played the fool the moment Ratio and Aventurine talked in Golden Hour

In the description for the "All or Nothing" consumable, teenage Aventurine says this specific line: "Temptation is a virtue for mortals, whereas hesitation proves to be a fatal flaw for gamblers." According to Ratio, this is Aventurine's motto - he says as such in Aventurine's Keeping Up With Star Rail episode. Note that in the anan interview he explicitly says he does not have a motto, and yet Ratio in the video says otherwise. They definitely have to know each other for a while for Ratio to even know this.

A big reason why Neff even pulled off the murder scheme in the first place was because he wanted to see if his good friend Keyes could figure it out, the Mundane Troubles Trailblaze Continuance showcases Ratio attempting to teach the Herta Space Station researches a lesson to not trust the Genius society as much as they did.

In Keyes’ first scene he’s exposing a worker for writing a policy on his truck that he claimed had burnt down on its own, when he was the one who burnt it down. Ratio gets into an Ace Attorney-style argument with the Trailblazer in Mundane Troubles.

Neff talks repeatedly about how it won’t be sloppy. Nothing weak. And how it’ll be perfect to Phyllis, and how she’s going to do it and he’s going to help her. Doing it right — “straight down the line”. Beautifully ironic, considering what happens in the movie, and even more ironic as Ratio and Aventurine’s scheme went exactly the way they wanted to in the end. Straight down the line.