#no one has to read this post btw\

[ryssbelle]

Drew a bunch of Marinettes in a bunch of different artists styles it was a lot of fun!!

Artists who's styles I mimicked: @buggachat @hamsternamedmarinette @ladybeug @sabertoothwalrus and @anna-scribbles all epic artists 🤟😎

[stupiderat]

The Trickster, The Fool, and The Lost Children

Harpy Hare Where have you buried all your children? Tell me so I say!

part 2 of this post

[mattodore]

again you beg and whine to lick as dog to beg in need of wanting bite the bit he says so hard to need inside to beg how deep

[starflungwaddledee]

Oooo starstruck dee has little stars at the bottom of her feet! Are they just aesthetic or would they make imprints into the ground? (like pawprints)

exactly like that! though she's not the only one...

edit: might need to add some additional dialogue to this to make it more clear, but a clarification in the interim; he knows about his own footprints. he's just surprised to see something similar already there when he knows he's only just landed. he lifts his own shoe to confirm that they're not identical (and also to reveal this to the viewer). seems his stoicism beat off the clarity in this one, sorry 😭

[revenantghost]

Sometimes I think about how Nightow said something like (and I'm paraphrasing here) Vash only stays "Vash the Stampede" at the end of Trimax and continues to play that role simply because he doesn't know what to do

[57sfinest]

calling harry a “can opener” was SUCH a good play for so many reasons i think about it every day.

in the context of his work, it makes him a tool. as many people have pointed out, including martin luiga, part of the hdb tragedy is that he simply cannot leave the force, and his superiors know that and are using it to their advantage. no matter what happens, even if harry hated every nanosecond of every bit of the work and wanted to leave, he can’t and won’t leave. they can leverage anything they want against him and then reel him back in with a facade of kindness when they “allow” him to keep his job, as long as he does what they want him to. the 41st knows he has this inexplicable talent with people and they use him for it. he’s a cop: that talent can be used in so many awful ways, to push so many different agendas. and they won’t even be his own. a can opener has no particular desire to open a can, aside from maybe the satisfaction of fulfilling a purpose. a can opener has no agency, it’s just a tool for someone else to use to get what they want. and he’s learned to be okay with being used as long as it means he gets to stay. his complacency with this system makes him guilty even if he’s also being harmed by it.

but in the context of his personal life you kind of... flip it. the people around him are going to be opened up whether they want to be or not, and it’s terrible for his relationships. it’s shown that the questions, the prying- the can-opening- it’s become inextricable from who he is as a person. it’s like he doesn’t know how else to communicate, except it’s hardly communication when you’re just ripping people open. he’s invasive as all hell, although whether he means to be is debatable. he’s the kind of person that wants to take things apart to see what makes them tick. he dissects people, but really that’s too delicate of a word for what he does; if he doesn’t get what he wants right up front, he’ll abandon all subtlety and go for brute force. if he can’t get your screws loose he’ll just smash you on the ground and pick through your pieces until he’s satisfied, and if what he did to you isn’t fixable? oh well, there are other cans to open. 

and he’ll use it for personal gain: we already know he is (was?) manipulative. once he knows how you operate, he knows how to make you keep him. he can yell or he can cry; he can threaten you or he can threaten himself; he can be completely suffocating or he can withdraw completely; he can be an incorrigible liar or brutally honest; he can present himself as a threat or a joke or a talent. he’s a chimera- that’s why he’s got this inexplicable magnetism, even when people know they shouldn’t like or trust him. fidelity of character means nothing to him. he’ll be whatever he needs to be as long as it gets him what he wants. the can-opening is just his way in.

[wyrmswears]

Hiii!

I know the au ain’t about Jay, but does he have an animal form? How did Edd & Eddna found him or he does not exist?

I do apologize for the amount of questions not being libber related😞

Pd. I also love wolf children i imagine Libby just recreating the feral Yuki scene right?

Hellooooo!! Had to think about this for a bit; I really didn't give Jay too much mind when making this AU lol. Nonetheless, I really enjoyed getting to flesh out this AU further using your questions so thank you so much for asking! :D I made the AU for Libber and Ice but it's always fun to expand on other characters and how the changes the AU makes affects them.

This post turned out longer than I expected (oops. I love infodumping about my AUs, sorry lol) so the answers in their entirety are under the cut! Spoilers for Prime Empire and Dragons Rising (though nothing particularly about s2) are mentioned though.

The short answers are: Jay is still adopted, Libber left him at the Walkers' doorstep before dying. And yes, Jay has a wolf form like Libber does, but he can't access it until after the Merge.

The long answers:

The second question is easy - the comic on my other post initially had a third page that would've answered this but I found it difficult to get to flow well so I scrapped it. When the Walkers arrive home after coming across Libber, they find Jay on their doorstep. The idea is that she had left him at a safe place as a final act before succumbing to whatever killed her. (Much like in Wolf Children, I don't have a particular cause of death thought out.) Ed and Edna don't make the connection between the child on their doorstep and the wolf on the highway of course, because why would they?

As for whether Jay has an animal form... On one hand I find it very amusing when characters of non-human heritage turn out to be just normal humans, and Cliff Gordon is still completely human in this AU, but I also think it'd be boring to ignore his heritage completely for the sake of the bit. After mulling it over I've come up with this:

Jay grows up showing quirks that align with him being half raijū, but nothing that can't be explained by him being the elemental master of lightning or just a peculiar (and probably neurodivergent) child; these are things like a fascination of thunderstorms, abnormal resistance towards electrical shocks, hyperactivity, a tendency to chew on things...

He has no idea that his biological mother wasn't human until after the events of Prime Empire when Wu, now aware that Jay knows he's adopted as he used it to reason with Unagami, requests to speak to Jay privately. He explains that, if Jay has an animal form then he shouldn't feel like he has to hide it from the team as he is sure that they'd accept him, much like Libber's teammates accepted her. This is sweet and all, but Jay is very confused what he means about having an animal form. And thus begins the explanation of who or what exactly Libber was.

After learning that he isn't completely human, Jay isn't really upset - hell, Zane and Lloyd have both dealt with the same thing and it turned out fine - but he only talks about it with Nya. This is part of my general characterisation of Jay where I feel like he doesn't keep too many deliberate secrets, but does only mention certain things about himself on a need-to-know basis meaning that, while he doesn't care if the team knows he's adopted, only Nya, Zane, and Pixal know that he is (Zane and Pixal for being present at the end of Prime Empire). Nya 'needs to know' because she is his yang thank you very much. Nya helps him to research about raijū and they find out that they can come in a variety of forms. Jay thinks he'd look like a noble and mighty creature, maybe a lion or an eagle. Nya thinks he'd be a chihuahua.

Nonetheless, that seems to be the extent of it; Jay doesn't figure out if he has an animal form or how to use it, and all that's changed is that Nya has become a lot more aware of her yin's oddities. That is, until Dragons Rising.

I think after the Merge, Jay has no issues with accessing his animal form: much like his mother, he's a wolf-like canid. If you told him, he'd probably never believe that he had spent the first 20-or-so years of his life with no clue to his heritage and no abilities related to it when his natural state of self after getting amnesia is to flux between forms. Maybe it developed as one of the strange effects of the Merge, or maybe its a new ability as a result of his environment, much akin to Cole's rock golem. Nonetheless, it serves as a message to Nya that this isn't the same Jay she knew before the Merge. He flaunts his heritage to the team that he never told and has changed, both physically and as a person, without her there to see.

As for the P.S, I'm not entirely sure what scene you are talking about - there's quite a few where I imagine Yuki could be described as feral lol - but Libber is overall quite alike to Yuki in my mind, particularly when she is younger and less concerned with hiding her wolf side.

[lawva-girl]

Historically.. We don't mix.

Law x fem!Reader, College AU

Notes: the things that don't mix are history and stem majors!!! this came to me in a dream forever ago and ive been sitting on it since. This is only part one to... idk how many but yes! I have a loose outline, we can bet on 5 parts but thats a scary bet to make methinks. Enjoy :) also i apologize if the pov switching in the first bit is weird, i thought i was cooking and i kinda think its cute now so it is.

WC: 1976

The classroom was quiet, you were the only one there. Class officially started in 4 minutes. Right as you pulled out your phone to double check the room another person walked in. You assumed she was a student since she was about your age, at least she looked it. When the woman instead walked to the front of the class you realized she was the professor. Shoulder length black hair, with bangs trimmed right to her eyebrows. Wearing a white cowboy hat, which you thought was peculiar. 

She removed the hat and set it on the desk, resting her bag in the seat. 

She wrote on the board “Robin, overview of women in war” then she leaned against the desk and pulled out her phone.

You looked back at yours, 11:18. Two minutes until class began, and there was now roughly 15 people in the room. You sat in the second row back from the front, and you noticed only one person in the front row. He had a weird beanie on, dark hair, and pierced ears. You tried not to stare, since you knew he could glance back at any second.

“Okay everyone, I am Nico Robin. I’m your professor.” She smiled for the class, and continued, “this class should be very exciting, we get to learn about women like Joan of arc, who really was a delusional farm girl, and Molly Pitcher, a women who fought in the American revolution. The syllabus is online, you will need books by next class. The student store has them for 15 dollars, I won’t take any excuses.” 

The professor paused, then opened her bag and pulled out the book, “it looks like this. It’s a small booklet of primary sources, mostly text and images, that we will take a deep dive into. Your grade this semester will be 40 percent exams, 25 percent homework, and finally 35 percent participation. Yes it is a lot, this class is modeled after my time researching, you cannot be a historian or teacher without being able to work as a group and communicate. I know it’s a challenge but try your best.”

A beat.

Law felt sick. He was not a talker, especially to people who were history majors. The men were always blood hungry, the women always poetic. This class would be rough, but if he could find one person bearable enough it might be okay. Sitting in the front seat, he couldn’t glance around to see his peers. While the professor was going on about the school's mandatory syllabus information, he took a quick look behind him, as if checking the clock. 

No one was paying attention, and he glanced quickly around the class. There was only one person who looked back at him, meeting his eyes. Of course they looked away immediately, and so did he.

The professor finally finished and gave the students time to “meet their neighbors”. Law turned and found the one student who made eye contact with him. 

“I’m Trafalgar Law, I’m a double major in history and biology.” He stated right to the girl, with no excitement in his voice, tone steady.

“My name is Dracule y/n, I’m a history major, and you are insane, Trafalgar.” She had a bit of sarcasm in her tone, which he took offense to. She was the fifth person to tell him that today.

“I’m not insane, I just like history and I want to be a doctor.” 

“That’s cool I guess, I’ve never met a stem major I liked though. You guys are all so “history is just memorization and dates”, I can’t stand talking to ‘em.” 

Law looked back at her and thought ‘I have never met a history major I liked either’. He decided on saying, “If you ask me historians are basically philosophers, you just think all day and pretend like the world changed.” 

She made an obvious frown, putting her hands onto the table with a bit too much force. “Huh?!”

“History majors have two options, teach or research, both are dead end jobs that don’t help people. It’s simple.” He stated nonchalantly, like it was crazy to major in history. 

“Well life isn’t all about jobs and helping people. It’s about living?” She looked him dead in the eyes before finishing with, “it’s not like the world collapses when doctors aren’t around.” 

“Well it was nice talking, but I’m gonna chat to my other neighbors.” He said with a huff, he didn’t have to talk to you at all, in fact he hoped he wouldn’t have to again. 

After about 10 more minutes, professor Robin spoke up again, “okay okay, since we don’t have textbooks yet I decided to make a fun assignment. I’m giving you your first and last handouts, you will need to fill them out before next class. Other than that, please look at the canvas page. Read over the syllabus and take my obligatory syllabus quiz. You are now free from this class.” 

You walked out into the hall, and booked it to the student store. You told your only friend and sister, Perona, that you would meet her there.

Law, coincidentally, told Bepo the same thing. Bepo was his only friend, having grown up with the white haired bear. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Only 10 minutes after class had dismissed you arrived at the store, already spotting Perona’s pink pigtails. 

“perona!” You whisper-screamed in her ear, trying to scare her. 

“Ahhh y/n”, she sighed, clearly unaffected, “you know you’ll never scare me. Anyways, what is my cute depressed friend doing on Friday?” 

You and her walked into the store, “studying... So I’m busy.” Giving her a quick smile before you two settled in the textbook section. 

“You are so coming with me then! I’m going to the mall that’s next to campus, I’m already so bored of our dorm room decorations. If we go to 5below I can get way cuter stuff for us! You need to come since it’s your dorm too, so I won’t take no for an answer.”

“Perona you have really good taste in stuff, you should be fine on your own!” You put some enthusiasm behind your voice, to encourage her. 

She frowned back at you, not buying into your typical antics. “If you don’t come then you won’t be leaving all weekend! You need to go outside y/n!” 

“Perona!? Hi!” A voice from behind you called out to her, causing you to turn instantly. 

“Bepo! What a coincidence! Do you have a picture of the textbook we need for thermodynamics?” Perona said, already stepping towards the bear.

“Of course! I have to be studious this year!” 

The two of them found the text book, it costed a whopping $300 dollars, and was written by their professor. 

“We can share, right Bepo? That way it’s only 150 dollars?” The both of them had a cloud over their heads as you watched the sad situation unfold. Peronas face was for sure one of desperation.

“Wait is there a digital version? It’s usually cheaper.” You suggested, reaching to pull out the info card. 

“Bepo! I’ve been looking.” Whoever said that sounded quite angry, and familiar?

“I’m sorry Law! I saw my classmate and got excited… sorry” Bepo turned to face the man. 

“You couldn’t have texted? just once?” Law replied, only just then looking at the two people who were with Bepo.

“Great this guy again.” You said with sarcasm dripping from your voice and turned to Perona, “we should leave, he hates me.” 

“I don’t hate you. I don’t even know you.” Law said, pinching his nose.

“Whatever, do you have Bepo’s number Rona?” Calling her by her self appointed nickname always made her happy, right now you were hoping it would get her to leave with you to the history section. 

“I don’t actually! Bepo! Here, put your number in!” She said with a smile, being way more friendly than usual. “I’m Perona by the way, how do you know my friend y/n?” 

It was a simple question but the way he answered really bugged you, rattling off a “we have a class together”. He was looking down at his phone and didn’t even bother to look up when he answered. Hell he didn’t even bother to introduce himself! 

“His name is Trafalgar by the way, we have women in war together.” You had a straight face, conveying how much it bothered you well.

“Awww how wonderful!” Perona had an enthusiastic tone but looked at you with a smirk like no other. “Would you be her friend? I’m the only one she has right now!” 

You cursed your friend and her constant medling. She loved to stir the pot, and when you got upset she would always say “you are so cute when you’re mad though!” With her words to Law, he finally looked up. 

He opened his mouth to speak, but was instantly interrupted. 

“He only had one friend too!” Bepo handed back Perona’s phone, “it’s me!” He said with a big smile.

“He seems like he would have no trouble! My y/n is super awkward and shy!” Perona practically ignored you, as you had started to form words before she interrupted you.

“No no! He’s pretty judgmental so a lot of people stay away from him, he also thinks he’s smarter than everyone!” Bepo replied back, as if they were two parents gossiping about their kids.

“She thinks the same! Maybe they could be friends?” Perona and Bepo look at you and Law.

“I am smarter!” Both you and law said in unison. Immediately looking at each other with frustration.

“Don’t say what I say!” You said to law.

“How would I know what you were going to say? Do you even think?” Law argued back.

“Of course I do! Do you?” You couldn’t think of anything better… 

“Good one. Bepo we’re leaving.”

“Rona we are leaving too! At least I don’t constantly speak in contractions…”

Law turned his head so you would hear, “you just said one too!” 

You and Perona had already turned the corner, you quickly led her to the history section. You spared her no look, you figured you would talk about it once the two of you got back to the dorm. Once you reached the history section, you squatted down in front of the book you needed and saw there were 3 left. Grabbing one then standing. Just as you were about to go pay for the book, you heard him again.

“Are you following me Dracule? Typical.” He said, with a touch of sarcasm. 

“Typical? We both know you don’t have anyone interested enough to follow you. Also, are you even thinking? We are in the same class so of course we would both need the same book.” 

“Whatever, I’m getting my book and leaving.” He quickly bent over, grabbed a copy and was gone.

“No comeback!?” You said, just a bit too loud. You wanted him to hear you, so that he knew you knew he couldn’t come up with anything. Feeling a bit triumphant you turned to Perona, who was standing behind you with a smile. 

“What now?” 

“He’s cute y/n!”

“No chance. He’s mean, and a biology major!” 

She scoffed, “there is always an exception to the rule! Like me!” 

“Yes Rona, an exception. A single exception. There can’t be two exceptions.” 

“Anything could happen! Plus if me and Bepo end up sharing a book you might be forced into hanging out with all of us! Who knows, maybe they also share a dorm!” 

You sigh and look at her, she looks so happy at the prospect that you might have a friend, especially one that’s a guy. You settled, your good side winning out. “Fine. I’ll be open to it. Only if he is nicer.” 

[butchniqabi]

Nature became land, conceivable only in terms of property, laid bare of myth, custom, tradition. Land if it were to function as land, needed not men, nor communities, but so many units of labor-power. The Middle Passage, it must have been assumed, was wide and deep enough to exile the tribal African from all the social customs and traditions that defined him as a man rather than a labor unit.

-Sylvia Wynter, Black Metamorphosis New Natives in a New World

[hororona]

nico robin and her smile

hiiii ok has anyone else ever thought about the person robin was before joining the straw hats? like who she was when she was at her worst? because i do. a lot. so go along with me here

from her introduction, robin has this very small smile that feels cunning and is seemingly meant to taunt luffy and co. it creates a sense that there's a canyon's depth of difference in power between her and the others.

robin's is a subtle character in her expressions compared to most other major characters in the series. and i think it fits her background of having to work in subterfuge. (???)

she maintains this expression throughout multiple scenes. the same shape of her smile that is so exact that it has to be with intention. this is the face of ms. all sunday. this is the person robin had to be in order to survive.

and yet each one still has it's differences and that's robin being not so perfect at hiding her true feelings (which btw i love that robin will always be exactly who she is). she's stressed or even strained at times. while also feeling perfectly at ease, but still performing a role.

i think for the most part. robin didn't mind what she had to do or who she had to be. because she's pragmatic, but she was definitely bothered by vivi and the strawhats. they're the ones who cause robin to show anything other than that static smile. notably when she is faced with vivi and luffy's determination.

and i've rambled about it once before robin is a kind woman at heart and who has a soft spot for the crew + vivi. their earnestness breaks through her own desire/need to not care for the effect her actions have on the lives of others.

notably the only times robin does seem to genuinely smile is in small sudden outbursts around luffy when something he does makes her laugh.

and throughout the rest of the alabasta arc. robin's clearly uncomfortable with facing the real destruction of alabasta at crocodile and her hands. later revealing that she never planned on helping him obtain the poseidon weapon. she never once smiles, instead dropping everything to focus on getting to the poneglyph.

after that though? she does her miss all sunday smile one last time when she asks luffy to join his crew. it's a famous panel, we all know it, we all love it.

the longer robin was with the straw hats. the more she began to genuinely smile. it's well established that being on the crew brought back joy and laughter into robin's life, that being with them gave her a reason to live again. but it was a slow start until we got to see this robin more often and more freely who is cheered by everyone's bright youth and excitement in being alive in a ways that she never had been allowed.

[hephaestuscrew]

"Minkowski's been talking about Sondheim again…": Minkowski's love of musical theatre and what it reveals about her characterisation and her relationships

TL;DR: Renée Minkowski's love of musicals, while it might seem just like a mundane character detail, is used to give depth to her character because it contrasts with expectations of her from both the listening audience and the other characters. Her willingness or unwillingness to share this interest in different circumstances reveals her relationships with other characters at various points. Since this is a long one, if you'd rather read it as a document, you can view it here: Google Doc version.

"She actually really cares about these talent shows": Episode 8 (Box 953)

In the early episodes of Season 1, Minkowski is presented (largely through Eiffel's unreliable perspective) purely as a strict no-nonsense authority figure without much emotional depth, the kind of person who only likes things that are useful, purposeful, or mandated by Command. In contrast, musical theatre is a creative pursuit that has nothing to do with the mission of the Hephaestus and is viewed by many people as fairly frivolous or silly. The gradual exploration of Minkowski's passion for musicals is one of the many ways that the show expands and challenges our understanding of her as a character. 

The first indication that we get of her interest in musicals is through her entry into the infamous talent show, something that is required as part of the mission. Minkowski really cares about 'crew morale' activities in general, even when they actually have a negative effect on morale and even before she's friends with any of her crew (for example, the Christmas and Thanksgiving dinners in the earlier stage of the mission), perhaps partly because doing things in the "right way" is important to her. 

But Eiffel senses that the talent shows aren't just about rules for her: "it’s bad enough when she makes us do something just because it’s military protocol, but I think that she actually really cares about these talent shows". This might be the first indication that we get of Minkowski caring deeply about anything that isn't inherently part of her role as a Commander. Moments like this are part of the gradual process of giving us insight into her character beyond the Commander archetype that she tries to embody. And yet, she only indulges her theatrical passion because something mandatory gives her permission, or an excuse, to let another part of herself out.

Of course, to satisfy the needs of a talent show, she'd only need to provide a performance of a few minutes. But Eiffel mentions "the second act of the play" - which along with Hera's comment that "Isabel isn't the biggest role in the play" - implies that Minkowski was intending to put on the whole of Pirates of Penzance as her talent show act, rather than a few of the songs or some kind of medley. (I suppose that Eiffel could be exaggerating or Minkowski might have been planning to do extracts from different parts of the play, but I prefer the interpretation in which Minkowski gets to be more ridiculous.) 

Even though no one else would be willing to be in her production of Pirates of Penzance, Minkowski casts Hera as Isabel, a role with two lines and no solo singing. I found some audition notes for this play which said "The traditional staging gives [Isabel] more prominence than the solo opportunities of the part suggest, so she must be a good actress" which does make me sad in relation to Hera's inability to have a more significant role by being physically present on stage. 

It’s sweet that Hera still wants to take part though. She tells Eiffel "Pirates of Penzance is a classic of 19th century comic opera", so either she’s absorbed what Minkowski has told her about the show, or she’s done her own research and formed her own opinions. I enjoy the fact that Hera is the one Hephaestus crew member who shows potential to share Minkowski's musical theatre appreciation; I like to think that this is something they could explore together post-canon.

Anyway, I'm obsessed with the idea that Minkowski was planning to play every character except one in Pirates of Penzance, a show which is designed to have 10 principal characters and a chorus of 14 men. It seems that her contribution to the talent show was supposed to be an entire two-hour two-act musical, with costumes and props, in which she would play almost all of the parts. This is very funny to me as the perhaps predictable consequence of giving an ambitious and frustrated grown-up theatre kid a position of authority and asking them to arrange a talent show. Minkowski knows that the audience will be made up of her subordinates who are theoretically obliged by the chain of command to watch and listen, so she absolutely tries to make the most of that opportunity. There's probably also a degree to which she limits other people's involvement in her musical because - as with her other endeavors - she wants the outcome to be almost entirely within her control (something that is usually pretty much impossible in as collaborative a medium as musical theatre).

Of course, Minkowski's behaviour in most of the talent show episode is affected by her being drugged by Hilbert. This creates an exaggerated situation which is the first real opportunity for Minkowski to be something other than the strict sensible authoritarian Commander and the foil to Eiffel's jokey laid-back attitude. I don't agree with ideas that being intoxicated brings out anyone's true self (especially in the absence of consent for the intoxication), but it seems pretty clear that being under the influence of whatever was in Hilbert's concoction caused Minkowski to fully commit to a level of manic enthusiasm for her musical production that might have otherwise been obscured by her professionalism. It's a particular kind of person who belts showtunes when drunk, and Minkowski is that kind of person, even if that's not how she wants to present herself. (As a sidenote, I seem to remember that they took Emma Sherr-Ziarko's script off her to help her sound more drunk. It's an excellent performance.)

Minkowski wants interval ice cream. She wants "pirate costumes" (and she'll threaten to shoot a man to get them). She wants "swashes and buckles". She wants whatever props she can get her hands on (including a real cannon). This show is important to her, even though only three other people will witness it and two of them actively don't want to be there. It’s important to her for its own sake.

Eiffel says Minkowski wants "a second pair of eyes to tell her if the prop sabre for her Major-General costume was a bit much…"  While I certainly wouldn't put it past Goddard Futuristics to have a prop sabre on the station for no apparent reason, it feels more likely that she might have made it or adapted some existing item. Which suggests that maybe she was that passionate about the props even before Hilbert drugged her. 

Even so, it does feel significant that Minkowski's love of musicals is only revealed in the episode in which she is drugged, exhibiting lowered inhibitions, exaggerated behaviour, and an "impaired euphoric effect". Her love of musical theatre is initially revealed through a professional structure that provides permission, and then further emphasised by a forced intoxication that exaggerates some impulses that perhaps she already had.

"Some hobbies other than making trains run on time": Episode 17 (Bach to the Future)

After Eiffel tells to find Minkowski to find something else to do while her work duties have quietened down, they have the following exchange:

EIFFEL: You must have some hobbies other than making trains run on time. Something to do with friends? Boyfriends? MINKOWSKI: Of course I do, but, well, there aren't really a lot of opportunities for rock climbing or trail hiking in the immediate vicinity. 

Even though this quote doesn't mention musicals, I've included it here for two reasons. Firstly, it's very funny to me that, even after the talent show debacle, Eiffel acts like he's never had any evidence of Minkowski's hobbies. She tried to perform a whole play almost single-handedly and it didn't occur to him that this might indicate an interest of hers outside of work. I think this reflects the fairly two-dimensional view that Eiffel has previously had of Minkowski, which her interest in musical theatre didn't fit into. 

Secondly, it feels notable that Minkowski doesn't mention musical theatre here. She wants to show that she has non-work interests, but without undermining her own authoritative image. Her interest in rock climbing and trail hiking - while it may be genuine - fits with how she wants to be seen as a Commander. These are hobbies which portray her as physically capable, with a high degree of stamina and a willingness to adapt to perhaps less hospitable surroundings. Of course, Minkowski does have these traits and they serve her well on the Hephaestus. But there's not really anything particularly surprising about her expressing these interests. The surprise in this scene comes from the reveal that she has a husband, a character detail which - like her love of musicals - isn't something we'd necessarily expect from the archetype-based view of her we are initially presented with. 

Her interest in rock climbing and trail hiking never come up again, because these details don't really deepen her characterisation (or at least, they aren't really used to deepen her characterisation beyond proving that she isn't entirely all-work-and-no-play). In contrast, Minkowski's love of musicals is brought up over and over because it shows another side of her that she struggles to reveal on the Hephaestus, and that allows more interesting things to be done with her characterisation.

"You wanted to write showtunes": Episode 35 (Need to Know)

Alongside the more high stakes discoveries prompted by the leak from Kepler's files, we also learn that Minkowski applied to - and was rejected from - the Tisch Graduate Musical Theater Writing Program.

Up until this point, we've only had evidence that Minkowski enjoys performing in musicals. But here we learn that Minkowski doesn't just love watching or performing in musicals - she wanted to write them too. This suggests a creative side to her that we never see her fully express.

The course

The Tisch Graduate Musical Theatre Writing Program claims to be the only course of its kind in the world and it accepts just 30 students each year. The current application process requires applicants to: upload play scripts or recordings of songs they've written; answer a large number of extended response questions about their creative process and views on musical theatre; write a 'statement of purpose' which has to talk about why they are applying and include 3 original ideas for musicals; provide a professional resume and a digital portfolio; complete an exercise of writing in response to a prompt; and undergo an interview. The process might have changed somewhat since Minkowski would have been applying (which, if it was soon after she finished college, might have been around the early 2000s) or it might be different in Wolf 359's alternate universe, but I think we can safely assume that applying to this course was a serious undertaking that required an intense amount of commitment and work. 

Applying to a course like that isn't something you do half-heartedly or on a whim. You couldn't apply to this course if you hadn't done a fair amount of musical theatre writing already. (The course requires applicants to choose to apply as bookwriters, lyricists, or composers, but I'm not going to make a guess here as to which of these Minkowski went for.) The fact that Minkowski wanted to study this course suggests that she was seriously considering trying to make a career out of musical theatre writing. In Once In A Lifetime, she tells Cutter that commanding a space station has always been her dream job, but we've got evidence here that it wasn't her only dream job. There's something kind of funny and kind of sad about the idea that writing musicals was her back-up / fall-back career path. She does not like to make life easy for herself.

The revelation 

This information is revealed against Minkowski's will. It's not something she wanted people to find out, and she isn't happy about them knowing:

JACOBI: "Dear Renée, thank you for your interest in the Tisch Graduate Musical Theater Writing Program..." MINKOWSKI: Oh, come on!  JACOBI: (pressing on) "We are sorry to say, we will not be able to offer you a spot in this year's blah blah blah." Oh this is too good. You wanted to write showtunes?  MINKOWSKI: Number one? Shut up. Number two, why are my personal records on there?! [...] How is it in any way relevant?! JACOBI: Oh, I think it's very relevant. I mean, if you're sending someone to pilot ships in deep space, you want to make sure that they can, you know... paint with all the colors of the wind.  Jacobi CRACKS UP - and, although to a lesser degree, so does Lovelace. Minkowski looks at her: really?  LOVELACE: Sorry, Minkowski. It's... it's a little funny.  MINKOWKSI: No, it isn't!

Minkowski seems defensive and embarrassed here. She obviously doesn't trust everyone there with this revelation (Jacobi, Maxwell, Lovelace, and Hera are all present). She considers this information to be "personal" and irrelevant and not even "a little funny". She's used to reactions like Jacobi's (and to a lesser extent Lovelace's); in Ep41 Memoria, she says "most people think it's hilarious that I like musicals" (see below for more thoughts about this quote). But the fact that these mocking reactions are expected doesn't mean that they don't bother her. She wants so badly to be taken seriously and, in this scene, her interest in musical theatre seems to be incompatible with that. Jacobi reacts the way that he does because of the idea that I've already expressed, that a passion for musical theatre does not fit with the serious authoritative image that Minkowski has often presented. It's not the typical hobby of a soldier, especially not a Commander.

To me, the way Lovelace laughs suggests that she might not have previously known about Minkowski's love of musicals, or at least perhaps not the full extent of it. At any rate, it's definitely news to Jacobi. And Minkowski clearly hasn't talked about it enough for it not to feel like a big reveal for her.

The rejection 

It's notable that this reveal is not just that she wanted to write for the stage, but also that she failed to get into a course that might have helped her work towards that goal. This of course compounds Minkowski's discomfort at having this information revealed. Not only did she want to write showtunes, but she encountered rejection in her attempts to do so. This detail implies that perhaps it wasn't just the appeal of her spacefaring dream that stopped her going down a theatrical career path. 

I'm about to move more into headcanon territory rather than just straightforward analysis, but I personally believe that, while Minkowski auditioned for a lot of musicals (particularly as a child / young person), she was never cast as the main role. She seems embarrassed about her interest in musical theatre in a way that (at least judging by people I've encountered) people who were always the lead in their school / college productions don't tend to be. 

We don't have much evidence about her actual level of singing/acting ability, given that she is inebriated during the only time we hear her sing in the podcast. However, it resonates with other aspects of her characterisation to imagine that Minkowski was generally good enough to get an ensemble part but never quite good enough to be cast as a main part. I think she might see only ever being cast as part of the ensemble, and failing to get into the Tisch Musical Theatre Writing programme, as slightly more down-to-earth examples of the same pattern as her repeated rejections from NASA. She is desperate to prove herself. She is "someone who very much wants to matter. To do something important." When she casts herself as almost every part in Pirates of Penzance, she is finally taking the opportunity to be a main character, an opportunity which I imagine had been denied to her over and over in both a literal and metaphorical sense.

"It's just from a play I saw once": Episode 41 (Memoria)

The next scene I want to talk about is from a memory of Hera's, which took place on Day 57 of the Hephaestus mission and in which Minkowski appears to be talking about the Stephen Sondheim musical Sunday in the Park with George:

MINKOWSKI: Oh, it's just from a play I saw once. It doesn't matter. (BEAT) The guy who sings it is this famous French painter. And his entire life is kinda falling apart. But he can always turn what's happening around him into these beautiful paintings.  HERA: And? MINKOWSKI: And... That's, I don't know. Reassuring, maybe? (BEAT) I don't know why I'm going on about this. You don't care.  HERA: I think it's interesting.  MINKOWSKI: Yeah? Most people think it's hilarious that I like musicals.  HERA: I don't see what's funny about it.  MINKOWSKI: Well, thank you Hera, but you're not exactly... you know.  HERA: I'm not... what? 

There's a couple of different things I want to pick out from this exchange. Firstly, the line "Most people think it's hilarious that I like musicals" makes me sad. I don't think she's talking about people on the Hephaestus there. Judging by the quote I talked about from Bach to the Future, Eiffel definitely wouldn't have registered Minkowski's love of musicals at this stage, and I doubt Hilbert cares at all about the hobbies of his fellow crew members. So Minkowski is talking about experiences that she's had on Earth, of people mocking her interest in musicals and thinking it doesn't fit with who she is. You can hear the impact of those experiences in Minkowski's reluctance to elaborate, in the way she says that something she obviously cares about doesn't matter, in her assumption that Hera doesn't care.

Secondly, this scene is a complicated one for Minkowski and Hera's relationship. On the one hand, Minkowski freely talks to Hera about something she's passionate about, and Hera listens and expresses interest. Hera validates Minkowski's interest in musical theatre without making a thing of it being weird and Minkowski thanks her. Again, it’s shown as an interest they could could potentially share.

But on the other hand, it seems like part of the reason Minkowski feels able to open up to Hera is because at this point Minkowski doesn't see opening up to Hera as fully equivalent to opening up to a fellow human. She doesn't just accept Hera not making fun of her interest; instead it seems Minkowski is about to imply that this lack of judgment indicates Hera's difference from humans (although she does have the decency not to say it outright). Minkowski's expectation of judgment from others contributes to her saying something very hurtful to Hera here. (This kind of potential consequence of negative self-attitude is explored a lot with Eiffel, so it's interesting that Minkowski can sometimes have a similar issue.)

Minkowski and Hera's conversation is interrupted when:

The DOOR OPENS.  EIFFEL: Hey, Minkowski, we've - What are you guys talking about?  MINKOWSKI: We were just discussing how I'm going to take away your hot water privileges if you don't reset the long-range scan.

Eiffel can obviously tell that he's walked in on a conversation that is about something other than work, or he wouldn't have asked. But Minkowski actively chooses not to tell him that she was talking to Hera about musicals. Perhaps she doesn't know how to open up to a human subordinate about it. Perhaps she doesn't trust him not to make fun of her. Perhaps she just doesn't have any impulse to talk about her interests with him. Either way, if Minkowski's love of musicals is something which reflects a side of her personality outside of her Commander role, this is a moment where she chooses not to take an opportunity to share that side of herself with Eiffel. This reflects the emotional distance between them three months into the mission, which forms a nice contrast with the next couple of quotes I'm going to talk about.

"Composition. Balance. Harmony.": Episode 54 (The Watchtower)

When Eiffel comes directly face to face with alien life, he discovers that music is the human invention that fascinates the Dear Listeners:

EIFFEL: You haven't figured out music?  BOB: ORDER. DESIGN. TENSION. COMPOSITION. BALANCE. HARMONY.  EIFFEL: (low, to himself) Minkowski's been talking about Sondheim again…

I only learned in the course of writing this post that in this moment the Dear Listeners are almost exactly quoting a repeated phrase used throughout Sunday in the Park with George. The titular protagonist lists various combinations of these qualities in multiple songs in reference to his art. In the closing song, the lyrics are "Order. Design. Tension. Composition. Balance. Light. [...] Harmony." It's not only Eiffel's references that the Dear Listeners are incorporating into their speech - they've picked this one up from Minkowski. This also suggests that some element of her appreciation for musicals and the way she talks about them has fed into the Dear Listeners' understanding of the human phenomenon of music. The Dear Listeners aren't just parroting - they understood the quote enough that they left out the word "light", arguably the only quality in that phrase which isn't a big part of music as well as visual art. Eiffel likes music too, but I don't think that this is how he'd talk about his favourite songs.

This is a refrain about finding order and beauty out of the chaos and uncertainty of life, which was also the aspect of Sunday in the Park with George that Minkowski focused on when talking about it in Memoria. It suggests that art/music could be something governed by rules and principles, which is potentially something that appeals both to Minkowski and to the Dear Listeners.

Eiffel's response to this reference is one of those little hints that reminds us that Eiffel and Minkowski have spent a lot of time together and that not all of that time has involved them being at each others' throats or actively in a life-or-death situation. Some of it has just been Minkowski going on about a musical she loves and Eiffel (willingly or not) paying enough attention that he recognises this phrase as a Sondheim quote that Minkowski has talked about. I suppose that this quote might have been in Eiffel's pop-culture-brain anyway, but judging from Eiffel's general tastes and the fact that I don't think Sunday in the Park with George is one of the more commonly known Sondheim musicals among non-musical fans, it seems more likely that this quote is something he only knows because Minkowski has talked about it. 

Eiffel sounds exasperated at the mention, like he's heard Minkowski talk about Sondheim far too much. But I'd argue that this still says something positive about their relationship, when we contrast it with a couple of other moments I've already mentioned. Firstly, when her previous musical theatre ambitions are revealed to Jacobi, Maxwell, and Lovelace in Need to Know, Minkowski seems embarrassed and defensive. Secondly, in the memory from Memoria, she avoids telling Eiffel that she was talking about this same musical. Yet, by the time The Watchtower takes place, Eiffel is sick of hearing Minkowski talk about Sondheim. She doesn't have the same barriers up in sharing her interests with him, even though he doesn't have the same interests. I think this is a demonstration of how comfortable she feels with him. It's a hint at the kind of easy downtime that they've sometimes shared.

"One day more": Episode 61 (Brave New World)

Eiffel recognises another musical reference of Minkowski’s in the finale. As the crew are preparing for their final confrontation with Cutter and co., Minkowski quotes Les Misérables, mostly to herself - but Eiffel recognises the lyrics and joins in:

EIFFEL: Hey - chin up, soldier. We're almost through. Just one more day, and then we're done.  MINKOWSKI: Yeah, one more day. (more to herself) The time is now, the place is here - one day more.  EIFFEL: - one day more.  They both stop, dead in their tracks. MINKOWSKI: Did you just - ?  EIFFEL: Was that what I - ?  They look at each other: No way. And BURST INTO LAUGHTER.  EIFFEL: Man... this is really it, huh? The end of everything. 

It feels really important that Minkowski and Eiffel share this moment of togetherness before she tries to send him back to Earth and before the rest of the action goes down. I think there’s some nice symbolism about them finding a way to communicate that they both understand. Making references is Eiffel's thing, and musicals are Minkowski's thing, so this is a synthesis of their two approaches. Again, there's a contrast with Minkowski's previous unwillingness to share her musical theatre passions with Eiffel (at least without the mitigating circumstances of a mandatory talent show and some kind of intoxicating substance).

I talked about the significance of the fact that they reference this particular musical in this post from ages ago. I don't think it's too much of a spoiler for Les Misérables to say that the revolution that the song One Day More is building up to does not end well for the revolutionaries. When Eiffel says "Just one more day, and then we're done", it encompasses both the possibility that the crew will escape to travel back to Earth and the possibility that they will all die. Minkowski's reference to a famously tragic musical suggests that it's the latter possibility that's at the forefront of her mind (right before she tries to send Eiffel away from the danger). But Les Misérables is also a story about people standing together in solidarity against powerful oppressive forces, which gives particular resonance to the way that this reference brings Eiffel and Minkowski together in a moment of being completely on the same wavelength as they prepare to fight Cutter and Pryce's plan.

When they laugh here, it's not about the 'hilariousness' of Minkowski's interest in musicals, it's about their unexpected unison - Eiffel's recognition of Minkowski's reference and Minkowski's surprise at the fact he joined in. It's a laugh of togetherness, of shared understanding, of friendship. It's a moment of lightness in dark times. And that moment is provided by Minkowski's pop culture interests, not Eiffel's. In spite of all they've been through, she's not lost that part of herself, and in fact, she's more open about it, at least to Eiffel.

I'll finish by highlighting what Eiffel says when he's trying to get into character to impersonate Minkowski so he can turn the Sol around:

EIFFEL: Umm... yes, this is Lieutenant Commander Renée Minkowski. I'm... uh... well I sure love schedules, and, uh, musicals. And that man, who I married…

I just think this is a nice example of Eiffel not defining Minkowski solely by her professional Commander role. Sure, she likes schedules (probably in a personal as well a professional capacity to be fair), but she also loves musicals, and her husband. It is a fairly reductive overview of her as a person, but it feels reductive in a fond way, like these things are part of Minkowski's brand to Eiffel in a way that he might affectionately tease her about. (Credit to @commsroom for this thought.) His view of Minkowski has come a long way from "our resident Statsi agent" or even just "you must have some hobbies other than making trains run on time." He doesn't see any contradiction or inherent humour in Lieutenant Commander Renée Minkowski's appreciation of musicals.

Conclusion

Minkowski's love of musical theatre is used to deepen her characterisation and is one of the ways in which we gradually begin to see her complexity beyond the strict Commander archetype. The degree to which she is prepared to share this interest at various points is used to illustrate the nature of her relationships with other characters: a general unwillingness to show a less serious side of herself; a complicated potential shared interest with Hera; and the growing understanding between her and Eiffel.

If you read this whole thing, well done / thank you 😄 It wasn't meant to be this long - it just happened… Feel free to share your thoughts!

[gomacave]

Draw req..... seph braiding her hair like aeriths.......

(she has too much hair to put in one braid) what a good request my god anyways. time to feel unwell about sephagain.

THANKS 4 DA ASK!

[emily-mooon]

Noticed there wasn’t a ton of photocheer fanart and I wanted to change that (which why isn’t there more these two dorks are so cute together!!!!)

[skitskatdacat63]

"To dream the impossible dream, that is my quest." - Prince Fernando of Asturias

+ Seb not getting what he ordered

+ the usual

Hello yes, look! It's baby Renault Fernando, isn't he so cute??? Who wouldn't want to force him into an arranged marriage, like cmon man be real. Here is the progress as usual, as well as his suit without the design, cause I'm pretty proud of it just blank even!

Okay so this is pure Fernando, innocent Fernando, before he had his apirations ripped way from him. Well not fully ripped away tbf, because that's the crux of his character: is it more humiliating to never succeed or to only succeed because someone handed it to you with concessions? I guess that's up for him to decide though ;;;

The thing I love about this drawing and young Fernando in general is how much easier it is to see his and Seb's similarities. Look how similar they look! Seb is just a bit more evil.

I think that's a big part as to why his feelings about Seb are so complicated. He both loves and hates how similar they are. From an egotistical point, he can appreciate and respect the familiar traits in Seb, the hunger, the exuberance, the pride, the ego. But also we hate seeing our own traits in other people, it's almost like turning a mirror on your worst traits and suddenly being able to see yourself from a new perspective. The biggest point here though is that Fernando turns that resentment onto Seb, as a way to clamp down on self hatred.

He becomes more bitter and resentful as he grows older, and loses a lot of his whimsy and joy. So it hurts him to see Seb, who in addition to getting everything he's ever wanted, also retain his whimsy. He, wrongly, just sees it as something that had to happen in order for him to grow up fully. It's more of a survival tactic, it started becoming unbefitting for him to have that level of unfounded confidence. That's the main reason he sees Seb as childish, immature and undeserving. He hasn't fully grown out of his capacity for whimsy and joy, and thus is below Fernando.

Well that was depressing oops! As the chibi art represents, this is probably a painting Seb got sent in the early days of planning their marriage. This is the Fernando who is still prideful, the Fernando who is still confident, the Fernando Seb vaguely remembers meeting his youth. Seeing this definitely pushes him even further towards the marriage(though tbf it's not like he even has a choice either.) Though when the time to actually start courting comes around, Fernando looks very uh different. This is both a joke about how different Fernando was in his first renault stint vs his second. But also I think he does show up very moody and disheveled, as a sort of last chance way to try and turn everyone on Seb's side, including Seb, off from the marriage. However, it's pretty much a done deal by that point.

Seb is uh, definitely confused, but I think he would be drawn to Fernando regardless. Actually, this might make Fernando even more appealing. Seb gets to push him all the time, try to break down his walls and get a glimpse at the real Fernando, if even just for a moment. Seb wishes he had more that just a blurry, vague recollection of Fernando at his peak confidence. Fernando definitely grows into something resembling his past self, after recovering from all the hurt, but there's just something about youthful exuberance that can't really be fully replicated.

Okay so about the quote. I went with Don Quixote this time instead of the typical Napoleon, because I thought it'd be funny. Fernando picks up the book at some point during his youth, and it inspires him a lot. He doesn't really see the satire in it, and comes to really admire Don Quixote's mentality, he's like "wow he never gives up! That's so admirable!" It definitely helps him through dark times to aspire to never give up no matter what. Though later Seb definitely rags on him for not knowing it was satire, and Fernando is like "wh-what do you mean satire?" But he's mentally strong enough atp for it to not cause his whole worldview collapse. About the quote specifically, there's definitely some part of him, even when young, that knows his aspirations are borderline impossible. I wonder if that part of him feels weirdly safe and comforted about the marriage. Yes, it's not ideal, but it's safe and secure. He gets what he wants, and there's no chance of anyone taking it away from him, no matter what.

I think his title would be Prince of Asturias? It was either that or duke, and I think prince fits him bettee(Machiavelli reference?) That title is currently the title for the heir to the Spanish throne. In this time period, it's also commonly used for the heir, but for Fernando it's a bit unsure. Like in real life, he's not directly the offspring, but he's still the most obvious choice for heir. But there's still enough room for Seb and his house to try to vie for the throne themselves, so it makes it all complicated.

[imaginethathaikyuu]

it actually makes me sick to see people share the BDS boycott list but continue to support companies on the list lmao

one of my mutuals just made 3 tweets in a row about getting mcdonalds when a month ago they were making a thread of helpful information, posting the bds list, and tweeting the watermelon emoji

like do you actually give a fuck about whats happening or are you only virtue signaling for retweets? this shit is so fucking mind numbing like im so pissed off and i know im directing my anger at something small retrospectively but how are you going to be a hypocrite in this situation how are you going to pretend to care how are you going to ignore the simple things we’ve been asked to do i want to just scream

when the bare minimum is not supporting corrupt brands, and self proclaimed leftists can’t even do that, how is anything going to change. am i going to be angry for the rest of my life

[mllekurtz]

He's often called a monster, but he's not a monster. A monster is an exception, an outsider, someone society doesn't have to be responsible for. But society is responsible here. These "monsters" are not sick: they're healthy children of the patriarchy, of rape culture. Rape culture condones those behaviors that damage and oppress women, starting from things we don't recognize as important but are: controlling behavior, possessiveness, catcalling. All men are privileged by this culture. "Not all men," they often say. Not all men, no, but they're always men. A man can’t be good if he doesn't do anything to demolish a society that makes him so privileged. In this patriarchal society that gives them so much privilege and so much power, men are responsible for educating friends and colleagues when they hear the smallest hint of sexist violence. Say it to your friend who controls his girlfriend, say it to your colleague who catcalls passers-by, make yourself hostile to behaviors that are condoned by society and are the prelude to femicide. Femicide is state murder, because the state is not on our side. The State doesn't protect us. Femicide is not a crime of passion, it is a crime of power. We need widespread sexual and emotional education; we need to teach that love is not ownership. We need to support anti-violence institutions, and we need to give whoever needs it a chance to ask for help. For Giulia, not a minute's silence. For Giulia, burn everything down.

(Elena Cecchettin’s open letter after her sister Giulia’s femicide. In the last sentence she quotes Peruvian poet architect Cristina Torres Cáceres: If it's me tomorrow, if tomorrow I don't come back, mother, tear everything down. If it happens to me tomorrow, I want to be the last one." Read a good article about it (in Italian) and an English one. All translations are mine.)