#the scene cutting right before the reveal makes me think even the writers are wondering what his name is

[timetravel-might-just-happen]

Name a more iconic move than naming your red haired son Red Son

[darkk-academic]

Writer

[Part I] [Part II]

[Five Hargreeves x Reader]

Summary : Reader, Five, and a manuscript.

Warning : None.

"Five? Are you free right now?"

He looks up from the book—My Inventions—he has been reading, at the sound of your voice.

Your head peeking out from behind the door, you give him a sheepish smile. "You don't have any assignments today, do you?"

Five holds back a grimace. Guilt churning in his guts at the mention of said 'assignments'. It's not that he's guilty about them so much as he's guilty about hiding the complete truth of them from you.

"None more important than you, amore mio," he answers without hesitation. Leaning back in his chair, he raises a brow. "What do you need?"

You take a step inside, revealing a bundle of pages—another manuscript, for sure—you're holding in your hands.

"Could you please read this and tell me whether this will work or not?" Flashing him those eyes he so adores.

He wonders if you'll treat him the same once you know that he's actually a gun for hire, and those assignments are actually targets.

Of course, you won't, his blood stained conscience scoffs.

"As if you have to ask, amore mio."

You place the manuscript on his desk. "Thank you so so so—"

"Alright, alright," he cuts you off. Chuckling a bit. "What's this scene about?"

Taking a seat on his bed, you hum. "So, this is a murder scene—"

How perfect.

A murder scene. Again.

He questions, sometimes, whether you know his real profession.

But then you flash him that enchanting smile of yours—precisely the one you just flashed—and the doubt clears.

You wouldn't smile like that, not to him, after knowing he doesn't deserve it.

"—and well, I'm a bit uncertain whether the method of killing would work or not."

"Alright, give me a moment." He turns to the manuscript.

•••

"So…" You ask, after exactly 10 minutes of fidgeting. "What do you think? Will it work or not?"

Well…he isn't sure.

This method is one he has never tried before.

It's certainly not lacking in creativity, he muses. Glancing at your expectant expression, he frowns.

Well, I can't just take a guess on whether it'll work or not.

He blinks to your house.

Eyes scanning the messy room until they land on your typewriter. He picks it up.

Blinking back to his room.

"Where—" You pause, taking note of what he's holding. "Why did you bring my typewriter?"

"Sorry, amore mio. I've to go to my—I mean for my assignment. It won't take too long, so how about you wait here and write?" He puts the typewriter on the bed.

You pout.

Please don't ask me to stay, he pleads silently. Please don't ask me to stay.

Because I will.

"Fine." You nod, sighing.

•••

You sit typing away at your typewriter.

A bit miffed at Five, but not too much.

Five is usually busy doing his assignments, that's true. But he makes time for you whenever you ask that's true too, sometimes you don't even have to ask.

You remember getting angry at him in the beginning for acting shifty about his job.

"I help people…relocate," he says, "in a way."

"In a way?"

"Yes." He nods. "I relocate people to this place."

"What place?" You demand.

He blinks. "There's this place called…the Ifr inn."

You frown. "An inn?"

"Not an inn. The place is just called that. It's like a rehabilitation center."

"So you help relocate people to this-this place?" At his nod, you ask, "Why do these people need help in relocation."

"I don't help everyone relocate. Just the difficult ones."

And that had been that.

You'd been confused why he was so high-strung about it, but then you'd realized that he was probably uncomfortable because this job showed how much he cared to help people in need.

A flash announces his arrival.

He steps towards you, leaning down to you.

At his proximity, you detect a slight hint of a coppery scent.

I wonder if his assignment was at an abattoir or near one.

He places a chaste kiss at your temple. "It works—I mean it'll work, amore mio. You're doing everything perfectly."

"You could've told me that before leaving," you mumble.

"Getting to do my assignment gave me an opportunity."

Ah, understandable. "To think?"

"Yeah." He chuckles, rubbing his nape. "That."

………………………………………………………………………

A/N :

Ifr inn is actually Ifrinn which is Scottish Gaelic for Hell.

Gun for hire, is a comic reference.

This is inspired by a writing prompt, this one :

So, thankyou @tetsuskitten (if you're not the one from the picture above, sorry for the confusion.)

Hope you guys enjoyed this.

Thankyou! ❤️

[nemmet]

What are some of your favorite Fred and Daphne moments? Romantic or platonic

AAAH thank you for giving me the opportunity to ramble about them!! always so so appreciated. and for specifying romantic or platonic too!! while a lot of their significant moments together from the 90s onwards have been somewhat romantically charged, i love them even when they're just a goofy pair of friends with no immediate romantic implications.

because (mini fraphne history side tangent), they weren't always intended as love interests! the "fred chooses to search for clues with daphne because he fancies her" reading of the original show technically isn't true — they were just paired off because the writers found them boring and wanted an excuse to get them out of the picture for a few scenes. which makes the fact that they've since grown to become an iconic duo in their own right all the more inspiring!

so without further ado, here are some of my favourite moments of theirs!! 💙💜

(begins under the cut!)

the best birthday present ever — zombie island

if i could count their general existence in this movie as a single moment i would. i am so weak to the fact that even after the gang splits ways, fred and daphne stick together, and fred plays such a crucial supporting role in daphne's dreams/career/life. and their relationship hasn't descended into being just boring coworkers — daphne has been so busy with work that she forgot her own birthday, but fred is sure to make it special by doing no less than getting the whole gang back together. the way he teases her before revealing them, too!!! and the hug she gives him when he explains. i get such cosy, "known each other since forever" vibes from them in this movie, like they're just so comfortable and silly with each other and (sobs into my hands)

my hero — scooby doo and krypto too

the way this movie has already given us so many fraphne moments for the books. the Literal Kiss aside, this scene just made me smile from ear to ear. i'm not always so hot on the jealousy subplots these two often get, but i appreciated how this film had a more light-hearted take on it, and how fred was simply confused rather than upset. additionally, his attempts to impress daph are just so funny and sweet, you get the sense that he's just hamming it up to make her laugh and doesn't care if that's all he ends up doing. of course then he gets so into it that he doesn't register the monster right behind him, and jumps into daphne's arms just like the rest of the gang always do with him. the way he clings to her!! and how she says "oh come on". they are disasters and they need each other in this essay i will.

you're never going to lose me, fred — mystery incorporated

following their relationship in this show sure is a journey... and not always the best one. while i understand that they're teenagers going through a lot, it's sad to so often see their inherent chemistry as a duo lost in miscommunication and arguments. which makes the moments where they connect and come out stronger as a couple all the more rewarding!! this is hands down my favourite scene of theirs — while the conflict that leads up to it is uncomfortable (fred tightly scheduling their activities together), i like how daphne addresses it quickly rather than keeping her feelings hidden and simply expecting fred to pick up on them. by now she understands that fred needs direct communication (autism!!!), and that's ok!! meanwhile, fred has grown too; he actively opens up to daphne about his fears of losing his loved ones, something i don't think he could or would have done at the start of the show. he's come to understand his own emotions and the importance of expressing them. both of them learn from each other, and are able to move forward because of that. it's a wonderful little moment that really showcases the best of them!!

i love you — stage fright

THE fraphne scene. god. where do i begin. the fact that daphne wrote lyrics about her feelings for fred to the music he composed, and was terrified of ever showing them to him. but then she decides to break the condition she established to velma (only confessing to him after the contest), throws caution to the wind, and just,,,,, confesses her love to him live on stage in front of thousands of people!!!! and how fred looks so happy and content playing along to these lyrics that i'm sure he knows are about him, and when it comes to daphne singing "i love you", he says i love you back with ZERO HESITATION!!! like he was waiting to say it too!! because they're mutually pining dumbasses who will cry if they make eye contact in a remotely romantic context!!! god!!!!!!! also the nose boop before daph goes in for the kiss. adorable.

the engine / the driver — curse of the 13th ghost

this scene is another that has a lot to say about their relationship in a general sense, and it's so special to me!! i'm not crazy about this movie as a whole, but i love the running theme of fred and daphne's differing leadership qualities, and how they balance each other out. fred just wants to keep things the same as they've always been (autism!!!), but that often leads him to coming off as controlling or dismissive when he's in Planning Mode. he doesn't mean it, because he genuinely believes the best in the gang and their individual skills, so it's no wonder that he grows insecure when his place is questioned. but by the end of the film he accepts that daphne is the engine, the glue that fundamentally holds the gang together and keeps them running as a unit — they would be nowhere without her constant energy and willingness to take action. however, daphne reassures him that he'll always have his place as the driver, the man with the plan, the one to put things in motion and support everyone with all his heart along the way. and the tender way they look at each other to cap it all off!!!!!!!

knight in shining armour — sword and the scoob

i saved the (probably) best for last. less serious analysis here and more just me gushing because i spin this moment around my microwave brain on a daily basis. continuing the theme of "fred embraces his role as team cheerleader", he's not even upset when daphne has to fight in his place — he planned this and is wholeheartedly supporting her, to the point where it makes her flustered (she’s HIS knight in shining armour)!! and him giving her his ascot as a good luck charm!!!! nem found dead on the floor. not to mention "sir daphne/sir fred" and how they continue to call each other that. i swoon every time. they are so romantic in their own very silly and very teenager-y way and i love moments where they're just so unapologetic about that!!

i really hope you enjoyed and that this was what you were looking for!! fellow fred & daph fans, please feel free to comment and/or reblog with some of your own favourite moments!! i always love to see them. :D

[piracytheorist]

So as I mentioned, I got my copy of the Family Portrait stories!

It feels weird to suddenly have to turn the pages the left-to-right way, lol. But I guess it wouldn't work the right-to-left way for a book translated to English.

Opening it there's this cute illustration, as well as the winter-y one on the back, which kinda makes me wonder: why is it bound on the book?? I wished there was a safe way for me to rip it off and hang it on my wall. Anyway, both illustrations are super cute!

And so my collection continues to grow!

I might order the Eyes Only guide soon, I'm just wary of it including spoilers from a few future chapters. So we'll see. In any case, this might be the first time since I was a child collecting Disney's Ducks comics (and I wasn't that meticulous with those, even) that I've made such a collection! Should things keep going well I intend to keep buying the volumes to the end of the story :D

Spoilered thoughts about the stories included in the book below!

The first mission with the Eden kids going camping actually reminded me that I can find the dynamic between Anya and Damian pretty funny, at least from seeing how stubborn Damian gets. The illustration especially of Damian holding Anya's hand with Anya going like "He can be nice for real??" and Damian going like "How dare she manipulate me into feeling bad for her!!" is terrific and the only way I'll ever see this dynamic, thanks. Also really loved the moment of Damian kinda and dismissively admitting to himself he's also scared of the thunderstorm. Also found it really funny how at the end, Loid is described as handsome XD the writer knew her audience!

In the second story I think I lost count how many times I laughed. While with a deep, interesting layer, Yuri is just so entertaining to me. The most normal guy ever, wishing he was an ingredient so his sister could chop him into her dishes along with pieces of the cutting board 🥰

No, but really, I think there was a lot of care in writing Yuri here. His inner monologue is unending and bound to give Anya a headache, though it was quite sudden to hear him refer to her as a bastard and the spawn of Loid's loins 😳 but I liked the darker tone as he "acted" as a cop and took out his frustrations on the actor, picturing him as a potentially-abusive Loid. It ticks at a very interesting dynamic which I very much hope Endo explores at some point :D

(I actually wonder if there will be a moment post-identity reveal (where Yuri also knows about both Loid and Yor) and he makes a really ugly quip at Anya and Loid goes all protective like "Say whatever you want about me, but hurt my daughter again and I won't hesitate, bitch")

While I found Anya's "interrogation" scene funny, I found it a bit repetitive that she used the same technique that she used with the Red Circus guy from the bullet-in-butt date. Small note, but still XD

For the third story I have both praises and criticism... I understand how it was needed for the story, but I don't like it when characters' disabilities are taken away. It would have made for a bit more complicated setting but it would have been a little more respectful to have Alessa unable to see Franky because she had eye surgery for whatever reason aside from being blind before, and she had bandages on and couldn't see. And Franky would feel like he's on borrowed time because he knows from day to day she'll get the bandages off and she'll face him.

Also, making her nineteen instead of sixteen is just on the verge. And because I have met people who are now professional singers... nineteen is way too young to be considered for opera. She could be training, of course, but it's a very long-term investment. There's a reason most opera singers you see in concerts are in their late twenties at the earliest. And I get that she comes from a musical background and she has a talent or whatever, but again. She could have been aged up to mid-twenties and to me it would have made much more sense.

But as for the good parts, I was actually surprised by how convincing Franky was about wanting to deceive her. And when Twilight turned and asked "Are you sure you're okay with this?" I might have felt a chill. I should have given Franky more credit, haha. And the banter between them was nice, with Twilight teetering on thinking of Franky as a friend, and how Franky ended up handling the situation... that was good, I liked it.

I had already read the last story through a fan translation, so I wasn't surprised by anything new there. It was just as fun and wacky as you'd expect it to be. By the way, I liked the point that story drove on, that despite the painter's success and fame, he only had a cheap apartment for himself and donated all his earnings so that future art students could paint without worrying about the cost of their supplies. Very in touch with the whole story's message :)

What struck me as odd was when Loid hugged Anya to keep the pretense of him being a doting father. I was like "He would not fucking do that" cause we know homeboy isn't ready for such proximity, and an actual hug between Anya and Loid has to have a big impact, the times he held her up while she slept or whatever notwithstanding.

But the ending was really sweet, with Twilight feeling a sense of warmth and getting a bit of honesty in his smile. The last illustration by Endo was very fitting!

Overall, it was interesting to hold a book in my hands and read about the characters that way. I think Aya Yajima did a good job capturing the characters, and I'm always happy to read Endo's afterwords, he really seems like a very chill and down-to-earth guy.

[basingstokemercury]

Okay ,so I was slightly off. the changeling!Julian episodes are from Rapture not The Ascent.

(This post got way longer than intended. Below the cut, I dive into deeply analysing his acting and writing in those episodes.)

Judging by In Purgatory's Shadow/By Inferno's Light, the changeling's tells seem to be:

Blank, empty expression when at rest (real!Julian does a fair amount of staring vacantly or intently, but this is more so somehow).

Very little eye movement, including blinking (compare real!Julian's tendency to dart his eyes everywhere, even when focused on a conversation).

The last one is a bit trickier, I can't quite tell if it's there or not. I do think the changeling is less hyperactive than real!Julian - we see him fiddling with his hands in the opener, before the reveal, but on the whole he seems to have a much easier time keeping still.

Vocally I believe some emotion is lacking, but that could be subjective because it's what I come in inclined to see.

Now, rewatching Rapture, The Darkness And The Light, and The Begotten (skipping For The Uniform because he isn't there):

First off, I'm certain the timeline doesn't hold up but don't feel like doing the maths. We'll put that aside for now.

None of these episodes show Julian doing anything other than his job. Could be a tell, but that's not unknown in the show and the changeling does take part in the same social activities as his counterpart.

Eye movements and blinking look roughly normal to me, though we see very little of the darting movements I mentioned. Maybe it's because we only see him focused on his job here, with few distracting stimuli?

Facial expressions feel normal, I think?

There's a full trademark Julian Smile at Quark's antics in The Begotten.

We definitely see genuine upset in The Darkness And The Light when Fala is murdered and again when he treats Kira after the explosion, an emotion I don't think the changeling is capable of faking well (see In Purgatory's Shadow, delivery on "You can't let him go, it's too dangerous").

The second of these also begins with Kira unconscious, meaning the changeling wouldn't have to pretend, so that's pretty conclusive evidence that either we're seeing real!Julian all the way up to there or the actors didn't know about the changeling twist until the episode it happened.

(my shipping brain is getting a little distracted by that scene. I'll have to file it away for later.)

I'm not sure about body language, we don't get enough to really tell and no scenes where real!Julian would be visibly fidgeting.

The first scene after the opening credits of The Begotten has head movements that feel very natural when talking to Sisko for a moment. We can't see his eyes very well, though.

On the whole, I do think the acting feels right. If the writers knew they were going to pull the changeling twist in episodes leading up to it, I doubt they told the cast.

Now, to the story analysis.

Why would a changeling want to save Sisko in Rapture? Surely this would be the perfect chance to go "oops, a delicate operation failed, there goes the leader of our most immediate opposing force"?

Yes, he insists on waiting for Jake's permission to operate, which could be seen as a stalling tactic.

But this is the chief medical officer. He's the one who found the problem in the first place and the one who stated the need for an operation. I find it dubious that a changeling would do that and not just wait until too late then claim he didn't realise what was going on in time.

I covered The Darkness And The Light under my acting analysis, nothing really interesting in the story department. I can believe a changeling would be concerned for the safety of Kira's baby even if it saw her as an enemy.

Then again, that changeling is later willing to destroy an entire solar system. Makes me wonder what it was like impersonating someone so loved and loving for a month, if any of that rubbed off, what its own personality was like and how it felt about the orders it was given... Someone else can definitely write that fic better than me though.

Suffice it to say, I'm absolutely convinced on the basis of acting that Alexander Siddig is not knowingly playing a changeling in this episode.

The Begotten... now this is a really interesting one if the changeling is there. It's about a baby changeling! Which dies! I can only imagine a changeling's emotions not even being able to tell this child that they're the same.

I'm not sure what to make of his first reaction to the baby changeling. He doesn't know it's a baby, of course, but would real!Julian's reaction to a sick changeling really be "this is dangerous" and not "it needs our help, that's the first thing to worry about"?

Or is that what a changeling would say, trying to pose as a suspicious human?

That's the first point in the changeling column so far.

His reaction to the baby's deterioration and death seems to be his usual bedside manner in terminal cases - concerned, but being strong for the patient and their loved ones.

Another changeling would likely have been more deeply affected, but someone on a mission of impersonation likely knows how to hide their emotions.

In conclusion:

I love changeling!Julian, both as an amazingly acted character (with surprisingly analysis potental for someone who appears in one two-parter and dies) and as part of a great episode.

But I don't think the consequences of his existence were thought out too well by the writers or directors.

Still, I much prefer this to our other poorly-foreshadowed Julian-related reveal, although that's definitely a low bar.

Time to go write some fanfic.

[themerchliing]

Okay, my thoughts on Shadow and Bone Season 2 are under the cut. This will focus mainly on Wylan and who he interacts with, so spoilers will absolutely be present.

S&B suffers from trying to cram too many characters and storylines into a measly 8 episodes. The show cuts corners and speedruns plots, relationships, and emotional impactful scenes that shouldn’t be rushed. I get why they’ve done this — they wanted to at least finish the trilogy this season because it’s unlikely they’re getting a third season.

Alina and her storyline aside — I hope you trilogy fans found something in there that gave you some amount of happiness / satisfaction — I’m here to talk about Wylan. I’ll start off by saying that Jack Wolfe? Killed it. He has the Wylan mannerisms down and the way he carries himself. He’s subtle in his performance while also having such wonderful expressions and movements. He has that nervous energy but is also quite eccentric. His body language gives off the impression that he's a traumatized young man who has suffered from abuse. It's not in your face or over-the-top, but you see it if you're paying attention. And I love that he played Wylan this way. Also, him playing the flute and piano? Fantastic. I love that they have a musically talented actor playing the role. Plus, a queer actor playing a queer character is amazing representation!

Let’s talk about Wesper. When I caught on to the hints they were dropping about how Wylan and Jesper might have hooked up before and Jesper somehow doesn’t remember, let me tell you, I was mad. Because that isn’t Wesper as we know it. I was about to just throw the whole show away, I’m not going to lie. @lannamused will tell you that I was like cancel the show now in our discord chat.

But I calmed down and, even when it was revealed that they had hooked up before, I heard it out. When Wylan said that he left first because he was afraid that was what Jesper was going to do (he uno-reversed it and that’s kind of iconic behavior) and then showed how hurt Jesper was by that, it gave the impression that this one night they had was actually more meaningful and both weren’t being entirely honest about how into each other they were. I think we can also applaud Jack and Kit’s acting choices for making that seem more believable.

Before we talk about Wesper, I want to talk about the random attempt at bringing up that Wylan couldn’t read. It was as if the writers were trying to cram it in last minute. It didn’t even make sense? The way Jesper messed up and then tried to correct himself made it seem like he already knew that Wylan couldn’t read and forgot, but then later he says he doesn’t know? But the way the writers wrote that scene was to have Wylan react as if he was pissed that Jesper forgot? If Jesper didn’t know, Wylan wouldn’t have asked what his forged name said on the passport. Wylan is very good at hiding his condition. He wouldn’t just draw attention to it like that. He’d do everything he could to avoid bringing it up and even change the subject or remove himself from the situation. Even if you think of it as being Wylan’s way of quietly bringing it up to Jesper so that they could start a discussion about his condition, it isn’t clear. There’s only so many gaps we as the audience can attempt to fill because of lazy writing and Wylan’s condition was made to seem like an afterthought.

So, yeah, that wasn’t cool.

Anyway, on to the Wesper scenes — Would I be lying if the kissing and cuddling scenes didn’t make my little Wesper heart freak out? Yeah! I was here for them! And like I said before, I think we can put that down to Jack and Kit being such good actors and having that amazing chemistry. Because that’s the thing, right? The chemistry is there. It’s there in spades. The writers and showrunners just didn’t want to show it because of time limitations. And by the time I’d seen all the episodes, I did end up buying their relationship (like a lot) especially after the whole poison scenario where they made up. That did really seal it for me and I came to realize that I can support Wesper existing this way.

Now to Wylan interacting with other characters who weren’t Jesper. It was fair for the amount of time there was. He got a few scenes with Kaz and the group as a whole. I kinda wanted more of Wylan and Kaz being the interesting duo they are, but I understand that there’s just too many characters and there’s no way to let all of them shine. He had some amazing moments when he did get the chance to be on screen. This is still Wylan early on in his development (even if they’ve completely remixed the Crows duology) and he isn’t yet confident to truly be himself (e.g. the talking back, the sassing Kaz, the petty side of him etc) but I imagine that they’re saving all that for the Crows spin-off the writers are so desperately hopeful for. I saw one of the writers tweet that she’d already written an episode that primarily focuses on Wylan: seen here.

Do I want a Crows spin-off to happen now? At first, I wasn't sure how it would work, but the ending is setting it up for the Ice Court heist. There’s a lot that happened this season that people might say should have been saved for the spin-off, but I get that they weren’t sure if they’d ever get that greenlit (and we still don’t know) so I understand that they wanted to give the fans some of those parts in case we never get them. So, when they bring in Jan Van Eck with the spin-off, that would lead to Wylan’s backstory! But no more rushing!!

So, I can accept the S&B show for what it is and the more time I spend thinking about it, the more I understand. I will take things from the show as canon such as Wylan’s habit of getting excited about different topics (like historical facts etc), him busking in the street with his flute, and only making the bomb for Kaz the first time because he was strapped for cash and barely had enough money to eat. Him being a miniature encyclopaedia and excitedly sharing random pieces of info with other characters was amazing, and I loved him nerding out over the butterfly and flowers. That scene was also good at showing that Wylan can admire something beautiful and rare but isn’t against killing the butterflies without a second thought if it means saving his friends. Also, it’s a small thing but they gave him goggles. That gets bonus points.

Please see this post on how Wylan's characterization and his relationship with Jesper will be handled on this blog. It will be a mix of book and show canon.

[immaturityofthomasastruc]

IOTA Reviews: Wishmaker

Goddamn it... 

It's bad enough Astruc tastelessly axed Lukanette, but now he just had to show up to give a sarcastic eulogy at the funeral.

Let's get into the fourteenth (chronologically the eighteenth) episode of Miraculous Ladybug's fourth season: Wishmaker

Right out of the gate, we get a “Chloe bad” joke with her insulting Marinette for being poor or whatever as she hands out flyers for an upcoming career fair. Chloe doesn't have much of a role in the episode, but she will be important towards the end, trust me. We also get a funny “Marinette stares lovingly at Adrien” joke while she sees him, so it's good the writers are at least trying to get their strange habits out of their systems now instead of later.

While reading over the flyer in his room, Adrien ponders a possible career as he doesn't want to keep being a model.

(The episode came out in English first, so I'm just going to be using quotes instead of screenshots of subbed scenes for this review)

Plagg: Don't you wanna continue to model?

Adrien: I don't think so, Plagg. I'm doing it now because my father asked me to. But now I realize I don't know what I'd want to do. I've never asked myself that question.

This is a really interesting dilemma for Adrien. Unlike other episodes that just have him feel sad for entirely superfluous reasons like Ladybug turning him down or generally moping about his mom, it feels like something you can really understand. He genuinely isn't sure what he wants to do with his life because he's had everything chosen for him before. I also like the use of the English dub saying Adrien modeled because his father asked him to, as if he couldn't actually say no. I also like how Adrien is still starting to lose faith in Ladybug for giving out Miraculous to everyone, which makes even more sense after his view of her was shaken in the previous episode chronologically, “Rocketear”. I also like how Plagg suggests ideas for a career for Adrien, like the two of them opening up a cheese shop together, which shows how Plagg cares for Adrien and wants what's best for him, ultimately highlighting how healthy their relationship is. He's almost like a big brother who gives advice to Adrien, even if it isn't the most sound advice at times.

On the other hand, Marinette already knows what she wants to do with her life, but the Kwamis start to argue over what she actually means by it by saying they know what she wants to do, a painfully accurate metaphor for the writers dictating Marinette's actions no matter how inconsistent they are.

Pollen: What's a career, dear Guardian?

Marinette: Oh. Well, it's... your job! Something really important that you do and gives meaning to your life!

Roaar: Oh! So, your job is being the Guardian of the Miraculous!

Mullo: Of course not! It's being a student!

Xuppu: Not at all! It's making presents for Adrien!

Marinette:Well...

Longg: She said “something important”, like when she crafted the big doll house to hide the Miracle Box!

Wayzz: Or when she designed the alarm for this room! What a masterpiece!

Marinette: Sure, I love crafting but—

Ziggy: You guys don't get it! What gives meaning to her life is to be in love with Adrien, or Luka, that's her job!

Fluff: Luka's the one with the guitar, right?

Kaalki: Her real career is being Ladybug and carve her name in history by her glorious deeds, of course!

Of course, their bickering somehow makes Marinette realize she isn't sure what she wants to do in the future after all.

We then cut to a reality show hosted by TV personality, Alec Cataldi. He's generally an asshole to the people on the shows he hosts and takes pleasure in humiliating or just being a dick to them, making you wonder how he still gets work with that attitude. Basically, he's the Alec Baldwin of the Miraculous Ladybug universe. The current show he's hosting is one where he roasts people for their jobs, making Andre a target by pointing how counterproductive his “business” is.

Alec: Here's a perfect example: Andre, the Ice Cream Maker, the ice cream man that is never around! Let me remind you how this goes: Andre doesn't have a shop, no one knows where he is, it takes forever to find him, and he gets to pick a flavor of your ice cream! You've gotta be kidding, Andre! Give me one reason why I should bother to chase after you when I could get my choice of ice cream in any corner supermarket!

Andre: Well, people don't just come for ice cream when they find me. They come to share their love and experience of magical moments! A supermarket cannot do what I do! I am a creator of magical moments!

Alec: “Creator of magical moments?” You've gotta be kidding!

I'm pretty sure that's what a lot of people thought of Andre when they first saw “Glaciator”. The idea behind Andre is that he chooses ice cream for you representing something about yourself, so he gives Alec a scoop of lime to represent his sour exterior and chocolate cinnamon to represent the dreams he still has within. Alec flinches a little at the ice cream, presumably because of how terrible of a combination that is, and decides to go to commercial to think.

Marinette talks to Andre about what he does, and he explains he used to be an office worker, with the only highlight of his days being making ice cream for himself after work. It eventually inspired him to quit his job and start making ice cream for everyone. It's a nice backstory, and I think a lot of people watching who are struggling to think about their future can relate to this like with the earlier scene with Adrien. It's also a nice touch for the flashbacks to reveal Andre has served ice cream to some of France's most famous couples.

(Jean Coutau and Jean Marais)

(Serge Gainsbourg and Jane Birkin)

(Marion Cotillard and Guillaume Canet)

Granted, I'm wondering how old Andre is to have even met some of these people given Jean Cocteau died in 1963, but seeing how Master Fu is 186, I'm guessing the Miraculous Ladybug universe just has really good healthcare. Either that, or the people in this universe take Jay Kordich's diet very seriously.

Andre gives some ice cream to Marinette, who is soon joined by her ex-boyfriend who she never loved according to the writers. Actually, judging from her face when Luka talks about the very first guitar he made, the writers made another 180 regarding Marinette's feelings for Luka.

Of course, because the show wants to remind the audience Alec still exists, he makes fun of Luka for taking two years to perfect the delicate craftsmanship it takes to sculpt any instrument when you can just download an app on your phone. Your inner boomer is showing, writers, even if you were born after the time period for that generation. Luka retorts with some vague philosophical line he's known for that's one of the reasons why people are so mixed on him as a character

Luka: Musical instruments fill the space and space fills the instruments. No phone in the world will ever be able to do that.

Despite it being incredibly confusing, it gets to Alec, causing him to run off in tears. Luka and Marinette continue to talk, but it turns out that's Adrien decided to sit down nearby because of course he did. Though, like the last scene, it's a pretty interesting one as the three discuss what they want to do with their lives. There's also a really nice visual of a blimp with an ad Adrien was in passing by while Adrien talks about his father dictating his life, a really nice symbol. Of course, the scene is somewhat ruined by Luka suddenly deciding to be an Adrienette shipper.

Luka: You two will eventually find what's already in front of you, but you can't hear it clearly. Just let the melody flow.

He's referring to their uncertainty of their futures, but earlier on, Luka wanted to help Marinette be honest with her feelings about Adrien, and even before that, Andre was saying that Marinette and Luka didn't have to be in love to enjoy his magic ice cream. It's here when I realized this episode is subtly trying to end any chances of Lukanette still happening with so many little details. Right when the two spend time together, that's when they decided to help Adrien who showed up for no reason, preventing them from potentially coming to terms with their feelings for each other or at the very least discuss how hard it is to be friends with their history. And things only get more frustrating towards the end, where you'd swear someone decided to smother Lukanette with a pillow in its sleep.

Back to Alec, he's roasting a wig salesman (does he even have permission to film any of these people?) for his job, but as soon as the salesman puts a wig on him, Alec immediately gives us his life story.

Alec: When I was a kid, I used to have long hair, but everyone made fun of me. That's why I shaved it all off. I've been making the wrong choices my whole life. My TV shows are nothing personal. I make fun of people when they make fun of me when I was a kid. (Starts to tear up) I should've been the person I always wanted to be, trying to change the world instead of mocking it! (Falls on his knees) I've wasted my life!

I didn't paraphrase this at all. This is seriously what happened. He goes from mocking everyone he meets, to slightly doubting himself after seeing an ice cream vendor and a young musician, and then he starts having an existential crisis about his tragic backstory. It's not a bad idea, but if there was some more buildup in previous episodes, I'd understand. But this goes from confusing to straight out insulting towards the end. I'll get to that later on.

Shadowmoth notices Alec's emotions and akumatizes him into Wishmaker through his microphone.

Wishmaker has a pretty cool design. The grey skin color coupled with the mostly black outfit really highlights Alec's broken heart, and he looks pretty sinister. His powers... leave a lot to be desired.  Like the name states, Wishmaker has the power to make everyone's childhood dreams come true, like this one guy's dream is to be Santa Claus, so he transforms into Saint Nick without any hitch. Wouldn't it make more sense if Wishmaker twisted the dreams of his victims like a genie and made them miserable while they ironically lived out their fantasies by twisting around their words? Instead, all of his “victims” seem pretty happy, which doesn't really do much to make him a threat in my opinion.

So the aforementioned Santa starts dropping presents like bombs near Marinette, Adrien, and Luka, and they're separated by a giant robot. Marinette quickly transforms into Ladybug, and gets Luka to safety, though as soon as she leaves, Luka goes to check on where he told Marinette to stay for safety, and doesn't see her there. Instead, he sees his deadbeat father (transformed into a crocodile) drowning and goes to save him.

Ladybug meets up with Cat Noir (who transformed off-screen) and the two easily incapacitate the robot before engaging Wishmaker, avoiding his blasts. Apparently, they'll get their secret identities revealed if they get hit, so Ladybug goes to get Luka to help out as Viperion while Cat Noir holds off Wishmaker. Ladybug goes to get Luka, leading to the funniest joke in the episode.

She gives Luka the Snake Miraculous and he transforms into Viperion, immediately activating his Second Chance. For newcomers, Second Chance allows the user to set a point in time when activating it and if something goes wrong, they can go back to that checkpoint in up to five minutes. Ladybug also summons her Lucky Charm, a stuffed dinosaur toy.

Back with Cat Noir, as he engages Wishmaker, the Akuma starts to tempt him with the idea of living out his childhood dream, because he genuinely doesn't remember his. As Shadowmoth orders Wishmaker to use his powers on Cat Noir, Ladybug and Viperion show up, but in the chaos of the fight, Ladybug gets hit by Wishmaker, revealing her childhood dream as the “Knitting Fairy”, and exposes her identity to Viperion, who uses Second Chance to undo the timeline.

In the new timeline, Cat Noir's vulnerability gets to him, so he willingly lets himself get his by Wishmaker, not only exposing his identity as Adrien, but tragically reveals his childhood dream, to be whatever his parents wanted him to be. I feel like this works a lot better than some of the other moments where Cat Noir defied orders or screwed around on the battlefield because it's clearly framed as a moment of weakness on his part, and it was naturally built up over the course of the episode. The reveal of Adrien's childhood dream is a real gut punch too, as it shows just how much Adrien's life has been controlled by his family.

In the third timeline, Viperon deflects Wishmaker's blast meant for Cat Noir and redirects it toward a man whose childhood dream was to become a giant stuffed dinosaur. The stuffed dinosaur in question goes to give Wishmaker a hug, restraining him long enough for Ladybug to steal for Cat Noir to cataclysm (It's a microphone, how hard is it to break???) before she de-evilizes the Akuma. Ladybug uses Miraculous Ladybug to force everyone to stop living out their childhood dreams, she gives Alec a Magical Charm, and Luka decides not to tell Ladybug he knows both her and Cat Noir's secret identities. Why did Ladybug expect Luka not to know her identity when the whole reason she recruited him was to make sure nobody else found out her identity?

Now, while it isn't outright said, it's hinted at that now that Luka knows Marinette is Ladybug and Adrien is Cat Noir, judging from his dejected look after finding out the latter, he may be giving up on all attempts at the idea of getting back together with Marinette, and may or may not start shipping the Love Square now, just like how Kagami decided to ship Adrienette in “Mr. Pigeon 72”. I'm not saying the idea of Luka knowing someone's identity is bad, but it feels like this only happened specifically to stop him from having feelings for Marinette because now he knows Adrien loves her alter ego, and vice versa. Maybe it'll be touched upon in a later episode, but this was just a dick move by the writers in terms of ending all chances of Lukanette like this in order to ensure the Love Square has absolutely no competition.

So the episode ends with Marinette and Adrien deciding to focus on their futures while Alec starts a new show where he helps people live out their childhood dreams, albeit dressed like Style Queen for some reason.

Eh, he still picked a pretty cool Akuma to dress up as in my opinion. A lot of people have viewed this ending as evidence Alec is a drag queen with how he dressed up, coupled with the fact that he said something that was very similar to famous drag queen RuPaul.

Alec: And now, we're gonna love one another, starting with everyone loving themselves! Because how are you gonna love other people if you don't love yourself?

Though Astruc, being Astruc, once again decided to be vague when asked about the subject on Twitter, though at least the subtext is better than when he said he didn't make Juleka and Rose girlfriends because of censors while making it seem like a noble act.

Overall, this was a really good episode, though there were some underlying issues that really kept me from actually liking it. For the most part, it had some good drama with the main character, a rare scene where Marinette didn't stammer around Adrien, a creative (albeit flawed) Akuma with some good action, and an interesting idea with Luka knowing everything about the Love Square now.

There are just two big problems that really got to me about this episode. Let's get the obvious one out of the way, Luka. Honestly, he really didn't need to be in the episode. Sure, he gave some sound advice to Marinette and Adrien about their careers, but it felt kind of strange to see someone their age talking to them about their future when Andre, someone who actually had experience struggling to figure out what he wanted to do with his life, was pushed to the side. And like I said earlier, I think the only reason Luka found out about Marinette and Adrien's identities was to discourage him from thinking about getting back together with Marinette. After all, now that he realizes how “made for each other” they are, he can't stand in the way of the Love Square.

The problem is that in the context of the episode, we don't really see what made him see things that way. At least in “Mr. Pigeon 72”, Kagami consistently viewed Marinette's attempts to get her and Adrien back together as a subconscious desire to be with Adrien. It was dumb with how she decided to go to Team Adrienette at the end of the episode, but it was something. I'm glad the episode didn't force in too many Love Square shenanigans, but I think more should have been done to contextualize Luka's feelings towards the reveal. I get the writers wanted to make sure Lukanette had no chance of coming back, but this just feels rushed.

And then there's Alec's redemption arc. While it's not a bad idea in concept, the problem is that it flies in the fact of a recurring theme this season, that being redemption. Because, here's the funny thing: Alec blatantly said he became an asshole TV personality because of his history of bullying, and decided to retaliate as a result, but he eventually saw the error of his ways and turned over a new leaf. For long time readers of this blog, I apologize for bringing this up yet again, but what exactly makes this different from everything Astruc said about Chloe? You know, when he said that you make your formative choices when you're fourteen? Just like how Alec decided to become a reality TV host making fun of people after a troubling experience from when he was a kid?

Let's say that I agree with Astruc's views about Chloe. How is Alec different from what Astruc's said about Chloe for almost two years at this point? What makes Chloe, someone who was the victim of a troubled childhood who never got help, an irredeemable monster while Alec, someone who also had a troubled childhood and had even more time to get help while never getting any, capable of change? I thought he Alec made a formative choice when he was young and stuck with it, just like how Chloe started to fully develop at the age of fourteen. I mean, Astruc, you yourself said that Chloe's troubled childhood “was no excuse to treat people like shit”, according to you.

I'm just saying, dude, if Chloe can't be redeemed because of the stuff you yourself said, then that shouldn't apply to Alec either. When you really think about it, it's almost like Astruc either made up a bunch of excuses to not redeem Chloe, or he's a massive hypocrite for going back on his word. You can't really justify this kind of hypocrisy relating to Alec's redemption when you remember just how much of a hardass Astruc was when explaining why redemption was impossible for Chloe.

This coupled with the treatment of Luka really drags this episode from really good to blatantly insulting to certain viewers. Then again, these two choices just got to me personally. I feel like if those two things weren't there, things could have made this episode a lot better for me personally. I can see why a lot of people in the fandom still like this episode, but I'm honestly not a fan of it.

[poptod]

Will You? (Rami Malek x Reader)

Description: Meeting Rami in the back alley behind an awards show.

Notes: ugh ive been having writers block for the first time in like two years so ive only been writing short stuff. i have a couple fics backpiled for various rami characters so thats coming up! gender neutral as usual WC: 1.5k

+

Ugh.

How quickly it all became too much. You wondered, clutching your aching head, why you even came here; large parties were never your scene, public events even less so. A world-wide broadcasted movie awards event was nothing near anything you'd done before. Earlier in the day, as you were dressing and readying yourself for the evening, you stared into the mirror and wondered then, as well, what you were doing.

Maybe––probably––it had to do with the fact that one of your favorite actors' presence was assured, and you rarely ever visited New York, making this the first time you'd been in the right place at the right time to have the opportunity to do this. You steeled yourself then and you steeled yourself now, digging into your clutch bag to pull out a carton of cigarettes.

You fumbled with the cigarette as you reached back in, searching for your lighter. A frustrated grumble grew in your mouth and came out as a curse. With a harsh sigh you yanked your hand out, throwing it up into the air, and sitting with a thud on a wooden box laying by the side of a large trash bin. You rubbed your face harshly, attempting to wipe away the irritation. To no avail––you had no lighter, and your nerves were itching, teeming with aggravation that crawled like bugs beneath your skin. You needed this and the world didn't like you.

The door you'd left the building from opened once more, swinging shut with a loud clanking sound that seemed to echo in the vacant alleyway. Drops of water fell into the puddles at your feet, still present from the earlier rain, and now filled with bits of trash. The very same water almost splashed onto you as a car passed by, its' wheels revving and spinning away through a massive puddle. It must've been midnight, but assholes were still awake as well, and the city lights showed no sign of stopping.

This was why you only visited New York City.

"Here," someone with a deep, rough voice spoke, and you looked up to find a vein-filled hand balancing a blue lighter between the second and third fingers.

There weren't any active lights in the alleyway, but the puddles reflected the street lights that stood a few meters away. That was enough to recognize him when you glanced to his face.

Rami fucking Malek.

He turned almost the second you looked up at him, meaning he didn't catch the sudden, stumbling recognition that flooded your expression. Thankfully, you had the time to calm yourself before he sat down across from you on a dirty (and probably wet) stool.

"Thank you," you said, lighting your cigarette and breathing in the sweet smoke before you said anything else. "You're a lifesaver."

"No, I just have a smoking problem," he said.

You both laughed, softly, and looked away.

You took another drag.

"You're Rami Malek, aren't you?" You said through the smoke that escaped you. It was rough on your throat, but you didn't especially care anymore. Somehow, you remembered a flask of water––just not the lighter.

"Yeah," he said with another soft, bashful, chuckle.

"I like your work. Or, your style," you mumbled as you tapped the ashy end away. He might've been a star of your dreams, and mere images of him might've taken your breath away, but you would treat him like a regular person. "It's.. unique, but familiar."

"Thank you," he said, nodding, a charming grin on his face. "May I ask your name?"

"(Y/N)." You shifted in your seat as you looked down. An ounce of humor came to you once you said, "you won't recognize the name."

"No, but I'm happy to recognize it in the future," he said, tilting his head in your direction.

You broke out in a laugh and a wide, blushing grin, shaking your head. God, he looked good in a suit––all black. Silver in his lapel. His neck revealed colored veins that led up to a jawline that would surely cut you. Why was he talking to you? Why was he being nice?

"You're a charmer," you finally said through your giggling, continuing with, "do you want some?" before he could say anything.

You handed the cigarette to him and he took it, pursing his lips and letting go with a puff of smoke. Even in the hot, humid air, those clouds coalesced and drifted away just as usual.

"You're not an actor," he stated, his eyes fixed on the cigarette as he tapped the ashes away. "Not here for that, so why are you here? Just out of curiosity."

"That's... a very good question," you said with an exasperated laugh. "I'm a teacher, I don't know what I'm doing here."

"Teacher?" He repeated. "My brother's one of those. What d'you teach?"

He handed the cigarette back to you.

"Third graders," you grumbled. He sucked in a sharp breath in a wince. "I usually do first graders, but not this year."

"That's rough, I've heard those are demonic years," he said, earning a laugh from you.

"Yeah, that's a good way of putting it," you said as you doted on the cigarette. "I guess this is just the first time I've visited New York when an awards show is happening."

"How do you like the big screen life so far?"

"Not very much, but I never thought I would," you said quietly, but he still chuckled. "I... I did think about being an actor, when I was a kid. I think a lot of kids do these days, though. Actors are.. like the new Gods. You know, in ancient times people would worship idols, and that's what people call you now..." you met his gaze and couldn't tear yourself from it, "... idols. Images of something to strive for."

He nodded, his brow creased in deep thought.

"After a while the world shows you what celebrity life is really like, and you read all sorts of things, see how people change... eventually you don't really want it anymore," you said, shrugging. "Or you decide you want it, or want part of it despite the other stuff."

He nodded again but had little to say despite being a celebrity himself.

"Which was it for you?"

"Hm?"

A spell broke over his eyes and he appeared to return to normal, having not heard or comprehended your words.

"Did you become an actor because you wanted all of it, with the bad parts, or you wanted a specific part and still became an actor despite all the other things?"

"... complex question," he said after a moment, rocking his balance back and forth awkwardly as you laughed. "I wanted to become other people, transform myself into characters. I was attracted to the job. Not the other things attached to it."

"Well I'm glad you became an actor anyway," you said, relighting the cigarette with a quick drag. "That way I could meet you."

"And I could meet you, as well," he said in that same, deep voice he used when he first spoke to you.

You could do nothing but chuckle and cast your eyes down, shaking your head.

"Yeah, I guess you could," you mumbled.

He reached forward, snagging the cigarette from between your fingers. That made you look up, drawing your attention back to the subtle lines marking his face, and the glow of fire that revealed cool, green eyes behind thick lashes.

A loud wave of cheering came from inside the building, and the both of you looked back at the steel door. Still unopened.

"I should probably get inside, the cameras might notice my seat's empty," he said in a similar mumble.

The cigarette, now nothing more than a filter, dropped from his lips and fell to the ground, squashed beneath his shiny, black shoe.

"Ready?" He asked.

"Have to be," you said as you stood. "Not wasting a fifty dollar ticket on my damn social anxiety."

He chuckled and said, "I'd invite you to sit with me, but there aren't any free spots. How about..." He'd been opening the door, but he paused, causing you to misstep and halt yourself only when your chest was an inch from his. Your eyes darted up to his. "Come see me after the show. I have a '97 bottle of Montalcino at home that I think you'd enjoy."

You nearly choked on your own spit, but fortunately for you, it only came out as a cough and a clearing of the throat. 'What', almost escaped your mouth in the most astounded tone before you bit it back.

Was he propositioning you? Was this a friendly invitation? Why was, again, Rami fucking Malek asking to spend anymore time with you than he had to?

You realized a silence had spanned between you when his eyes flickered down to your lips, at which point shock fully brought you back into your body.

"Will you?" He asked hopefully.

"Yeah," you murmured. "I'd like that."

[interact-if]

The A/PI Heritage Month interviews are coming to a close soon! For Day 8, we have lovely Aster! :chinhands:

Aster, author of Nevermoore

A/PI Heritage Month Featured Author

They say that curiosity killed the cat, but it won’t be satisfaction that’ll be bringing you back. Again. And again. And again.

The simple act of visiting your parents turns into something much more than what you were expecting when your car suddenly breaks down in the middle of nowhere, and you find yourself right beside a small town that’s engulfed by the trees.

Some of the residents you met right away were welcoming enough, happy to try and lend a helping hand when they can. But their smiles seemed more apologetic than happy, and their eyes looked at you with regret.

You never really did understand why that was…

Until you died.

So now, you are an unwilling participant in an endless cycle of death and resurrection. And the more you learn about the bloodstained history of the town and the past of its people, the more you'll get tangled up in a web of secrets that threatens to keep you there forever.

So welcome, newcomer… to Nevermoore.

(INTERVIEW TRANSCRIPT UNDER THE CUT!)

Q1: First of all, introduce us to your project! What is it about?

Nevermoore is planned to be is a supernatural story wrapped in a little horror bow about a cursed town that’s both lost to the trees and lost to the ages. Relatively normal lives can still happen there...well, as normal as it gets when not only is aging put to a pause, but dying isn’t even a permanent thing. And the duration of the stay, as far as the town is concerned, is forever.

And unsurprisingly, these effects of the town are barely half of the secrets and mysteries that it holds...But the question is, does the latest new resident that ‘accidentally’ stumbled across it (spoiler alert that’s you) really wants to know what they are?

...Perhaps some things are just better left forgotten.

Q2: If it’s not too spoilery, what are you most excited about your project?

Oh, there’s so many scenes and reveals I want to get to already that it’s hard to choose! But if I had to be specific, the one I’m most excited in writing out is Sterling’s (an RO) backstory! I don’t mean to play favorites or anything, but I like to think that their backstory as having the most Hollywood movie levels of drama and intrigue.

Sterling was honestly the first character I made for this story, even before the MC, so I can’t help myself in having some fun with this!

Q3: What inspired the current project you’re working on?

Believe it or not, Nevermoore’s first iteration was supposed to be a very specific, very self-indulgent AU fanfic of this piece of media I was into back in like, 2014? The drafts of that had remained in my Google Drive, unchanged and unworked on, that is until about two years ago when I discovered the wide, diverse world of interactive fiction.

Inspired to create a story to share with others, I ended up reviving those old documents. The plot and the characters had to be massively overhauled to make it more my own of course, and some inspiration was also been taken from shows like Stranger Things and Dark for their eerie and secretive small-town aesthetics.

Q4: Do you pull from your own identity for inspiration? How has that been reflected in your work?

...Admittedly, not so much. It was an embarrassingly lack of foresight on my part (as a first generation Filipino-Canadian), because it somehow never occurred to me that I can, in fact, add characters who are like me into my own writing. Well, lesson learned. Good news is that I already have some side characters planned who’ll be Filipinothat will show up later on in Nevermoore’s demo, as well as have a Filipino RO in a future wip. The latter of which I am very excited about!

With that being said, I will share that MCs parents in the story are actually loosely based on my own parents who were Filipino immigrants! I won’t elaborate on what parts, but I’m planning on integrating some more of their personalities in the upcoming patch. I really want dedicate those characters to them, since they’ve already sacrificed so much to bring me and my sibling here in Canada to have a better life! :)

Q5: What’s been your experience so far? With writing, with the if community...

There’s no doubt in my mind that getting involved with the IF community has been one of the best decisions I’ve ever made, despite being incredibly internet shy at first. I’m glad to have meet so many amazing IF writers and readers, and I definitely wouldn’t have gotten as far as I did with my projects if it weren’t for our constant support, help, and hype for each other.

This community has been so wonderful and welcoming, and I can’t wait to see it grow even more!

Q6: Do you have any future projects in the works?

At least three so far, actually! Nothing is fully established yet, just some concepts and vibes. But the genres are high-fantasy, postapocalyptic-ish, and sci-fi.

The first is about a character who’s an aspiring writer (heh) that suddenly finds themselves ‘isekaied’ into the fantasy world of the still-incomplete book they were working on. The second is about an immortal from the dawn of humanity trying to live through the endof humanity ft. zombies(?). And the third is about a volunteer of a cryosleep experiment gone wrong and ends up waking up 1000 years in the future instead. It seems here that my brain won’t let me rest and is telling me to try my hand in as many genres I can haha!

Q7: Finally, what piece of advice would you give to fellow authors?

This is advice that I still have to work on following myself but: Don’t stress too much on your first drafts, it’s called that for a reason! Focus on getting the basic ideas/dialogues/etc down and don’t be afraid to write ‘badly’, since there’s always time for you to polish it into something you’re happy with later on!

Otherwise, you’ll only get into this cycle of editing the same sections over and over, and that can burn you out before you even have the chance to work on the parts you’re actually excited for!

[oikawaplssteponme]

Lost and Found

pairing: (prince) Izuku Midoriya x reader

warnings: a small scene of embarrassment (?)

genre/AU: royalty AU, fluff, a little bit of a secret relationship

word count: 1.2k words

synopsis: How can you lose something you never really had? How can you search for something you didn’t know was missing? The prince knew he was missing something. That something was you.

a/n: hello! this was requested by my lovely 🍥 anon!! sorry it took so long, i was having a bit of writers block so hopefully this isn’t too bad,,reblogs are greatly appreciated! enjoy xx

Prince Izuku knew there had to be more to the life that he lived.

He knew there had to be more than his royal duties. There had to be more to life than following orders, wearing a crown upon his head, and being a prince.

It wasn’t that he was ungrateful, actually he was the opposite. He just couldn’t seem to shake off this feeling. It was like a lingering cloud above his head, reminding him that he was missing something. No matter what he did, he couldn’t seem to find what he was looking for.

He had lost something, but had no idea what it was.

He tried to make the most of every day, hoping that would satisfy his needs. It didn’t. He saw those around him. They looked complete, like whole pieces. He wondered when he would find his piece, and what the piece even was.

It wasn’t until Izuku Midoriya met you that he knew what it was like to be found.

Izuku started his days the same. The sound of the bell tower woke him up promptly at eight AM. He would then be greeted by his staff, as they laid out his clothing and reminded him of what activities would be taking place for the day. He would eat his breakfast in bed, watching as the curtains of his large windows were pulled away, revealing the royal garden below.

Once he was dressed and cleaned up, he would stroll the halls of the palace, greeting everyone as he went. He loved that he knew everyone’s name. From the chef in the kitchen to the stablemen, Prince Izuku never missed a face.

Today he decided to complete his studies in the garden. He sipped on a glass of lemonade while sitting under the shade of the large umbrella. The garden was being tended to, making the atmosphere lively. Izuku loved it. The busy commotion, the smell of freshly cut grass, the chatter amongst everyone. He could bask in it all.

You were used to the smell of dirt and soil. You worked in the only flower shop in the kingdom after all. Your family would bring in shipments to the castle regularly. The king and queen were sticklers for always having fresh flowers around the palace.

You carried a case of orchids and lilies out to the garden. They were so tall that you could barely see where you walked. As you stepped into the sunshine, you didn’t get very far. You bumped into something, making you slip to your back, dropping the flowers in the process. Your heart sank.

“Oh no oh no...”

You were now covered in dirt. The flowers scattered on the ground and you looked at this with a distraught expression.

“Oh my god I am so so sorry! Here let me help you-”

The person who you had knocked into reached out their hand. You took it, though you were trembling.

“I didn’t see you coming and I bumped right into you...I’ll fix this I-I swear-”

You couldn’t tell who was talking, all attention on the broken flowers. You shook your head, on the brink of tears.

“I’m gonna be in so much trouble-”

“No it was my fault, I’ll take full responsibility-“

“Good luck telling the royals that...”

“Trust me my mom won’t be mad at you.” You flinched. Mom?

You turned around slowly. Your eyes were met with the prince’s. You had never met him in person before despite being in the palace multiple times.

As the two of you locked eyes, it was as if the world stopped. Your heart began to pound, not from the floral accident however. Izuku soon knew what he had been looking for.

“Y-Your Highness-“ you bowed your head, apologizing uncontrollably. Izuku’s face flushed red and he lifted your head back to look at him.

“O-Oh it’s okay! Um, no need for formalities like that. Here, please, let me help.”

He began to pick up all the stems as you dusted yourself off.

“I’m going to have to go back and grab knew ones...oh gosh this is gonna cost us another order...” you mumbled to yourself.

“Please let me walk you to wherever it is you need to go, I feel terrible about this,” he insisted. Your eyes widened.

“A-Aren’t you not allowed to leave the palace without an escort?”

“Well this time I’ll be your escort!” He smiled. You chuckled. Izuku was eager to get you alone. Sometime had struck within him when the two of you locked eyes. Something struck within you too.

The two of you walked through the kingdom as you made your way to your family’s flower shop.

“I didn’t catch your name,” said Izuku.

“Oh...it’s Y/N.”

“T-That’s a beautiful name,” he whispered. Your face turned hot.

“Oh thank you Your Majesty.”

“Izuku is just fine...I’m not a big fan of those silly titles,” he explained. You nodded.

“Right, my apologies, Your- I mean, Izuku.”

You led him inside of the shop. It was empty besides the two of you, overflowing with flora. You went over to pick up new lilies and orchids.

“How come I’ve never seen you at the palace before? I’m sure I would’ve remembered you if I had,” he asked. You chuckled nervously.

“Oh I probably blend into the crowd...and you’re probably busy while I’m here anyway.”

“If I knew you earlier I would’ve made time,” he smiled. You stiffened up, your face growing hot.

“T-Thank you for walking me, I don’t think I said that yet,” you whispered. Izuku smiled, picking up the case of flowers for you.

“It’s my pleasure. Hopefully I’ll see you more often now.”

From then on, you and Prince Izuku Midoriya were stuck on each other.

~

Izuku looked forward to the days where he knew that flowers were to be delivered. That meant he would be able to see you.

Izuku would make up silly tasks as excuses for you to be with him. The two of you had gotten the hang of being together and not getting caught. You would sneak around the castle, hiding in different rooms and corners. It was a rush whenever you were with him, dreading the moments when you would have to leave. Izuku had found you, and he certainly wasn’t going to lose you.

You were sitting quietly in his room, waiting for the castle to quiet down.

“Do you think everyone is asleep now?” You asked. Izuku peaked his out of the door, scanning the hallway. He nodded.

“Yeah, no owns around.”

You let out a sign of relief as Izuku joined you on his bed. You curled up next to him, resting your head on his chest as he placed kisses on your forehead.

“We’re gonna get caught one day,” you said. Izuku shrugged.

“So be it. I don’t care as long as we are together.”

“I think you’re forgetting that I’m not royalty, Izuku,” you sighed. He looked at you, smiling.

“I guess I’ll just have to make you royalty then.” Your face grew warm as your stomach began to fill with butterflies. You kissed his cheek.

“I’m so glad I found you.”

“Me too Y/N.”

•

[MHA taglist: @bibly @big-phat-cat @sapphoscolonoscopy @luluwiie @happyheartsss @lealofsblog @iwaisa @bakugousmymassa @evivn1 @tetsoleil @bokutory @vangoghmusings @moonlightaangel @misszenin @marajillana @sopesmin @alaina-rose13 @shotoful @runrabbitrun3 @katlingclaw @nerdypuppytimemachine ]

[jonsa101]

Do you think when Max double back and said “we never talked about it” do you think Helen took it as yes finally he’s opening up and that’s why she hug him and laugh that relieved laugh? And then she asked him that question and she realize he still doesn’t get it??

Aaaaaaaaaahhhhhh!!! This is a great question and such a hard one to answer as well! I’ve honestly considered a lot of scenarios in my mind about where Helen’s mind was at before and after the hug. I have gone back and forth about it but after analyzing it for awhile these are my final thoughts on it.

In my last ask I got from @abriaashley, I had mentioned that there was a very brief moment in that rooftop scene that reminded of me their rooftop scene in 1.17. Before I answered this ask, I took a couple days to really make sure that I knew what I was talking about but after analyzing it I know without a shadow of doubt this is the exact same expression. To me, this brief moment below is the most important key in understanding everything that happened during and after their hug.

But in order to understand why Helen has this expression on her face, we need to first examine the scene where we saw this expression first. In episode 1.17, Max and Helen are having a conversation within a conversation about their relationship. Everything is subtext but essentially Helen tells Max that she needs to “triage,” she can’t be his “all of the above” and that she’s removing herself as his doctor. Of course Max is upset by this and with his wonderful Freudian slip he reveals his true heart’s desire when he says...

But what if I want you?

After this declaration, we get this expression on her face and then Helen STICKS TO HER RESOLVE!

In the context of this scene, Helen’s expression here tells me two things:

Max telling her “what if I want want you” is exactly what she wants to hear. She clearly has feelings for him and hearing that is supposed to tempt and sway her resolve. But based on their current circumstances the idea of them is simply not possible and it’s heart aching.

She clearly doesn’t want to do what she’s about to do in this moment but she’s BUILDING UP THE WILL POWER to do what she feels she has to do!

This is my interpretation of why Helen has that expression on her face. When I look at episode 3.10 where Helen has that same look before she hugs Max, I think the same reasons apply for this moment as well. As an avid Sharpwin shipper it’s easy to fan girl about these intimate moments and get carried away but when you logically look at their scene and the scene that took place right before, hopefully what I explain will make perfect sense to you.

Before Max and Helen’s moment on the roof, Helen had a GUT-WRENCHING scene with her niece. Mina is still heavily grieving her father and this explains so much of why she’s also had a lot of behavioral issues. She’s suffering emotionally and is desperately trying to find some semblance of peace and healing. Shanthi Sekaran, the writer for this episode, said the inspiration for this scene was Micaheanglo’s Pieta and how fitting it was for this moment between them.

“Pieta” which translates to pity or compassion, shows the the Virgin Mary compassionately holding on to the dead body of Jesus as she sorrowfully contemplates the death of her beloved son.

Like this sculpture, Helen compassionately holds Mina and comforts her as Mina is overcome with her grief and as Helen is trying to empathize with the depths of Mina’s sorrow! It’s just such a beautiful thing to witness and why I’m hoping Mina sticks around for the long haul. There’s so much emotional investment already and in this moment of their lives, they desperately NEED EACH OTHER! So when you look at everything from a wholistic perspective and you look at the chain of events that led Helen to be on that rooftop in the first place, does it LOGICALLY make sense that Helen would be in the headspace to address her relationship with Max or even kiss him? Nooooooooo!!!!

It doesn’t make sense!

If anything, her actions in this scene is a reflection of what she did earlier with Cassian when she broke up with him. As she made her niece first priority with Cassian, she is essentially making her niece first priority again with Max, despite being in love with him!

Let’s breakdown 3.10’s rooftop scene so y’all can know where I’m coming from.

Part 1 of this scene is Max and Helen discussing parenting and him emotionally supporting her when she feels like she had a parenting fail. This should have been the first clue for us to understand how this moment between them would play out because this issue with Mina was the main thing that was clearly plaguing her mind!

In part 2 of this scene, Max turns to leave and then after briefly hesitating, he turns around says

“I’m sorry about Cassian.”

As soon as he says this we see this same expression we saw in 1.17. Then Max continues and says.

I don’t know what to...say. I mean, we never talk about it.”

Y’all I said this in my last ask but this is a really big deal! This is Max’s first attempt to bring up the elephant in the room between them and it’s something that he’s never attempted to address before. Helen knows this is a big deal too and she knows where this conversation was headed. Hence why before the conversation could even go anywhere, Helen cut him off with a hug!

Like I said at the beginning of this post, the expression Helen makes before the hug is the key to understanding this scene in it’s entirety! Similar to 1.17 I believe the same reasons apply for her expression in 3.10 but vary slightly.

Once again, what Max is saying is exactly what Helen wants to hear but also what she’s been waiting for him to do! Unlike in season 1, Max and Helen are in completely different circumstances than they were back then. Subconsciously, they had feelings back then but now they are both fully aware that they’re in love with each other. The massive elephant in the room exists between them because they don’t talk about their feelings and they’re to afraid to voice that they’re in love with each other. There is no doubt in my mind that Max finally being able to at least broach the topic is something that she has always wanted Max to do. They seemingly don’t have anything that’s holding them back from being together but based by how I see it, the heart aching look on Helen’s face tells me that in Helen’s mind it’s essential she puts her sole focus into Mina, even if this is something she’s always wanted. (This Is KEY!)

Like 1.17, I think Helen was building up that will power to tell him that she’s happy that their friends even though she’s in love with him. That hug between them was a lot of things. It was deeply loving and heartfelt. It was cathartic with pent-up angst and longing semi-released but most of all, it was desperate and supportive. Despite this, I also believe that this hug was used to avoid a conversation that Helen didn’t want to have. If she allowed that conversation to go any further she would have 100% been swayed and would have probably given into her feelings. But Helen didn’t want to be swayed. She wanted to stick to her resolve that Mina is her first priority! Is this a problematic mindset? Yes! But after that emotionally charged moment with Mina I can see how Helen might think she’s making the right decision.

Also, I’m convinced that if Mina’s breakdown didn’t happen before Max and Helen’s moment on the rooftop, they would have probably had that conversation. But since it did happen, it totally plays a role in what transpires between Helen and Max.

For the moments after they hug this is how I interpret those interactions:

When Helen says to Max “what you said earlier” initially I thought she was referring to something he said earlier in the day. Now that I’ve taken a couple of days to really think about it, I just don’t think that makes sense. Again, after Helen’s moment with Mina, I don’t think she was in the headspace at all to talk about her feelings for him. This scene was more so about Max stepping up and being emotionally supportive of her and I think what’s she’s actually referring to is Max saying “But it helps not to be alone.” In that moment Helen recognized that Max will unequivocally support her and I think that’s something she’s incredibly grateful for. When Max responds with “what did I say?,” I genuinely believe he’s not thinking straight because he so overwhelmed and overjoyed to have Helen in his arms. Also, I think naturally he asks that question because he wants to know for future reference what he needs to keep saying to keep her in his arms 🥰.That look that she gives Max before she tells him that she’s really glad that they’re friends isn’t necessarily a look of disappointment because of Max. After I watched it again, that look to me is more so of a look of “I hate that I’m doing this but I have to do this.” As she is gazing into his eyes, it’s her final push to stick to her resolve! Her mind was already made up and she was going to see that decision through.

Y’all I’m going to wrap this up here because this ask wasn’t supposed to be a meta but ended up that way! Lol! Though these are my opinions on what transpired in 3.10 that doesn’t change my opinion of how I see things unfolding for Sharpwin this season. I just think it’s important to put scenes in proper context. Though Helen might have said that they’re friends, it is so evident that she is clearly in love with him. Like Max, she can’t pretend or neglect her personal wants and needs forever! The great sleeping bear of her desire stirred and is wide awake! Sooner rather than later that bear needs to be fed!

Feel free to reach out to me through my Dms on Tumblr or on Twitter! @oyindaodewale. Also my ask box is always open! 🥰

None of the Gifs in this post are mine!

[itsclydebitches]

RWBY Recaps: Volume 8 “Risk”

Welcome back, everyone! I have a lot of mixed, complicated feelings about today's episode and I'm already sure this recap will miss a great deal that should be said. There's a lot to digest, we need some time to do that, so until things have settled I think that the one, entirely confident claim I can make here is that our writers weren't BSing the fandom on twitter. The last few days have seen a number of big claims made regarding "Risk" —

— and whatever else we might have to say about the episode, it certainly delivered in terms of shocking content. From confessions to reveals to a new plan in place, there's a lot to unpack. 

So let's get started.

Our first shot is a problem. 

I don't want it to be! But I've got to work with what I've got. We open on Salem's flying monkeys — or gorillas, if we're being technical — and my immediate thought is where in the world they came from. I mean, obviously I know where. We ended Volume 6 with the post-credit scene of Salem adding wings to an army of Beringels, Hazel commenting that she'll lead the invasion herself. When Salem arrived at the end of Volume 7 and we picked up where we'd left off in Volume 8, the fandom was obviously expecting an attack led primarily by flying, transformed grimm. That didn't happen. For ten episodes the plot forgot that the Beringels existed, focusing instead of the Hound, the grimm soup, then the Whale, then the ground grimm the Whale was producing. Months back I encountered a number of posts asking, "What happened to the resource we know Salem brought to this fight?" and those questions are partly what inspired the "Introducing new grimm that are then quickly abandoned" spot on the bingo board. Now, suddenly, the Beringels have re-appeared and that is a good thing. Though it's too little, too late, as is so often the case with RWBY. Getting something you expect has a sour taste when it arrives months past when it was needed, especially when that something only exists for a second on screen. 

This is doubly true given that we saw Oscar eliminate the grimm last episode.

At least, I thought he had? Pretty much everyone I've spoken to thought he had. This last week's discussions have centered around RWBY nerfing the stakes, taking out a whole army of grimm in one, magical blast. That's far from great. Yet now we see that we were apparently wrong. Atlas remains overrun with grimm, this problem remains a problem... so, yay? But we're once left with a tradeoff. RWBY has no longer eliminated the stakes with a deus ex machina as we had originally thought, but in its place we're left with a badly executed scene last episode and an assumed problem that is "fixed" with an enemy we should have been dealing with since the start of the volume. The road to the Beringels has been messy indeed and all they've done so far is fly across the screen.

Which reminds me: if this army of grimm still exists — and absolutely existed prior to Oscar's blast — how come not a single one is attacking the Schnee manor? This opening is in Atlas, the skies are overrun, we've seen a few grimm show up to help out the Hound, yet miraculously nothing bothers the group while they freak out at the dining table, or freak out as Penny tries to leave. That's a whole lot of grimm and a whole lot of negativity... yet somehow these two things never meet in a way that would inconvenience our characters. While from a writing standpoint I can understand not wanting to interrupt all these conversations and feel good moments, the show can't simply ignore the rules of its world whenever it's convenient. If anything, given that Atlas' population is currently hidden beneath the city, Schnee manor should be even more of a hot-spot than it normally would be. There is one (1) group of people out in the open for them to target. 

Yeah, we're a single shot into this episode. It's a doozy.

Moving right along, those Atlas citizens (and, let's not forget, a large number of Mantle evacuees too) are still huddled in the tunnels, listening to Ironwood's insane broadcast. They're obviously terrified, as are those down in Mantle who are staring execution in the face. Fiona bursts into tears.

It makes me wonder why we didn't get the airship subplot now. As I've mentioned extensively in the past, that decision didn't make much sense and I think the writers knew it didn't make much sense because they chose not to reveal what Ruby and co. planned to do with the citizens once they were on board. The point was never to come up with a feasible plan, something the audience would put to the test, but rather to just make it seem like the group was doing something Smart and Heroic before Ironwood inevitably derailed it. Don't look too closely at the man behind the curtain. Normally, I'd comment that yes, it's damn hard to come up with a brilliant plan to save others in a situation like this — our characters can only be as smart as our authors! — yet that sympathy dissipates when we hit this episode and are given a scenario where airships would have been great. Ironwood has threatened to nuke Mantle. Suddenly, it is imperative that the civilians leave the safety of the crater as soon as possible (whereas before it was not). So Whitley remembers that they have access to these ships and the group hatches a plan to sneak them down while Ironwood is distracted, get everyone up into Atlas so he can't use Mantle as a bargaining chip anymore. Then they're spotted, the plan revealed, and Ironwood shoots their ships down, leaving them devastated that their attempt to help the citizens has literally gone up in flames. We're still left with the problem of why Ironwood wouldn't just allow a continued evacuation now that Salem is briefly out of the mix and the Schnees have provided extra resources — the writing really took a sledgehammer to his characterization — but the group trying to get people to Atlas to avoid death by bomb at least makes more sense than them trying to move the citizens to an undisclosed location, for unestablished reasons, when they were already relatively safe. The bomb is what makes those airships a necessity.

It really makes me wonder how much editing goes on and how much time the writers have before they finalize scripts.

Regardless, we cut from terrified people to Ironwood himself, accompanied by Winter. The animation has some nice parallels going on here, what with the same black, white, and blue color scheme, hands behind their backs, the need for robotic accommodations, and steps perfectly in synch. As we're about to see though, Winter is very good at looking the part of a loyal soldier while actually bending the rules.

However, are we really going to ignore that she betrayed Ironwood last episode? Betrayal from his perspective, that is. Winter was given a direct order, disobeyed that order, pissed off Harriet in the process, and wasn't able to give a good explanation for her actions — she was too busy being creeped out by Ironwood's reaction. For all intents and purposes she should be considered disloyal right now. Or at least under suspicion, yet Ironwood acts as if everything is fine. We've skipped over any meaningful fallout between them, or a reason why Ironwood would dismiss her betrayal. This ties into something I'll bring up later in the episode: namely, that RWBY introduces too much too quickly and doesn't have time to satisfyingly tackle — or tackle at all — the plot points they've introduced, simply because there's always a new one to focus on. We dropped the "Winter went against Ironwood at great personal risk" plotline to make room for the new "Ironwood has randomly threatened Mantle" plotline, which likewise doesn't do Ironwood's characterization any favors. I don't just mean the obvious "Omg he's willing to murder a whole city now" issue. Ironwood used to be smart, yet his unfounded trust in others makes him look foolish now: first trusting Watts, now Winter. Alongside that, the story and fandom have both pushed the idea that Ironwood is paranoid, yet that "paranoia" has only ever been attached to justified threats. If he were actually paranoid then Winter's actions would have caused him to mistrust all of the Ace Ops now, labeling everyone near him a disloyal enemy, despite evidence to the contrary (especially when it comes to Harriet). Yet across two volumes Ironwood has continually been "paranoid" only in regards to things like Cinder and Salem — proven threats — while simultaneously trusting known villains and ignoring when his subordinates straight up say, "She let our enemies go free." There’s little rhyme or reason to any of his decisions here. 

Still! A nice, meaningful shot lol.

As Ironwood and Winter get closer we see the Ace Ops discussing the threat. "Of course he's not going to do it," to which Marrow pushes back with, "So what? He's bluffing with a whole city?" This is a really, really important moment that I don't think the writers realize is important. See, everyone is shocked when Ironwood reveals that he intends to go through with the threat. The Ace Ops, Winter, Robyn, our heroes... everyone grapples with the idea that this is actually happening. Everyone has some moment of, "It's just a bluff, yeah?" and I don't think that's just denial. The characters' shock tells us that Ironwood normally wouldn't be a man who'd do something like this. Ever. That shock has to stem from something, such as an ingrained understanding that Ironwood is a protector, not a murderer. Note the difference between the fandom and the characters' reactions. Whereas a good chunk of the fandom went, "Of course Ironwood means it. We all saw this coming! Remember how he..." and then proceed to list various things — persuasive or otherwise — that prove he was always a bad guy in the making. Yet no one in the RWBY world is inclined to use those moments as evidence. Winter doesn't go, "He's not bluffing. I saw him shoot the councilman just for speaking up" and the Ace Ops don't go, "Oh, he'll do it. This is the man who destroyed his arm to take down Watts. He'll stop at nothing." After everything they've seen — the same things we've seen — there's still some instinctual, nebulous knowledge that goes, "No. Ironwood wouldn't. He's one of the good guys." We can certainly talk about real life people getting swept up in horrible institutions, unwilling to admit how bad things actually are until they hit a specific line they can't cross... but I think this is less a comment on some sort of bystander effect (RWBY isn't that deliberately nuanced lol) and more an unintentional acknowledgement that until the very sudden and entirely unexpected shooting of Oscar, Ironwood actually wouldn't have done this. The Ace Ops are reacting to a man who absolutely existed until the writing erased him and they believe the core of that man still exists. To my mind, he should, but because our show can't actually have Salem as the main villain right now, she's conveniently blown up and Ironwood takes her place.

So we've got some loaded implications there, as well as Vine's comment that he hopes "the kids" see sense now. I am begging RWBY to pick a lane already. Are they kids, or are they adults? Because that answer makes a big difference and we can't continue to have it both ways.

Ironwood and Winter arrive were Ironwood orders that she prep drones with the "payload." That's the moment Winter and the others realize he's serious. Cue that shock all around. The revelation is the last straw for Marrow, prompting him to start yelling some excellent points about how Ironwood is doing Salem's job for her. See, this accusation works. Telling a guy threatening to blow up a city that he's as bad as their villain is accurate. Having Oscar tell that same guy that he's as bad as their villain because he wants to save a city full of people... is ridiculous. Totally different setup here and RWBY got it right this time. The only line that didn't work for me was Marrow asking the Ace Ops if they believe in anything. Uh... yeah. They believe in saving Atlas + all the Mantle evacuees they got. That's pretty well established. I swear,  most RWBY speeches are padded with generic, heroic-sounding lines that don't actually mean anything, or are outright falsehoods we’re meant to ignore. 

We'll see more of that with renora.

Marrow attempts to leave and his eyes go wide as he hears the click of Ironwood's gun. Remember I said that Winter is good at playing the obedient soldier? It's after Ironwood aims that she tackles Marrow. 

On the surface it looks only like she violently disarmed him, but in reality she got him out of the bullet's path and kept Ironwood from firing at all. She saved his life, choosing to play up how she'll “take this traitor to the brig” where he belongs, rather than watching him die. A really nice moment in terms of strategy and one of the few lately where I've actually felt like I'm watching smart characters.

However, I cannot deny the uncomfortable implications in this scene. Smart or not, necessary or not, it hasn't escaped anyone's notice that one of our darkest characters was a) nearly killed by a white man and b) beat up by a white woman. To say nothing of Marrow's status as a faunus. I was cringing during his line about loyalty: “I used to wear this rank with pride. Now I see it for what it really is: a collar." 

Honestly, I don't have the qualifications to unpack all that, so let's just acknowledge that the scene, while good in some respects, was massively insulting in others. I’ll let others in the fandom defend or damn it as they see fit. 

We get a shot of how shocked the Ace Ops are that they nearly watched their team member get executed for speaking up against a bomb threat. It once again highlight's RWBY's strange depiction of violence and when it's deemed appropriate. Harriet has threatened people a couple of times now — here telling Marrow she'll shut him up herself — yet her reaction tells us that she never would have killed him as Ironwood nearly did. Threats, then, mean little... unless Ironwood is making an exaggerated comment about shooting Qrow. Then it's evidence of evil intent that's bound to come to the surface eventually. So does that mean Harriet will be trying to bomb cities herself someday? If so, it once again leaves our heroes in an awkward position, considering that Ruby started the fight Harriet wouldn't, Weiss stuck her weapon in Whitley's face, etc. If it says something awful that Winter would punch a minority — even to save his life — what does it say about Qrow that he would punch a child in anger? Outside of the easy to label actions like Ironwood's bomb threat and shootings, there exists this gray space that asks, “When are you justified to use violence? When is a threat forgivable?” The problem is, the show keeps coming up with contradictory answers. I bring this up not because Winter's punch or Harriet's threat are the most significant examples of this that we've seen, but because the themes of forgiveness and violence take center stage at the episode's end... and RWBY completely drops the ball. Keep these complications in mind. 

Before that though, the group is crowded into the dining room and no matter what else "Risk" might give us, I'm reminded that I really like the design of the Schnee manor. I'm glad the episode found an excuse to show us this room again.

My initial thought upon entering the scene was, "Are we going to talk about Penny's hack? The silver-eyed grimm? Ozpin's return?" and to RWBY's credit it touches on all of these, though I stand by my point about plotlines coming too quickly. Any one of these should have been given the space to grow, not fighting for space against the potential destruction of Mantle. If you don't acknowledge these things in "Risk" you've lost your chance (much like how "Oscar is kidnapped" replaced "Oscar has to deal with Ozpin's return," resulting in a scene where Oscar was just... randomly okay with Ozpin again. We lost the chance to deal with the first conflict introduced because we barreled into the second), yet if you do spend episode time on these issues, it feels like the characters aren't dealing with the immediate threat. Questions of silver eyes, what to do about Penny, and Ozpin's return needed to be given their due before there was an hour time limit resulting in thousands of deaths. Now, you have to wonder why Yang and Ruby are talking about their mother when a city's safety is ticking away. Where were these questions and reassurances years ago?

I think this is why this episode — maybe even this whole volume — simultaneously feels too full and too boring. We're being introduced to lots of Big Things, but then putting them off to focus on other, smaller stuff, and by the time we circle back around it's no longer the right time. We're constantly focusing on the least interesting, least important thing in the room. Why is the group sitting around with their tea when we could have moved the Hound plotline up and started this groundwork earlier? Which means we're doing that work now instead of worrying about Mantle or Penny. All of which is connected to Salem herself being here, yet Ironwood is our villain instead... We're just introducing new idea after new idea, dropping each to focus on something else when the viewer is already emotionally invested in the last conflict. It makes the show feel overly packed with problems we don't have time for while simultaneously having too much time in which the characters do nothing of importance. We're never dealing with these issues at the right time. Talking about a silver-eyed grimm while Salem is here feels like Too Much and having the girls unpack that now, with Mantle’s life on the line, feels like Too Little. Stop sitting around while you've got less than an hour to save half a kingdom! We needed this conversation in a different episode, one not already driven by a problem that’s objectively more important. 

But I'm getting ahead of myself. We're in the dining room and the group is listing all the stuff that has gone wrong lately. Blake mentions that Qrow and Robyn are still in custody, because we definitely want Blake remembering that Qrow exists, not one of his nieces. Ruby, meanwhile, is having a meltdown. "So then it's impossible!" she yells, head in her hands. 

Emerald sneaks in an insult: “See? If Ms. Hero here with all the answers doesn’t have one..." and the others, of course, jump to Ruby's aid. But Emerald is right! It's entirely Ruby's fault that Atlas didn't get the chance to escape with those they had. Her actions and lack of a plan led to where they are now. I'm not saying she's responsible for Ironwood's insane decisions — that's like saying he's responsible for Qrow's in relation to Clover — but Ruby indeed played the part of the hero who had all the answers... without actually having any answers. Now that things are worse than how they started, her only answer is to say it's all "impossible" and throw up her hands. Ruby is an absolutely terrible leader right now and someone should indeed be calling her out on that, it's just too bad it's Emerald, someone technically still presented as an untrustworthy figure for the next couple of minutes. (More on that later.) Any and every criticism of Ruby is dismissed out of hand. Don't believe Ironwood because he's crazy now. The Ace Ops? His boot lickers. Yang has things to say, but once Ren agrees with her she does a 180. Now Ren is heading towards an extra special apology for daring to doubt Ruby. May calls her out, only to also change her opinion the next episode. Now here's one more person, but she's a bad guy. The show has never once encouraged us to treat these criticisms seriously — never allowed them to stick, let alone lead to change — and at this point I'm done with everyone falling over themselves to absolve and praise Ruby. By making Emerald the criticizer and having Ruby throw herself a pity party, the writing ensures that the conversation goes from, "Yeah. You messed up big time and now have a responsibility to fix things" to "Aww, don't be so hard on yourself! We won't let mean Emerald insult you anymore."

Ruby makes herself the victim here. She gets so upset and acts so defeated that all anyone can do is reassure her. The focus turns towards her, a focus centered around hiding against the table, or cowering on a staircase, so that it feels cruel to call her out on her deadly mistakes when she's so clearly upset. But they still should have, especially since cowering and tears have never protected anyone else from the group's criticism. Ozpin is proof of that.

What I'm getting at is that Ruby runs away. She's faced with the consequences of her actions, is informed she needs to help come up with a solution, and instead of braving that decides it's "impossible" and literally runs from the room. While they're on a time limit. Keep this moment in mind for just a bit longer. These choices become doubly important later.

So Ruby can't handle the responsibility she violently ripped from others and the group goes out of their way to comfort her in this. Especially since the writing again decides to conflate Emerald and Ozpin through a comment of Oscar's, demonstrating that it still has no decent sense of what "responsibility" or "villainous acts" means. These scenes are three years in the making and every step getting here was dogged with problems, so the fact that the end result is a mess isn't exactly surprising.

We (thankfully) leave Ruby for a bit and instead turn to Jaune. He's amplifying Nora's aura, but admits that he can't get the scars to go away. That makes sense. After all, they're scars. His semblance helps people heal, but at this point Nora has already healed. Those scars are the result of that.

She says it was “Just another ditzy move from Nora” and I'm glad we're acknowledging that, even if it is all framed through the lens of Nora being incorrect in that assumption. Once again, the writing continually makes statements about characters, but fails to have their actions reflect that. Nora wanted to do more than just hit things with her hammer without thinking them through... and we showed that by having her hit a door with her hammer without thinking it through. Was it heroic? Absolutely. Did it lead to any growth? No. I'd much rather someone acknowledge that yeah, she did the same thing she always does, but that's not necessarily a bad thing. Nora's impulsivity is a part of her and, given the talk of teammates here, she could have gotten reassurance that she'll always have people around to help her temper those impulses. Instead, we're (again) told that she shouldn't do A anymore, watch her do A anyway, the writing presents it like it’s B, Nora admits that she did A, and everyone rushes to assure her it was actually B. Just let these characters make mistakes for once, especially mistakes made in an effort to help someone. This should be the easiest and kindest way to criticize the group and RWBY can’t even manage that. 

Which brings us to Ren. Ren, I am so sorry. You deserved better than this. Nora rips into him, saying, “We were supposed to be a team, but that didn’t matter to you! You shove people out so you don’t have to feel things that are hard!" and again we have RWBY making grand statements that are meaningless. Did Ren keep things bottled up in Volume 7? Yes... and no one tried to help him with that. Instead, Nora decided to bypass his problems completely and try to kiss it better. When that (shockingly) didn't work, Ren was finally forced to open up at Yang's insistence and was abandoned for his perspective. That's what that was, literally and metaphorically: they walked away from him and made it clear that so long as he believes these things, he's not welcome. What were those things? We've made mistakes, Ruby made mistakes, we're not ready for this stuff. That's it! "We were supposed to be a team" makes it sound like Ren betrayed them in the worst possible way, when in reality all he did was acknowledge that they're imperfect and that things are a mess right now. But of course, that is the ultimate betrayal for this group: acknowledgement that they’re not perfect. Everyone can call themselves out to generate sympathy — Nora does it, Ruby does it  — but as soon as someone else agrees and implies that they should make changes, they’re dismissed. 

I've said it before and I'll say it again: the refusal to question Ruby makes me incredibly uncomfortable. Is this as bad as Ironwood shooting someone who questions him? Of course not, but that doesn't make it good. The group has made it clear from Ozpin to Ren that if you put a toe out of line, that's it. You're gone. You are not a part of the group until you are willing to back the group 100%, no matter what horrible things they might be up to. That Nora yells at Ren for questioning and Ren learns to keep his mouth shut, apologizing to both her and Jaune for speaking his mind is... well, it's horrible. That's not friendship. I know the fandom doesn't want to hear that given how much we otherwise love these relationships, but it's not. If you can't question and voice concerns without about serious topics like this without the threat of abandonment — literal or otherwise — then that's not a friend group you should be sticking with. Ren’s "biggest failing as a teammate and a partner" is that he didn't agree with the others and didn’t immediately change his mind when they demanded it. There are awful implications attached to that, especially since Ren’s perspective was a good one. He’s not out here slinging horrific views like, I don’t know, homophobia at the bee’s non-relationship. He just went “We made mistakes” and the group responded “Absolutely not. Absurd. Fuck you.” They didn’t even consider that position, which speaks to both a lack of respect for Ren and a level of arrogance that keeps getting them into trouble. But these issues are easily overlooked given everything else that surrounds them. Outside of Ren's apology, I quite liked the renora moment. We got a detail about Nora's backstory! She called Ren pretty! We got an "I love you"! He booped her nose!! It's all very cute and wholesome... and soured by the knowledge of what Ren had to do to get here.

Outside of these generalized responses, there are three other points I wanted to make about this scene:

Yes, more obligatory humor to ruin an otherwise serious moment. Jaune could have just smiled softly and slipped out. Or have him leave before the conversation started (because Ren shouldn't have been apologizing to him in the first place...) Instead, we got multiple seconds of him being awkward, including a bunch of funny sound effects.

I'm legitimately happy we got that "I love you" — outside of the problems since arriving in Atlas, I've always enjoyed the ship — but coming on the heels of last week's episode, it makes the bee's forehead touch look even worse. Renora has been confirmed multiple times at this point, but we still can't get something overt for our one, queer ship.

On the one hand, I really like that Nora set a boundary here — a surprisingly mature conversation for RWBY — but I'm confused as to what exactly the boundary is. She says she needs to figure out who she is without Ren, but what does that translate to on a practical, day-to-day basis? Normally, when a couple needs to figure out who they are they separate, but renora can't do that. They're still on the same team, stuck in the same war, presumably off to do the same things they've always done together. It sounds great on paper to say that Nora is going to discover who she is without Ren, but unless they separate again I don't see how that can happen. More likely, we'll get a volume or two of them looking and acting exactly as they always have, but when it comes time for relationship drama again, Nora will insist she's a different person who is now ready to be with him. That she's changed. But change requires, you know, making a change, so is renora actually going to look any different moving forward?

While these two confess their love but also decide to be separate (is that what happened?), Qrow and Robyn have knocked out some guards and retrieved their weapons. Robyn watches four security feeds, whispering, "He's... really gonna do it." See? Even Robyn, someone who never liked Ironwood and considered him dangerous from the start, is in shock that he would go this far. Qrow doesn't want to talk moral downfalls though, he's all action: "Not if we stop him first."

You know, at least Qrow is doing something. What he's doing is stupid, particularly given his motivations, but with the volume we've had I give him props for coming up with a plan and sticking to it. That's more than many of the others have done.

Yet then, suddenly, Robyn doesn't want to kill Ironwood. ...Since when? Robyn has been the most trigger happy of the lot while Qrow initially wanted to talk. Now they've switched places for no reason I can see, with Qrow all murder happy and Robyn cautioning restraint. Which admittedly isn't uncommon. Remember how Nora was all about protecting Mantle and then randomly decided to help with Amity instead? Remember how Yang was critical of Ruby and then decided to defend her to Ren? Remember how Hazel was pro-Salem until he saw a blue naked lady and decided to defect? At this point, characters just do things at random.

Robyn says that Qrow isn't trying to kill Ironwood because that's the right thing to do, only because he wants revenge. A true enough assessment. But then she follows it up by claiming that Qrow is a better huntsmen than Clover because he does the right thing. Without rehashing all my arguments regarding how Clover was not the devil incarnate for refusing to let two potential criminals walk free — especially after they attacked him — we're really playing the dead guy card now? Clover was murdered. Robyn and Qrow were participants in that murder. Now Robyn is making sweeping claims about who is the better person when Clover quite obviously isn't here to defend himself? That's all kinds of messed up.

Before they can bash the dead guy anymore though the elevator arrives. We see Qrow and Robyn's shocked expressions at whoever is behind the doors, presumably Winter and Marrow. It seems likely that Winter didn't really intend to take him to the brig. They're defecting and have now found two more allies to help them. Robyn wants a plan other than run upstairs and stab Ironwood? Winter will likely provide one.

We return to Ruby who, as established, is wallowing in the most dramatic position on the staircase. Obviously things are legitimately horrible right now and if Ruby had been given a storyline different from what we've seen since Volume 6, I'd feel sorry for her. As it stands, it's just frustrating to watch her look like the maiden of a Victorian novel while Mantle's time ticks away. 

The conversation between her and Yang is great though. At least, it is for the first few sentences. I love that the show remembered they're sisters and have them talking again. I love that Yang tries to cheer Ruby up by saying she outshines her big sis in regards to the Hound. I love that she nevertheless acknowledges that the Schnees were a part of that defeat, giving them their due rather than putting all the praise on Ruby. We establish that Yang has learned what the Hound really was. This conversation is going strong...

...but then.

"That's what happened to mom."

Really? Really? In eight episodes we went from, "Lol just because the Hound spoke doesn't mean Summer was secretly made into a grimm. That’s a crazy theory" to "Summer was absolutely turned into a grimm. That's canon now!" Except because it was made canon by Ruby just announcing it one day, we can expect for an even bigger "twist" in the future: Summer is still alive. Why wouldn't she be? The Hound was untouchable outside of silver eyes, so we have little reason to think anyone has defeated her in the last 14 odd years.

I'll admit the timeline works out better than expected (I think) with Salem killing SEWs during Maria's time before switching to experimentation, but there's no emotional weight to this. I just don't care and frankly I don't think the fandom cares either. Oh, there's plenty of excitement over the reveal, but that's all for the version of Summer Rose people have built up in their minds for the last eight years, not anything that exists in the show. If you strip away all the headcanons and fics, Summer isn't interesting because she barely exists. We know nothing about her as a person and therefore we have no reason to care that she's likely another Hound. Worse — because maybe this could be smoothed over if we just care since Ruby cares — everything else surrounding this reveal was badly done. Summer, as said, has been a non-character for this whole series. Yang only just remembered two episodes ago that Summer is her mom too. The only evidence of experimentation we've seen is on other grimm, not people. There was more mystery surrounding why Tyrian was interested in Jaune, not why he'd kidnap Ruby (Big Bads always want to kidnap heroes). We have no idea who this silver eyed faunus was. We have no idea why Salem would randomly start experimenting when she doesn't need additional weapons. We don't know why she would keep these weapons to the sidelines when she’s apparently had them for over a decade. I don't even buy that Ruby, someone who we never see thinking about or questioning any of this, suddenly put all these pieces together to hit on the revelation. 

None of this adds up because it wasn't planned. Summer was dead, added to the series purely because having a dead mom is interesting, and she was treated as dead for seven years. Not just by the characters, by the show. Then, suddenly, the narrative raced to remind everyone that she's supposedly a Very Important Character so we could get this twist. It’s awful. Not because the idea itself is horrible, but because it was shoved into a story that wasn't prepared for it and certainly doesn't need it. The group has Salem herself attacking the kingdom, Ironwood threatening destruction, three Relics still to discover, not to mention all the other personal conflicts going on — Emerald walking around the mansion, Ozpin is back, Penny is being controlled, Oscar has finite magic now, Nora is still recovering — but we're going to introduce another subplot to deal with? RWBY acts like it's terrified that if it doesn't add something new and flashy every third episode, its viewers will jump ship. Despite its hiccups, there's a reason why the arcs of Volume 4 worked well overall: characters were given the time to explore specific problems, like Yang's PTSD and the destruction of Ren's village. Now, in episode 11 of 14, RWBY reveals that two of the characters' mom was turned into a literal monster, but there's only time for a tiny bit of comfort because Penny is escaping and they have less than an hour now to save Mantle. There is way too much going on and we're not devoting enough time to any of it.

Hell, even the conversation can't afford to stay on the Summer reveal for more than a few sentences. Ruby segues back to her self-chastisement, saying that she wasted time on Amity. She did, but not because people didn't come. She never should have made that terrifying, nonsensical announcement to begin with. But just like Ruby never thought through the pros and cons of telling the world about Salem, she apparently never thought about the logistics of getting help. She's written the world off now — so you just know help will appear in the finale — yet she never considered how long all this would take. Our timeline is (supposedly) two days, so how long would it take a kingdom to digest the information she gave them, decide on a course of action, get people and resources together, then fly all the way to Atlas? After Ruby used most of the first day just to send the message? As I and others have pointed out, the answer is “way longer than the group has.” It shouldn't be possible, yet neither Ruby nor Yang realizes basic facts like, "What's the flight time between Vacuo and Atlas?" Like Qrow blaming his semblance rather than his decision to team up with Tyrian, Ruby blames the world for abandoning them rather than her terribly thought out plan. Both have reached the right emotion — regret — but not for the right reasons.

Also, Ruby says that Amity fell. Are Pietro and Maria okay??

Yang talks about blind optimism vs. no optimism at all, something I could really get behind if the group hadn't been governed by blind optimism this whole time. Also if what the rest of what Yang said made sense. She fires back with, “And in case you didn’t notice, my plan for Mantle didn’t work either." Uh... what plan? As far as I recall there was no plan. They just went down to do any tasks that needed doing: supply runs and grimm killings. What plan is Yang talking about?

This conversation is a disaster. We circle back around to Summer with Yang saying she also took a risk (the title is very obvious this episode) but "she's still my hero." Is she? Because the only thing you've ever said about Summer is that she baked great cookies. Regardless, Yang lays her head on Ruby's shoulder and they cry some more.

Then Jaune hurries down the steps because Penny has woken up and broken through a window.

Again: how were they planning to deal with this? Did anyone discuss it? Because it looks like Klein said, "Hey, that friend of yours powered up and could have hurt us," Nora said, "Hey, Penny was fighting some sort of control," and Whitely said, "Yeah, she wanted to open the vault and then self destruct" and everyone just left her alone in some room, deciding they'd worry about that later. If Penny had just snuck out a little more quietly the group would have been screwed.

What I do like though is the teamwork to keep Penny from flying off. It feels like we get so little teamwork nowadays, which makes everyone piling on others' range weapons, or Jaune boosting Weiss' glyphs, really enjoyable. Even Emerald gets in on the action because apparently they gave her her weapons back! 

We're going to talk about this nonsense in a second.

For now, Ruby implores Penny to fight it, which is exactly what I said we'd get. Penny insists Ruby kill her though, saying that if she does she'll ensure that the power passes to her. I find this to be a weird priority. Does the group really care about who gets the Maiden powers right now? The threat here is that Penny will successfully open the vault — which shouldn't even be that much of a worry. Just let Ironwood leave instead of trying to destroy Mantle! Keeping him here has made things worse! — and that Penny will self-destruct. That feels like the biggest worry: that Penny will die. So they're going to prevent her death by... killing her themselves? Priorities and motivations really feel shaky this week.

Luckily, Ruby remembers that Penny is A Real Person and tells Jaune to amplify her aura. The fact that she has a soul keeps the virus from overtaking her. Hurray!

That's like saying my sense of self will beat off rabies. Just believe that you're your own person and nothing can touch you. They go so far as to say, “That’s who you are. Our friend, not a machine” and that feels like such an erasure to me. Penny is a machine. She is! And that was great back when this was accepted as a good thing, not something to ignore. Remember this?

You think just because you've got nuts and bolts instead of squishy guts makes you any less real than me?

Here, Ruby acknowledges Penny's difference and reaffirms that she still has worth. Now, the group denies Penny's difference in order to prove that she has worth. She has worth because she's supposedly not a machine and supposedly can't be controlled like one... even though she is a machine and is being controlled. It's only Jaune's semblance that keeps her from going under again. The concept of Penny's personhood is now connected to her ability to resist a machine-based virus and she has failed to do that. This doesn't confirm Penny's humanity, it tells Penny (and us) that humanity is distinct from the machine parts of her, rather than a concept that includes it, and the moment she is too influenced by that machinery she ceases to be a person. The group isn't accepting her here, they're encouraging Penny to ignore and deny the parts that make her Penny.

If you want an example of how to do an arc like this far, far better, go watch The Next Generation with Data. He's what Penny could have been.

Regardless, the virus has been held at bay, at least so long as Jaune has aura. Which seems to be endless given that he was exhausting himself in the whale, but is now boosting Nora, Weiss, and Penny without any difficulty.

At least that's a minor concern in the grand scheme of things. What we're about to get? Not so much. Honestly, I'm 7k into this recap and I just don't have the energy that these two scenes deserve. Which scenes? The one where Emerald is welcomed into the fold with laughter and Ozpin has to grovel for forgiveness.

Emerald first. Last week I said:

“However this fight ends, we could really use someone like you, [Emerald.]” That’s it then. Discussion over. We knew as soon as it started that blindly trusting her was being presented as the “right” thing to do and now here we are, deciding that conclusively, despite Jaune and Yang’s complaints. By the time the group reaches the mansion, Oscar is defending Emerald from Ruby. We’re supposed to just accept that she’s a part of the group now, only minimal pushback allowed.

and I was right. Over the course of the last week I spoke with a number of friends, many of them working under the belief that this was just the start of an arc for Emerald. Obviously the show wouldn't instantly have the group trust her after all this. They'll need to warm up to her first. She'll need to prove herself. Well, I was far more pessimistic, arguing instead that I thought this was it. She was already being presented as a perfectly trustworthy figure. I'd briefly thought I'd been mistaken when the group turned on Emerald for her comment to Ruby, but then suddenly she's been given her weapons back. It's not even a matter of "You should be able to defend yourself, but you're still not trustworthy" (which would still have problems, but). No, she makes a comment about "switching sides" and that's it, trust achieved. That's all it took — nothing at all.

Now, some shows do function on a second chance policy. We can name hundred of stories where heroes instantly forgive antagonists and there's nothing wrong with that. The problem is that RWBY is very much not that show. In the exact same scene Ozpin apologizes to the group and begs that they try to trust him again:

“I’ve failed all of you. I should have trusted you with the truth and I should never have run the day you discovered it."

This is complete and utter bullshit. Sorry, I'm not mincing words for this one. Two years we waiting for the group to come around, hoping that there would be apologies on both sides, but there wasn't. The group doesn't physically or verbally hurt Ozpin anymore — they do accept his request — but it's done with expressions that say this is what they are owed. You’d better apologize.

I could rehash all the arguments I've already made about how atrociously they treated him, how Ozpin had no reason to trust a bunch of teenagers, how important it was that both sides admit their mistakes, but if you're reading this recap you're likely already familiar with all that. Rather, what I want to emphasize here is that our opinions on Ozpin don't even matter here. Even those who take his apology at face value — fully believing he did fail them, he should have told them everything from the start, and that him leaving was "running away" rather than being driven off — even if we accept for just a moment that Ozpin is as guilty as the show says and heinous as the fandom claims... surely he's not as bad as Emerald? In roughly chronological order she has:

Tried to ally herself with Adam along with Cinder and Mercury

Helped to attack Amber, resulting in injuries that would have killed her if Cinder hadn't gotten to her first

Helped kill Tukson

Pretended to be a transfer student and Ruby's friend for the rest of the semester (that’s a lie that would breed mistrust)

Tricked the world into thinking that Yang had attacked Mercury unprovoked

Uses her semblance on Pyrrha, causing her to unintentionally kill Penny

All of this was in service of the Fall of Beacon, an event that destroyed a school, killed an unknown number of students, killed Pyrrha, and lost Yang her arm

Participated in the attack on Haven which, beyond the intent to further Salem's goals, nearly got Weiss killed

Came to Atlas to assist in the next attack

Went after Penny, Pietro, and Maria — two of whom might still be in trouble depending on if Amity literally fell out of the sky 

Listened to Oscar being tortured, hemming and hawing for a while before realizing that, if the whole world is in danger, she's in danger too

Finally jumped ship

Emerald is one of the bad guys. All the sad looks over the years doesn't change that. Yet somehow an antagonist we've had since Volume 1 is considered more trustworthy than Ozpin, a man who hasn't intentionally helped kill their friends and who has been helping and apologizing for months now.

Yang "Aww"s when Emerald speaks. Just sit with that for a second. The woman who went through all of that horror because of Emerald, who just last episode was correctly saying they can't expect her to forget all that, is going "Aww" after... Emerald helped hold Penny for two seconds? This is ridiculous. These are the faces of the group when talking about Emerald's trust

whereas these are their expressions when talking about Ozpin's

It’s not a matter of who deserves trust or not, here it’s purely a matter of comparison. Emerald should not be more quickly forgiven than Ozpin. 

Now toss in the story Ozpin tells. Unsurprisingly, it's another fairy tale — we've gotten a little heavy-handed lately — about a young girl who flees the consequences of a choice and, having never learned from her initial failure, spreads even more trouble. That's Ruby. That is Ruby to a T in this episode and the last three volumes. She is literally a young girl who has caused staggering consequences, literally ran away from the conversation about those consequences, and is now poised to continue making those mistakes because everyone keeps reinforcing her flaws. That's Ruby, yet somehow the show thinks it's Ozpin. He positions himself as the young girl here, as if he didn't face his consequences generations ago when he left the cabin, didn't learn from his mistakes by keeping Salem's secret, and hadn't been driven away by the very people he's asking for a second chance. This scene has everything backwards and while normally I'd grab hold of the possibility that maybe things will right themselves later on... we're done. This is the ending of that arc. After two years of saying, "Maybe, maybe, maybe," Ozpin has been taken back into the fold after begging his way back in. There's no more time to correct things. RWBY missed its chance. Weiss says that "Trust is a risk" and that's how Ozpin is forgiven. They have taken the risk of trusting him again after months of reflection, life-saving actions, and apologies. Emerald is granted the risk of trust in under an hour. I’ve heard so many people say they’re dropping RWBY this volume and scenes like this are precisely why. 

Ugh. Heavy stuff, folks! I feel like I need to lighten the mood. Here, let's take a moment to acknowledge that the Schnees and Klein only marginally know what's happening.

Someone help them.

That is, to all intents and purposes, the end of our episode. Ruby has some sort of epiphany about actually handing Penny over — "That's actually a risk we haven't considered" — and Ironwood will no doubt fall for whatever plan they've concocted because he's stupid now. He receives a call from Ruby saying they agree to his terms, Watts is attempting to get communication of his own up and running, and Neo arrives to do... whatever she intends to do. Idk, I have assumed she wanted Ruby, but Cinder obviously doesn't have her yet for a trade off. Regardless, Neo is ready for a fight while Cinder just smiles. Team up 2.0?

As for bingo, I'm using my free space for "Worst redemption arc I've ever seen," with an honorary nod to Hazel too, and Ozpin's square gets blacked out in exes because that was just #bad.

This bingo board is a mess. Appropriate lol 

Three more weeks, everyone. Hang in there! 💜

[martasaur]

My Over Analysis on Miraculous. Part 3.

Season 4

“Truth”

“Now that I’m the guardian, I have to keep my secret now more than ever.” Marinette says. I find this line hilarious because both Alya and Luka know her identity now and I wouldn’t be surprised if more people find out (we know bunnix knows her secret, who else is going to find out?).

CN is upset that LB forgot about their patrol and she tells him, “I promise I won’t ever forget our patrols ever again.” It’s all downhill from here.

Now Ivan knows Marinette is in love with Adrien. Besides Nino, I don’t believe any of the other guys in class knew about it.

“Don’t worry! I’d never claw a secret out of you, M’lady.”

LB to CN, “What do you think of my new role as Guardian?” “As long as it doesn’t change things with us, then I'm good.” :(

Hawkmoth at the end of the episode says, “Truth is underway, Ladybug. And nothing can stop it.” The reveal is going to happen soon (I hope).

“He can change his name as much as he likes, he’ll still never win.” “You can count on me and my jokes, Bugaboo.”

“Lies”

When Plagg tells Adrien to sample different cheeses (in the love department) we cut to a scene where there are two different cheeses in front of him. He isn’t just explicitly falling for Kagami. He was always falling for Marinette as well!

When Kagami is trying to sketch Adrien and he makes the Chat Noir pose, she says;“You’re not at all natural.” “Yes I am. I promise this is me!” She can’t accept the other side of him, she doesn’t even acknowledge that it exists. Marinette will! I’m sure of it.

Adrien was hesitant to kiss Kagami. In Truth, we see Marinette and Luka are both on the same page, but Adrien with Kagami looks very uncertain.

“And what if everything in our world is just a lie?” Why would Hawkmoth say that? It could be nothing, but it feels so out of place I can’t help wondering what the writer's intentions were?

That’s the second time Marinette’s lucky charm has been akumatized.

CN to LB before he falls into the beam “No, don't do it! What if I fail?!” “You know what? I trust you.” This show really does make sure to let us know that no matter what, Chat Noir always believes in Ladybug.

LB to CN after she fixes everything, “Seriously! You have got to stop doing this to me!” “Yeah, but I can’t resist this angry little pout of yours when you bring me back.” Aww, definitely feels like foreshadowing.

“We keep secrets, and lie. But we always trust each other.”

“Gang of Secrets”

When CN says “Pound it!” She’s distracted and doesn’t right away. This is the start of them becoming more distant.

“You know, if you ever want to talk about anything I’m here for you.” CN says to LB as they leave the theater and she completely ignores him and ditches him.

The girls have a “Rabbit Check”. That’s interesting.

Alix is also the only one that doesn’t immediately give up. She says “It cannot end like this!” while all the other girls gave in. Might be nothing, just find it interesting.

“You’ve made mistakes before, Ladybug. And you’ll make them again, and then I will discover your secret.” There’s a heavy motif of mistakes and choices in this season. This is the beginning of it.

“Mr.Pigeon 72”

Adrien is specifically allergic to pigeon feather in this episode. Previously he was allergic to all feathers. Could his allergy to feathers be a red herring in the series?

Alya’s Grandma always says, “Life is not about waiting for the storm to pass, it’s about learning how to dance in the rain.” When things go aerie, we have to learn to overcome them.

Ladies and Gentlemen, there it is! Finally! Adrien, Marinette and a red rose all on screen at the same time. As Adrien and Marinette are falling into the pool together, there is a pigeon carrying a red rose. It’s framed so that the pigeon is behind Adrien, signifying that he loves her, he just isn’t aware of it yet. I really hope this is the season Marinette reveals her true feelings for Adrien!

Plagg and Alya both tell Adrien and Marinette that they're insane. I just think that’s a cute parallel.

I'm starting to notice a motif of Adrien flying. It’s pretty constant throughout this season too.

When Marinette is helping Kagami meet Adriens gaze, it’s stated that Adrien thought he saw one of his friends from school. Kagami goes to a different school, he was looking at Marinette.

Marinette says to Kagami, “It’s because you're too far apart! It’s when you’re really close that you feel it!” Is this a metaphor for the wall between them?

Marinette to Kagami, “We haven’t gone back far enough in time to the moment you fell in love!” Hmmmmmm. When Marinette is able to give back the umbrella, will Adrien too realize his love for her? Or is it more literal than that?

“Yes! Create. The only limits are the ones you put on yourself!” Oooo.

When Marinette is offering back the umbrella she says, “I can finally give it back.” But Adrien isn’t ready to accept it yet. The umbrella is a symbol of love in this show, so once he gets it back.. “Keep it, you’re going to need it to get through all of this.” I know in the scene he’s referring to the rain, but there is definitely an undertone of something much bigger. Not only that, he could have easily said, “Keep it, you're going to need it to get through the rain.” But he doesn’t. He says ‘all this’ referring to the storm that’s coming. But they shared the umbrella for a brief time. She’s going to need him too to get through everything.

I think there’s going to be a moment where Adrien has to choose between his father, and Marinette, but the next time he’s going to choose Marinette. However as LB and HM, he might just start by choosing HM (as indicated by him getting in the car). The fact that he looks back though, means he’d rather be going with her.

“Life is not about waiting for the storm to pass, but learning to dance in the rain.”

In the end card, Adrien has Marinette’s scarf on for 3 of the 4 pictures. While Ladybug’s eye’s look lovingly at them from the background, and Marinette dancing in the rain. Will the scarf come back and play an important role? Maybe the scarf to Adrien will become what the umbrella is to Marinette.

“Furious Fu”

When Marinette is telling the Guardian she doesn’t know who the owner of the cat miraculous since they are, “supposed to keep our identities a secret”, the Guardian looks at her confused but says nothing. That rule must have been implemented by Master Fu, and not a core rule of the Guardians. We know both Alya and Luka learn that Marinette is Ladybug, so maybe we will continue to see her open up and trust others with her identity too.

CN says to LB “Trust yourself, Ladybug. Like I do.” He really always does believe in her.

CN is so afraid of losing LB, he’s willing to stand up to the Guardian. Hope he show’s some of that same when he faces his dad.

HM says to his butterfly, “A scorned authority, a confused man defeated.” Is this foreshadowing to Adrien standing up to his dad, as well as CN standing up to HM?

CN cataclysms the soccer ball. The miracle box has had a lot of parallels to the soccer ball in this episode. Hope it’s not foreshadowing.

HM says, “Be careful with that box, you wouldn’t want to lose it again.”

The Guardian says, “Your natural instincts tell you who you can trust.” Even if CN goes rogue in this season, I think she will always trust him. He will always be a good guy.

The Guardian tells Marinette that he cannot imagine what would happen if the miracle box were to fall into the wrong hands, but that he’s trusting her to take care of it. A lot of allusion to Marinette losing the box in this episode.

“Sole Crusher”

“Sorry, Chat Noir. I got held up.” LB says it so nonchalantly that I didn’t understand it was a pun until the second time I watched it. Good writing.

The end card hints at Chloe becoming Queen Banana.

“Queen Banana”

The colors of the costumes immediately stand out. The green one for creation, and the red one for destruction. The colors are opposite to that of LB and CN. So which one does Marinette see herself as? In the next scene we get our answer. When the reporter is talking about costumes it pans to Alya (who is holding up the green costume) and Marinette who is holding up the red costume. The play that pans out directly parallel that of LB and CN, even if they say it’s not (as Marinette tell’s the kwamis it’s a movie, make belief).

(Alya holding up the green costume might signify that she’s on equal footing to CN and she’s going to be equally as important to the events. But I’m not as certain of this as the other stuff. Thought it was an interesting point regardless.)

Zoey says (as she is in the green costume) while practicing her lines, “You may hate me, but I will always love you.” This line is said four times throughout the episode, making it very important. The line is very Chat Noir in nature, and the fact that we have already seen Marinette holding up the red costume (to signify her role in the events) we can conclude that this is what Chat Noir is going to be saying to Ladybug regarding this big event. There is another hint at this in another episode we haven’t talked about yet. But I will point it out once we get there.

“You may hate me but I love you, and I always will.”

In the film, the entire population has been put into an enchanted sleep. But why? The only other time we see a character in "an enchanted sleep" is Emilie. Could this foreshadow that in order for Emilie to be brought back, everyone else will fall asleep?

When Chloe is getting mad about her role, Nino says, “But those two roles are equally as important.” We can’t forget there would be no LB without CN.

Marinette is the one who puts Adrien in the cage after Chloe orders a better challenge for her. “My father said it was for the good of the film.” So once again Adrien is trapped thanks to his dad. Marinette also takes charge and says “The first thing we are going to do is get Adrien out of that cage!” Foreshadowing? She may have led Adrien into his fathers grasp, but ultimately she’s also the one to get him out.

Zoey hits Mylene with a beam and Mylene drops to the ground (I also want to note that the sound that is made when Mylene is hit by the beam is the same sound that is used for Hawkmoth’s transformation. It’s also another allusion to LB getting cataclysmed, we've seen this hinted at a lot but whether it actually happens is another thing. The sound used to revive Adrien is different.) It’s interesting that Adrien was brought back by his movie counterpart. I wonder what that means for Adrien and Chat Noir?

“You may hate me, but I love you and I always will. Even if the whole world hates you.” Big foreshadowing.

The end card still shows Chloe in a purple aura, no one else has any other color change. Hinting at another akumatized Chloe, possibly the finale?

“Mega Leech”

Gabriel says to Andre, “When one fights for a good cause, one always finds a solution.” Gabriel believes his cause is good so maybe he will succeed?

“Buy us some time, Kitty!” “How come I’m always the one who has to buy us time” He says it with a smile, but that distance between them is growing and CN is showing it.

CN may have been possessed, but he did try to take her miraculous. This is a running theme in the show (It might not be hinting at anything bigger, but I'll put it here as a note anyways).

CN says, “Hey guys, wait up! Group pose!” He’s the last one in the frame, he’s being left behind.

This episode is also particularly interesting as it is the first time LB was able to defeat an akuma WITHOUT the use of CN’s powers. Not a good sign.

Gabriel and Adrien talking at the end of the episode, “Adrien, you took a stand against me today.” “I didn’t take a stand against you, father! I took a stand against a project my friend said was bad for the plane--”. Gabriel raises his left hand to stop Adrien. It completely engulfs Adrien and we get a good glimpse at Gabriel's ring. “Adrien. Go to your room.” Adrien obeys without any arguments. Gabriel plays with his ring behind his back while staring up the stairs squinting ever so slightly. There is obviously a connection between Adrien and those rings.

“Guilt trip”

When Gabriel is talking to his akuma he says, “Oh how well I know that feeling of loneliness. That anxiety no one else can share, and that only an Akuma can ease.” That’s so sad. But Gabriel does it to himself.

Marinette falls into Adrien and they stare at each other for a moment while the background changes to pink bubbles (signifying love) and he smiles softly at her. I’m starting to wonder if Adrien likes how clumsy Marinette is. If Adrien’s love language is touch, then he sure does get to touch her a lot, haha!

“Don’t feel bad about telling us, Juleka. You held out as long as you could, but it was just too much to bear alone.” This line parallels Marinette and Alya, but I wonder if it will also parallel Ladybug and Chat Noir by the end of the season?

When the gang is able to help Juleka overcome her loneliness, HM says; “Impossible! How can an abyss of loneliness just vanish?” It cuts to a wider frame so the audience can see just how alone HM is…

When the class goes to find Juleka after she runs away to the bathroom, Chloe, Sabrina and Lila are the only ones that don’t get up. Not really a surprise but i’ll note it anyways.

When Nino is inside the sentimonster he says, “I can’t even help my best bud stand up to his old man.” I think he will though, in the season finale. With the help of Marinette, of course!

CN says, “We should just give him our miraculous”. Then LB says, “Chat Noir, you have to think positive! You’re the greatest partner anyone could have!” She means it, but has a hard time showing it via her actions because she’s so afraid of revealing her identity to him. “Ladybug, do you really mean that?” “Yes! I probably don’t tell you this enough, but I couldn’t do this without you! And it would be a lot less fun too.” Chat Noir is able to break free from the bubbles and start cracking jokes. But. There is still. One. Purple. Bubble. Left. On. Him. He still has his doubts and it’s going to show later on in the season.

“Pigella’s powers shows the person it affects their hearts greatest desire.” I didn’t think much of Pigella’s powers the first time I watched this episode. I wrote it off as lame. But now rewatching and overanalyzing the series, I think she’s going to play a big role in the future. Whether she uses her powers on Gabriel, or Chat Noir.

“We don’t always need a spectacular fight to succeed.” LB says to CN.

“Crocoduel”

Shadowmoth says, “A group of friends are surprised to find out that ‘two’ of them have been keeping secrets.” This is 100% in reference to Marinette and Adrien keeping their identities. However, when the group finds out it’s a very positive reaction. They’re fears are for not!

“A young girl whose biggest fear has come true! What could be worse than not being loved by your own father?” Is this in reference to Chat Blanc? Or maybe CN turning on LB?

“Bugaboo, promise me we won’t be a couple like that when we get older?” “In order for that to happen we’d have to be a couple first, Kitty Cat.” She’s not full on rejecting him anymore.

“Optigami”

Adrien keeps smiling sweetly at Marinette when she’s being weird now. It’s really sweet and shows how fond he is of her now.

Style Queen to Shadowmoth “And I’ll get you the two trinkets you’re so obsessed with.” They're not the only two trinkets he’s obsessed with.

When Marinette and Adrien get stuck in the elevator, Marinette very sure of herself says; “I’m sure Chat Noir will be along to save us!” He replies, “Yeah or… Ladybug.” He however, doesn’t sound nearly as sure of himself, again showing the distance growing between them.

Even though we know Adrien is afraid of being trapped, he seems okay in the elevator because Marinette is there.

When Rena Rouge comes to save Marinette, she quite literally removes Chat Noir from the picture.

LB and CN banter, “To know me is to love me.” “On second thought.” She laughs. She doesn’t fully reject him though!

When CN asks LB how she knew the Akuma was in the miraculous she says,“Thanks to my lucky charm, Kitty Cat. It always shows me the right way. Except this time, I had gotten the villain wrong.” This feels like foreshadowing.

On the end card, it show’s Rena Rouge basically engulfing the screen, while CN is tiny in comparison. LB is pushing CN off to the side, not on purpose but it’s clearly happening.

“Sentibubbler”

In Marinette nightmare, it reveals all her biggest fears. Alya betrays her trust, Shadowmoth with the miracle box, Chat Blanc. What if all these things end up happening? Chloe is there too talking about how ridiculous keeping secret identities are. Could she be the voice of reason for once? Haha.

When Marinette goes over to Alya she says, “Not even Chat Noir can know” (in regards to secret identities). She needs to open up and trust Chat Noir more. That’s one of her biggest mistakes, and this whole season's motif is about mistakes and how to fix them.

“You were right to give me a miracu--grr!” Alya doesn’t finish her sentence. This gives me ominous vibes.

Tikki to Marinette, “ Trust Alya, Marinette. She’s never let you down before.” Yet! “ You’re right, plus I'm sure Chat Noir will show up soon.”

Marinette to Tikki once she sees Alya needs ‘help’, “Then Chat Noir is our last hope.” I think so. It reminds me of the movie they made earlier in the season, and how Zoey (in the green costume) saved everyone.

Alya’s Illusion “I’d never betray you, Ladybug.” Hmm.

Ladybug to Chat Noir, “This could have been the end of Shadowmoth.” “ You know, I really thought today was the end of Chat Noir, but you guys had it under control.” He doesn’t just mean the end because his miraculous was taken. He feels like it’s the end of their teamwork.

Gabriel talking to Natalie, “Ladybug never makes a mistake!” “Don’t give up. Everyone make’s mistakes. One day, she’ll make one too. And when that day comes, your wish will come true.” There’s the motif of mistakes again. I think Natalie is right. Ladybug is going to make a mistake, but how she fixes it will be important too.

“Rocketear”

In the movie theater Nino and Alya are watching the LB and CN animated film. There’s a particular line that is said between LB and CN, “Chat Noir, come back!” Is this a hint that he’s going to leave the team? “I’ll always love you, Ladybug!” And there it is! The line that confirms what I speculated in Queen Banana. “I love you, and I always will.” I think they make these moments very missable on purpose. If you’re not paying attention, you miss it really easily. I know I sure did before this over analyses.

When CN and Alya are talking on the rooftop and Alya laughs at CN she says, “Besides, I don’t know your real identity. I could never fall for someone I didn’t know.” This might be a slight at Marinette and Adrien. Until they know who the other really is, they’ll never be able to fully give themselves to one another.

When Nino tells Adrien that Alya and him know each other's secret identity, Adrien looks so hurt. “Ladybug would never allow that.” “She’s the one who gave us our miraculous at the same time.” “No that’s… Impossible.”

Alya and Rocketear, “I can’t believe I ever doubted you..” “I can’t believe I ever chose to do something over spending time with you.” “I’m so sorry..” He said as he cries a tear. Alya wipes the tear, paralleling the scene in Chat Blanc. If Alya can help Nino overcome being Rocketear, then LB can help CN overcome Chat Blanc.

“Love and secrets don’t mix, Ladybug. I’m sure you have many secrets too.” Shadowmoth says at the end of the episode. She has to be honest with Adrien if she ever wants a chance of being with him.

“Everyone has doubts now and then. Even me...” Chat Noir says as a huge poster of Adrien is staring at LB, almost disapprovingly. When CN and LB depart after, he looks so sad. I really feel for this boy. Everyone he loves is keeping him in the dark at this point.

“I can’t hide it from you, Nino. Because I love you, and we share everything.” Alya and Nino embrace. That’s how it should be. Ladybug has to find the courage to be honest with Chat Noir too, or she will never overcome Shadowmoth.

The end card is foreboding. With Chat Noir looking up at a bubble that looks like the moon. One of Marinette's biggest fears may be closer to coming true than she realizes.

“Wishmaker”

The art teacher tells Chloe, “ You know, Chloe. People are defined by their choices, and what they do with their lives.” This goes pretty hand in hand with the mistake motif of this season. We might make mistakes but it’s how we choose to overcome them that makes us who we are.

Plagg and Adrien talking, “Don’t you want to continue to be a model?” “I don’t think so, Plagg. I’m only doing it now because my father asked me to.” We all know how obedient Adrien can be when it comes to his father… “I realize now I don’t know what else I want to do. I never asked myself that question.” :( “Since Ladybug keeps handing out miraculous, the day will come where she won’t need me anymore.” There is no Ladybug without Chat Noir.

As Marinette is struggling with figuring out what she wants for her future, Sass begins floating in front of her and says; “Marinette. What is the real important thing that will bring meaning to your life?” He asks her as he hovers in front of a photo collage of Adrien.

When Luka is talking to Marinette and Alec by the beach, Marinette tells Luka, “You definitely have a gift for finding the right words at the right time.” As Adrien sutley enters the background behind her. She too will find the right words for Adrien when the time is right.

Not really a note, but can we talk about how romantic and amazing Luka is? Too good for this world, haha!

Adrien while talking to Luka and Marinette, “If I don’t figure it out, my father will decide for me once again.” “I thought I’d be content doing whatever my father wanted me to do.” “My father arranges it all for me, but if I think about what I want to do… Nothing! My mind’s empty.” These lines really hurt my head. He’s so clearly being controlled by his father, but something along the way has changed. He is no longer satisfied doing what his father wants him to do.

Luka tells Adrien, “Your song, Adrien, sounds like it’s being muffled by someone playing a sad piano tune. But your true melody is a happy one.” Once Adrien can overcome his father, his true nature will be revealed and he will become the happy boy we all know and love him for.

Alec gets sad and says, “I’ve been making the wrong choices all my life.” There’s that motif again.

“He’s mistaking dreams for reality.”

LB and CN bantering, “The knitting fairy? Seriously?” “What about you? What did you wanna be when you were young? You’re making fun of me, but you’re too embarrassed to tell me.” “Actually, I don’t know what I wanted to be..” “You probably wanted to be a fireman, or a magician.” Trait she sees in CN. Having fun, and being brave. But I can’t help but think, didn’t Felix also want to be a magician?

CN to Wishmaker, “Don’t waste your breath. I didn’t have any (in regards to dreams).” “Every child has a dream.” Unless… he skipped that phase of his life?

When CN gets hit, he goes directly under the picture of his mother. “When I was a kid, I always wanted to be what my parents wanted me to be!” And then it’s just Adrien. So who is Adrien Agreste? Is Adrien truly Adrien? Or is he modelled after someone else?

Adrien is going to start looking forward to the future and forget about the past. This reminds me of a famous quote, “I see now that the circumstances of one's birth are irrelevant. It is what you choose to do with the gift of life that determines who you are.” -Mewtwo from Pokemon the First Movie.

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[buttherainbowhasabeard]

Promising Young Woman (2021)

*contains spoilers*

Revenge is a dish best served stone-cold sober…

Delightful and dimpled British star Carey Mulligan has had a successful career to date, playing alongside leading men such as Leonardo DiCaprio (‘The Great Gatsby’), Ryan Gosling (‘Drive’) and Michael Fassbender (‘Shame’). Despite not always being centre stage, many of Mulligan’s film choices have been eclectic in terms of genre, and it seems this winning combination of offbeat and orthodox have all led to her explosive lead role in the indie assault on the senses that is ‘Promising Young Woman’.

Carey is Cassandra Thomas, a 30-year-old whose promising career as a doctor went into a tailspin when she dropped out of medical school following the rape of her best friend Nina Fisher at the rough hands of their classmates. It’s implied that Nina – overwhelmed by what happened to her and the lack of support or investigative interference – committed suicide, and in the years since, Cassie has dedicated her life to avenging her friend’s death. Rather than continuing to try to take the claims up with police, Cassie turns unconventional vigilante and offers herself up as hot-mess boy bait, spending her nights fake falling-down drunk in bars and clubs to see and document how many men attempt to take advantage of her. Going so far – arguably stupidly so – as to let them take her home, Cassie abruptly reveals her sobriety to shock them into acknowledging and lamenting their predatory behaviour.

These scenes in particular are deliciously satisfying – that moment the self-proclaimed “nice guy” realises his unwilling date is more than aware of her surroundings and is going to confront him about them. The genius of these moments is in the power of Mulligan’s swift and drastic transformations. She doesn’t need to threaten or produce a weapon to take control, her stark sobriety is enough.

Making her feature filmmaking debut, director Emerald Fennell has had her fair share of femme fatale experience as head writer on Season 2 of TV’s addictive ‘Killing Eve’. Her love of strong, clever but chaotic women are all bundled into one with the creation of Cassie. She’s a Villanelle-esque sexy sociopath with a skewed moral compass, complimented by a noughties heavy soundtrack featuring a screechy orchestral remix of Britney Spears’ ‘Toxic’, a rom-com inspired routine to Paris Hilton’s ‘Stars Are Blind’, and DeathbyRomy’s cover of the Weather Girls’ ‘It’s Raining Men’.

‘Promising Young Woman’ could just as easily be called Privileged Young Men. With a narrative that draws on #MeToo, toxic masculinity and on campus rape culture and rituals, this is a film that is unapologetic about its subject matter and in your face about its opinions on it. There are not-so-subtle traces of trends that are played out in real life today, like dismissing women’s allegations to protect men’s reputations. Whilst Nina’s life was destroyed and her credibility doubted, male peers like perpetrator Al Monroe (Chris Lowell) and his sleazy friend Joe (Max Greenfield) were given glowing references, advanced to the top of their fields and became popular pillars of their communities, industries and social circles.

Although predictable for me, the eventual reveal of the one good man from Cassie’s past being complicit in Nina’s rape (her happy-to-take-it-slow boyfriend Ryan played by a charmingly goofy Bo Burnham), is a gasp out loud moment. Her world is once again shattered beyond repair when she realises the relationship that has made her happy for the first time in a long time was built on a lie (or to give him the benefit of the doubt, a very bad mistake). He is the first man she felt she could trust, be herself around, and fall in love with, but she discovers that underneath he was at worst, another one of the guys, and at best, an indefensible bystander.

You’d be forgiven for thinking ‘Promising Young Woman’ is all anti-men. Everything about it - on the surface and in the trailer - screams angry, bra burning feminist. However, it’s more nuanced than that and takes more of an anti-bad men, anti-bad women and anti-bad behaviour stance, as many of the movie’s female characters also have to confront the fact that their refusal or disinterest to speak up and call out abuse has enabled criminal conduct to set in, rot and spread. Cassie - an anti-hero herself - holds a grubby mirror up to the faces of the women from her college days with varying degrees of cunning and callousness, from feigning the abduction and pimping out of the University Dean Elizabeth Walker’s daughter, to tricking an inebriated former classmate (Alison Brie) into thinking she was unfaithful, or worse, sexually assaulted, in a hotel room.

Cassie’s methods are extreme and quite frankly mad, but her motives are steeped in an obsessive desire to do right by her friend and seek justice whatever the cost (the latter playing out in tragic but successful fashion in the finale). She is an intentionally entangled fly, luring spiders of all shapes and sizes to the centre of the web, daring them to do their worst. Most times she is well prepared, and even when it seems like she’s bitten off more than she can chew, another dose of vigorous vengeance is plunged in (even if it has to be done posthumously!)

Physically too, she’s a calculating chameleon. From pigtails, flowery blouses and flats for a girl-next-door look, to blow-job blotted lips, tight dresses and skyscraper stilettos to give off a late-night pick-up vibe, every element of her outfit is deliberate and devious. Dressed up in a wig the colour of a Rainbow Paddle Pop and sexy stripper nurse outfit in the film’s final act, Cassie is the literal sexual objectification of the promising young medical practitioner she could have been. Instead, she’s a practitioner of pain, turning Monroe’s bachelor party into her plastered patients.

Handcuffing Al to the bed upstairs, it looks like she’s reeled in her biggest fish to date. “It's every man's worst nightmare, getting accused of something like that,” Al cries, to which a deadpan Cassie replies “can guess what every woman's worst nightmare is?” But soon the tables turn when he breaks free, overpowers her and smothers her to death with a pillow. It’s a brutal and distressingly drawn-out scene, and it takes a while before it hits you that she really is dead and this is where her sad story ends. Joe and Al burn her body. It’s all over. Or so you think.

We cut to Al’s wedding, and as Juice Newton’s ‘Angel of the Morning’ plays, Ryan begins to receive scheduled texts from Cassie, taunting him from beyond the grave with a juicy contingency plan. Using Al’s ex-attorney Jordan Green (Alfred Molina) and his regret and grief over representing the wrong party to her advantage, Cassie had sent him incriminating evidence about Nina’s assault and her own demise in advance. “You didn't think this was the end, did you? It is now” the first texts read, as police sirens wail and officers emerge from the woods to arrest Al for murder. “Enjoy the wedding! Love, Cassie & Nina” the final messages say, followed by a perfectly placed winky face emoticon as Fletcher’s ‘Last Laugh’ cues the end credits. It’s a gratifying water cooler moment, bona fide badass yet bittersweet, but you’re still left wondering if it was all worth it.

‘Promising Young Woman’ could be cut from the same tortured heroine cloth as ‘The Girl with the Dragon Tattoo’, ‘Kill Bill’ and ‘The Handmaid’s Tale’, with Nina and Cassie’s friendship rivalling ‘Thelma & Louise’. It covers a lot of taboo territories and topics, from slut shaming to consent and coercion, and evokes the harrowing Margaret Atwood quote “Men are afraid women will laugh at them. Women are afraid men will kill them”.

‘Promising Young Woman’ is not for the faint hearted, and anyone who fears the film may be triggering should stay well clear. It’s not always easy viewing and it’s not always fair, however it’s more than just a pitch-black comedy or clear-cut tale of rape-revenge. It’s a brave, bold and original satire with bite and brains.

4/5 stars.

[abluescarfonwaston]

Hi! So, um,, I know this isn't something you should ask a writer so please feel free to ignore this. I was wondering,, , your "the white wolves" story has brought me so much joy and I am grateful that you wrote it! I was just wondering, if you're not going to finish it (this isn't meant to pressure you. If you don't want to finish it that is 100% fine and your choice and I'm thankful for the five chapters you gave us!!!) so, anyway, I was wondering what the conclusion was going to be? If you're comfortable answering that. If not, that's absolutely fine of course and I'm sorry for asking.

Thank you so much for your lovely stories and I hope you're having a wonderful day!

Okay first off, we're totally cool don't even worry about it. I am always touched people still care about and think about an unfinished piece from like 10 months ago. And now that I have seen that it's almost been a year I feel it is important to point out that while this fic has clearly been physically abandoned, it has not been emotionally. Or Else I would not have spent the last hour pacing back and forth angrily lamenting that I do not have more hands. I do not want to provide you with an unsatisfactory summary in an undercut about how the story was going to unfold. It is not that I mind sharing these details - I have done so to others who have asked. It's just that admitting something I still love so dearly may never get done hurts.

Hopefully one day I will find that voice again.

Spoilers for a fic that will (probably) never get finished under the cut. It is 2.6k and includes most of the final section.

The next sequence in the story is them all taking a nap on the side of the road. Jaskier gets up and calls Yennifer for help. Do you know that part in the books where Yennifer saves Dandelion and he doesn't know why? Because I owed you one. You kept him from being alone. I think about that alot. I think that's why she comes. Not then. She meets them at the keep in a few days time. She is too tired to arrive before then.

There is a scene of the four of them in an inn. Of Ciri, afraid to sleep least she destroy the inn like she destroyed that forested grove. We have a moment when he looks at candle on the inn nightstand and remembers a inn fire that almost killed him and how he hadn't wanted to sleep in an inn ever again. (I foreshadowed it. It's allowed. I once read that Regis saved Dandelion from an inn fire. I thought it was canon. I know its not. I think. I only ever read the short stories. They sit on my shelf. One day I'll read them.) He understands. Still he tucks her in and tells her it will be alright. That is the empty words of adults who lie to children that they think do not know better. No. It is the empty words of a bard whose job is to write lullabies that get children to bed on time. Besides it will be fine. Even if things go bad, we will be with you the entire time.

These are the two scenes I largely blame for the fact I stopped writing this fic. I got stuck on Yennifer's conversation and then wasn't sure how to get that inn scene to actually play out. Anyway. Back to the part you were actually asking about. What's the deal with the wolves? Both of them.

They arrive at the keep. They are greeted and loved and yeered at and pestered. Jaskier is nervous and concerned as he eyes the silver in their blades. It is strange they believe the doppler. But he was a very good Doppler. He digs his fingers into white fur. Remember you promised. You promised you were him. Don't let it be a lie.

And oh I have lost the voice but they are in the great hall with Vesemir and Eskel and Lambert and Geralt and Geralt and Yennifer. She peers into his eyes and does not reveal him. Silver medallions brush against skin and he does not flinch or melt. Geralt of Rivia is Geralt of Rivia. Of this there is no doubt.

The conversation turns to Ciri and Jaskier quietly slips out. It is snowing, just a few flurries on the still air. The wolf flows him to the room they set their bags in. Geralt's room.

This was not how it was meant to go. This is not how it was meant to go. Yennifer was supposed to look at the doppler and then at him and go what the hell and they would slip away and break the curse on the wolf - on Geralt. And they would quietly change hands. The Doppler into the wolf. The wolf into Geralt. Ciri would not know of the quiet deception they had pulled. The magicians trick with revolving mirrors.

Because clearly the doppler loved them. Because clearly the doppler had chosen them. Do you ever think about how in the short story Geralt is ready to kill the doppler that wears his face and it knows this because it is also him so it turns into Dandelion. Because he Knows Geralt would never hurt Dandelion? It's falling in with a lie. It is so easy to in love with a lie. Jaskier knows this.

It was supposed to be like this. Laying in a bed in the Keep with a white wolf next to him. Playing ballads for Geralt and Yennifer and Ciri and not hurting. Because he'd lay next to the wolf at night and bury his face in its fur. And in the spring they would run off to the coast together. You can wear a different face, whatever one you'd like, and will prove to you again and again that I still love you.

I am good at loving people. You know this about me. I might not be able to love you first. That might be why you love me. Because I loved Geralt of Rivia first. So completely that whatever motive you had you abandoned for the sake of it. For the taste of it. I know what it is like to want so desperately to be loved. Wearing different faces and personalities in the chance that someone might.

I know that very well.

But unlike you I'm always still just Jaskier.

The wolf slips in the door behind him.

Jaskier rounds on him. 'What the actual fuck? What the fuck are you? You Promised me. You Promised me you were him." The medallion bounces off his chest and he hates it. Rips it from his neck and brandishes it like a weapon. "I kept this for you! I thought you were him! You promised me you were him! What are you?! I told you I would help you even if you weren't him! Why?!"

The circle of the medallion cuts into his hand.

"Is this funny to you? Bringing me all the way up here and making me look a fool?! Making me watch Geralt picker her Again? Is this funny to you? You and this sadistic game?!"

And he throws the medallion. It hits the wolf dead on. Hit's his bowed forehead. Right between the eyes. Just in front of his flattened ears.

He has always been a good shot.

It is snowing outside. Just a few more flurries. The winter stretches out, immeasurably long in front of him.

He knows who Geralt chooses. That those 'I love you's are lies. No. Not lies. Geralt did not mean to lie. Not intentional. But it was so easy when your heart is broken to bury yourself in someone that does. Love you. Drowning men love life boats but they'd much rather be on the ship that cast them out.

He knows. It exactly what he was doing too.

I love you doppler. I could love you too.

The winter stretches immeasurably long in front of him.

"I can't do this." There is a bag in his hand. A case. "I can't do this."

There is a whine but he does not hear it as he rushes out the door. He can't do this. Down the stone hall. Wind whips through a hairline fracture in the Keeps walls and cuts his cheeks red where they are wet. He can't do this. Out the doors. Through the large wooden gates. He can't do this.

The winter stretches immeasurably long in front of him.

In the great hall a sickening feeling curdles in Geralt's gut. Honestly its seeing Yennifer again. This is all so wildly out of hand. Even if he knows they need her. That Ciri needs her.

"It's startin' to snow. Your idiot better come back soon."

"What?" He turned to Lambert who had curled up in a mountain of blankets in the window nearest the fire.

"Said it's starting to snow, dumbass."

"No the other part."

"Peacock left a while ago. Think he had the right idea. If I'd know she was coming I'd have stayed down south."

"What?" Snow was coming down hard. Big wet flakes. Could hardly see the keep walls through them. "Why didn't you say so sooner?!"

He shrugged. "His dog went after him."

His gut does a funny thing then. It eases in relief before his brain catches up and yanks tight in terror.

The wolf went after Jaskier.

Jaskier is alone.

With the wolf.

In a snow storm.

Jaskier is is alone in a snow storm. He walks down the mountain alone. As he knew he would. Why did he think it would be any different this time? Why does he never learn? He is a fool.

The wind picks up. The snow buries the path. He huddles in a protected alcove and wishes he'd been thinking clearly enough to steal one of Geralt's cloaks. Just to be petty.

He is probably going to freeze on this mountain. Walking down it alone. He might die. But even if he doesn't something will have died. Something in his chest that he cradled like wounded bird.

How many times must you touch fire, how many times must you be burned before you learn? How many times Jaskier? How many times?

He pulled his doublet tighter around him.

Just the one more time it seemed. Just once more.

Barking. Just one voice barking. Barking into the snow and wind in the distance.

Are you looking for your pack? Did you get lost? Separated? I hope they find you. I hope they answer you. I wish I had a pack to call out to.

The snow drifts down in heavy blankets and there is nothing to do but sleep. All he wants to do is sleep.

There is warmth in his dreams. Heavy and warm and soft and reeking of wet dog and something deeper. Something less domesticated and tame.

"You found him?"

Geralt's voice. Deep and soft. Reaches him. Buried in the snow. Cruel and kind in equal measure. To make him hear that voice before he, probably, dies.

"... Thank you."

There is a gasp. He recognizes it. That shocked little inhale of Geralt's.

"I think... That druid overpaid."

He wakes up to a stone ceiling. To thick and heavy furs covering him. to a wolf pressed into his side. To a man known as the white wolf pressed into the other.

Words will find him soon. But for now they are held back by a dam of confusion and exhaustion.

Geralt reaches an arm over him and scratches at the wolf's forehead. "Hm." Got it. The hum says. The same one he uses when Jaskier reminds him to pick something up in town. Hm. Got it.

The dam breaks.

"Oh so you're just okay with each other now? Everything is hunky dory? Jaskier goes out into a snow storm and you drag him - Unwillingly mind you - back here and now you're best fucking friends?! Well it's not all A-O-Kay over here so perhaps you might let me up so I can demand Yennifer do me the solid of getting me out of this godforsaken keep?" He wiggled under the mountain of blankets that held him captive.

"Wha-" Geralt's hand pressed down on his chest. Preventing escape.

"Or you know just go back to the love of your life, take your one goddamn blessing and leave me be!"

"Jask-"

"Oh don't give me that- you're gonna run right off after Yennifer and we both know it and you," Glared. Bared his teeth at the wolf. "Are a lying manipulative bastard and I hope she turns you into a gnat or a pigeon or - or something!"

"Jaskier!"

His jaw clicked closed. He did not soften his gaze.

"We- He - it's not. He didn't lie."

He scowled harder at Geralt.

"You remember that druid Ciri told you I helped?"

"... Vaguely."

A woman and woman who was not her wife. But was. In his story, in his song, he would tell it as if she was.

You saved my heart, I don't know what I'd have done if she. She. Witcher how can I ever repay you?

What food do you have on you?

Uh.

Fine. We don't have time. Don't tell them which way have gone.

No that's not- perhaps the law of su-

No. No. Lie. That will be enough.

It's not!

"He," Nodded to the wolf. "Was how she decided to pay."

He studied Geralt. Then the wolf. Their matching golden eyes.

"What the fuck are you talking about?"

Geralt grimaced. Hair falling over his face. "He's a familiar. She made him for me. Of me."

He studied the wolf again, distrustingly. "How does that work?"

Shrugged a shoulder. "You'd have to ask Yen."

"Don't care that much." He tried to wave his hand and the idea off but couldn't get it free from the covers. "Shouldn't you have known then? If he's made of you?"

"We weren't... connected. You have to. Touch."

"Oh and she thought you'd just go out of your way to touch a big white wolf? Honestly what was the plan there? You'd have just killed the damn thing."

"Mhmm."

"Seriously what kind of mad man goes out and pets a two hundred pound wolf? Could have at least tied a note to its neck for explanation before setting it loose on the countryside, wandering around looking for you."

"It wasn't..." He hummed his prodding question. "Looking for me. That's not what it was supposed to do."

"And pray tell what was it supposed to do?"

Geralt was quiet. The charged quiet that said he knew the answer but didn't want to tell him.

Eventually. With a fair bit of glaring and wiggling on his part, he answered.

"She was repaying the favor."

"Oh and what's that supposed to mean?! What you saved her partner and she sent the wolf to go out and save yours?" He scoffed. "What did she magic you 'a white wolf to protect your heart when you could not?' as you did for her? Is that it? Absolutely absurd, I wouldn't write that drivel."

Neither Geralt met his eye.

"Geralt...?"

"That's..." He ducked his head. "Hm."

Right.

"But then why-"

A wolf appears in the darkness. All white fur and golden eyes. Protects him from the bandits. Brings him a rabbit when his stomach growls.

I love you Jaskier. I'm sorry it took me so long to realize.

They lay on the bedroll and Geralt kisses him like a thousand drunken kisses. Like a thousand sober ones. And the wolf follows after Ciri and comforts her when they cannot.

The wolf seeks him out in that ruined clearing while Geralt cradles Ciri. While Geralt debates with Yennifer and Vesemir over Ciri's fate. Her training.

I love you Jaskier.

Protect his heart, white wolf, when he cannot.

"Oh."

He let his head fall to the side. Watched Geralt watch him with those golden eyes he had memorized decades ago. Listened to the sound of his breathing that was more familiar than his own.

"Tell me again."

Geralt cocked his head a fraction. Brow furrowed in confusion.

"Tell me again, what I did not believe. If it is true. Tell me again. Geralt of Rivia."

"Tell you...?"

"I love you, Geralt. Despite all sense and reason. Do not lie to me. Do not pretend if I am fated to walk down that mountain alone again. Do not lie to me."

His eyes widened. He pushed himself up and over him. Caged him in his muscular, scarred arms. Shoved the wolf aside.

It grumbled. Huffed. Walked out of the room. Towards Ciri. Towards his heart.

"Jaskier. I love you." He said again.

And this time. This time he believed him.

"Then, You absolute fool and dullard." With only Geralt to hold him down he worked his arms free. Held Geralt's head in his hands. Traced the stubble of his jaw that he could, if he needed to, shave blind. From memory alone. "Kiss me. I have waited long enough."

Geralt leaned down and did.

He remembered the barking of a single wolf. It's howls into the storm. Searching for its pack.

I hope your pack finds you. He wished to its unseen form.

Mine did.

[clumsyclifford]

ok hello i absolutely love all ur fics, you’ve just got a certain quality in ur writing that is just… mmm. yeah so anyway, do you have any advice on how to improve or just how to write?? (especially fic cause personally i struggle with that more than original stuff??)

hello!! that is very kind of you to say thank you <3

advice on how to write. oh boy. oh man. well i can try. i will do my best. i will also try to be brief but we all know how that song goes

update from having finished answering this: alright. okay. this is not only long, but decidedly english teacher-y. i’m sorry that i am the way that i am. this is what you get for asking a leo for writing advice. am i joking? maybe. maybe not. anyway. this post got away from me in a big way so here’s a read more. warning: LONG post under the cut.

1. study your characters. for RPF like the band stuff i write, that literally means watching interviews, watching them perform, seeing how they interact with each other, picking up on their mannerisms (behavior) - what they do with their hands, if they repeat themselves or stutter when they talk, the quality of their voice when they're talking about different things, and so on. also keep track of things they mention a lot in interviews especially about each other - for example jack has mentioned before that alex has an annoying habit of twirling his hair when he zones out. that kind of thing. IMPORTANT NOTE!: you don’t have to use all of this information. just like studying for anything, you collect all the information you can and then you parse through it and use whatever you think will contribute or be relevant to your story.

2. remember that characters are people. or at least they’re representing people, which is an important distinction (see #3). still, considering that your characters are people can be a helpful way to get out of your head. see, characters are supposed to be archetypical, and fulfill a role, and say certain things in certain ways and never really deviate from that. but people are highly unpredictable and behave in random ways for random reasons and have thought processes that are unfathomable. people will just do fuckin’ whatever. if you’re worried that your characters aren’t behaving in a believable way, keep in mind that you’re trying to make your characters represent people, and people’s behavior is justifiable any number of ways. people just do shit.

3. remember that characters are not people. sike! no but seriously, this is just as important to remember. unfortunately, no matter how hard you try, characters are never going to be people. that’s a good thing for stories, though. characters can pick up on nuance in senses that people can’t - they can distinguish between different facial expressions, different smells, different sounds - BUT ONLY INSOFAR AS IT MOVES THE STORY ALONG. in other ways, characters are ridiculously oblivious. you can use this to your advantage. in fact, a lot of the time, you have to. if your character notices right away that someone is flirting with him, then you can’t write a 30k slow burn, for example. characters don’t do that thing humans do where they go “what?” but then halfway through the re-explanation they register what’s been said. pretty much everything characters say has meaning. (by this i don’t mean semantic meaning, i mean significance - characters don’t really just say “what?” because they didn’t hear what someone said, they say “what?” because they can’t believe it or they don’t understand it or they refuse to understand it. characters never seem to run into the didn’t-hear-them problem. must be nice.)

characters can do whatever you want or need them to do, because you’re in charge of them. (sometimes this doesn’t feel true - mine do all kinds of shit and i just have go “well alright then” - but it is true.) they are gears in a story. you decide when and how they turn.

4. dialogue is your friend. i am super super biased here, because i looove writing dialogue. if you talk to sam about this i’m sure she would say that description and narration are the ways to go. but you came to me, so i get to say that dialogue is god. i don’t want to say that dialogue is the only method of communication (i know nonverbal communication is real), but dialogue is the fastest and most effective method of communication, and by extension, the most effective way to advance relationships between characters. now. obviously there are exceptions. if characters are kissing, they’re probably not doing a lot of talking. if they’re trying to be undercover or discreet, they’re more likely to rely on gestures and facial expressions than speaking. if you’re writing a very peaceful scene, you might not want to undercut it by adding a lot of chit-chat. but i maintain that dialogue is the best way to move a story along, for a few reasons. 

first, at least for me, too much description is just tiring. depending on how skillful the writer is (sam), i can read a fair amount before i hit my limit, but unlike in mean girls, the limit DOES exist. you don’t want to over-describe the world (see #5). second, i find that dialogue is a really really good indicator of a person’s character. this is especially true and relevant in fanfiction, which is a lot more character-driven than original fiction in many ways. also, in a sec i’m gonna talk about showing [not/and] telling, which is every english teacher’s bitch, but dialogue is a really good way of showing who a person is and also a good way to establish facts about the universe. you could just narrate and be like “Jack hated waking up early,” and that works and in many cases it’s perfectly legit. but you could also do something like this:

“What the fuck,” Jack mumbled, still half asleep. “You better have a really fucking good reason to be waking me up this early. Like someone better have fucking died.”

and sometimes that’s just a more fun way to say it. (for the record you can also show AND tell here! there’s no reason why you can’t have this line of dialogue and then a line in the narration confirming how very much jack is not a morning person!)

the last reason why i am particularly fond of dialogue is because i am also particularly fond of communication, which is a preference thing. let’s face it, guys: characters aren’t gonna communicate if they’re not literally actually talking to each other. dialogue means talking to each other. talking to each other means solving problems, fixing (or creating) conflicts, understanding each other better. i love communication, ergo, i love dialogue. And You Should Too. 

5. describe the world, but don’t over-describe. i opened this fic earlier and it was like “jack was excited to wake up to go to his first class at the university of baltimore” and i just. i was like is this really relevant. do i really need to know this. and i never found out because i closed the fic but in my defense it was on wattpad and i had only opened it out of curiosity. look. there are three ways to use details in fic. (a) introduce them right away (b) introduce them when they become relevant or (c) don’t introduce them at all. let me give you some examples. 

(a) say your character A (i’m using jack because i’m used to him) wakes up. he’s in his room in his house off-campus. character B (rian) walks into the room. this might be a good time to explain that rian is his housemate. to that point: “show not tell” is a good rule, but sometimes “show and tell” is just as good. e.g.: 

Rian walks in, holding Jack’s Green Day shirt and looking irritated. That’s really nothing new; Rian looks irritated at Jack roughly once a day. Being housemates for a year will do that to a friendship.

boom, now you’ve let everyone know they live together without throwing it in their face, and you’ve also told everyone that these two guys are friends and have been friends for at least a year but probably longer. you showed it by having rian walking in holding jack’s shirt - usual housemate behavior - but you also told it in a subtle way that established the relationship and some kind of history between these two. well done.

(b) sometimes you want a certain detail to make an impact. this is the kind of thing you hold onto and don’t specify, and in certain cases you leave the reader wondering, “well what about x?” and then when you finally explain x they go ohhhhhhhhhh. yknow. the italicized oh. consider the following:

(A)

“Alex is in my bio class,” Rian says, referring to Jack’s ex-boyfriend of last year.

Jack frowns. “So? Why should I care?”

“He’s my lab partner,” Rian says. “I have to spend a lot of time with him.”

“I don’t care what you and Alex do,” Jack says. “But you should know he sucks at bio.”

Rian gives Jack a look. “First of all, that’s not true, he’s incredibly smart. And second, I’m telling you as a courtesy, because I thought you might not want your ex-boyfriend hanging around our house after he broke your fucking heart.”

(B)

“Alex is in my bio class,” Rian says.

Jack frowns. “So? Why should I care?”

“He’s my lab partner,” Rian says. “I have to spend a lot of time with him.”

“I don’t care what you and Alex do,” Jack says. “But you should know he sucks at bio.”

Rian gives Jack a look. “First of all, that’s not true, he’s incredibly smart. And second, I’m telling you as a courtesy, because I thought you might not want your ex-boyfriend hanging around our house after he broke your fucking heart.”

the only difference between these two excerpts (which i just wrote lol they’re not from anything real) is that the second one doesn’t explain who alex is right away. that makes it way more interesting when rian reveals who alex is a few lines later. magic.

(c) take this college au that we’ve established here. where does it take place, you ask? easy answer: it doesn’t matter. you don’t need to say what school they’re at. this will make your job easier, because then no one can fact check you, and it also means you don’t have to decide what school they’re at. but even if you do decide, it’s not usually necessary to say. believe me, you can go thousands of words without ever needing to specify what school they’re at. you know why? because it doesn’t matter. and no one cares. and as soon as you specify in canon that they’re at a particular school, you are bound to be accurate to everything that school does, and that makes your job way more difficult than it needs to be. as hazel once said, work smarter, not harder. 

6. adverbs are also your friend. (yknow, words that describe verbs, typically ending in -ly, like “loudly” or “angrily” or “smoothly”.) ESPECIALLY when it comes to dialogue tags. (dialogue tags are the things you add to dialogue to say who’s talking and how they’re talking - like “he said” or “he whispered” or “he earnestly explained” or whatever). a lot of the writing advice you’ll see nowadays will usually guide you away from overusing dialogue tags other than the classic “says/said” and i STRONGLY concur with that advice. things like yelled, cried, mumbled, snapped - these are very good in moderation, when you’re really trying to emphasize the way a person is speaking. the more you use them, the less impact they have. in most cases, a simple “he said [adverb]” will do. instead of “he snapped” consider “he said curtly/sharply/coldly.” instead of “he mumbled” consider “he said quietly/clumsily/softly.” I WANT TO MAKE IT CLEAR THAT THESE ARE NOT DIRECT SYNONYMS. every word has a nuanced and slightly different meaning and that is the BEAUTY of the english language!!!! all i’m saying is that in many cases, a verb can be replaced with an adverb to achieve roughly the same effect, without making the reader feel like they’re scanning a thesaurus.

and speaking of a thesaurus: it’s not cheating to use outside resources like thesaurus.com to help you come up with words. i fuckin love thesaurus.com. i use that shit all the time for everything. i use it when i’m writing emails. i used it just now to write that last paragraph. thesaurus.com is your BEST friend.

7. grammar. (and spelling but that’s really a given.) unfortunately if i tried to teach you all of the essential rules of grammar this post would exceed tumblr’s previously-nonexistent word count limit. so i’m not gonna teach you any of them. this is just a general point to suggest that if/when you’re writing, have someone you trust, with a good grasp of grammar, look over it. of course it doesn’t have to be perfect or AP style or anything like that. readers will overlook a certain amount of grammar mistakes and every reader has a different threshold. but in general, as a grammar geek and former journalism editor-in-chief, i have a duty to my grammurai code to preach the importance of grammar in writing. good grammar does not necessarily mean good writing and vice versa, bad grammar does not necessarily mean bad writing, but bad grammar makes good writing a lot harder to read, and in some cases will even obscure your actual meaning. so please, have someone read it. for the record this is me offering up my services. i am very good at fixing grammar. i have lots of weaknesses in writing but grammar is one of my strengths. please prioritize grammar. thank you for coming to my ted talk.

***

okay so now that i’ve said all of this shit and pretended to be an expert and embodied everyone’s tenth grade english teacher, let me add one very important disclaimer:

none of this is always relevant.* writing is an art, not a science. you are never going to be following all of the rules, all of the time. you shouldn’t. it’s good to know the basics of constructing a plot, establishing a character, showing and/not telling, moving the story along. but a lot of this advice is really subjective and heavily influenced by my writing experience and habits and tendencies and preferences, and those are simply not generalizable to the world. i am a sample size of one and science dictates that that means my results cannot be statistically significant. i am just some guy. earlier i said you don’t want to over-describe the world. but maybe you do! maybe you’re really into worldbuilding and you want people to know what they’re getting into. maybe you’re like sam, and you just don’t feel as confident in your dialogue skills but you love painting word pictures. i said that adverbs are your friend, but maybe you just prefer to use verbs. maybe you don’t want ANY dialogue tags and you want the reader to interpret the dialogue based on context and content. i said that characters aren’t people and they won’t behave like people, but maybe you’re trying to write hyper-realistic characters. maybe you’re just going for believability over narrative. WHATEVER. the point is, rules are made to be broken. no one is going to have The Answer for How To Write Good because there isn’t just one answer. every single writing rule has exceptions and you can be that exception as many times as you want.

*except grammar. grammar is fucking always relevant.

i hope any of this advice was helpful to you, even though i english teacher-ed the fuck out of it. and for what it’s worth, i approached this as if you were a relatively novice writer, but i know absolutely jack shit about your writing prowess and experience and habits. so maybe you already know all of this and none of what i’ve said is helpful at all. if you have a more specific problem, i would be happy to try and help. if you’re hoping for more specific feedback, i’d have to read something of yours first - but again, happy to try and help. i don’t know if you can tell but i loooove writing and english and grammar and all of this shit and it would be my honor. i have now spoken so long that james madison himself is begging me to shut up so i’ll stop here but thank you for coming by and giving me the opportunity to expatiate a shit ton. and GOOD LUCK i forgot the most important advice of writing which is HAVE FUN LOVE WHAT YOU WRITE AND WRITE WHAT YOU LOVE OKAY BYE