#they added so many little things in there!! and its the most orchestral its ever been!!

[tacagen]

gotta say, the new dw intro really scratches my brain just the right way

[gabessquishytum]

I hope you are feeling better!

I'm blaming this one on nail polish fumes.

Hob gets Dream to allow him to paint Dream's nails. Sure, Dream could change them with a thought, but Hob wants Dream to spend some time on himself, as a form of self care or even just self-indulgence. Of all the ideas Hob reels off getting his nails painted is one of the more favorable options to Dream. It means Dream gets Hob's hands on him after all.

Hob goes all out with the idea. He might not have known how to do a manicure before, but he's had a week to plan and access to YouTube. When its time for the manicure to start, he massages Dream’s hands gently and makes sure everything is as relaxed as possible. Dream doesn't have anything as mundane as cuticles or nail ridges, but Hob still pays each flawless nail close attention.

Dream is already fighting off the need to squirm, and Hob hasn't gotten to the actual painting yet. The color that he pulls out is the deepest black Hob could find, of course. Hob is oh so careful when he pulls the brush from the bottle, making sure there is not too much lacquer on the bristles. Dream can't help but draw the parallels between Hob's movements and the care an artist takes with their masterpiece.

Hob, not unaware of how this is affecting Dream, holds each finger rock steady as he applies the fist coat.

Dream had not considered until he sees the wet lacquer that the nail polish would mean that he would not be able to get his hands on Hob in return until it dried.

When Hob finishes up with the last nail, he smirks at Dream and tells him to keep his hands still and not smudge anything as he goes from sitting across from him to kneeling between Dream's legs. Hob quickly unbuttons Dream's pants and gets to work on the feast presented to him.

Dream's first instinct is to grab at Hob's hair and direct him to exactly where Dream wants him, but that would certainly smudge to lacquer. Dream could make his nails dry instantly, but he promised to do this the human way, and he is a creature of his word. So all he can do is keep his hands spread to the side while he uses the little bit of leverage his spread legs can manage to try and buck until Hob's tongue is exactly where he wants it.

Hob manages to orchestrate it so that Dream cums about the same time his nails are ready for the next coat, only taking the time to clean off his hands before starting on the next layer. When he finishes up with the lacquer, his mouth right back on Dream. He starts up the third layer after he has made Dream cum for a second time.

Hob has been told that the trick to a smooth, long-lasting manicure is many thin layers, and Hob intends to give Dream only the best.

When Hob finally decides he is on the last layer Dream has cum enough times that he is floating on pure endorphins. He doesn't even notice that the top coat Hob has chosen is embedded with tiny holographic glitter leaving the black struck through with a rainbow sheen.

Hob is definitely looking forward to being made to pay for that choice when it is noticed in the morning.

-💥

Ajsjdbfhs!!!! Make Dream do self care!!!! I love it, I love it so much. Particularly with added blowjobs.

Oh the torture of having to let Hob totally do all the work and dedicate himself to Dream’s pleasure! Dream just has to sit there and enjoy himself! It's genuinely A Task for him to just. Have a nice thing without thinking that he's doing something wrong. Hob is starting to think that nail polish is the most effective type of restraint ever. Dream is too vain to risk fucking up all those perfectly painted layers, so he has to sit still!

Hob also happens to be pretty fucking excellent at sucking cock. Like, Dream is acquainted with actual Sex Gods who don't give head as good as Hob. So that's. A lot.

Hob also ramps up the "torture" by spending the entire time he's painting Dream’s nails, telling him how wonderful he is. How he's beautiful and lovely and amazing and so loved, and how Hob would do anything for him, and how he deserves the world.

Dream is a total mess by the time Hob is done with him. All that praise, plus the fact that he's cum five or six times in pretty quick succession, means that he's a bit tearful and floppy. Hob carries him carefully off to bed and tucks him in, with one final check to be sure his shiny nails are perfect. Each finger gets a kiss, and by the time Hob has done all that? Dream has passed out. Bless him.

[onehundredandeleventropicalfish]

so, anyone who knows me from previous blogs knows i’m an absolute music nerd who’s worked on both film score and musical theatre book before (and is still working in that vein, though i’m combining it with script writing these days)

and, god, i would be doing such an injustice to whoever is writing the soundtrack for the sandman if i didn’t talk about it at least once, because it’s one of the best tv scores i’ve ever heard, i wanna teach this as an example of how to do it right

i’ll be here for days if i try to cram all of it into one post, so i’m gonna focus on episode six, the sound of her wings, because that’s the one that really gripped me

(under the cut though to save dashboards bc this is still me and it will still get long)

so, to break this down, there’s a lot of different ways to add musical motifs (leitmotifs) into tv, but sandman is a show that does it (mostly) by character. in this episode we see a lot of dream’s motif, death’s motif, desire’s motif, and a slight appearance of johanna’s when the earlier constantine shows up (hob doesn’t have one, but i’m betting that’s deliberate). which makes sense for such a character driven show, especially in a story that’s got many anthology aspects - not much stays the same in this show but the characters, they are the through-line, and even the changing characters from episode to episode help give each episode its own musical feel

(people have said that sandman would work better with weekly episodes than binging, and this is part of why - they're very self contained, each episode a new vibe, and whether you notice it or not the soundtrack is contributing to that)

back to our episode 6 breakdown - so this is death’s motif, in its simplest form. and (barring a little of dream's when he's explaining why he's upset) this motif is the only motif we hear in the entire first half of the episode

the reason i’d wanna teach this is mostly that it’s not easy, developing a motif without making it stagnant. it’s actually the first thing we ever covered when i studied music composition, because they really wanted to get it into our heads - anyone can make up a melody, but our brains notice patterns. and the really effective patterns consist of, at most, four notes. in a sense, the notation i’ve added above is actually the motif four times, just phrased as a question, a pause, a question, and an answer. and developing a motif into a score means changing it enough to give it direction, but keeping it similar enough that it’s recognisable. and that’s a hard thing to do! but we spend a full 20 minutes with just this motif, and it not only never gets boring, it’s developed into such a beautiful moving score, going from this very simple theme that just exists in the background to a huge emotional orchestral piece

and in terms of what it's actually doing character wise, i wanna focus on those gaps in the original. bc those are some long pauses between each three note repetition. and i think that is a good representation of death, and her patience, this theme isn't trying to rush you into anything, it's just sitting there reliably for when its time comes.

but as we go through that development, those pauses start being filled. it's still just as much about death as ever, but we understand it more. and the development starts to take on a more hopeful character the more of these snapshots of people's lives that we see. and the music is telling us how dream is feeling, as he goes from not understanding death, to learning a lot more about her, to being overwhelmed by how easy it is to care about these random people in the last moments of their lives, and how death isn't a bad thing

it simplifies back down, near the end of their walk, because she's still the same person she was at the start of the episode, it's dream that's changed, but it doesn’t go entirely back to the motif we heard at the start. those gaps are now filled by gentle woodwinds, the understanding remains. and as soon as we say goodbye to death (specifically “i thank you, my sister”), we switch immediately to dream's motif

(technically, dream has two, but i associate one more with dream and one more with the dreaming, so i'm talking about the former)

now, we’ve heard this one a lot already, it's the title music for the show, here it is for the sheet music fans (you may notice it’s asymmetrical, the contrary bastard)

and we’re about to hear it even more - it's playing constantly from that goodbye right up until the start of the flashback (in more medieval sounding instrumentation than usual, alluding to the fact that hob is at the forefront of his mind), and we’ll hear the same thing coming back out of the flashback, too

now, within each flashback scene, there largely aren’t repeating motifs. and i mentioned this was probably deliberate - the music we hear in the background of each scene is fitting to the time period, and i think that in a way is hob’s musical identity. the thesis statement of sandman as a story is that you have to keep changing to keep living, and you have to keep living to keep changing, it’s why hob’s never ending immortality isn’t angsty like so many other immortals - he’s going to keep changing and keep living and it’s always going to be worth it. so his musical identity changes too, relative to wherever and whenever he happens to be living.

but then we get the moments where dream’s motif overtakes that -

1389, we actually get death’s first, when we first hear hob talking about how death is stupid and he’s not going to die, and it switches to dream’s with “why would any sensible creature crave an eternity of this?” (and back to death’s with “very well, little brother”, all three play off each other for the rest of that scene)

1489 is very much hob’s scene, there’s elements of dream’s motif in the arpeggios that pick up after “it’s fucking brilliant”, because now he’s caught dream’s interest, but it’s still largely the 15th century music, we only hear dream’s motif properly once he gets up to leave, and hob has to shout after him “you never told me who you are!”

in 1589, it starts to creep into the music (though still in hob’s native instruments), when shakespeare says “to give men dreams that would live on long after i’m dead”, and it overtakes it fully when dream leaves the table

the only moment in the flashback sequence which doesn’t have era appropriate music, is 1689, when hob is telling the story of how miserable the last 80 years have been. the music matches his mood, but it’s using modern digital instruments - this isn’t hob, not really. and while there’s no element of dream’s motif in this scene that i can spot, when we get “death is a mug’s game”, that’s when we switch back to the 17th century instruments, because this is the hob we know, the one who is always willing to live, no matter what

1789, dream’s motif when dream says “you need not have come to my defense”, through to the rest of that scene, this one stands out as a moment where he's not grabbing power, but sharing it

1889, when else - it comes in with “then i shall take my leave of you and prove you wrong”

1989, it’s so faint. it took me a minute to actually confirm that was dream’s motif - it doesn’t show up at all in the main scene, but when we switch to the view of dream in the cage, we hear a very hidden version of it, changed to the point of being almost unrecognisable

and then 2022. and we hear it in full again, but not just it in full. it gets an orchestral, uplifting development, both in tribute to the fact that this scene is very hopeful and heartwarming, but also explicitly mimicking the development death’s motif had when dream was watching her work, realising how much he cared about these random people, realising how much he therefore cared about people he’d known for much longer. her influence and her lesson is extremely present here, as she was the one who pushed him into returning

and as that scene ends, the music overlays with Desire by Bob Moses and Zhu, which is the cleverest part of the whole episode

because yes, the song is named desire, and has the word desire in its lyrics, telling you who this is, and yes, in an episode that has so far been full of medieval or orchestral music, the EDM is a sharp vibe twist, which fits with both desire’s character and the fact that their gallery in the show is styled to be very modern art/avant garde compared to dream's more renaissance style

but that’s not all it’s doing

because here’s the thing about desire. they absolutely have a motif in this show, that plays in the background every time they are on screen or talked about. but it’s not a melodic motif.

desire’s motif is the sound of a heartbeat

(often with accompanying ambient synths, but no melody)

and you don’t notice it when you’re just watching for the story, but every time you see desire on this show, there is a heartbeat playing in the background. and if you listen to this particular song, the dance beat is also mimicking a heartbeat, allowing it to blend in perfectly with desire’s existing motif, which is also playing in the background here

it’s just. brilliant

[wrctings]

Jean Kirschtein x reader | Friends, or is it more?

the more i watch aot, the more i love jean... his moments of self-doubt and his moved smile truly are heart-wrenching 🥺

fandom: Attack on Titan pairing: Jean Kirschtein x reader summary: Where you realise that you’re falling for your best friend, whose heart is already taken—or so you thought. Fortunately, what becomes a saddening party can also turn into an unexpected occasion to make things right. word count: 3.3k

Sometimes, belonging to the Scouts regiment came with something that, from up close, resembled a flicker of momentary joy. You had, of course, been aware of the harrowing shadow of a reputation that trudged behind the wings of liberty: danger, death and despair; the three Ds accompanying your pledge to humanity drummed their deafening beat alongside your horse's frenzied gallop whenever you took place in the formation that led you outside the walls, the wind hurling through your hair and your senses at the height of their tension, ready to signal the approach of a titan at any given minute, bracing your body for every possible threat. You had faith in commander Erwin, had faith in your comrades—if giving your life was necessary for your cause, then, you had silently promised yourself and your people, you would give it with eyes wide open and undefeated fierceness, be it in the heat of battle or any other way. The wings embroidered upon your cape represented your beliefs more intensely than any word—as long as there was a Scout left, hope would live still; blossom upon the tall grass that freely grew upon the tombs of your fallen comrades. Even the smallest victory made you believe that a change could be made—and even the smallest victory was celebrated in the battalion as a sign that bode well for the foreseeable future. It was such celebrations, though as small as the victories they marked, that made room for moments of joy the regiment could barely encounter at other times. And when those moments came, life suddenly appeared coated with a hundred colours, full of humorous idiocies and heedless amusement that stirred up in you all the youthful glee of not caring about a thing in the world but the people around you and the drink in your hand.

"You guys won't believe the position we found Bertholdt in this morning!"

Seated beside Armin, who himself flanked Eren as Mikasa had naturally settled on the other side of their childhood friend, you leaned further on the wooden table of the barrack in order to hear your brunet friend more distinctly, his excited voice reviving the conversation at once. Drawn by a cheerful and carefree sort of curiosity, which was well fueled by the general bright mood, finding out about Bertholdt's daily sleeping position suddenly appeared like the most fascinating event one could discuss, especially when followed by the boys' weather previsions based on their comrade's often strange and tangled up poses. You exchanged an amused look with Mikasa, and though your friend's features remained almost as impassive as usual, the vivid twinkle you caught through the dark shine of her eyes mirrored your cheery behaviour; Armin's face, on the other hand, wore an expressive smile, the blond boy remembering vividly the description of Bertholdt that Eren began recounting.

But even as you laughed at the image of Bertholdt's knees somehow managing to stay bent as he slept on his stomach, the upper part of his legs outstretched toward the sky in an unusual—to say the least—position, your gaze went on sweeping the room, in search of the one person you couldn't wait to chat with again, though you also got along really well with Armin, Mikasa and Eren. The only problem was, said person was not that fond of the self-righteous brunet ball of energy sat at your table, so you were not surprised to find him in Conny and Sasha's company instead, talking animatedly. You had already had the opportunity to chat with Jean earlier that evening, the two of you having grown so close to each other that it would've been impossible for you not to cross paths tonight, but you wondered whether you would drift toward each other again before the makeshift party came to an end; Captain Levi had been surprisingly unbothered by your shy request to celebrate today's mission's success, accepting it on the sole condition that only soft drinks were to be consumed—Armin suspected that Commander Erwin was responsible for granting the new recruits' wishes, as they had after all already endured quite a lot during the expedition to retrieve Eren from Annie.

"We better watch out for that sleeping position of Bertholdt's, maybe it means good luck," Armin observed lightheartedly, taking a sip from his drink.

"You should keep a notebook with all of them, and maybe you'll crack the code someday," you added with a chuckle, the three of you glancing at Bertholdt.

Having your 104th comrades with you in the Scouts regiment really did bring you a lot of comfort to help you navigate these new uncharted waters, though it also made it acutely unbearable to imagine that some of them might not make it back next time; Marco served as your first and most painful lesson that even those dearest to you were never safe. It was after the freckled boy's death that you and Jean had truly bonded, brought together by the devastating loss of your kindhearted friend. You had become each other's rocks since then—checking up on each other after training sessions and expeditions, playful teasing and calling each other all sorts of funny nicknames rooted into the core of your friendship, giving it all its strength. And it was when you had been injured during the 57th expedition and Jean had almost hysterically ran up to you afterwards, cursing with no restraint and holding your arm so tightly it hurt when he helped you limp toward the medical wing, that you had been hit for the first time, though still shaken from slaying a titan and the bloody cut burning your leg, by how grateful you were to have made it out alive, to have Jean by your side. It was then that you had realised that there was no one else you would rather be with than him—it was something more than anything you've ever felt before, as your timidly pounding heart had been reminding you ever since.  

But another thing unavoidable when being friends with Jean, of course, was the bickering between your comrade and Eren—and this evening was no different from any other week. A few minutes later, as you engaged in a pleasant conversation with Armin, your attention was drawn by the thunderous eruption of voices that suddenly shook the walls of the barrack, making many pairs of surprised eyes turn toward the belligerent protagonists of the argument. It just had to be Eren and Jean, hadn't it? Like the rest of your comrades, you couldn't possibly guess where the spark that ignited this new inferno came from, but with these two, a valid reason often wasn't needed; to the greatest despair of the 104th, both boys possessed magic powers to summon reasons to fight out of thin air. At the present moment, both Eren and Jean were actively yelling at each other, shooting names and accusations back and forth.

However, the lack of rational incidents to cause such a scene didn't mean that there was no deeper reason for Jean's outbursts, just like Eren's counter-attacks originated from his legendary stubbornness already well-known to his fellow comrades. You had been suspecting for a long time that Jean mainly proclaimed his hatred towards Eren because of Mikasa. Before the 57th expedition, when both of you were in a playful and mischievous mood, you would even friendlily tease Jean about his soft spot for the dark haired young woman, which he hadn't hidden very well ever since Mikasa and he met for the first time. It was quite unfortunately, really, that your heart had finally chosen Jean, of all people, to fall for—as if you weren't well aware of how much he admired and liked Mikasa! And this mascarade surely had to have been orchestrated to get her attention, just like many other failed schemes of Jean's, as Mikasa barely seemed interested in anyone but Eren, Armin, sometimes Sasha, and you.

"There he goes again..." You muttered downheartedly, sparing a glance at your best friend.

"It's Eren and Jean, after all..." Armin responded with a sorry smile, squirming on the bench to get further away from Eren, who was now up on his feet and facing Jean with balled up fists. Mikasa watched the two boys through squinted eyes, at the ready to jump and knock over Jean if needed—at least, your friend's plan to get her attention had succeeded.

"I know how this is going to end," you told Armin under your breath, averting your gaze from the fighters. "You know what, I think it's right about time for me to head off. I don't want to witness Captain Levi tearing their heads off for wrecking havoc in here."

"Really? Don't you want to stay a little longer? I'm sure it won't come to this!"

"I don't even want to know. Goodnight, Armin, thank you for the nice chat," you excused yourself, fleeing from the barrack swift as a cat, only the passage of a furtive ray of light on the floor signifying that the door to the room had been opened as quickly as it was closed.

You knew better than to cling onto something you could not reach, so why endure the spectacle of such a foolish play?

*

Outside, nighttime had descended upon the camp with its soothing quietness. Nothing in sight but the warm flutter of torches fixed upon the barracks; nothing ringing in your ears but the chirping melody of a cricket's song, its echo delicately carried away by the evening wind. No ecstatic shouting, no blaring laughter. Nothing but a lone constellation half-veiled by the grey trail of clouds that unhurriedly floated upon the dark depths of the sky. No Jean, no Eren. You took a lungful of fresh air before a long sigh lifted off your chest—if only things could go back to the way they had been. Back when Jean was nothing but a fun and (sweetly) annoying horse-faced boy to be around, and no cause for heartache.

You took some more steps ahead, the muffled sounds you could still hear from inside dying out as you walked further away. Although you had told Armin that your time to go had come, you didn't feel like getting back to bed right now; actually, you didn't feel like anything but escaping for a little while.

At last, you decided to retrace your steps, taking a seat on the ground beside the barrack you had abandoned, your back pressed against its wooden surface. On the other side, the cacophony hadn't ceased, only muffled by the wall that separated you from the inside mayhem. Had Jean and Eren opted for a fistfight denouement by now? Would Mikasa intervene?

But before you had enough time to explore the many scenarios your imagination could sketch out, the door beside which you had settled opened abruptly, a wide stream of light flooding the ground at once. In the blink of an eye, a visibly disconcerted figure appeared on the threshold, freezing as they took a look around before rapidly bifurcating to the side in order to follow one of the torchlit paths...

"Jean?"

"Y/n?! What are you doing here?" Jean rushed toward you as soon as he noticed your silhouette from behind the shadows, discovering your hiding-place. "I didn't even see you leave..."

"I'm sorry, I was starting to feel tired." Touched by the fact that Jean had left the room to look for you, you attempted to give him a plausible excuse.

"C'mon, you can get through a day of training, but you can't get through one of the only party nights we're lucky enough to have?" Jean taunted, taking a seat next to you. "What's the matter?" he gently elbowed you, throwing his neck back so he could press his head against the wall behind. "Just when I was about to defeat Eren..."

"Defeat Eren, really? Statistically, it's more likely for Captain Levi to smile than for us to see that happen," you laughed tiredly, trying not to think about how Jean would probably soon get back to Mikasa and the others.

"Yeah, yeah, tease me all you want, it'll happen. Someday this idiot will get his ass handed to him."

Closing your eyes, you only had it in you to maintain the forced smile painted over your lips while fighting back the rush of stinging tears that suddenly overwhelmed you. Why did Jean had to come and check up on you now of all times, right when you were more than ever convinced that you were starting to fall for him, and it couldn't be clearer that his every move longed for someone else?

"You know, I was going to get him, but Mikasa can get scary..." It was as if he could decipher the riddles of your mind, unaware of the way your heart convulsed. "I wouldn't want to cross her. Why would she hang out with this idi—"

"Look, Jean, if you've come here to rant about this, then you can leave," you ended up snapping, biting back more acre words . "I'm tired, okay? Just get back to the fun inside."

"You... You don't feel like talking?" Jean's voice softened from incomprehension, trying to read your tone. "I'm sorry, I didn't know it was that bad. Hey, you really don't want to talk?"

You shook your head in response, scolding your own self for such pathetic behaviour. Jean couldn't possibly know about your suppressed feelings, so your attitude must indeed appear more than confusing, especially since you were so used to confiding in each other and cheering each other up, for the past weeks more than ever. In the wake of Icarus's ascend towards the sun, untethered and naive, your wings of wax were melting... But who could've predicted, as much as a month earlier, that the loveable idiot by your side would doom you to downfall?  

"Okay... Well...," the young man ran a distracted hand through his hair, frowning as his jaw clenched. "Then I'll talk. You know, I had an idea for tonight," he began after collecting his thoughts, breaking through the hesitant seconds that had temporarily numbed his tongue. "It was our first successful expedition after that near-death experience after all, so I thought I'd better make the most of it and make tonight's celebration useful. Who knows when we'll get another one. Maybe you're right and it's actually more likely to see Captain Levi smile than to get another one of these again soon." Jean's speech ran freely now, his torrent of sentences—for the moment still not making clear sense as to where they were headed to—submerging you in the familiar flow of his voice. As of late, your greatest fear had become to miss its distress call in the ranging mist of a battle, to watch Jean's body be torn to shreds as you could only scream until everything else vanished... "So I thought I'd be brave, for once." He took a deep breath in, fingers nervously wrapped around the back of his own neck. "There's this person I like."

There it was. Somehow, you knew that it would be coming—after the stunt he pulled earlier with Eren...

"They're much braver than I am, but they probably know that already," Jean went on, chuckling self-depreciatingly—he knew he could poke at himself in your company without being ashamed of disclosing his flaws. "They wouldn't hesitate to come and rescue me, even if I were grabbed by a titan. And they're really beautiful, too—"

"Look, Jean, if you've come to talk about Mikasa, just save it," you could only murmur. "Pl—"

"And, quite surprisingly, they're also a dumbass!" Jean didn't let you finish either, shifting his head so he could see your face better. "But that's something both of us have in common." Taken aback by such a strange confession, you opened your eyes to take an intrigued look at Jean while hoping that he wouldn't notice the tears you had at last blinked away. You met his gaze head-on, even among the shadows that coiled over his face.  "Because they think that I still have a thing for a girl I liked for two weeks, while I've been talking about them all along."

"What—"

"You know, you're the one who makes being called "horse-face" the funniest," Jean cracked an unsure smile at you, fiddling with his hands. "Alright, it's the bravest I'll ever be, so time to crawl in a hole and die now," he immediately added more anxiously, looking like the unexpected nature of his confession had stricken him for the first time.

"Wait, Jean, no!" It was as if, for the first time in a span of unending minutes, you could breathe again. "Wait, is this... Is this for real?" You asked in what came out almost a whisper, fearing, in this instant where your hopes balanced on the edge of a precipice of churning doubt and elation, that this was a joke you would not be able to forgive. Jean was better than this, but what if?—the thought drilled into your heart.

"Well... Yes. I'm sorry if I've made things awkward, it's Armin who told you might like me too and—"

"Hey, hey," your hand found its way to Jean's arm in a comforting touch, preventing him from leaving as he made a move to flee after blurting out an apology. Judging by your frantic heartbeat, there was no way you could be the calmer person in this situation—and yet, Jean somehow managed to look even more distressed than you at the moment. "I do like you." It was your turn to get embarrassed, which your flushed cheeks openly betrayed, illuminated by the nearby torch's flitting flame. "But Mikasa...?"

"Y/n, I haven't liked Mikasa for longer than a few weeks. I mean, yes, she's beautiful and strong, but so are you. And you're so much more than that. You're so fun to be around, I haven't laughed so hard with anyone but you. Unlike me, you're not scared to be brave and kind, but with you, I don't need to think which face I need to put on, because I know we don't have to pretend to be someone we're not when we're around each other. And when you got injured... I couldn't stand the thought of losing you. I made myself a promise then that I would tell you, and tonight seemed like the right time. I've been talking to Armin after the expedition and I think he kind of guessed that I liked you, and that you liked me too—I don't even know how or why, but he told me he thought you did. That's not exactly how I thought it'd go but... Trying to get your attention by getting in a fight with Eren wasn't that good of a plan, I guess."

"So that's what it was...! You really are an idiot, Jean Kirschtein," you declared vivaciously, but the moved smile that brightened your face spoke louder than the fond insults Jean and you would fire at each other. "We need to watch out for Armin, he will uncover everyone's secrets, at this rate..." You joked before regaining a more serious attitude, your emotions truly swayed by your friend's avowal. "The expedition changed everything for me too. I realised that I didn't want to go without you. No, I realised that I didn't want to go at all—I wanted to stay. With you."

"Pff, get in line," Jean grinned in spite of the emotional look on his face, sighing in relief. "I've been liking you for months."

"Seriously?"

"Absolutely. Do you think I go out of my way to check up on everyone after a battle or that everyone's mom gets the privilege of being the centre of my skilfully crafted jokes?"

"Shut up," you laughed wholeheartedly, your shoulder against Jean's. "Your mom's a hoe."

"Very clever," he teased you in return, face glowing from a joy even more vivd than the fiery sparks that chased the night's spectres away. “I bang yours every night.”

You burst out laughing, rolling your eyes—mom jokes were a must in your goofy friendship. A friendship that, with a bit of unpredicted luck, was on the verge of becoming something more.

[monotonous-minutia]

Brief history of Les contes d’Hoffmann edits (the short short version) + Summaries!

Kudos to anyone who gets through all of this, but I recommend at least reading the first part if you plan on watching this opera next week for Operablr Pride Month. It will help you find/choose a version to watch!

For the differences in the summaries to make sense, we need a little background info.

The very very very short version of why there are so many edits:

Offenbach died before he could finish the score. Most of the prologue, Olympia, and Antonia acts were done; the Giulietta act and the Epilogue were not, which is why those are the parts that vary the most across the different edits. Additionally, much of the material that varies belongs to Nicklausse/the Muse. The reason for this is that the mezzo in this role cancelled last minute, and the replacement didn’t have time to learn the entire role before the performance, so the Muse monologues, Violin Aria, and much of Nicklausse’s dialogue were cut; the ending monologue was replaced with spoken speech. Since the premiere—which is another story for another time—several conductors, directors, and music scholars have attempted to reconstruct the opera based on Offenbach’s drafts and notes, and in some cases their personal preferences. Additional shoutout to good old Guiraud, who finished a lot of the orchestration that Offenbach didn’t get to, which is some of the only stuff to survive most edits.

Also, I should say: apparently in addition to there being no definitive edition of this opera, there’s no definitive history either. I swear every book/article I read about it says something different so this is the best I could do. So if there are any inaccuracies, apologies in advance.

Now there are a lot of people that have tinkered with this opera, but there are a few main ones that compiled what are dubbed “critical editions,” because they did a bunch of research and a lot of people end up using edits based on what they did.

In chronological order, those critical edits are:

Choudens: The shortest version, and one most people are familiar with.

Oeser (1): Longer with a lot of missing material added, also fairly well-known.

Oeser (2): Even longer with a ton of new stuff added! (My personal fave but pretty rare)

Kaye/Keck: Uses some of the material rediscovered by Oeser, but also adds a ton of other stuff, particularly in the Giulietta act, as well as re-orchestrating significant portions. Not many of these either.

and apparently there’s another one called “OG Offenbach” or something like that but as far as I can tell there haven’t been any recordings of it or much about what it looks like, but from what I gather it’s fairly similar to that last one, with some adjustments based on yet more new-old material discovered.

And, of course, every single production I’ve ever seen/heard puts its own spin on things! So while most have the general formats as seen below, literally no two are exactly alike.

A bit more detail on the versions:

Choudens

This is one of the first people to edit the material after it was butchered for the world premiere. It’s the short version of the opera with the most material missing, though to be fair he did improve upon what it had been before. His is (unfortunately) the edit most people are familiar with:

Prologue: Chorus of Spirits of wine and beer. Lindorf monologues about stealing Stella from Hoffmann. Students party in the tavern and ask Hoffmann to tell a stoy; he sings the famous "Ballad of Klein-Zach." When taunted by Lindorf about his love life, Hoffmann decides to tell everyone the tales of his Three Great Loves. Act I: Olympia. Hoffmann is in love with the “daughter” of Spalanzani, his science professor, unaware that she is a robot. Coppélius sells Hoffmann magic glasses that make him believe Olympia is a real human, despite Nicklausse's insistence that she is a mechanical doll. Olympia is presented to the guests at her coming-out party; they marvel over her. Hoffmann serenades her and dances with her, but Coppélius arrives to take her apart, and Hoffmann realizes he’s been in love with a robot the whole time. Act II: Giulietta. Choudens put the Giluietta act second instead of Antonia. At a party, Nicklausse and Giulietta sing the famous Barcarolle; Hoffmann counters with an aria about how love is futile. Nicklausse tries to warn Hoffmann to be careful of Giulietta's lover, Schlémil, but Hoffmann of course does not listen. Dapertutto arrives and makes a deal with Giulietta to trick Hoffmann. Giulietta seduces Hoffmann and steals his reflection. When Hoffmann realizes his reflection is gone, we get the famous Septet (the only thing I’m grateful to Choudens for). Afterwards, Hoffmann kills Schlémil  to get the key to Giulietta’s room, but Giulietta leaves with Pitichinaccio instead. Act III: Antonia. The singer Antonia is sick and it’s her singing that is killing her. Hoffmann, who’s been looking for her for months after Antonia and her father moved specifically so he couldn’t find them, has finally found her. They promise to run away and get married, but before they can, Dr. Miracle forces Antonia to sing until she literally dies. Epilogue: Hoffmann has finished his stories. Nicklausse makes the connection that all three ladies are actually metaphors for the real-life Stella. Hoffmann yells at him. Stella walks in on a drunk Hoffmann who mistakes her for his lovers; she leaves in a huff with Lindorf. Nicklausse reveals his identity as the Muse (in spoken dialogue) and asks for Hoffmann’s devotion. Hoffmann gets a reprise of his Giulietta act aria, but this time committing himself to the Muse and his art.

Oeser (1)

This one, which is also very common, isn’t Oeser’s *actual* edit but combines his with the Choudens one, so it has a lot more material than the previous one, but not as much as the longer Oeser version.

Prologue: Very similar to Choudens except we get the Muse’s opening monologue explaining their motivations (winning Hoffmann and saving him from Stella) before the rest of the action. Act I: Olympia. Pretty much the same but sometimes Nicklausse gets a different aria. Act II: Antonia (which here comes before Giulietta). Almost exactly the same as Choudens’, but Nicklausse gets to sing a lovely aria about love and art which is really a love song for Hoffmann. Act III: Giulietta. Pretty much the same, except it’s the third act instead of the second act. Epilogue: Starts pretty much the same, until the Hoffmann/Stella confrontation which is now put to music. Then we get a reprise of Klein-Zach followed by the drinking chorus, after which the Muse reappears. The opera ends with the Muse’s closing monologue and chorus about how Hoffmann’s suffering will make him a greater artist.

Oeser (2)

Pretty similar to the short Oeser version described above. The most dramatic changes are really just in the Giulietta act, though there’s some extra material in Olympia too (that one waltzy duet I’m always gushing about) and sometimes more sung material for the Muse in the epilogue as well. Oeser’s longer Giluietta act: Has the same basic plot points, except instead of going right from Dapertutto making the deal with Giulietta to Giulietta seducing Hoffmann, we get a gambling scene where Giulietta serenades the guests as they play cards, during which each of the characters gets a little moment. Then Giulietta leaves and Hoffmann follows her, and she sings sadly about her dismal situation which leads into her seduction of Hoffmann, and the rest of the act ends pretty much the same, except sometimes there’s no Septet.

Now, on to possibly the wildest of them all:

Kaye/Kecke

This one is rare; there’s only a few recordings that even attempt it, and very few get it to the letter of what these two scholars compiled. Once again, most of the changes are in the Giulietta act and Epilogue; the only real changes in the previous acts are in the orchestration of some parts. Kaye Giulietta Act: Starts pretty much the same, with the Barcarolle and Hoffmann’s derisive aria, and Dapertutto making the deal with Giulietta. We get a gambling scene here too, but it’s not as long or dramatic and Giulietta gets a different aria. Hoffmann kills Schlémil for the same reasons, but it happens before Giulietta steals his reflection; essentially she’s bribing him before she pretends to fall in love with him. Hoffmann gets in trouble for killing Schlémil, and in a fit of rage tries to kill Giulietta, but kills Pitichinaccio instead. Kaye Epilogue: It starts with a chorus for the students kinda trying to talk Hoffmann down from his crazy stories. We get the same Nicklausse-Hoffmann confrontation, and the one with Stella, and a reprise of Klein-Zach, but in addition to the drinking chorus repeating we get a kind of ominous reprise of the “Glou! Glou!” chorus from the prologue, after which the Muse enters and we get the same ending monologue but it’s got some extra pieces.

So the short short version ended up pretty long huh? Anyway, I hope it's helpful!

If you want more detailed summaries to follow along with when you watch the opera, see below!

More detailed summaries!

Choudens

Choudens is one of the the first critical edits of the opera and, despite the fact that it’s been discredited multiple times, is still inexplicably used a lot and is what a lot of people think of when they think of this opera.

Prologue We open in Luther's Tavern. A chorus of the Spirits of Wine and Beer sing out. The Councilor Lindorf comes in and bribes Andrès, a tavern employee, into giving him a letter from Stella, an actress, that’s addressed to Hoffmann. Lindorf reads the letter, in which Stella has included the key to her room and invites Hoffmann to join her after her performance that evening. Lindorf keeps the letter and key for himself. A group of students arrive in the tavern and sing a rousing drinking chorus. After a bit they notice Hoffmann isn’t there yet and demand to know where he is. Luther, the tavern's owner, tells them Hoffmann is on his way, along with his friend Nicklausse. The pair enter and take a seat. Hoffmann is melancholy and brooding, which prompts the students to ask him for a jovial song to lighten the mood. Hoffmann then sings the famous “Ballad of Klein-Zach.” But in the middle of the song, he gets distracted by memories of Stella. The students bring him back to reality and he finishes the song, but the talk of love brings it up as a topic of conversation. Hoffmann declares “The devil take me if I were ever to fall in love!” At this point Lindorf makes his presence known, sneering at Hoffmann. The two of them then get into a battle of words, during which Hoffmann inadvertently admits that he is, in fact, in love with someone. Curious, the students ask him for the story of his love. Hoffmann declares that he has had not one but three mistresses: an artist, a young girl, and a courtesan. He then begins to tell his tales. Act I: Olympia. Hoffmann goes to visit his science professor, Spalanzani, to declare his devotion to science. Spalanzani commends him, then leaves to prepare for his “daughter” Olympia’s coming-out party. Hoffmann admits his love for Olympia and gazes at her through a window. Nicklausse arrives and gently teases him about his love, singing a song about a mechanical doll and bird. Hoffmann brushes him off. Coppélius, an eccentric saleman, enters and displays his various wares, including a variety of contraptions but primarily eyes. He manages to get Hoffmann interested in a pair of magical glasses, which Hoffmann then purchases and wears for the remainder of the act. Spalanzani returns and gets into an argument with Coppélius about Olympia; Coppélius wants a share since she has his eyes. Spalanzani decides to pay Coppélius with a check that he mentions in an aside he knows will bounce. Coppélius tells Spalanzani that he should get Hoffmann to marry Olympia as a joke. Spalanzani agrees, and Coppélius leaves. Cochenille, Spalazani's assistant, announces the arrival of the guests. A chorus of people arrive, admiring Spalanzani’s skills as a host. Spalanzani introduces Olympia to the guests, who marvel over her perfection. Olympia sings a charming songs about birds and love. Hoffmann's new glasses make him see Olympia as a real person rather than the robot she actually is, and he is captivated. After Olympia’s song, the guests leave to go to dinner, but Spalanzani asks Hoffmann to stay behind with Olympia. Hoffmann professes his love for Olympia, who responds only with “Yes” when Hoffmann touches her shoulder (he doesn’t know he’s actually triggering a button that makes her say that word). When he goes to embrace her, Olympia runs off. Nicklausse returns, telling Hoffmann to be wary, because everything is not as it seems; Hoffmann brushes him off yet again. They leave to join the other guests. Coppélius enters, furious with Spalanzani for giving him a faulty check. He swears revenge and runs off. The guests return for dancing. Spalanzani asks Hoffmann to dance with Olympia. During the dance, Olympia goes haywire and rushes offstage, pursued by Cochenille. In the process, Hoffmann’s glasses are broken. Cochenille rushes back onstage, crying out that Coppélius has Olympia; Spalanzani rushes to her aid, only to find Coppélius with the robot in pieces. They return holding parts of the broken doll, and Hoffmann, his magical glasses now broken, finally sees Olympia for what she truly is and is

humiliated. Act II: Giulietta (Choudens is the only edit that has Giulietta second instead of third) Venice. The courtesan Giulietta is having a party of sorts. She and Nicklausse sing the famous Barcarolle. Afterwards Hoffmann mocks them with a song of his own condemning love and romance. Schlémil, who is in love with Giulietta, enters and makes it clear he is suspicious of Hoffmann when Giulietta introduces him. Giulietta then leads her guests out to play cards. Hoffmann is about to follow when Nicklausse takes him aside, warning him against Giulietta and asking him to leave. Hoffmann says there’s no way he could fall for someone like Giulietta, and if he does, may the devil take him! (He really needs to stop saying that.) After Hoffmann and Nicklausse leave to play cards with the others, the Captain Dapertutto comes in, announcing he plans to thwart Hoffmann with the help of Giulietta. He attracts the courtesan with a diamond (and a deceptively pretty aria) and tells her she needs to steal Hoffmann’s reflection for him. Giulietta agrees to do so in exchange for the diamond. Hoffmann returns and Dapertutto leaves. Giulietta seduces Hoffmann, who serenades her with a fairly famous aria that gets reprised later for a different reason (keep an eye out for that). Knowing she has him on the hook, Giulietta demands his fidelity—and his reflection. Helpless against her charms, Hoffmann agrees to both. Schlémil, Dapertutto, and Nicklausse return. Giulietta tells Hoffmann that Schlémil has the key to her room, and if Hoffmann can retrieve it, she’ll meet him there later. Dapertutto taunts Hoffmann, who looks in a mirror to find that his reflection is gone. Nicklausse begs him to leave but Hoffmann refuses, still clinging to the hope that Giulietta actually loves him. However she only mocks him, and he despairs, starting everyone off in the famous Septet (or "Sextet and Chorus"). Giulietta leads everyone back to the party, except Schlémil, who challenges Hoffmann to a duel. Hoffmann kills Schlémil and takes the key. He rushes to find Giulietta, only to see her riding off in a gondola with her real lover Piticchinaccio, both of whom are laughing at his expense. Nicklausse tells Hoffmann the police are coming to look for Schlémil’s murderer, and finally drags him away. Act III: Antonia Crespel’s house. Antonia laments the death of her mother and her separation from her lover, Hoffmann. Her father, Crespel, enters and reminds her not to sing, lest she die from it like her mother did. Antonia promises him she won’t sing anymore and leaves sadly. Crespel asks his servant Frantz to watch the door and make sure no one comes in. Frantz, who is partially deaf, only half-understands him. Crespel expresses frustration at this and leaves. Frantz remarks in a fun little number that if only he had some talents—like singing or dancing—maybe his boss would appreciate him more. Hoffmann enters with Nicklausse; they have been travelling for weeks looking for Antonia after she moved away without a word. Hoffmann asks Frantz to find Antonia for him. When the servant leaves to do so, Hoffmann begins to sing a song that he and Antonia wrote. Antonia hears him and rushes to meet him; Nicklausse exits quietly. Hoffmann and Antonia rejoice over their reunion and pledge to get married. Hoffmann expresses concern over Antonia’s insistence to sing despite her ill health. Antonia convinces him to sing their song together, which they do. Afterwards Antonia becomes tired. Before Hoffmann can react, they hear Crespel coming. Antonia flees, but Hoffmann remains, hiding so he can eavesdrop on Crespel. Frantz returns and tells Crespel that Dr. Miracle is here, having misunderstood Crespel’s command to not let anyone in. Dr. Miracle enters, asking to see Antonia. Crespel refuses and tells him to leave, saying that his faulty medicine is what killed Antonia's mother. Dr. Miracle, however, remains, and pantomimes an interaction with Antonia where he checks her pulse and orders her to sing. Offstage, Antonia responds with a scale. Dr. Miracle tells Crespel that

Antonia is dangerously ill, and gives him

two vials of medicine that he says will cure her. Crespel refuses them, calling the doctor a murderer and chasing him out. Hoffmann comes out of hiding, stunned by this encounter. Antonia returns and asks Hoffmann what her father said, thinking that he and Hoffmann had been talking this entire time. Hoffmann, disturbed by what he’s seen and heard, makes Antonia promise not to sing. She agrees, but when Hoffmann leaves (promising to return for her later) she laments that Hoffmann is now on her father’s side about her singing. Dr. Miracle returns as a disembodied voice, taunting Antonia. Why should she give up singing just because her father and Hoffmann tell her to? Doesn’t she want to be a great singer like her mother? When Antonia rebuffs him, Dr. Miracle calls on the spirit of Antonia’s dead mother, who leads Antonia in a frantic refrain. Antonia, exhausted by the singing, collapses. Crespel rushes in to see his daughter dying on the floor. She tells him she sees her mother, then sings a part of her and Hoffmann’s song, before dying in her father’s arms. Hoffmann rushes in just in time to see Dr. Miracle pronounce Antonia dead. Epilogue Back at the tavern, Hoffmann finishes his tales. Offstage, cheers and applause are heard for Stella as her performance comes to an end. Nicklausse announces a revelation—all of Hoffmann’s lovers in his stories are just manifestations of his real love for a single woman, Stella. Furious, Hoffmann shouts Nicklausse down, then deliriously leads a reprise of the drinking chorus. Stella enters looking for Hoffmann, only to find him dead drunk. He mistakes her for his three fictional loves, then rejects her. Offended, Stella leaves with Lindorf. The students all leave and Hoffmann is alone with Nicklausse, who reveals himself to be the Muse of Poetry. The Muse declares her devotion to Hoffmann and asks for his in return. Hoffmann, hearing this, repeats his song from the Giulietta act, this time declaring his love for the Muse and promising to return to his art.

Oeser (1)

The short Oeser version is the other Most Commonly Seen edit (I think it’s about a tie). It's similar to the Choudens edit in many ways, with some significant additions, which are in blue below: Prologue We open in Luther's Tavern. A chorus of the Spirits of Wine and Beer sing out. The Muse emerges from a barrel, declaring her love for Hoffmann and determination to rid him of Stella, the “siren” who has stolen his attention (and affection). She tells the audience that she will disguise herself as Nicklausse, Hoffmann’s friend, in order to try one last time to win him tonight. The Councilor Lindorf comes in and bribes Andrès, a tavern employee, into giving him a letter from Stella, an actress, that’s addressed to Hoffmann. Lindorf reads the letter, in which Stella has included the key to her room and invites Hoffmann to join her after her performance that evening. Lindorf keeps the letter and key for himself. A group of students arrive in the tavern and sing a rousing drinking chorus. After a bit they notice Hoffmann isn’t there yet and demand to know where he is. Luther, the tavern's owner, tells them Hoffmann is on his way, along with Nicklausse. The pair enter and take a seat. Hoffmann is melancholy and brooding, which prompts the students to ask him for a jovial song to lighten the mood. Hoffmann then sings the famous “Ballad of Klein-Zach.” But in the middle of the song, he gets distracted by memories of Stella. The students bring him back to reality and he finishes the sing, but the talk of love brings it up as a topic of conversation. Hoffmann declares “The devil take me if I were ever to fall in love!” At this point Lindorf makes his presence known, sneering at Hoffmann. The two of them then get into a battle of words, during which Hoffmann inadvertently admits that he is, in fact, in love with someone. Curious, the students ask him for the story of his love. Hoffmann declares that he has had not one but three mistresses: an artist, a young girl, and a courtesan. He then begins to tell his tales. Act I: Olympia Hoffmann goes to visit his science professor, Spalanzani, to declare his devotion to science. Spalanzani commends him, then leaves to prepare for his “daughter” Olympia’s coming-out party. Hoffmann admits his love for Olympia and gazes at her through a window. Nicklausse arrives and gently teases him about his love, singing a song about a mechanical doll and bird (sometimes it’s changed to a more mocking song specifically referencing Olympia). Hoffmann brushes him off. Coppélius, an eccentric salesman, enters and attempts to sell Hoffmann and Nicklausse a variety or contraptions; Hoffmann and Nicklausse bicker over whether or not to engage with the salesman. Coppélius manages to get Hoffmann interested in a pair of magical glasses, which Hoffmann then purchases and wears for the remainder of the act. Spalanzani returns and gets into an argument with Coppélius about Olympia; Coppélius wants a share since she has his eyes. Spalanzani decides to pay Coppélius with a check that he mentions in an aside he knows will bounce. Coppélius tells Spalanzani that he should get Hoffmann to marry Olympia as a joke. Spalanzani agrees, and Coppélius leaves. Cochenille, Spalanzani's assistant, announces the arrival of the guests. A chorus of people arrive, admiring Spalanzani’s skills as a host. Spalanzani introduces Olympia to the guests, who marvel over her perfection. Olympia sings a charming songs about birds and love. Hoffmann's new glasses make him see Olympia as a real person rather than the robot she actually is, and he is captivated. After Olympia’s song, the guests leave to go to dinner, but Spalanzani asks Hoffmann to stay behind with Olympia. Hoffmann professes his love for Olympia, who responds only with “Yes” when Hoffmann touches her shoulder (he doesn’t know he’s actually triggering a button that makes her say that word). When he goes to embrace her, Olympia runs off. Nicklausse returns, telling Hoffmann to be wary, because everything is not as it seems; Hoffmann brushes him off yet again. They leave to

join the other guests. Coppélius enters, furious with Spalanzani for giving him a faulty check. He swears revenge and runs off. The guests return for dancing. Spalanzani asks Hoffmann to dance with Olympia. During the dance, Olympia goes haywire and rushes offstage, pursued by Cochenille. In the process, Hoffmann’s glasses are broken. Cochenille rushes back onstage, crying out that Coppélius has Olympia; Spalanzani rushes to her aid, only to find Coppélius with the robot in pieces. They return holding parts of the broken doll, and Hoffmann, his magical glasses now broken, finally sees Olympia for who she truly is and is humiliated. Act II: Antonia (When Oeser made his edit, he rearranged the acts to their original order, placing Antonia before Giulietta.) Crespel’s house. Antonia laments the death of her mother and her separation from her lover, Hoffmann. Her father, Crespel, enters and reminds her not to sing, lest she die from it like her mother did. Antonia promises him she won’t sing anymore and leaves sadly. Crespel asks his servant Frantz to watch the door and make sure no one comes in. Frantz, who is partially deaf, only half-understands him. Crespel expresses frustration at this and leaves. Frantz remarks in a fun little number that if only he had some talents—like singing or dancing—maybe his boss would appreciate him more. Hoffmann enters with Nicklausse; they have been travelling for weeks looking for Antonia after she moved away without a word. Hoffmann asks Frantz to go find Antonia for him. While Hoffmann expresses his joy over being reunited with Antonia, Nicklausse tries to temper his excitement with a reality check, which Hoffmann brushes off (he does this a lot). Nicklausse then sings a lovely song about the power of art and love (which is really a love song for Hoffmann), but once again Hoffmann ignores him. Hoffmann begins to sing a song that he and Antonia wrote. Antonia hears him and rushes to meet him; Nicklausse exits quietly. Hoffmann and Antonia rejoice over their reunion and pledge to get married. Hoffmann expresses concern over Antonia’s insistence to sing despite her ill health. Antonia convinces him to sing their song together, which they do. Afterwards Antonia becomes tired. Before Hoffmann can react, they hear Crespel coming. Antonia flees, but Hoffmann remains, hiding so he can eavesdrop on Crespel. Frantz returns and tells Crespel that Dr. Miracle is here, having misunderstood Crespel’s command to not let anyone in. Dr. Miracle enters, asking to see Antonia. Crespel refuses and tells him to leave, saying that his faulty medicine is what killed Antonia's mother. Dr. Miracle, however, remains, and pantomimes an interaction with Antonia where he checks her pulse and orders her to sing. Offstage, Antonia responds with a scale. Dr. Miracle tells Crespel that Antonia is dangerously ill, and gives him two vials of medicine that he says will cure her. Crespel refuses them, calling the doctor a murderer and chasing him out. Hoffmann comes out of hiding, stunned by this encounter. Antonia returns and asks Hoffmann what her father said, thinking that he and Hoffmann had been talking this entire time. Hoffmann, disturbed by what he’s seen and heard, makes Antonia promise not to sing. She agrees, but when Hoffmann leaves (promising to return for her later) she laments that Hoffmann is now on her father’s side about her singing. Dr. Miracle returns as a disembodied voice, taunting Antonia. Why should she give up singing just because her father and Hoffmann tell her to? Doesn’t she want to be a great singer like her mother? When Antonia rebuffs him, Dr. Miracle calls on the spirit of Antonia’s dead mother, who leads Antonia in a frantic refrain. Antonia, exhausted by the singing, collapses. Crespel rushes in to see his daughter dying on the floor. She tells him she sees her mother, then sings a part of her and Hoffmann’s song, before dying in her father’s arms. Hoffmann rushes in just in time to see Dr. Miracle pronounce Antonia dead. Act III: Giulietta Venice. The courtesan Giulietta is having a

party of sorts. She and Nicklausse sing the famous Barcarolle. Afterwards Hoffmann mocks them with a song of his own condemning love and romance. Schlémil, who is in love with Giulietta, enters and makes it clear he is suspicious of Hoffmann when Giulietta introduces him. Giulietta then leads her guests out to play cards. Hoffmann is about to follow when Nicklausse takes him aside, warning him against Giulietta and asking him to leave. Hoffmann says there’s no way he could fall for someone like Giulietta, and if he does, may the devil take him! (He really needs to stop saying that.) After Hoffmann and Nicklausse leave to play cards with the others, the Captain Dapertutto comes in, announcing he plans to thwart Hoffmann with the help of Giulietta. He attracts the courtesan with a diamond (and a deceptively pretty aria) and tells her she needs to steal Hoffmann’s reflection for him. Giulietta agrees to do so in exchange for the diamond. Hoffmann returns and Dapertutto leaves. Giulietta seduces Hoffmann, who serenades her with a fairly famous aria. Knowing she has him on the hook, Giulietta demands his fidelity—and his reflection. Helpless against her charms, Hoffmann agrees to both. Schlémil, Dapertutto, and Nicklausse return. Giulietta tells Hoffmann that Schlémil has the key to her room, and if Hoffmann can retrieve it, she’ll meet him there later. Dapertutto taunts Hoffmann, who looks in a mirror to find that his reflection is gone. Nicklausse begs him to leave but Hoffmann refuses, still clinging to the hope that Giulietta actually loves him. However she only mocks him, and he despairs, starting everyone off in the famous Septet (or Sextet and Chorus). Giulietta leads everyone back to the party, except Schlémil, who challenges Hoffmann to a duel. Hoffmann kills Schlémil and takes the key. He rushes to find Giulietta, only to see her riding off in a gondola with her real lover Piticchinaccio, both of whom are laughing at his expense. Nicklausse tells Hoffmann the police are coming to look for Schlémil’s murderer, and finally drags him away. Epilogue Back at the tavern, Hoffmann finishes his tales. Offstage, cheers and applause are heard for Stella as her performance comes to an end. Nicklausse announces a revelation—all of Hoffmann’s lovers in his stories are just manifestations of his real love for a single woman, Stella. Furious, Hoffmann shouts Nicklausse down, then deliriously leads a reprise of the drinking chorus. Stella enters looking for Hoffmann. Nicklausse exits, telling Hoffmann it’s time for him to choose. Hoffmann drunkenly mistakes Stella for his three fictional loves, then rejects her. Offended, Stella leaves with Lindorf. Hoffmann begins to sing his Klein-Zach song before falling in despair. The students exit the tavern, singing their song once again and leaving Hoffmann alone. Nicklausse returns and reveals his identity as the Muse, serenading Hoffmann with a comforting refrain: love makes a man great, but tears make him greater still—his suffering is not in vain, but will make him an even greater artist.

Oeser (2)

The long Oeser version (my personal favorite) follows the short one fairly closely; most of the major revisions are in the Giulietta act. This one is pretty rare—I’ve only found one video (which is a terrible production unfortunately) and one audio recording (which is the greatest audio recording of this opera that currently exists). New material in green text:

Prologue We open in Luther's Tavern. A chorus of the Spirits of Wine and Beer sing out. The Muse emerges from a barrel, declaring her love for Hoffmann and determination to rid him of Stella, the “siren” who has stolen his attention (and affection). She tells the audience that she will disguise herself as Nicklausse, Hoffmann’s friend, in order to try one last time to win him tonight. The Councilor Lindorf comes in and bribes Andrès, a tavern employee, into giving him a letter from Stella, an actress, that’s addressed to Hoffmann. Lindorf reads the letter, in which Stella has included the key to her room and invites Hoffmann to join her after her performance that evening. Lindorf keeps the letter and key for himself. A group of students arrive in the tavern and sing a rousing drinking chorus. After a bit they notice Hoffmann isn’t there yet and demand to know where he is. Luther, the tavern's owner, tells them Hoffmann is on his way, along with Nicklausse. The pair enter and take a seat. Hoffmann is melancholy and brooding, which prompts the students to ask him for a jovial song to lighten the mood. Hoffmann then sings the famous “Ballad of Klein-Zach.” But in the middle of the song, he gets distracted by memories of Stella. The students bring him back to reality and he finishes the sing, but the talk of love brings it up as a topic of conversation. Hoffmann declares “The devil take me if I were ever to fall in love!” At this point Lindorf makes his presence known, sneering at Hoffmann. The two of them then get into a battle of words, during which Hoffmann inadvertently admits that he is, in fact, in love with someone. Curious, the students ask him for the story of his love. Hoffmann declares that he has had not one but three mistresses: an artist, a young girl, and a courtesan. He then begins to tell his tales. Act I: Olympia Hoffmann goes to visit his science professor, Spalanzani, to declare his devotion to science. Spalanzani commends him, then leaves to prepare for his “daughter” Olympia’s coming-out party. Hoffmann admits his love for Olympia and gazes at her through a window. Nicklausse arrives and gently teases him about his love, singing a song about a mechanical doll and bird (sometimes it’s changed to a more mocking song specifically referencing Olympia). Hoffmann brushes him off. Coppélius, an eccentric salesman, enters and attempts to sell Hoffmann and Nicklausse a variety or contraptions; Hoffmann and Nicklausse bicker over whether or not to engage with the salesman. Coppélius manages to get Hoffmann interested in a pair of magical glasses, which Hoffmann then purchases and wears for the remainder of the act. Spalanzani returns and gets into an argument with Coppélius about Olympia; Coppélius wants a share since she has his eyes. Spalanzani decides to pay Coppélius with a check that he mentions in an aside he knows will bounce. Coppélius tells Spalanzani that he should get Hoffmann to marry Olympia as a joke. Spalanzani agrees, and Coppélius leaves. Cochenille, Spalanzani's assistant, announces the arrival of the guests. A chorus of people arrive, admiring Spalanzani’s skills as a host. Spalanzani introduces Olympia to the guests, who marvel over her perfection. Olympia sings a charming songs about birds and love. Hoffmann's new glasses make him see Olympia as a real person rather than the robot she actually is, and he is captivated. After Olympia’s song, the guests leave to go to dinner, but Spalanzani asks Hoffmann to stay behind with Olympia. Hoffmann professes his love for Olympia, who responds only with “Yes” when Hoffmann touches her shoulder (he doesn’t know he’s actually triggering a button that makes her say that word). When he goes to embrace her, Olympia runs off. Nicklausse returns, telling Hoffmann to be wary, because everything is not as it seems; Hoffmann brushes him off yet again. Then we get my beloved little waltzy duet where Nicklausse invites Hoffmann back to the party and Hoffmann denounces cynics who disbelieve the power of love. They leave to join the other guests. Coppélius

enters, furious with Spalanzani for giving him a faulty check. He swears revenge and runs off. The guests return for dancing. Spalanzani asks Hoffmann to dance with Olympia. During the dance, Olympia goes haywire and rushes offstage, pursued by Cochenille. In the process, Hoffmann’s glasses are broken. Cochenille rushes back onstage, crying out that Coppélius has Olympia; Spalanzani rushes to her aid, only to find Coppélius with the robot in pieces. They return holding parts of the broken doll, and Hoffmann, his magical glasses now broken, finally sees Olympia for who she truly is and is humiliated. Act II: Antonia Crespel’s house. Antonia laments the death of her mother and her separation from her lover, Hoffmann. Her father, Crespel, enters and reminds her not to sing, lest she die from it like her mother did. Antonia promises him she won’t sing anymore and leaves sadly. Crespel asks his servant Frantz to watch the door and make sure no one comes in. Frantz, who is partially deaf, only half-understands him. Crespel expresses frustration at this and leaves. Frantz remarks in a fun little number that if only he had some talents—like singing or dancing—maybe his boss would appreciate him more. Hoffmann enters with Nicklausse; they have been travelling for weeks looking for Antonia after she moved away without a word. Hoffmann asks Frantz to go find Antonia for him. While Hoffmann expresses his joy over being reunited with Antonia, Nicklausse tries to temper his excitement with a reality check, which Hoffmann brushes off (he does this a lot). Nicklausse then sings a lovely song about the power of art and love (which is really a love song for Hoffmann), but once again Hoffmann ignores him. Hoffmann begins to sing a song that he and Antonia wrote. Antonia hears him and rushes to meet him; Nicklausse exits quietly. Hoffmann and Antonia rejoice over their reunion and pledge to get married. Hoffmann expresses concern over Antonia’s insistence to sing despite her ill health. Antonia convinces him to sing their song together, which they do. Afterwards Antonia becomes tired. Before Hoffmann can react, they hear Crespel coming. Antonia flees, but Hoffmann remains, hiding so he can eavesdrop on Crespel. Frantz returns and tells Crespel that Dr. Miracle is here, having misunderstood Crespel’s command to not let anyone in. Dr. Miracle enters, asking to see Antonia. Crespel refuses and tells him to leave, saying that his faulty medicine is what killed Antonia's mother. Dr. Miracle, however, remains, and pantomimes an interaction with Antonia where he checks her pulse and orders her to sing. Offstage, Antonia responds with a scale. Dr. Miracle tells Crespel that Antonia is dangerously ill, and gives him two vials of medicine that he says will cure her. Crespel refuses them, calling the doctor a murderer and chasing him out. Hoffmann comes out of hiding, stunned by this encounter. Antonia returns and asks Hoffmann what her father said, thinking that he and Hoffmann had been talking this entire time. Hoffmann, disturbed by what he’s seen and heard, makes Antonia promise not to sing. She agrees, but when Hoffmann leaves (promising to return for her later) she laments that Hoffmann is now on her father’s side about her singing. Dr. Miracle returns as a disembodied voice, taunting Antonia. Why should she give up singing just because her father and Hoffmann tell her to? Doesn’t she want to be a great singer like her mother? When Antonia rebuffs him, Dr. Miracle calls on the spirit of Antonia’s dead mother, who leads Antonia in a frantic refrain. Antonia, exhausted by the singing, collapses. Crespel rushes in to see his daughter dying on the floor. She tells him she sees her mother, then sings a part of her and Hoffmann’s song, before dying in her father’s arms. Hoffmann rushes in just in time to see Dr. Miracle pronounce Antonia dead. Act III: Giulietta Venice. The courtesan Giulietta is having a party of sorts. She and Nicklausse sing the famous Barcarolle. Afterwards Hoffmann mocks them with a song of his own condemning love and romance.

Schlémil, who is in love with Giulietta, enters and makes it clear he is suspicious of Hoffmann when Giulietta introduces him. Giulietta then leads her guests out to play cards. Hoffmann is about to follow when Nicklausse takes him aside, warning him against Giulietta and asking him to leave. Hoffmann says there’s no way he could fall for someone like Giulietta, and if he does, may the devil take him! (He really needs to stop saying that.) As if summoned, the Captain Dapertutto arrives and introduces himself, ominously revealing that he knows who Hoffmann is as well, and in general just acts creepy. Hoffmann and Nicklausse warily leave him behind and go to join the others playing cards. Once they’re gone, Dapertutto announces his plans to thwart Hoffmann with the help of Giulietta. He sings a diablical aria and attracts the courtesan with a diamond, and tells her she needs to steal Hoffmann’s reflection for him. Giulietta agrees to do so in exchange for the diamond. She and Dapertutto join the card players. Hoffmann is losing miserably, much to Nicklausse’s chagrin. Giulietta serenades the guests with a song about love, not-so-subtly aimed at Hoffmann. We get a pretty epic chorus as the game goes on. [Sometimes we also get and aria from Schlémil about having lost his shadow.] Giulietta leaves and Hoffmann follows her, giving Nicklausse his cards and asking him to finish the game for him. Nicklausse protests and tries to follow Hoffmann, but Dapertutto holds him back. Hoffmann joins Giulietta in her room. Giulietta despairs over her feeling of being trapped and suffering. Nicklausse comes in and tells Hoffmann to get ready to leave and that he’s coming back for him. He leaves, and Giulietta tells Hoffmann he should as well, but he refuses to leave her. Giulietta tells him to steal the key from Schlémil that he uses to lock her up at night, saying if he does so, she will devote herself to him. Hoffmann agrees to do so and sings his aria. Knowing she has him on the hook, Giulietta demands his fidelity—and his reflection. Helpless against her charms, Hoffmann agrees to both. Schlémil, Dapertutto, and Nicklausse return. Dapertutto taunts Hoffmann, who looks in a mirror to find that his reflection is gone. Nicklausse begs him to leave but Hoffmann refuses, still clinging to the hope that Giulietta actually loves him. However she only mocks him, and he despairs, starting everyone off in the famous Septet (or Sextet and Chorus) [sometimes the Septet is left out in longer Oeser edits]. Giulietta leads everyone back to the party, except Schlémil, who challenges Hoffmann to a duel. Hoffmann kills Schlémil and takes the key. He rushes to find Giulietta, only to see her riding off in a gondola with her real lover, Piticchinaccio, both of whom are laughing at his expense. Nicklausse tells Hoffmann the police are coming to look for Schlémil’s murderer, and finally drags him away. Epilogue Back at the tavern, Hoffmann finishes his tales. Offstage, cheers and applause are heard for Stella as her performance comes to an end. Nicklausse announces a revelation—all of Hoffmann’s lovers in his stories are just manifestations of his real love for a single woman, Stella. Furious, Hoffmann shouts Nicklausse down, then deliriously leads a reprise of the drinking chorus. Stella enters looking for Hoffmann. Nicklausse exits, telling Hoffmann it’s time for him to choose. Hoffmann drunkenly mistakes Stella for his three fictional loves, then rejects her. Offended, Stella leaves with Lindorf. Hoffmann begins to sing his Klein-Zach song before falling in despair. The students exit the tavern, singing their song once again and leaving Hoffmann alone. Nicklausse returns and reveals his identity as the Muse. She declares her love and devotion for Hoffmann and asks for his in return. She calls upon the Spirits of Wine and Beer, who she says have aided her in her efforts; they repeat their chorus and disperse. The Muse serenades Hoffmann with a comforting refrain: love makes a man great, but tears make him greater still—his suffering is not in vain, but

will make him an even greater

artist.

Kaye/Kecke

the Kaye/Kecke version is the most recent critical edition and hailed by many as the most definitive (aside from that “OG Offenbach” one I can’t find anything about). There are actually very few “true” Kaye productions out there, but a few that attempt it. A lot of the changes are just in the orchestration and, in the spoken-dialogue version, a lot of dialogue; the vast majority of the plot and action stay the same. The big differences are in the Giulietta act. Again, I’ll use some new-color text (orange) to indicate differences between this and previous editions.

Prologue We open in Luther's Tavern. A chorus of the Spirits of Wine and Beer sing out. The Muse emerges from a barrel, declaring her love for Hoffmann and determination to rid him of Stella, the “siren” who has stolen his attention (and affection). She tells the audience that she will disguise herself as Nicklausse, Hoffmann’s friend, in order to try one last time to win him tonight. The Councilor Lindorf comes in and bribes Andrès, a tavern employee, into giving him a letter from Stella, an actress, that’s addressed to Hoffmann. Lindorf reads the letter, in which Stella has included the key to her room and invites Hoffmann to join her after her performance that evening. Lindorf keeps the letter and key for himself. A group of students arrive in the tavern and sing a rousing drinking chorus. After a bit they notice Hoffmann isn’t there yet and demand to know where he is. Luther, the tavern's owner tells them Hoffmann is on his way, along with Nicklausse. The pair enter and take a seat. Hoffmann is melancholy and brooding, which prompts the students to ask him for a jovial song to lighten the mood. Hoffmann then sings the famous “Ballad of Klein-Zach.” But in the middle of the song, he gets distracted by memories of Stella. The students bring him back to reality and he finishes the sing, but the talk of love brings it up as a topic of conversation. Hoffmann declares “The devil take me if I were ever to fall in love!” At this point Lindorf makes his presence known, sneering at Hoffmann. The two of them then get into a battle of words, during which Hoffmann inadvertently admits that he is, in fact, in love with someone. Curious, the students ask him for the story of his love. Hoffmann declares that he has had not one but three mistresses: an artist, a young girl, and a courtesan. He then begins to tell his tales. Act I: Olympia Hoffmann goes to visit his science professor, Spalanzani, to declare his devotion to science. Spalanzani commends him, then leaves to prepare for his “daughter” Olympia’s coming-out party. Hoffmann admits his love for Olympia and gazes at her through a window. Nicklausse arrives and gently teases him about his love, singing a song about a mechanical doll and bird (sometimes it’s changed to a more mocking song specifically referencing Olympia). (also he sometimes mockingly serenades Olympia before his other aria.) Hoffmann brushes him off. Coppélius, an eccentric salesman, enters and attempts to sell Hoffmann and Nicklausse a variety or contraptions; Hoffmann and Nicklausse bicker over whether or not to engage with the salesman. Coppélius manages to get Hoffmann interested in a pair of magical glasses, which Hoffmann then purchases and wears for the remainder of the act. Spalanzani returns and gets into an argument with Coppélius about Olympia; Coppélius wants a share since she has his eyes. Spalanzani decides to pay Coppélius with a check that he mentions in an aside he knows will bounce. Coppélius tells Spalanzani that he should get Hoffmann to marry Olympia as a joke. Spalanzani agrees, and Coppélius leaves. Cochenille, Spalanzani's assistant, announces the arrival of the guests. A chorus of people arrive, admiring Spalanzani’s skills as a host. Spalanzani introduces Olympia to the guests, who marvel over her perfection. Olympia sings a charming songs about birds and love. Hoffmann's new glasses make him see Olympia as a real person rather than the robot she actually is, and he is captivated. After Olympia’s song, the guests leave to go to dinner, but Spalanzani asks Hoffmann to stay behind with Olympia. Hoffmann professes his love for Olympia, who responds only with “Yes” when Hoffmann touches her shoulder (he doesn’t know he’s actually triggering a button that makes her say that word). When he goes to embrace her, Olympia runs off. Nicklausse returns, telling Hoffmann to be wary, because everything is not as it seems; Hoffmann brushes him off yet again. Then we get my beloved little waltzy duet where Nicklausse invites Hoffmann back to the party and Hoffmann denounces cynics who disbelieve

the power of love. They leave to join the other guests. Coppélius enters, furious with Spalanzani for giving him a faulty check. He swears revenge and runs off. The guests return for dancing. Spalanzani asks Hoffmann to dance with Olympia. During the dance, Olympia goes haywire and rushes offstage, pursued by Cochenille. In the process, Hoffmann’s glasses are broken. Cochenille rushes back onstage, crying out that Coppélius has Olympia; Spalanzani rushes to her aid, only to find Coppélius with the robot in pieces. They return holding parts of the broken doll, and Hoffmann, his magical glasses now broken, finally sees Olympia for who she truly is and is humiliated. Act II: Antonia Crespel’s house. Antonia laments the death of her mother and her separation from her lover, Hoffmann. Her father, Crespel, enters and reminds her not to sing, lest she die from it like her mother did. Antonia promises him she won’t sing anymore and leaves sadly. Crespel asks his servant Frantz to watch the door and make sure no one comes in. Frantz, who is partially deaf, only half-understands him. Crespel expresses frustration at this and leaves. Frantz remarks in a fun little number that if only he had some talents—like singing or dancing—maybe his boss would appreciate him more. Hoffmann enters with Nicklausse; they have been travelling for weeks looking for Antonia after she moved away without a word. Hoffmann asks Frantz to go find Antonia for him. While Hoffmann expresses his joy over being reunited with Antonia, Nicklausse tries to temper his excitement with a reality check, which Hoffmann brushes off (he does this a lot). Nicklausse then sings a lovely song about the power of art and love (which is really a love song for Hoffmann), but once again Hoffmann ignores him. Hoffmann begins to sing a song that he and Antonia wrote. Antonia hears him and rushes to meet him; Nicklausse exits quietly. Hoffmann and Antonia rejoice over their reunion and pledge to get married. Hoffmann expresses concern over Antonia’s insistence to sing despite her ill health. Antonia convinces him to sing their song together, which they do. Afterwards Antonia becomes tired. Before Hoffmann can react, they hear Crespel coming. Antonia flees, but Hoffmann remains, hiding so he can eavesdrop on Crespel. Frantz returns and tells Crespel that Dr. Miracle is here, having misunderstood Crespel’s command to not let anyone in. Dr. Miracle enters, asking to see Antonia. Crespel refuses and tells him to leave, saying that his faulty medicine is what killed Antonia's mother. Dr. Miracle, however, remains, and pantomimes an interaction with Antonia where he checks her pulse and orders her to sing. Offstage, Antonia responds with a scale. Dr. Miracle tells Crespel that Antonia is dangerously ill, and gives him two vials of medicine that he says will cure her. Crespel refuses them, calling the doctor a murderer and chasing him out. Hoffmann comes out of hiding, stunned by this encounter. Antonia returns and asks Hoffmann what her father said, thinking that he and Hoffmann had been talking this entire time. Hoffmann, disturbed by what he’s seen and heard, makes Antonia promise not to sing. She agrees, but when Hoffmann leaves (promising to return for her later) she laments that Hoffmann is now on her father’s side about her singing. Dr. Miracle returns as a disembodied voice, taunting Antonia. Why should she give up singing just because her father and Hoffmann tell her to? Doesn’t she want to be a great singer like her mother? When Antonia rebuffs him, Dr. Miracle calls on the spirit of Antonia’s dead mother, who leads Antonia in a frantic refrain. Antonia, exhausted by the singing, collapses. Crespel rushes in to see his daughter dying on the floor. She tells him she sees her mother, then sings a part of her and Hoffmann’s song, before dying in her father’s arms. Hoffmann rushes in just in time to see Dr. Miracle pronounce Antonia dead. Act III: Giulietta Venice. The courtesan Giulietta is having a party of sorts. She and Nicklausse sing the famous Barcarolle. Afterwards

Hoffmann mocks them with a song of his own condemning love and romance. Schlémil, who is in love with Giulietta, enters and makes it clear he is suspicious of Hoffmann when Giulietta introduces him. Giulietta then leads her guests out to play cards. Hoffmann is about to follow when Nicklausse takes him aside, warning him against Giulietta and asking him to leave. Hoffmann says there’s no way he could fall for someone like Giulietta, and if he does, may the devil take him! (He really needs to stop saying that.) As if summoned, the Captain Dapertutto arrives and introduces himself, ominously revealing that he knows who Hoffmann is as well, and in general just acts creepy. Hoffmann and Nicklausse warily leave him behind and go to join the others playing cards. Once they’re gone, Dapertutto announces his plans to thwart Hoffmann with the help of Giulietta. He sings a diabolical aria and attracts the courtesan with a diamond, and tells her she needs to steal Hoffmann’s reflection for him. Giulietta agrees to do so in exchange for the diamond. (Here’s where the plot deviates, and the Oeser parts from earlier don’t appear at all.) The guests return looking for Giulietta, who sings a song for them as they play cards. Hoffmann gets distracted by Giulietta and gives Nicklausse his cards. Giulietta seduces Hoffmann and convinces him to duel Schlémil to get the key to her bedroom. Hoffmann does and kills Schlémil. Nicklausse finds Hoffmann and, learning about the duel, begs Hoffmann to leave with him. Hoffmann refuses, wanting to see Giulietta. Nicklausse leaves to find a means of transportation. Giulietta returns and continues to seduce Hoffmann, who falls for her completely. She asks for his reflection as a keepsake; he’s helpless to resist her. Dapertutto returns; Giulietta relinquishes Hoffmann to him. Nicklausse returns as well, in time to find Hoffmann has lost his reflection. Once again he begs Hoffmann to leave, but Hoffmann refuses, still insistent that Giulietta loves him. The chorus returns, mocking Hoffmann for being duped. The police arrive to arrest Schlémil’s killer. Furious, Hoffmann attempts to stab Giulietta, but misses and kills Pitichinaccio, who is revealed to be her real lover. Giulietta despairs over his body, and Nicklausse finally manages to drag Hoffmann away. (There is no Septet in Kaye edits.) Epilogue Back at the tavern, the students sing a disbelieving chorus as Hoffmann finishes his tales, telling him to come back to reality. Offstage, cheers and applause are heard for Stella as her performance comes to an end. Nicklausse announces a revelation—all of Hoffmann’s lovers in his stories are just manifestations of his real love for a single woman, Stella. Furious, Hoffmann shouts Nicklausse down. He then encourages everyone (including himself) to get blackout drunk. The chorus of the Spirits of Wine and Beer from the prologue returns, creepily overlapping with the students’ drinking chorus. Stella enters looking for Hoffmann. Hoffmann drunkenly mistakes Stella for his three fictional loves, then rejects her. Offended, Stella leaves with Lindorf. Hoffmann begins to sing his Klein-Zach song, mockingly dedicating it to Lindorf, before falling in despair. The students exit the tavern, singing their song once again and leaving Hoffmann alone. (Sometimes Stella gets an aria here, basically telling Hoffmann “you don’t know what you’re missing by rejecting me.”) Nicklausse returns and reveals his identity as the Muse. She declares her love and devotion for Hoffmann and asks for his in return. The Muse serenades Hoffmann with a comforting refrain: love makes a man great, but tears make him greater still—his suffering is not in vain, but will make him an even greater artist. (Sometimes the final chorus is extended, with comments from the other characters announcing that the future is his.)

And there you have it!

As mentioned before, there are a ton of variations on all of these. Choudens edits and short Oeser edits are often very similar, but even they will have random chunks cut here and there, sometimes move things around, and of course it’s always a toss-up which aria Niclausse is going to get in Act I and if he’ll get the Violin Aria.

If you got to the end of this, kudos. Seriously. I could barely make it through, and I elected to write the thing.

[oyaterriblyfunnyreallywitty]

First

Requested: “harry request: on his birthday, you decide to take him to a waterpark/carnival/amusement park and you two share ice cream in the sun <3″

I love this idea so much, thank you! Its my first Harry Potter post, hope you like it.🥰🥺 @daltonacademia​

Word Count: 965

Warnings: Happee Birthdae

Your alarm sounded foreign, it was the middle of the summer break and for a brief second you forgot why it was going off.

Harry.

A smile instantly appeared on your face without even opening your eyes.

Today was Harry’s birthday, and for the first time in his life you were going to make it count. 

You stared at yourself in the mirror, trying the fourth outfit, today had to be perfect and that included your fashion sense.

In the end you opted for the first outfit you tried on and started making your way downstairs.

Your parents were under the impression you’d be going over to your friend Hermione Granger’s house and bid you a farewell.

Two underground buses later and a 27 minute brisk walk and you were stood outside the house at the end of 4 Pivet Drive.

You knocked cautiously.

This was all a surprise you’d orchestrated the minute your best friend Harry had confided in you he’d never had a proper party late one night in the Gryffindor common room.

You heard the gruff voice of a man coming from inside, “Harry! Well? It’s not going to open itself.” 

A disgruntled Harry opened the door and almost closed it on you the minute your eyes met.

“Y/n..what are you doing here?” He said in a hushed tone but he couldn’t keep the enthusiasm out of his voice.

“Happy birthday!!” You said, getting out the confetti bomb you’d been gripping and throwing it directly at him.

He laughed and opened  the door completely, unable to help himself as he pulled you in for tight hug, the confetti getting on you as well.

“Thanks- how did you get here?” He said peering behind you then pulling back to take a look at your face.

“Harry, no distance in the world could keep me from missing another one of your birthdays.” You said giving him a warm smile, which he returned.

It might’ve been the sun beaming down furiously but you saw Harry’s eyes glisten.

“Who- Oh, hello? I’m Petunia dear what can I do for you?” a woman's face peeked from behind the door before stepping out, hand shielding her eyes as she looked down at you.

“Hello, I’m Harry’s friend. I’ve come to wish him a happy birthday and I-”

As soon as Harry’s name was out of your mouth her demeanor changed.

“Oh, well, I believe you’ve done so. You may leave now.” She said turning back towards the opened front door.

“Mrs. Petunia, please. I’ve come to invite him to a carnival, its fairly close and he’ll be back before the sun even sets. I promise.”  she turned and you gave her your most convincing smile. 

Harry’s face lit up brighter than the sun burning your shoulders and your heart swelled. 

The woman looked irritated, like this conversation could not be more tedious.

“No. Harry, come on in.” she said once again headed inside.

“Please, he’s never had a proper birthday. I planned this-“ you trailed off realizing how insulting this must’ve sounded.

Her back stiffened and you were sure she would slam the door now but instead she turned, eyed Harry, and for a minute her stare softened. 

Instantly the look was gone and she walked back inside, “No later than 5.” She said slamming the door shut on the both of you.

Harry looked like he’d just caught the golden snitch at the Quidditch World Cup.

Getting there was an adventure in itself, two 15 year olds trying to navigate London wasn’t necessarily a piece of cake, but you managed.

Harry kept saying thank you like a mantra the whole way there and apologizing for saying it too much.

It saddened you to think in his entire time on this earth he’d never had a day to remind him how much people cared and were glad that he existed. Not by his parents or his remaining relatives or friends. Until now.

You were determined to make this one unforgettable. 

It’d be pretty unforgettable to you too, you thought as you watched Harry take off running as he spotted the entrance. 

And so, you rode the Ferris wheel as many times as Harry wanted and the rollercoaster until he got sick, and three more times after that.

Harry looked like a child in Disneyland the whole time, practically running towards the rides.

You rode a log up and down a waterfall until your clothes were drenched and you no longer felt hot.

Then you had some hot dogs and cotton candy.

Which unfortunately for Harry made a reappearance as he’d insisted on riding the ferris wheel a fifth time while eating  in case time was running out.

After that you decided it was time you stepped up and put a bit of a limit.

He agreed on a 30 minute break on a bench by some cool grass as long as you would get ice cream and so you did.

One vanilla and one chocolate scoop each.

As you sat there next to Harry in the comfortable silence, the sun no longer scorching, and arms touching you said something out loud. A thing you'd never voiced but had always felt.

“I love you Harry.”

He stopped licking his scoop and turned to look at you, his blue eyes wide.

It took him a little but he cracked a smile, “I love you y/n, this has been the best birthday ever.” he switched his cone onto his other hand and took your hand instead. 

“Thank you.” he added, squeezing your hand gently.

“I’m not riding the Ferris wheel again.”

“Yeah, thought so.” He said with a chuckle, returning his gaze to the carnival, a content expression resting on his face.

You leaned into his shoulder and whispered, “Popcorn?”

“Please!” 

[aj-artjunkyard]

Batfam musical headcanons

Dick:

instrument wise? Nothing, the man couldn’t tap out a tune on the piano if his life depended on it but boy that doesn’t stop him from trying

Sometimes the more musically inclined of the family will try to teach him a simple tune or beat to play in the background of a musical video they’re recording, but he’ll always forget the notes in 5 seconds and just improv when he feels it, it always sounds terrible but he’s having a blast 

Can sing though. Oh man can he sing

Doesn’t mean he sings anything other than Disney Princess songs tho 

If you were to ask me for a voice reference, I’d say Thomas Sanders

He has quite a wide vocal range but he’s better on higher notes

He sings quietly or under his breath most of the time, but then he’ll get to a line he’s confident on and he’ll belt it out at full volume

Sometimes a random line will ring out across the manor and it will 100% be Dick’s voice singing I Can Go The Distance from Hercules 

Doesn’t remember half the lyrics 

This still doesn’t stop him 

Remember that scene at the start of Spiderverse where Miles is singing ‘Sunflower’, but only knows half the words, muttering the rest and getting REALLY into the parts he knows? Yeh that’s Dick

plays a KILLER kazoo solo

no he doesn't but it does annoy everyone in a 10 mile radius so there’s an major upside here

Jason:

This man has a breathtaking bass singing voice 

He claims he has never and will never sing in front of anyone, but sometimes when he’s in a rare good mood, he’ll mess around with his siblings in the music room and end up singing sea shanties with Tim and Dick (and sometimes Duke if he’s not too shy)

This is Jason, Dick and Tim. Damian is recording

Sings exclusively Hamilton, but his real talent in singing isn’t in the rapping area he just loves that musical 

Secret Theatre Nerd™

Famed for roping Tim and Duke into musicals; exclusively Dear Evan Hanson, Hamilton, Heathers and Les Misérables

One day Dick and Jason tease Duke out his shell enough to preform this with them

Would sing to himself in his safe houses and while ripping down the road on his motorcycle at top speeds

Not much of an instrument guy, but could tap out a piano tune or a drum beat if someone needed it

Keyword here being *could* bc he CAN but he WON’T

Even if someone managed to loop him into doing a backing beat for a tiktok or smthn he most definitely wouldn’t remember how to do it 30 minutes later

He claims his mind is too crammed with actually important information to remember a dumb piano tune for more than 10 minutes 

Tim:

Can carry a tune, but prefers the instrumental side of music 

He’s a tenor and sings higher than Dick, but Dick has a wider vocal range and if he wanted to, Dick could hit high notes Tim couldn’t dream of. Tim just doesn’t have the same range

But he’s fantastic at instruments 

He plays a wide range due to his private lessons back at Drake Manor, including but not limited to: Piano, saxophone, drums, cello, clarinet, acoustic guitar, trombone and the triangle 

Can Timothy Drake play incredibly difficult classical pieces on almost any instrument with ease and move the listeners to tears? Yes. Will he? No. Because the only tunes you will ever catch Timothy Drake playing is exclusively meme music

If it’s a sound on TikTok, this child can play it double time guaranteed

I’m talking the Mii theme, the Subway Surfers theme, Axel F, Wet Hands, you name it

K I lied he sometimes plays fantastic renditions of pop songs or movie scores 

He also likes joining in on those “adding an *instrument* solo to a song that does not need an *instrument* solo” TikToks

This child makes quality TikToks

His acc has a great following bc has such a vast variety of content and its all peak. It ranges from music to music memes to family shenanigans to academic memes to whatever was in his mind that day

He has a sparse posting schedule but when he does post its always worth the wait

ANYWAYS back on track

Tim will 100% play saxophone on top volume outside Damian’s bedroom when the kid is annoying him

Sometimes Jason joins in but he plays his chosen instrument horrifically just to annoy Damian more 

Jason and Tim do this

ok its time for my favourite boy

Damian:

Damian isn’t a singer. He refuses to ever sing in front of anyone, and he’s got the whole ‘boys’ tween voice’ thing going on too, and though he’ll probably have the capacity to be a great singer when he’s older, he won’t ever sing enough for many to find out

Instruments on the other hand,,,,

Damian does his little “*tt* I don’t care for the music, I play because it quickens reaction time and helps improve my memory and hand-eye coordination” and everyone’s just “sure Dami, thats why you were playing Merry-Go-Round of Life on repeat at 4am”

He likes orchestral and classical music, he’ll often play the song over the speakers in the music room and play along on his chosen instrument

He considers that genre more impressive for a musician instead of the pop rubbish Tim plays

He was taught violin by his mother back in Nanda Parbat, and it’s still his go-to favourite instrument, but he’s been teaching himself every other instrument in the music room

He uses music as a release, because he’s finally starting to get that violence isn’t always the acceptable release like it was back in the League and Dick and Bruce are so happy to see him start to understand this and get hobbies that aren’t related to work

When he gets older his taste in music expands to more electric guitar and drum heavy songs, but right now he’s still a bratty rich child and not an angsty teen

Jason is the one who introduced teen Damian to TØP, MCR, P!ATD and BMTH and now they jam together at excruciating volumes, screaming lyrics and wildly strumming on bass and electric guitar and banging on the drums and everyone would gladly slap Jason if not for the soundproof walls in the music room

Bruce:

Bruce used to be classically trained in a few instruments but he just didn’t care enough to continue them into his teen years so he just kinda forgot them

He regrets it now, seeing all his talented kids bonding over music and thinking that it probably would be been better for him to have a hobby when he was younger 

On one rare night he has the manor to himself, so he sits down at one of his grand pianos and tries to remember one of the tunes he was taught. Alfred hears his woeful attempts and starts to teach him some easy tunes

They do this every time they have the manor to themselves 

Bruce finally masters a song and he’s really pleased with himself Alfred is just so proud of his son,,,,

[ordinaryschmuck]

Why I (Want to) Love Tangled: The Series/Rapunzel's Tangled Adventure

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

When I heard Disney was making an animated series based on Tangled, acting as a continuation from the original movie, my initial thought was, "Why?"

Sure, Disney is infamous for its unnecessary sequels of the story after happily ever after, with the many, many, many failures that follow suit. Even then, though, most of these continuations were movies that kind of have the potential to tell more of a story. But what more could be said about Tangled? Sorry to spoil a movie that's over ten years old at this point, but by the end of it: Rapunzel lost her golden hair, was reunited with her parents, fell in love, and lived happily ever after. Her losing the golden hair is the most essential part of that list because how can you do a series based on a Disney princess when her most iconic feature is gone? Then I found out that the series forced a way for her hair to come back, and my new initial thought became, "Oh man. This is gonna suck, isn't it?"

Despite the hesitation, I decided to give it a chance anyway. After all, I've been pleasantly surprised before. Things like My Little Pony: Friendship is Magic, The Mitchells vs. the Machines, and even The Owl House (yes, really), were shows (and a movie) that I didn't think would be that special. Only to find myself enjoying nearly every minute. So after watching Tangled: The Series/Rapunzel's Tangled Adventure, I can certainly say I was surprised...but it was entirely for the wrong reasons.

And to explain how requires spoilers. So if you haven't checked the series out yet, I highly suggest you do it to form your own opinion. Just keep in mind that it's a bit of a mess, but it can be an enjoyable mess...sometimes...let me explain.

WHAT I LIKED

The Animation/Art Style: The series swapping from 3D to 2D might have been the most brilliant decision anyone could have ever made with this series. Usually, when an animated movie gets turned into a show, the most noticeable downgrade is always the animation. Whether it’s not as detailed or not as fluid, it's always subjective that the movie is better animated than the series. But by switching up the styles, the contrast becomes objective instead. 2D and 3D animation each have their pros and cons, so deciding which one is better is nothing more than a matter of opinion. So by changing the style, Tangled: The Series/Rapunzel's Tangled Adventure avoids getting complaints of being a downgrade from the original movie. It also helps that the art style of the series is really unique.

The best way to describe how the show looks is that it's like a coloring book brought to life. At times, everything looks like it was drawn and colored in with crayons, which sounds like an insult, but in actuality, it's one of the best features of the series. As much as I love most animated shows nowadays, I will admit, they all look a little too similar at times. Then here comes Tangled: The Series/Rapunzel's Tangled Adventure, which tries to incorporate a whole new style that successfully sets it apart from most shows.

As for the animation itself, it's really well-made! It's remarkably expressive when required, while the movements are really fluid during the correct scenes. Sure the fighting can be a little floaty during some action set pieces (yes, those exist here), but the dialogue and comedic moments are really where the series shines with its animation. I may have problems with the series as a whole, but I give credit where credit is due for the perfectly executed effort that I see in every episode in terms of animation.

Rapunzel and Eugene’s relationship: This was not something I was expecting to enjoy from the series. In the movie, Rapunzel and Eugene were fine. They were the typical Disney couple that worked off of each other enough that it was always entertaining, even if it was unbelievable that they fell deeply in love with each other after, like, two days. They weren't bad, but they weren't anything to go crazy over.

But the writers for the series said, "You know what, let's make these two adorable in nearly every scene they're in." And they are!

Even though I don't believe in their relationship in the movie, I fully believe it here. Both characters have a large amount of faith in one another on top of having endless love for their partner. Like how Eugene knew Rapunzel would be fine when taking out an airship or how Rapunzel couldn't bring herself to say a bad thing about Eugene when making Cassandra a sparring dummy of him. It's legitimately pleasant to watch, to the point where I put Rapunzel and Eugene in my top ten list of favorite fictional couples. They're that good to me, and it's one of the reasons why I don't jump on the bandwagon of shipping the two main female characters together. I'm all for LGBTQA+ representation, but give Cassandra her own girlfriend. Rapunzel's taken, and most of my enjoyment of this show comes from her and her man. So, you know, keep things as they are.

Cassandra (Seasons One and Two): Seeing how I've already mentioned her, let's talk about Cassandra, shall we? Because when making a series based on a movie that had only four prominent characters, with two of them being comedic animal sidekicks, you're going to need to introduce more members to the main cast to write more potential stories. And Cassandra, in Seasons One and Two (I'll get to Season Three), is a worthy addition. She acts as a strict straight man (I know the irony) who interacts well with Rapunzel and clashes perfectly with Eugene on occasion. She was passably entertaining in Season One and developed amazingly in Season Two. Her growing frustrations with Rapunzel's actions lead to a slow build-up that made her betrayal heartbreaking but somewhat understandable. And as for the results in that betrayal...yeah, I'll get into that later. For now, I'll just say that Cassandra was a pleasant addition to the main cast, especially when she was a part of the main trio, and she's yet another good surprise that the writers supplied for the series.

The Songs: The songs are...not going to be for everyone. Most of them are passable yet kind of generic, while others sound like they belong on Disney Junior (Looking at you, "Bigger Than That"). But when Tangled: The Series/Rapunzel's Tangled Adventure makes a hit, MAN, it is a home run. Numbers like "Ready As I'll Ever Be" and "Nothing Left to Lose" are sung phenomenally, orchestrated well, and are songs I can listen to on repeat multiple times. And "Waiting in the Wings" is not only something I consider to be the best song in the series, but it's also something I'd place as high up on Disney's best due to how f**king incredible it is. "Waiting in the Wings" is a powerful ballad that manages to be both tragic yet inspiring on top of how well it sums up Cassandra as a character. The writers may not always be on top of their game when it comes to music, but songs like these prove that they know how to earn that Disney name.

And that’s all I have for the likes...Oh boy. That’s not a good thing is it?

WHAT I DISLIKED

It Peaked at Season One: It did. It really did.

Season One felt like the writers had a grip on what type of show they wanted: A slice-of-life series with Rapunzel dealing with the issues of her kingdom with a meager threat of these black rocks growing in the background. It was all cute and well-balanced for the most part, but that all disappears in Season Two. Because now it's sort of about this adventure, but because Tangled: The Series/Rapunzel's Tangled Adventure set itself as a slice-of-life series, there need to be these small-scale stories that intertwine the grand narrative being told. The issue is that the story comes to a grinding halt one too many times as fans are forced to sit through these filler episodes that, while not all of them are bad, still feel like a distraction. And by Season Three, the series does feel more focused while having some slice-of-life episodes added to the ongoing story instead of distracting us from it. But the writing isn't as strong, there are several plot holes in the narrative (how did Rapunzel's sunstone get into her dress?), and there is way too much time going back and forth on Cassandra's morality. They claim that she's a villain while arguing that there might still be some good in her, and they continue this train of thought for nine episodes when it really could have been settled in two. For me, it's a bad sign for a series when the first season is the best one. Because if it's all downhill from there, what's the point of even watching?

It Tries to be Epic: This might have been the worst decision the writers could have made.

Now, here's the thing: I don't mind grand epic tales of adventure and battles against demons. If anything, I'm all for them...when it's appropriate and fits with the tone of the series.

Tangled: The Series/Rapunzel's Tangled Adventure suffers a similar problem Frozen II has, in which the writers felt like a big, life-threatening adventure was the perfect continuation of a meager, personal story about the relationships of characters. It isn't. If anything, it's completely missing the mark about what the original story was about. And sure, sometimes writers can succeed in telling personal stories through grand adventures. Just look at The Owl House and parts of Amphibia. But with those shows, it's established within the first few episodes that action and peril will be a series staple. With Tangled, while there was some action and peril, it's all very subdued compared to how high the stakes got raised in later episodes in the show. Especially in the series finale.

And, I mean, c'mon. You're making Rapunzel an action hero?

Judy Hopps? Yes.

Moana? Maybe.

Raya? Most definitely.

But Rapunzel? The character who’s all about optimism and seeing the best of others. That's the character you're going to morph into a hero that fights against an evil demon laid dormant for years? Did you even watch the original movie? Yeah, sorry, but I just don't buy it.

If you want to tell an epic story that gets the blood pumping for fans addicted to adventure, go for it! See where the wind takes you. But make sure to set that tone as early as possible while also making sure that it fits with the characters. If not, the end result is a series that feels like it's trying to be something it’s not.

Eugene is Kind of an Idiot at Times: It should be noted that Movie-Eugene and Series-Eugene are practically two different characters. In the film, Eugene was more or less the straight man, as he often questions the wackiness in the world around him and keeping Rapunzel grounded in reality. For the series, most of that personality got transferred to Cassandra. Thus making Eugene's new role in the series act as the egotistical imbecile. Sure, he had those moments in the film, but not as frequently, and it really pains me when the writers really lean hard into a minor aspect of his personality. Sometimes there are moments when Eugene acts like his original self. But it's all small scenes that are spread apart with entire episodes where he has half a brain cell. I'm sure some people didn't mind this change to the character, but as someone who adores the movie version of Eugene, I can't help but feel disappointed.

The Villains are the Worst: Now, I don't mean the one-off villains that show up, cause some chaos for a bit, and disappear at the end of the episode. Those are characters with fun personalities, occasionally cool designs, and do their job as villains of the week. It doesn't matter if their motivations are laughably simple, as their purpose is to be enjoyable characters above anything else. So I actually enjoy those villains...it's the ones that act as season-long antagonists that really grind my gears.

The purpose behind these types of foes is to build up how evil they are throughout the season. The issue is that the writers try to give these characters, or at least two of them, a point. To be fair, this can work. Just look at Killmonger from Black Panther and sometimes Karli Morgenthau from The Falcon and the Winter Soldier. You understand and probably even sympathize with the logic and reasoning these characters have. It's just that their actions couldn't be farther from what you would do. The problem with Varian and Cassandra is that they have the motivation, but it's not written suitably for the story.

Cassandra is a whole can of worms I'll get to in a minute, but Varian is someone I can easily discuss for a brief time. Because while I can comprehend his pain for having his father frozen in yellow rock, I don't think turning evil is the best decision to go with that character. Because A. Everything is his fault. He blames Rapunzel for not helping him, but even if she didn't have a crisis to deal with, there was nothing she could have done to stop it. His frustrations are not only unjustified, but given the fact that this wouldn't have happened if he listened to his father in the first place, it feels like him becoming evil is too drastic of a turn. And B. Varian worked much better as a supporting character rather than a primary antagonist. He was just this hopeful, if not a clumsy scientist who wanted to prove himself, who causes minor catastrophes due to not thinking ahead. Turning a character like Varian into a villain is a bit of a misstep because if the guy acts hilariously incompetent as a good guy, it makes little sense to have him be intelligent and ten steps ahead of Rapunzel when being evil. If he were to become more serious and careful when helping the rest of the main cast, I'd consider that character progression done properly. But becoming a villain is just an overreaction.

However, none of that compares with my issues with the main antagonist of the series: Zhan Tiri. This goes back to my problems with the series making itself too epic. Because if Zhan Tiri existed in any other show, I probably wouldn't have any problem with her. She's built up well throughout all three seasons and is kind of threatening at times. But she doesn't belong in a series based on a movie that dealt with a small, personal issue where it wasn't even the character who killed the villain in the end. It was her love interest and animal sidekick. Even if Zhan Tiri works well as a character, the fact that it doesn't feel like she belongs in the show makes her too distracting to enjoy. And that's why these villains suck. If not poorly written, they don't belong in a series that should focus on small-scale issues. And if you can functionally write an antagonist that appears for only one episode but flounder with ones that show up in several, well, that's just embarrassing.

Cassandra (Season 3): OOOOOOOOOOOOOOOOOH BOY, do I have some words to express with this character. Like with Movie-Eugene and Series-Eugene, Cassandra from Seasons One and Two is frustratingly different from the psychotic IDIOT from Season Three. Basically, just take the issues I have with Varian, multiply them by ten, add them with some bafflingly stupid decisions, and you still wouldn't get how much Season Three-Cassandra frustrates me!

First off, her motivation...what the f**k were the writers thinking? The big reason why Cassandra betrays Rapunzel and motivates all of her misdeeds was that Cassandra's mother was Mother Gothal...EXPLAIN THAT LOGIC TO ME?! Because Cassandra should know what type of woman Mother Gothal was. She should know what Mother Gothal did to Rapunzel in the first eighteen years of her life. So how is Cassandra being abandoned by Gothal the central motivator to cut ties with Rapunzel, who is probably an even bigger victim in this scenario!? Seriously, Rapunzel was cut off from the rest of the world and treated as an unknowing prisoner because she was beneficial to Gothal. Cassandra was adopted into a household with mutual love and got to actually live her life. In no way does it make sense for her to be angry at Rapunzel.

Nor does it make sense that the writers try to play it off as a good thing in the song "Crossing the Line!" Sure, it sounds nice, but thematically, it gives across the opposite feelings that the audience should have. Because if Cassandra cutting ties with Rapunzel is meant to be tragic and awful, why is the music suggesting it's the best possible thing that's ever happened for the character? If you like the song, fine, but even you have to admit that it's thematic nonsense.

But, sure. Cassandra's evil now, and she considers it a good thing. Whatever. I'll take it as long as it leads to good stories...but here's the thing: In the penultimate episode before the three-part series finale, Cassandra asks a question. A question I would have never expected her to ask, despite everything that has happened in the last season. A question that was so baffling, I had to legitimately pause the episode to process the fact that she asked something so stupid. Because Cassandra, the character who is intelligent and grounded in reality, asked, "Am I the bad guy?"

I was honestly shocked to find out she was shocked! How, in the flying, everlasting, cock-a-doodle-doodling F**K does a person like her not pick up that maybe, just maybe, she isn't the hero in this story!? Call me crazy, but endangering the lives of people you once called friends and family, dressing in black, AND HAVING A GIANT EVIL-LOOKING TOWER MADE OUT OF F**KING SPIKES aren't qualities I would give to a hero!

If Cassandra was like Thanos, a character so wrapped up in his ego that he can't even notice how evil he is, I would understand. But she doesn't have an ego. Anger, yes. But for the most part, her personality is based on having logic and reasoning. So turning her into a villain and having her unaware that she's a villain is an act of lunacy that I am incapable of understanding. I don't know who's idea this was, but whoever is to blame...you've got issues.

>Sighs<...This series isn't good, is it?

IN CONCLUSION

I like the animation and some of the characters...but that's not enough. Tangled: The Series/Rapunzel's Tangled Adventure is a mess of a show that tries to do too much for a story that should have so little. Meaning that it's a D+ for me. I want to enjoy it and give it a higher grade, especially with how much I hear people praise this series. And if you do enjoy it, all the power to you. Your opinions are valid, even if I highly disagree with them. Because for me, this is a show that I won't get myself tangled up in again in the future.

[gentlemancrow]

Written in the Stars Will Have to Do

OK so I saw @hey-there-hunter ‘s JMart Wedding Challenge and I pretty much fan ficced immediately??  Like it was an instantaneous plot bunny that stabbed me in the brain and would not let me free until I made it exist.  SO HERE YOU GO!  Read it here or head on over to AO3 below!  And enjoy some unapologetically aggressive fluff with weddings!  Also subtitled someday Crow will stop abusing excessive astral imagery and symbolism for extended metaphors, but today is not that day.

Read on AO3 instead!

Written in the Stars Will Have to Do

Jonathan Sims always thought of himself as a man with a deep appreciation for the great literature of the world.  A passionate turn of phrase, crystalline motes of clear imagery like snowflakes reflecting light in his mental scape, a devastating contemplation on the nature of good and evil in the hearts of all mankind, everything that could express the beauty and tragedy of the world in ways he never could.  Prose was a bright paintbrush on a ragged canvas of the universe he had known from an early age was swathed in shadow and pain and evil, and those words on those pages, for at least a moment, were another world he could hold in his hands, could cradle and protect, could mourn.  He liked the power of them as well, of the tinkling brightness of alliteration, the oaky sophistication of a well-aged metaphor, the evocativeness of the idiosyncrasy in a simple simile, laying bare truths in ways he never could have articulated for himself.

There was one thing he could not abide by in language, however, one cardinal sin liable to besmirch any piece of lush and sparkling verse or prose and taint it forever.  And that was idioms.

Jon loathed idioms and their dismally quirky cliches dressed in familiarity’s tacky clothing almost as much as he hated spiders.  Perhaps it was something about their reliance on common knowledge and repetition.  He couldn’t bear reading the same book twice, or even a book that felt too familiar, it only made sense that hearing a hackneyed phrase repeated in that awful singsong sardonic tone of someone who knows full well they’re saying something asinine that has been repeated ad nauseum for millennia would scrape at the back of his skull and down his spine.  They were too whimsical and blasé, crutch words for when one’s limited lexicon came up empty, or worse, for ill comedic effect.  They reinforced that staunchly English notion of skirting about the true depth and breadth of emotion for clipped niceties and unfeeling banalities.  Idioms to him were mere verbal window boxes, colorful and meaningless, dressings for untold disasters behind the shining windows they peacocked before.  

He hated them all with vaguely equal rancor, but there was one he could definitely single out as the one he hated the most, and that was the one about hanging the moon.  Such and such thinks you hung the moon, to me you hung the moon, and so on.  This particular rhetorical felony attracted his wrath only marginally because any moon symbolism never failed to feel outlandish and infantile, a mawkish image of love and care rampant in nursery rhymes and cheap commercialized slogans for t-shirts and wall art.  That was the least of it.  He hated the idea of hanging the moon mostly because once, another lifetime ago now it seemed, Tim Stoker had lobbed it in his face in a fit of smoldering rage and he had been completely, complacently, ignorant of its magnitude.  

Funny thing was, he couldn’t even remember what the actual fight had been about any longer.  Though he could remember exactly where he was standing, cornered next to the file cabinet for the year 1985, January through February, and the label had been peeling up on the upper left-hand corner.  He remembered he’d discovered a hole in the elbow of his jumper that morning and he had been obsessing over it all day, fussing with the dangling green thread and tugging at the knit as if it might magically close the wound.  He’d put his finger clean through it with his arms crossed haughtily over his chest without even realizing he’d been fiddling with it when something flippant about Martin came out of his mouth.  It hadn’t even been cruel, he couldn’t even remember how Martin had come up in the argument in the first place, he could only remember Tim’s mouth moving like he wanted to say something else, then him forcibly stopping himself before he snarled.

“Yeah well, god knows why, but he thinks you hung the moon, so you might try treating him at the very least like a human being once in a while.”

It was such a small thing.  Small words for a small feeling cloaked in a chintzy veneer of idiomatic dismissal.  A trembling little bird cupped in his scarred and battered hands and smothered.  Or so he thought.  Sometimes trembling little birds turn out to be phoenixes, and those who looked to someone else to hang the comfort of a wise, silvery moon in the sky already have the hammer and the picture wire at the ready.

As far as Jon was concerned, the moon only rose on their Somewhere Else because Martin deigned to pull the strings every night, not him.

It was Martin who brought him tea every morning, set it down on the breakfast table with that little flip of the tag and the deft, one-fingered turn of the handle toward him.  It was Martin who scolded him because whites are a separate load, Jon, were you raised in a barn?  Martin who talked him through every episode of the Doctor Who reruns that were the only thing their ancient aerial could pick up.  Martin who planted flowers in the garden and brought muffins from the sweet old lady at the grocers because they traded baking recipes.  Martin who still looked at him with diaphanous pools of ethereal moonlight in his eyes and his smile like he alone hung it in the sky over his head to wash him in its radiance.

Even after everything.

Even after it had been Martin who had to hold the knife buried in his chest as he lay gasping wetly for breath in an alleyway in Another Chelsea to keep the hemorrhaging at bay.  Martin who had cupped his face in his bloody hands with tears streaming down his and forced him to focus, furious love blazing in his sea mist eyes as they locked with his, screaming at him and him only, heedless of anything else.

“Look at me.  LOOK at me, Jon!  Stay with me!  Stay with me, DAMN YOU!”

Stay with me had not been a plea, it had been a command.  He had never once said please because it was never an option.  Shivering, breathing blood through his teeth, the streetlights a fading, star studded halo in Martin’s strawberry blond curls be damned, he was right.  Against every tangled thread of fate twisted deep into his flesh, or perhaps because they had been the only thing that held his torn innards together, he made it to the part where he awoke a few fractured times to nothingness, and then to fingers he knew every inch of inextricably bound up in his and a fierce whisper in his ear.

“I’m here, Jon.  I’m still here.  I’ve got you.  I’m going to fix this.  I’m going to get us out of here.  We’re going to be okay.”

It had been Martin who orchestrated their clandestine escape from the hospital the moment they both agreed he was well enough to survive under his rudimentary medical care and before the authorities got too invested in an urban ghost story of two men who didn’t exist.  Not to mention one of which should, by all medical and logical law, be dead.  It had been Martin who had stolen the necessary antibiotics, drugs, and wound care supplies, Martin who had picked enough pockets to buy passage on a midnight train to the only place they could think to go, and expressly told Jon not to ask where he learned how, even though he knew full well he would later.  Martin who had fought for everything and kept him hidden and safe while he lay in a dingy hotel room somewhere in Scotland, drifting in and out of consciousness between kisses, cold compresses, spoonfuls of whatever he could get him to swallow and keep down, and desperate ‘I love you’s.

Martin had been the one who hung the moon even on the nights Jon couldn’t see it, just so he knew it was there, that the light might finally guide him home.  Not him.  He could have never done something so selfless and simple and beautiful.  No not him.  Not The Archivist.  How could he have ever known that?  Stupid, myopic, pedantic, all-seeing and blind.  A blustering, sanctimonious Tiresias in a sweater vest and half-moon glasses.  And how important was the moon, anyway that he was expected to hang it too?  Would not night still come and the stars still shine?  The stupid, vapid saying should have been about the sun anyway.  Something that nourished and guided and warmed.  Not the moon.  Not the thing of night and hungry wolves and quiet loneliness.  Not a thing of the darkness they fought and still not won, not exactly, not in a way that mattered.  How could he have known the weight of such a thoughtless, frivolous, meaningless phrase and how far and how long Martin had borne it for him to protect he who hung his moon?  

He could see the weight of it so clearly now.  He could see it especially on the darkest days, which came, in grotesque mockery, the moment they found something like their safehouse and rest at last.  Jon had conned his way into a job at the village library with an ancient head librarian who didn’t care much for too many questions, or background or credit checks, and was more than happy to pay in cash.  With Martin’s help of course.  Martin himself had taken up stocking at the village grocers, and their life had teetered onto something so close to quaint and normal it suddenly laid bare the gravity of the depths of darkness they had escaped.

No longer did they have to run, no longer did they have to fight, they could finally lay down the chase and curl in upon each other to lick their wounds in quiet.  But without the driving, primal instinct to live, to survive, that ushered in the days where all the hurt came back to roost and brood and fester.  The days where he couldn’t bring himself to get out of bed, or the days Martin couldn’t bear the sound of his voice, or the days they shouted themselves hoarse, stormed apart for hours then came back, silent and broken, red-eyed and exhausted to hold each other and weep into the spaces between neck and shoulder where it still smelled like love and home.

He could see so painfully clearly the toll following him to the ends of the cosmos and back had etched its marks into his goodness, his body and soul, see how often he would walk down the road from their cabin, just a little ways, to stand on the heather spotted hills and gaze out into the frigid infinity of the gray sea.  Cold terror would grip him then, incite a desperate want to run after him, to throw his arms around him and bring him home, but also the fear it would only be to have him turn to mist and slip through his fingers forever.  He always had a cup of steaming tea waiting for him when he came back, just in case.

But again, and always.  It was Martin who would pick up Jon’s hands, kiss every slender, scarred finger through his tears and be the first one to utter ‘I’m sorry.’  Martin who told him with just a single scathing flash of stern blue eyes and not a single word uttered that he was certainly coming to bed and not banishing himself to the couch like an idiot.  Martin who wrapped him in his arms and warmth and boundless love and reminded him, “One way or another.  Together.  That was the deal, right?  You don’t get to back out now.  No returns, refunds, or exchanges, I’m afraid.”

And even through the deepest sobs he would find the laugh Jon didn’t think was in him.  Martin sifted through the mire and the muck and held fast to the tiny, shining things so easy to lose in the darkness.  Things Jon was certain were lost forever, only to be reignited and hung in the brightening sky of their story.  Even if they weren’t quite the moon yet.

It had also been Martin who, on a perfectly ordinary day, on a simple walk through the local farmers market, stopped to peruse one of the usual unremarkable stalls filled with crystals and oils and trinkets.  Jon had wandered off to procure the parsnips and the strawberries, unrelated recipes Martin swore, he had been tasked with finding.  When he returned he found him, a radiant monument tall among the faceless locals, rusty curls caressing his face in the salty breeze, carved of marble and rose quartz and gazing down at a pair of hematite rings on a velvet display box.  His eyes were distant, but not in the enthralled, disembodied way they were when he looked at the sea, or the broken way when they weren’t speaking, but in the contemplative, regarding of puzzle pieces way when he would look into the fire during their talks and turn his words in his mind over and over again like a rock tumbler until they were polished just right.

“Getting into crystals now, are we?” Jon had joked, “Surely I’m not so dull to be around that that’s becoming an attractive hobby.”

Martin snorted and shook his head.

“Supposed to mean healing, or grounding, or something.  Aligning your meridians, I think the lady said?  Whatever that means,” he elaborated, reaching out to touch.

They clinked weightily together, thick and glossy and the dark astral gray of a moonless night.  Martin turned over the card that went with them and read.

“’A grounding stone that belongs to the planet Mars.  It strengthens our connections to the earth and aids the warrior on their journey.  It is a stone of invincibility, but also fragility.  It balances yin and yang energies with its magnetic properties for the perfect reflection upon one’s own soul, astral, physical, and spiritual.’”

“Hematite, is it?” Jon asked, “Also more commonly called bloodstone.  You know if you scratch it, it leaves a red mark.  Like it’s bleeding.  Watch.”

He picked up one of the rings and firmly ran it down the corner of the card Martin had been reading from.  Sure enough, the black stone had left a faint, but starkly crimson mark on the yellowed paper.

“It BLEEDS?” Martin exclaimed in horror.

“It’s just a kind of iron oxide, so, rust, basically,” Jon explained with a chuckle, “Kind of weirdly romantic if you think about it?  This intimidating shiny black stone like armor, made of iron to boot, but with a bleeding heart at its core.”

“I just thought it was pretty, I didn’t know it bleeds,” Martin had laughed in that incredulous way he always did when Jon was telling him something he didn’t actually want to know, but appreciated anyway.

“I find that the strongest, prettiest things often do,” Jon had said in reply.  He remembered saying that particularly clearly, waxing poetic, feeling a swell of affection for the hugely beautiful man he leaned against and was adorably aghast at bleeding rocks.

“Yeah, I reckon they do,” Martin murmured back.

And then his cheeks had flushed bright red under his freckles and the stone steps of his shoulders crumbled a bit under the crushing ancientness and vastness of what he had originally been pondering.

“So, I mean, before you spoiled it with the blood thing.  I was thinking… Well, I was just having a browse and I saw these and I thought they were quite fetching, and then the lady told me they meant grounding and healing and a journey, like on the card.  A-And there were two of them, all by themselves, and everything else was so colorful and flashy these were just so… Um.  Maybe the blood and rusty iron thing makes it more poetic now, actually?  I don’t know.  Sorry I-  This sounded so much better in my head.”

It wasn’t his fault, Jon remembered thinking.  Martin couldn’t find the words because there weren’t any.  Not in this universe or any other.  Not for what they’d gone through, and especially not for what they meant to each other.

“I guess I was just thinking.  If… I bought one.  And wore it.  Sort of like.  Um.  You know.  Would… Would you-?” he had asked, his voice trembling.

Jon had never said yes, yes of course he would, faster or with more conviction in his life.  And there was that look again, rising from the ashes, that flooding of golden, unbound love and light, of eyes turned sky blue, of looking at the man who hung his moon in the sky come back to him.  He could still hang Martin’s moon all over again after so many nights of black clouds and darkness, even if it was only paper.  They’d paid for the rings in rumpled bills, exchanged them right then and there, and kissed each other as the crowd of oblivious people in a world they did not belong in flowed like a river around them.  Jon forgot the bag with the parsnips and strawberries.

But it didn’t matter.  It didn’t even matter that Martin’s fit nicely on his ring finger, but Jon had to wear his on his thumb, and even then sometimes on a chain around his neck for fear of losing it.  It didn’t matter that it was the closest thing they were ever going to get to a proposal and a wedding, consigned now forever to the shadows in a borrowed reality with only each other.  Because it was theirs, and they could begin to figure out how their broken pieces fit back together again.

But like most things that don’t matter, it didn’t until it did.

It began as simple things.  Seeing a wedding on some program they weren’t actually paying much attention to and Martin making a flippant, innocuous comment as he combed his fingers lovingly through Jon’s long and silvered chestnut hair in his lap about how he would have loved to have a cake that had a different flavor on every tier at their wedding.  Just so everyone could have something they liked.  And Jon woke up from his half catlike stupor and looked up at him with such aching regret as those words settled into the pit of his heart alongside ‘he thinks you hung the moon.’  

And soon they began to gather a collection of completely innocent remarks that ran the gamut from ‘would they have worn black or white?  Or one of each?  I don’t know… does it really matter?  And were these engagement rings or wedding rings?  I don’t know.  Neither?  both?  And do we say husband instead of boyfriend now?  Fiancé?  Whatever you want, Martin…’ To the heavier, cancerous weights that sank to the bottom of his gut, even below hanging the moon, like ‘I know Tim would have thrown the most amazing bachelor party for both of us, and his mum had always talked about him getting married someday like it was a farfetched pipe dream, but she would be happy for them, he thinks.’

He could never answer those questions.  There was too much at stake, too much finality and familiarity in them, a strange weightlessness in a world that weighed far too much.  The sun and moon continued their eternal dance of time, ignorant, unbothered, but Jon kept collecting those silent debts of normal life, secreting them away in a hidden singularity in his heart that only grew heavier and metastasized farther the more times Martin walked out at night, not him, beaming starlight from his eyes and his fingertips, to hang the moon again.  So soft, so full of wooly cows and pink heather and the smell of tea and sea salt and Martin’s shampoo on the pillow next to him did it become, that it was almost inevitable that one morning Jon awoke absolutely convinced none of it could be real.  

The moment he decided that, everything made so much more sense.  He could breathe again.  There was a reason he could never sit still, never just feel at ease or talk about the future like it was a real thing that could still happen.  He knew why the silence made his brain itch and why he still glanced around corners and glowered at anyone who dared let their gaze linger on his Martin too long.  Why Martin’s ring fit and his didn’t.  There was too much debt to the universe to be paid, too many broken promises, too many corpses in his wake, he had done nothing to deserve this idyllic life of love and peace and smallness and Martin.  It had to be Her doing, It’s doing, some carefully woven torture chamber that would lure them to the apex of their joy, the center of the web, where they would just be devoured over and over to empty husks and set up like chess pieces to fill with love and light just to knock down again.  He wasn’t free after all.

Jon had been halfway into his coat and halfway out the door to do, he didn’t know, something, anything, to go to the library to use their computer and research something he didn’t know he was looking for when Martin had seized his hand and whirled him around.

“Jon.  STOP.  It’s over.”

And he’d stopped.  He’d looked into those baleful blue eyes, fallen into their depths, landed on the precipice of madness, and broken.  It wasn’t over.  Not for him.  He finally understood.  It was still there.  The Eye.  It always had been.  Though not really, he understood slowly as he wept on his knees in their doorway into Martin’s chest, it had indeed closed forever on him, but it lingered as distant static, like a phantom limb, a metaphysical itch that could never be scratched.  Martin had cradled him close and listened, listened so patiently as he ripped the jagged black fear from the deepest, ugliest part of his heart, hauled it up bloody and messy from his throat and finally laid it bare for both of them to see.  And when it was done and he couldn’t cry anymore Martin had locked eyes with him in a way that made him forget any others could have ever existed outside of crystalline blue and filled with moonlight.

“Listen to me.  I know you think you have some cosmic burden to bear.  That you’re still wearing some… some fucked up crown and sitting on a throne of skulls and death and eyeballs or whatever image you want to put there, and that you have to sit and hurt and watch over everything so it doesn’t happen again, but...  Sorry, Jon, but that’s bullshit.  It’s just a scar now.  That’s all.  Just like the rest of them.  Ugly and beautiful and proof that you —Jonathan Sims— are still alive.  And you are not The Archivist anymore.  You’re just mine.  My Jon.”

He’d held his Jon’s stunned face in his hands and peppered kisses over the pock marks in his skin, over the slash on his throat, the burnt fingers that still couldn’t bend quite right, even the one on his chest, the one almost always hidden by fabric but the one he didn’t need to see to find.  His heart and fingers would always remember exactly where it was.  And he’d kept his lips there a moment, then turned his ear to his chest and wrapped his arms around his waist to listen to his heartbeat like a trembling little bird.

“If I can hear it and feel it.  So can you,” he whispered.

Unsteady fingers curled desperately into Martin’s silky locks, hematite loop cool against his scalp, “Thank you…”

Martin stayed for the kiss on top of his head he knew was coming and smiled.

“Okay, so it’s simple to fix if you think about it,” he murmured into Jon’s chest, “We just need that thing, you know?  The thing that makes you feel like you’re still doing the thing, but you’re not.  What was the word for it again?  A placeholder?  Like when you quit smoking and you hold a pencil or a straw or something that’s not actually a cigarette so you can wean yourself off the ritual?”

Jon blinked owlishly down at him as he dried his eyes.

“A… placebo?  Are you talking about a placebo?”

“Yeah!  That’s it!  We just need to find you a placebo for Knowing things!  That’s all.  Like… reality shows, or-or zoo cams or something!  We’ll figure it out together.  Alright, love?  I promise you.  It’ll be okay.”

Jon was skeptical, so very skeptical, but if Martin was determined to find a balm to soothe his jagged, ontological scars he would happily play the part of lab rat for him.  They’d tried a myriad things to replicate the feeling of Knowing and looking something deep within him still craved.  The zoo and animal livestreams were a bust, cute and entertaining as they were, but animals weren’t ever the purview of The Eye and the camera itself was barely a scrap.  Reality shows came closer, the more salacious the better, but even that temporary fix wore off when Jon’s disgust with the overall content and participants outweighed any benefit.  Martin was just happy to have finally converted him to Bake Off, at least.  They tried people watching in the square in the village, but it made Jon far too self-conscious and guilty.  He used the binoculars exactly once, and that was to look at the cows in the fields, and the choose-your-own-adventure books Martin had been certain would strike a sagacious chord wound up in the donation bin at the library.  But that was when he was struck with a bolt of genius.

Unbeknownst to Jon, which brought him no small measure of glee, Martin ordered, received, and then set up with a literal bow in their back garden the finest telescope he could afford on his meager savings.  He’d researched for days, asked on every amateur astronomer forum he could find, and had it delivered to the grocers so he could make it a proper surprise.  He’d even gone so far as to attack and blindfold a hapless Jon the moment he made it home from work on the day it was ready, and stood behind him giddily bouncing as he tore the tea towel away from his eyes.

“A… Telescope?” he’d blurted dumbly.

“Yes!  It’s perfect, right?  I asked around to find the one that had all the best features, and this one has the best overall magnification and the most lenses, but it doesn’t have the little satellite positioning thing?  I figured you wouldn’t want that anyway, you always like figuring things out and finding things on your own better.”

Martin had been positively radiant.  Jon had just stared at the gawping black tube and chewed the inside of his cheek as he processed what to say.

“I mean… thank you, Martin, really.  It was a sweet thought, but if the binoculars didn’t-“

“Screw the binoculars!  This is different!” Martin happily insisted, “You can look at so much more!  Stars and planets and galaxies and what have you, and it can maybe be sort of like you’re looking for other worlds?  Wormholes or whatever?  Or signs of The Fears and where they’ve gone?  Or even if the stars are the same here as they were back before?  Space literally has so many things to LOOK at we can’t even count them!  This has got to be it!”

Jon tried to smile and laugh and agree to try it out, at the very least, if only because Martin was beaming so sweetly with pride and hope.  Though that first night he didn’t, ushering them back in with promises of tomorrow, Martin, I promise tomorrow.  Tomorrow had been a lie.  As had been the next night.  In fact, it took Jon a full week to even remember they even had a telescope, and that was only after getting the smuggest, Cheshire grin out of Martin after casually mentioning there would be a visible, if partial, lunar eclipse that night.  He’d relented, only because he’d entrapped himself, and they’d both bundled up, looked in the manual for the best size lens to view the moon with, poured a few glasses of wine, and turned their eyes to the stars.

Martin had gone first, gripping the eyepiece and adjusting the focus all the while gasping in awe.  It was so beautiful he’d burst into poetry with a crooked grin.

“Art thou pale for weariness?  Of climbing heaven and gazing on the earth, wandering companionless among the stars that have a different birth, and ever changing, like a joyless eye that finds no object worth its constancy?  Sounds a little familiar, eh?” he joked, casting a wry look over his shoulder.

Jon rolled his eyes fondly.

“Gross.  Keats again?”

“Nope, Shelley this time, and even he thinks you ought to have a look at the moon.  I think you’ll find you have a lot in common.”

Jon had sighed obligingly and shuffled to the telescope, fully expecting to look at something bright and round with a bit of a shadow on it that was distinctly unremarkable, have another glass of wine, and then go back inside to snuggle by the fire.  What he saw in that tiny pinhole of light pierced straight through the hazel brown of his eye and plunged him into another world entirely.

The sands of the moon glowed the purest white in the refracted light of the distant sun with which it waltzed.  He could see in crisp, shadowy relief the innumerable scars she bore, the depth and breadth of Ptolemaeus, the boundless lonely flatness of the maria, named for the oceans they were once thought to be, an insult to the rock plains forged a millennia ago in birth by cataclysmic fire.  Every crater remained wrought in perfect, frozen detail with no erosion or foliage to slowly heal them over, and she beamed them proudly, ostentatiously in her heavenly light.  A hulking, ancient protectorate, hung by the hands of creation at the dawn of time for a fledgling planet, hundreds of thousands of miles away, and yet so crystal clear and unafraid as he perused her millions of years of cosmic sentinel through a lens.  It was dwarfing, humbling, viscerally awe inspiring in a way he dared not voice for fear of snuffing out the fragile glow of wonder and excitement welling in his chest he had been so certain was gone forever.

Astronomy had never been something that had particularly interested Jon, back when his entire reality from the moment his childish hands had touched a single book was spent peering into shadows and watching his own back.  There was no point in wondering what lay among the stars when danger and death lurked so close behind with slavering jaws ever poised at his throat on terra firma, but now.  Now, he had been living in an alternate world, dimension, reality, somewhere, he couldn’t even say for sure.  He’d been hurled potentially through the very stars that twinkled coquettishly above, flashed through their nebulous veils and curtains under their indifferent gaseous gazes, but seen nothing.  Here was a vast expanse of complete chaotic indefiniteness inviting him in to see what few had ever seen, to guess and hypothesize and gesture wildly at secrets only the stars could keep.  To Know.

Jon had jerked back so suddenly from the telescope to survey the entirety of the astral dome above them that Martin had choked on his wine.

“Jon?  Are you quite alright?”

“Yes, I…” he’d murmured, only even half hearing that Martin had said anything at all, stars reflected in his wondering dark eyes, “I’m fine, I just… How… How much more can this see?  How deep does it go?”

Jon hadn’t seen the victorious smirk on Martin’s face as he set down his wine glass and picked up the instruction manual and lens guide.  They’d watched the rest of the eclipse, of course, marveling through the lens at the inky trickle of shadow over craggy white, but then they’d changed the lens to the strongest one, according to the guide, and spent the rest of the evening triangulating their position beneath their slice of the universe and plotting out the various stars, planets, and constellations above.  Jon had even dashed inside to grab a mostly blank notebook and had filled several pages with notes and observations and things to research later, all while Martin held back tears watching him come so alive over a project he didn’t even know he needed.  Eventually though, sleepiness and cold claimed him, and he kissed his beloved goodnight and left him, more than gladly, to ride out the intellectual flare up until it burnt both him and itself out.  

Martin had no clue what time it was when he finally returned, and it didn’t even matter.  All that mattered was at some point, a practically frozen Jon had climbed into bed, snuggled up close behind and wrapped his arms around him to kiss the back of his neck so softly like the wings of a butterfly and whisper.

“Thank you.”

Another victorious smirk and a loving murmur.

“Told you so.”

Where there had been nothing but an Eye shaped hole in him, scarred around the edges and aching in its vacuum, Jon had filled it with the names of nebulas and quasars, of the myth of Andromeda, and Orion, and Castor and Pollux, or Hercules, and why they had all been hung in the stars for eternity.  The stories were much the same as he remembered, but he’d found slight eccentricities, tiny irregularities in the sky which fascinated him even more so.  Night after night he would look at a different astral body, chart it down in his notebook, then come bounding in with starlight beaming from his eyes and his fingertips with some cry of eureka.

“Martin!  Did you know here Polaris is in the south and Sirius is in the north?”

“Martin!  Did you know the Andromeda Galaxy is actually a little closer to the Milky Way here?”

“Martin, you have to come see this!  Oh, no it’s not weird this time, it’s just I finally got Saturn in the telescope and you can actually see the rings!”

His nightly herald would always be different, but Martin would always rise from the comfort of the couch, put his slippers on, and let Jon talk as long as he needed to about his latest discovery, watching him smile again while he, too, watched the matching smile it never failed to ignite illuminate Martin’s face and they lit each other up in the fused brilliance of a binary star.

Martin no longer hung the moon for Jon, he’d finally just up and quite literally given it to him, and there was no mortal way to repay him for that.  Or so he’d thought.  It came to him, as most flashes of brilliance do, on a night he hadn’t even been thinking about it at all.  All he had been doing was sitting in a lawn chair with his telescope long after Martin had gone to bed, chewing his pencil idly, vaguely missing a cigarette and pondering notes on Vega and Lyra between watching it through his lens.  He’d been stuck for days on Vega and its potentiality for another solar system and what that could imply for their new Earth and their new sun, as well as Lyra and the tragic tale of Orpheus and his doomed love.  Even in their new reality he still turned back at the end of the story, still could not contain the roiling, effusive adoration to his own downfall.

Bitterness had risen like bile in the back of Jon’s throat as he replayed the myth again in his head, unsure why it was vexing him and rewinding in his brain so torturously.  “Stupid, stupid man, if he’d only just…” he’d thought again and again, each time giving the star-crossed musician a different decision, a different choice, urging him down another path somewhere, anywhere along his journey, but in the end, he’d always looped back around to the original.  It was the point of the story, after all.  Not so much the love itself or even the loss of it, but the power of it over one man and the creation born from his mourning and eventual destruction.  Patently Greek.  But the chorus would always begin again in Jon’s head.  If he’d kept his Eurydice, if his songs had been happy, if he hadn’t spent the rest of his life mourning so intensely he was eventually destroyed for it, would he have become the paragon of healing he was, the oracle, the lynchpin of the fate of the world he had eventually become?  Which of them was the stupider man?

Jon was only mortal now, he was no longer all-seeing oracle and dark savior, he had no authority to say, but it was a trifle easier to ponder the hubris of Orpheus instead of his own.  He couldn’t help but think, achingly, sometimes the heroes just deserved to pull their beloved from the pit of Tartarus, promise to love them for eternity, and then simply get married, ride off into the sunset, and live happily ever after.  A story wasn’t a story if it didn’t write itself upon the very bones and sinews of its heroes, that was the law of the universe, but when the story was done and the cracks and fissures in their tissues had faded to myth and legend, what became of the heroes who did not die a tragic or heroic death and were not hung in the stars?  What happened to heroes left behind?  Twisting his bloodstone ring on his thumb idly as it caught the shivering fire of those stars in its dark mirrored surface, the musical arrow of the muses pierced his heart, wide-eyed in wonder.  He’d asked the universe, but he already knew the answer.  He’d always known.  He knew, and he knew it with such clarion joy as he had never known anything before.

He could no longer be the man who hung Martin’s moon, he hadn’t been for a long time.  That much was clear to him, but he could certainly do something else.  Perhaps they had grown past the need for moon hangings in the first place.  He knew how their story ended.

It took months of saving, secreting, preparation, and then finally just simply waiting for the perfect, clear night.  The moment it came, the moment he knew it was the night, Jon struck without hesitation.  Poor Martin wanted nothing more than to collapse onto the couch, into Jon, when he returned from a late shift at the grocers, but found himself instead stuffed right back into his coat with a picnic basket in hand and hauled out into the frigid night in a flurry of Jon with little time to protest.  He bounded up the hill behind their little cottage beneath a perfect blanket of stars flaming coldly overhead, trailing Martin’s hand in his behind with his breath coming in silvery puffs of clouds, and paying no heed to the whining.

“Jon, whatever it is, does it have to be NOW?” Martin panted, “I am absolutely knackered and it’s beyond freezing and wouldn’t it be nicer just to curl up with a cuppa and fall asleep in front of Star Wars or something?  Doesn’t that have enough stars and space in it?”

Dauntless, Jon only tugged harder.

“There’s tea in the basket, and I’ve seen Star Wars.  And yes, it has to be tonight, it’s really important, I promise.”

“Look.  I love you.  So much.  You know this, and please know it is with the utmost love and deepest affection in my heart that I point out that you say that every time, and you’ve still shown me Pluto like, a hundred separate times.  While I quite like it, and I still feel sorry for it being bumped out of the solar system and all, it’s just a dot?  How many times can you look at a dot?” Martin sighed.

His words finally threw a caltrop into Jon’s warpath, and he paused, turning over his shoulder woundedly.

“What?  No, it’s not Pluto, I swear just- Please, Martin?  I’ll never ask again if you don’t want to, but just for tonight, please?” he pleaded.

Martin winced, and immediately folded under the onslaught of doleful honeyed brown eyes under a nimbus of stars.

“Oh, lord there you go with the puppy dog eyes.  Okay, okay fine, but there better be a nip of whiskey in this,” he chided lovingly with a gesture at the thermos in the basket.

The smile flared back to life brightly on Jon’s face as he turned back up the craggy little footpath to the top of the hill.

“Of course, hot toddy with tea.”

“Ooh, lovely, you do know me.”

The rest of the way was trivially short to the small, flat hilltop surrounded by heather where Jon had already set up a blanket and the telescope over a pristine vista of the dark line where the stars sank into the sea.  He ushered Martin to sit down first, then perched on his hip beside him and poured him a generous helping of tea and whiskey from the thermos before pouring his own.

“Thanks, much.  Right then, what exactly are we up here to look at that we couldn’t see from our garden?” Martin asked, accepting his cup of potent hot toddy and sipping it gratefully around the lemony steam that billowed up.

Taken aback by the sudden logic lobbed into the center of his romantic posturing, Jon looked momentarily stunned, as if someone had slapped him upside the head.

“Oh!  Oh, um, well-!  Ahah, that is to say- Uh.  There is a reason for all this.  It’s not that we couldn’t see it from our garden, we very much could have.  B-But it’s so beautiful up here, and you can kind of hear the sea?  And it’s nice and peaceful, and the heather is still blooming a bit and um…” he trailed off, cheeks burning.

“Okay…?” Martin probed, frowning a little.

“Er, actually...  It’s less about the stars than it is- W-Well it is about the stars.  Let’s get that clear.  But to be completely honest I mostly just… I-I well.  There’s something I need to tell you?”

Jon was ill-prepared for the look of abject horror on Martin’s face as he went paler than the moon overhead.

“Shit, what is it?  Did you find something?  You saw something?  There’s been a sign of The Fears?  Oh god it’s not HER is it?” he asked frantically, nearly slopping hot toddy all over his lap.

“What?  No!  No, none of that!” Jon spluttered, aghast.

Martin regained a modicum of color in his face and breathed in measuredly.

“Okay, so then what is it?  Oh god, you’re not… Jon you’re not ill, or something, are you?  Please, you can just tell me if-“

“No, I am not ill either, damn it, Martin!  If you would just listen to me!  I-!” Jon moaned exasperatedly, “I just wanted to do something… nice.  Something nice for you.  And nicer than I normally would because I am apparently much worse at crafting romantic moments than I thought and-“

“Wait…” Martin cut in, eyes gleaming with realization, “Jonathan Sims… Are you grand gesturing?”

“Well I am certainly trying but you are making it exceedingly difficult!” he retorted, red in the face and breathless.

“Oh my god, you are!  I’m so sorry!” Martin laughed brightly, “Oh god Jon you poor thing I’m so sorry, I’m awful, I’m the absolute worst!  No please!  Don’t let me spoil it.  Please go on.”

Grinding the heel of his palm into his forehead, Jon tried to summon the words again, only for Martin’s strong, warm hands to take it from him and tip his chin up to gaze into his eyes.

“Hey.  Hey, Jon.  Look at me,” he breathed, looking into his eyes idolatrously, “I’m sorry.  I love you.  You can tell me.”

Taking the steadiness from those clear blue depths he needed, Jon focused on them, on the strawberry blond curls tossing in the icy breeze, of the kiss of chilled pink under his freckles, and that eternal, sunshine smile.

“Okay,” he finally answered, smiling softly.

With a deep, shuddering breath, and a long swig of whiskey laced tea for good measure, Jon drew himself up and fished deep in his soul for the words he had waited a millennium to say.

“Okay… So here it is.  Um… I’ve um, I’ve had a lot of time alone lately with my new hobby, as it were.  So, I’ve been doing a lot of thinking.  A lot of it is overly complicated and ridiculous and doesn’t deserve to live outside of my head but… a lot of it has been about you, about us.  And I know we don’t need to-to put a label on us or put us into a… a box or anything like that.  But every time I look at this ring on my finger, I can’t help but remember we never actually talked about what they meant,” he began, holding out his left hand and fidgeting with the loose band around his thumb.

“Oh Jon, don’t worry about that.  It was just me being a big sappy, sentimental dork.  And if I recall correctly, we’d had a pretty awful row a night or two before, and I just wanted to feel close to you again, I guess?  We both know what they mean to us.  It doesn’t matter,” Martin assured him sweetly.

“Except that it does!” Jon insisted passionately, “That’s the point!  You are a big sappy, sentimental dork, Martin.  I bet you were the kid that had a dream wedding all planned in a notebook with pictures cut out of magazines and everything.  I adore that about you, but big sappy sentimental dorks should have big sappy, sentimental moments like huge, expensive seaside weddings with three-flavor cakes and all your friends and family and rose petals and dove releases and whatever else your heart could dream up.”

Martin snickered and shook his head, charmed at least by the mental image of kissing Jon on a seaside cliff at sunset while doves flew in glorious formation around them and everyone they had ever known and loved cheered.

“Pfft, I don’t need a grand wedding and all that, I just need-”

“Me.  I know,” Jon finished for him with a smirk, “I knew you’d say that.  Maybe not.  But you deserve one.  And I know I don’t use that word lightly, but it’s necessary in this case.  You deserve it.  All of it.  Me on one knee with a ring in a box, you deserve us picking out flowers and tuxedos and arguing over the font on the invitations.  You deserve Tim’s awful bachelor party and laughing at me at the altar because I had to read my vows off a card and they’re still so stiff and awkward and they pale in comparison to the beautiful poem you wrote about me.  You deserve smiling so hard your cheeks hurt and crying as we exchange rings.  All of it.”

Martin weighed his words carefully on his tongue with a sip of his boozy tea to chase away ghosts of things that never even were.

“I mean, sure, not going to say I never wanted that.  And I did have that stupid wedding notebook, by the way.  But all that became a pipe dream the minute we wound up here, right?  No use being upset about something that can never be.”

“That may be so, but the crux of it is… you also contented yourself with the idea of it never coming true not because we’re here, but because you didn’t think I wanted it,” Jon answered, his unspoken truth hanging heavy in the chill night air between them, “Every time you tried to tell me you wanted to be with me forever, I brushed it off and painted it gray and tucked it away and carried on the way we always were like nothing happened and it didn’t matter.  Because it was alright, really, you were just so happy to have what we have, that I didn’t die in your arms that night, that we were still together after everything.  That I at least kept that promise after I’d broken so many.  You were so grateful just for what you were gifted after we thought we would end with nothing you didn’t dare think to ask the universe for more and I am so, so sorry it took me so long to see that, Martin.  I’m so sorry.”

His voice broke.  The breath caught in Martin’s chest as he reached out to touch his wrist comfortingly.

“Jon, I-“

“No, please.  Please let me finish I… I can’t give you any of those things.  I can’t give you our friends back, I can’t give you cake and doves and the sunset and crying through vows in front of the vicar.  I can’t even give you an elopement at the register office because we still don’t legally exist.  And I guess for a long time I resented myself for that.  For all of it.  For stealing that from you, for dragging you through literal hell only to give you a shadow of a life stuck here with me because I betrayed you.  But- no stop, don’t say anything yet I’m not done.  B-But now I finally realize.  You’re right, Martin.  You were always right.  It doesn’t matter.  Those things are all just… things.  I said to you once, a long time ago, and I’m still not even sure if you really heard me, that I didn’t want to just survive.  It was true then, and maybe it wasn’t true for a while, but it’s certainly true again.  We did not fight tooth and nail to just survive.  We fought to live, and live together.  So what I’m saying is… I know now I don’t have to give you tuxedos and white roses as long as I give you something… Something to prove to you that you are my everything, my entire world, something to show you that I love you more than I have loved anything in my entire life.  That I want forever with you.  S-So I…” he trailed off, sucking in his breath to give his gesture of undying love the ardor and grandeur it deserved, “I bought us a star.”

The proclamation rang out like the toll of a bell, its gravity sonorous and quaking.  Martin blinked.

“You… I’m sorry?” he squeaked.

Jon set his empty thermos cup aside, flailed his hands in the air and shook his head frantically

“I-I know, I know it sounds mental just hear me out!” he protested, “Technically I didn’t buy the star, if we want to get picky about it.  I mean obviously no one can own a star.  Just the rights to name it?  It’s a thing you can do online.  I was a bit gobsmacked it was real to be honest.  I just had this silly idea when I was out looking at the stars.  I was looking at Lyra and thinking about you and Orpheus, and I… W-Well I just typed it in, ‘can you name a star?’ and it came right up.  Right then and there.  It um… comes with… hold on.”

Remembrance placed a gentle bookmark down on Jon’s fluttering thoughts, and he rummaged in the picnic basket for a moment before pulling out a navy-blue manila folder covered in stars and full of the paperwork and certificates that had come with registering theirs.  He handed it to Martin, who took it in place of his own empty cup, numb, muscles quivering under his jaw, and opened it to the glittering gold typeface that proclaimed ‘Congratulations!’.

“It comes with paperwork, too!  See?  So, it’s official, at least?  The Jon-Martin star.  Not a marriage license I know, but at least our names are together on something legal?  Our real names?  I figured even if we manage the fake identity thing we’d have to get married as not us.  Not really.  So…  I-It could be like our marriage certificate?” Jon explained, chewing his lower lip.

Martin said nothing as his hand turned the pages of the documentation, his eyes distant in a way Jon had never seen before.  Not disembodied and enthralled, not broken, not even regarding puzzle pieces.

“Oh!  Um, also I-I got us a binary star.  I forgot to mention that bit,” he went on, filling the sudden void, “It’s, ah- What a binary star is- It’s technically two?  But they’re caught up in each other’s gravity and they orbit each other so tightly they look like one star together, one that just shines a little brighter.  They’re bound together forever by the most powerful cosmic force in the universe.  Just like us.”

Only silence answered, punctuated by one last crisp whisper of paper, and then the folder closing with Martin’s spread fingers atop it, bloodstone gleaming in the vivid pale light of the night.  Jon’s heart pitched frantically in his chest, and desperate, stranded tears pricked at his eyes.

“I uh… I would have rather gotten us a whole constellation.  Heh, you know?  But they don’t do that, obviously,” he tried softly, his fingers barely brushing Martin’s knuckles, “They record heroes in constellations, after all.  Great deeds, doomed romances, lovers who can be together no other way… That would have been a better way to honor us, I think.  Our story.  A-And who knows?  Maybe back on our world there are a few new stars to remember what we did, to mark the place we left it, so that everyone we left behind can look up and remember us.  They don’t know how the story really ended, and they probably never will, but we do.  We do, and I want to end it right here, right now.  With our star shining above us ‘and they lived happily ever after.’”

Martin still said nothing, but his head bowed, casting a slice of shadow over his eyes, and his shoulders quivered as a thin, bright line of wet silver trickled down his cheek.  Jon felt the very sky shatter above and begin to crumble around him.

“Please… M-Make no mistake, Martin.  P-Perhaps the gesture is silly and meaningless, but it was all I could think to do to go with everything I’ve said tonight.  Martin… Martin, don’t you see?  These are my wedding vows to you.  This is me saying ‘I do’ and also ‘Martin K. Blackwood would you do me the honor of making me the happiest man in the universe?’  All at once.  This is me saying I swear to you I will be yours, through everything, until the end of time.  M-Maybe I wasn’t before.  Maybe I was still punishing myself, but I’m telling you, I’m ready now to have my happily ever after.  With you, Martin.  If you’ll have me.  If I haven’t-“

He would never finish.  In a dizzying blur of blue folder, flashing hematite, and a wreath of golden curls, Martin kissed the words off his lips.  He kissed him so hard and so fierce, through wracking sobs with his hands woven so raptly into his long, wavy locks he thought his lips would bruise and his fragile soul would finally shatter to pieces in Martin’s arms.  Undone, all Jon could do was surrender and kiss him back with equal passion, thumbing away the hot tears as they spilled freely down his cheeks and anointed them both with their cleansing, hoary heat.  Their lips parted and they panted softly against each other in the space between, each afraid to break the sacred, pulsing silence.

“You’re crying,” Jon whispered at length, “I’ve said something wrong. Martin, darling I’m so sorry.  I never meant to-”

Martin laughed, raspy with tears, but ethereal, sparkling, like stardust floating on the breeze.

“People are allowed to cry when they’re happy you stupid, silly man,” he murmured in between kissing him again, and again.

“Oh.  Oh.”

He kissed him one last time, that idiot man who always burnt the toast and always knew the facts but never knew what to say, who finally figured it out and bought him a star, and threw his arms around him, enveloping his slight, fragile form protectively in his embrace.

“I love you.  I love you so much.”

Jon sank into that warm, familiar comfort and buried his face in his shoulder.

“I love you, too, Martin.  I want to be yours for the rest of my life.  I want to be me, I want to be us.”

“I know.  I’ve always known.  Oh god, you do know that right?  I know that you love me, it’s written in everything you do and say.  I have never, ever once doubted you love me with everything you are.  Even in the moments I was afraid that… that maybe we just weren’t meant to be together, I still knew it wouldn’t be because you didn’t love me.  Never because you didn’t love me.  Just maybe that we didn’t fit together anymore,” Martin replied in a small voice through his tears as they spilled down his cheeks.

As much as he wanted to vehemently deny there was ever a chance they might have not fit back together again after they had both been so shattered, to kiss him and tell him not in a million years would there ever have been a future where they weren’t Jon and Martin against the world, Jon knew it to be inescapably true.

“I’m so sorry you ever had to be afraid of that,” he swore, digging his fingers into Martin’s back pointedly, “After everything.  After we fought so hard to escape fear itself.  That I almost let it truly win in the end.  That I couldn’t just let go… Because… Because this was never about The Eye, was it?”

A heave of breath and its shuddering exhale shook Martin’s body free of lifetimes of grief, and fear, of ugliness carried far beyond the borders of their souls.  His fingers curled tighter in unspoken reply.

“No Jon, no it wasn’t, but I’m so very glad you finally figured that out.”

“Me, too…” he whispered.

They held each other in the quiet wake of being a moment and let the astral plane wheel calmly overhead.  An impatient star twinkled.

“Wait… you never answered me,” Jon finally said as he pulled back, sliding his elegant fingers down Martin’s strong arms.

“Huh?” Martin blurted, scrubbing under his eyes with the sleeve of his coat.

“About marrying me tonight.  You never actually said yes, so…”

A twinkle in his eye and a slight mischief to his grin, Jon dove back into the picnic basket and emerged with a velvet ring box.  Martin’s hands flew to his mouth.

“You didn’t.”

“Of course I did!  Nothing fancy, but I thought it was high time to retire the blood rings,” he explained rising from his former perch on his hip to kneel properly.

The box cracked neatly open, and inside lay a simple, white gold band with a tiny circle of milky moonstone embedded in it on a midnight-blue satin cushion, blindingly bright against the dark.  Martin sobbed joyfully all over again.

“So, uh… I suppose if it had just been us, if we’d just been together, without everything, and we’d arrived at this moment.  I would have done much the same.  I would have brought you somewhere beautiful, somewhere I could teach you some inane fact you didn’t actually care about, but liked because it came from me.  Emulsifiers in ice cream and rum raisin…” they both snickered, “And I would have tried my best to make it into some sort of romantic metaphor but completely bunged it up and you would be laughing as I got down on one knee, just like this.  And it would have just been simple.  To the point.  Just… Will you marry me?  So…”

Jon assumed the traditional position, on one knee, arms outstretched, his every slender point a star in a perfect constellation of love.

“Will you marry me?”

Their eyes met, across a thousand different realities, across a thousand different worlds, carried on celestial winds to fall hopelessly, inexorably, into each other’s orbit.

“Yes, yes I do believe I will.”

With one last farewell kiss upon it for what it had meant for them both, Jon slipped the bloodstone ring from Martin’s finger and replaced it with the delicate band made of starlight.  It took its place radiantly, and shone as Martin drew his hand back to admire it with an equally radiant grin before it dimmed with concern.

“But what about you?” he asked worriedly as he watched the old ring entombed lovingly in the box.

Jon only smirked and produced a second box from the basket, which he offered on his open palm out to Martin.

“Naturally, I got one for myself.  Couldn’t pass up a chance to get a wedding ring that actually fits, could I?  It’s just… Don’t you think you deserve to give it to me the way you would want?” he urged.

Martin took the box eagerly, biting his lower lip in thought.

“Not sure you want to give me that freedom.  I had about five different ways of asking you in my head and all of them you would have hated so, so much.  But I’d be lying if I said that wasn’t kind of the point,” he answered wryly.

Jon chortled.

“Sorry I, the unromantic one, sprung this on you, the romantic one.  But I did want to surprise you.  I-I mean you can still write me a vows poem later?  If you want to, of course.  I’d love to have it, even if I don’t actually get to hear it at our wedding.”

Martin’s face flushed immediate crimson and his eyes darted coyly away as he toyed with the wedding band box in his lap.

“Oh that?  A-Actually I… I have it memorized, i-if you really wanted to hear it.”

“You- WHAT?” gasped Jon, his cheeks flushing in tandem.

“Oh yeah, I wrote my vows poem for you ages ago and I’ve gone over it so many times I know it by heart.  It was comforting, okay?  I-I’d read it again when times were good and I thought maybe you’d actually- um… a-and when times were not so good, when you were gone, in your own head, when I was afraid we were broken for good, whenever I needed it.  I’ve read it over a thousand times and never changed a thing from the first time I penned it.  Never needed to.  I’m surprised I haven’t recited it in my sleep at this point,” Martin admitted sheepishly.

Jon’s entire body flushed with a solar heat that melted his joints and his heart into a swirling flare of adulation.

“I can think of no better way, then, to receive my ring,” he breathed, reaching out to cup Martin’s cheek in his hand, “I’ve had my turn, now it’s yours.”

In mirror ballets of love exchanges, Martin cradled Jon’s hand against his cheek as he spoke the first lines of the vows etched ever on his being softly into his palm.

“Let he who, shadow dwelling, must In paper, pen, and book be bound Shake off the chains of dark and rust And chart his own bright fate unfound.

Let he with lifelong burdens borne Cut paper wings with thread of gold And hand in hand, the sky forsworn Flit clouds and sun in laughter bold.

Let he whose blood and soldier’s ken The world did shield from dark and fear Heal fast those wounds, be whole again And sleep at last, held close and dear.

Bring him to me with spirit free With stars in eyes and music sung From lips a joyful promise be One soul conjoined, one fate’s thread strung.

Two hearts rejoice in love renowned. We lift our heads, alive, uncrowned.”

He waited until the last couplet to pull the ring from the box and slide it onto Jon’s finger where it too, fit perfectly, like it had always been there, and shone defiantly bright in the moonlight.  Jon wept.  He had been weeping since the first words of verse left his beloved’s lips, but seeing that ring like a piece of his missing soul returned to him undammed the tears effusively.

“God that was… Martin, I don’t have words.  I-It was… so beautiful.  You’re so beautiful.  Thank you,” he cried fervently, “I wish I could tell you properly how much that meant, but I just-“

“Hey… That’s alright.  I’m the words guy.  You’re the emulsifiers guy.  Making you cry is all I need to see to know how you feel,” Martin assured him warmly, reaching out to brush his tears away as he chuckled.

“Yeah… add this one to the running tally.”

“Oh, I have,” Martin snickered, “Speaking of!  Now we’ve done the crying through vows bit.  Shouldn’t we say the ‘I do’ bit, as well?”

Jon pursed his lips with a shrug as he reached out with his left hand to take Martin’s left as well, twining their fingers together

“Yes, I suppose we should.  I don’t see why not.  Well then, Martin, do you?”

“I do.  And Jon, do you?”

“I do.”

“You may now soundly snog the groom.”

“Martin…”

The emphatic drawl of his name the way Jon only called it when he was frustratingly enamored of him perished gently against Martin’s velvet lips as they caressed his.  They kissed slowly and reverently, sealing a pact ordained by the heavens long before either of them had seen the stars in the other’s eyes, lighting with white flame the torch to guide them for the first time, forward.  They broke it only to punctuate it with two more featherlight kisses and a breathless laugh, bowing their foreheads together in deference to the forces of fate and the universe.

“I know this isn’t the wedding either of us ever dreamed of, but as far as I’m concerned, it was perfect,” Jon murmured, nuzzling closer into his husband, swaddling the new, fledgling and beautiful word in his heart.

“Well, hey, what is a wedding really other than just a formal declaration that this is it?  This is us, we’re forever, no matter what.  We did it.  And you did it for me, in the STARS, Jon… Can we just remember that again?  You put us in the actual stars.  I am so writing a ballad for our constellation later, you do know this.”

“Oh lord.  Of course you are.  But really, it was the least I could do, after you’ve done so much for me, sacrificed everything for me.  Waited for me for so long.”

“And you came back to me,” Martin reminded him passionately, “And I don’t just mean back to life, here, in this world.  I mean you came back, Jon, MY Jon, the Jon I was in love with the moment I laid eyes on him.  The fidgety and obstinate Jon who can’t make a decent cup of tea to save his life, who puts on two different socks in the morning because his nose is already in the paper or a book, who teaches me about bleeding rocks and binary stars and still reacts to the simplest acts of kindness like a warm cranberry orange scone without asking for one like they’re divine miracles he is undeserving of, who looks at me like I hung the moon or something every time.  Even when I thought I was a complete and total waste of a human being, you, Jonathan Sims, the most beautiful, amazing, brilliant man to ever walk the Earth, looked at me like I hung the moon.  And that was… Still is… everything to me.”

The heavens shifted, the stars wheeled, the last piece clicked smartly, smugly into place.

“W-What did you say…?” Jon asked with such urgency, grabbing his hands so fiercely, Martin startled.

“Wh-I-I don’t-?  Which part?  The moon hanging part?” he stuttered, rolling his eyes fondly as he realized mid-sentence, “Oh, right.  Ugh, Jon are you seriously going to get after me about your weird vendetta against idioms at our wedding?  Because if you are that would be annoyingly adorable and so intensely you and kind of perfect, but also can you not on THIS particular occasion?”

The laugh that tore from Jon’s throat was half mad, half euphoric as the weight of the moon lifted from his shoulders and became naught but an indifferent sentinel disc in the sky once more.

“No no no, it’s just… It’s funny, I had more than a few things very, very wrong for a very, very long time.  That’s all.  Don’t worry about it,” he explained, leaning in and pressing a delicate kiss to Martin’s forehead, “If you’re the one who hung the moon after all, then I suppose ‘written in the stars’ will have to do for me.”

Martin lit up with literary glee.

“Oh ho!  Two space related idioms in one go?  What a rare treat!  Maybe this is your gateway drug into puns…” he teased impishly.

“Absolutely no chance in hell.”

They both laughed, laughed with the billowing icy breath that reached with victorious fingers up to the heavens.  They laughed, messily sniffing back the pesky drip of tears and cold.  They laughed with lightness of the encumbrance of hematite armor shed, its bloody protections no longer needed to cage wounded hearts and keep them safe and close.  They laughed in breath and also in the dancing points of light in their eyes as they fell into one another free from gravity.

“So uh… Do I get to see my star tonight, or don’t I?” Martin finally remembered, relishing the utterly horrified yelp from Jon.

“Oh god I completely-!  Y-Yes!  Yes of course, it’s already set up at the proper coordinates!” he had already sprung to his feet, “Oh, though, hang on, it took longer to get to the star viewing part than I anticipated, so I might need to adjust it a bit.  Oh!  And I have a little strawberries and champagne, if you like?”

“I do like, please and thank you!”

Jon set to readjusting the telescope to the proper ascension and declination while Martin poured them two glasses of crisply bubbling champagne.  They twined their arms to drink a toast from each other’s glass, ‘to us’ or ‘to happily ever afters’, or to several other messily rambled toast worthy sentiments.  They couldn’t decide and toasted to all of it.  They ate plump red strawberries and licked the juice from each other’s fingers as they looked at their star, which was, after everything, just a dot, just like Pluto, but Martin had to admit that he rather liked looking at dots after all.  And that one was their dot.  The warm intoxication of love and champagne begged for music, and someone fumbled in the cold for a wedding playlist on some app, somewhere, it didn’t matter, just as long as they could join hands, gaze into each other’s eyes and dance inelegantly, stepping on each other’s toes, under the umbrella of stars in a gentle rain of moonlight.

“I don’t see your problem with cliches, idioms and all that, really…” Martin mused at length, laying his head on Jon’s shoulder as they slowly spun to the rhythm of a longing ballad and the song of the sea, “Like this stupid, great song.  They’re familiar and cozy and everyone knows them.  They’re like… like old friends.  Always there to rely on when we can’t come up with the words ourselves, because sometimes we can’t.  And if something trite and silly sums up the way you feel, why not just let it be?  Sometimes things are said over and over again because some truths are universal, you know?  They’re just… human.”

Jon pressed a kiss into the mop of curls that tickled his nose and smelled faintly of toasted sugar and lavender and mused on all of the romantic cliches that had just passed through his mind unbidden.  Who was he to deny he was but one star in the sky, a single gear in the grand mortal mechanism of the universe.  If he had handed himself over to the humanity of it all instead of rusting, stopping, looking outside where there was never anything to see, perhaps he could have had this dance much sooner.  It didn’t matter though, until it did, because that night Martin took his breath away, made his world go round, he was head over heels for his match made in heaven, and better than heaven, they were written in the stars.

“You know what, Martin?” Jon laughed in reply, “Tonight, being what it is, I am willing to concede.  You are absolutely right.”

“I’m glad…” came the tender acceptance, followed by a distinctly puckish beat of silence, “Then does this mean I can I start saying love you to the moon and back?”

“Don’t push your luck...”

[rorodawnchorus]

The Devil Judge, Ep.1 Meta

(On the re-imagined justice process, imageries, parallels in South Korea and our world today) 

As with all dystopian fiction, it is not exactly a far-fetched imagining of our world. Instead, it is a critique of our society which seeks to amplify the inequalities and suffering of society through some exaggeration. 

The Devil Judge is that: it "re-imagines" South Korea today with a sprinkle of cyberpunk aesthetics (a little too much bluish green tint) and dystopian imagery (of homeless people, a very dirty subway and dingy backalleys on a rainy night).

I kept thinking it was a dystopian "future" but was wondering why they were using only Samsung Note 20 instead of some Samsung futuristic prototype phone. So, those phones do keep audiences grounded in the reality it is portraying -- this is the alternative South Korea of today. 

We are barely halfway into the first episode and we've got this extremely charismatic, anti-hero male lead strutting red carpets and making verbose declarations like "I am the power. By the judicial authority delegated to me by the people of Korea, I will run this court. And it is the people who hold this power." (Not verbatim but that's the gist). 

Then, meet associate judge Kim Ga-On who seems to be against how the system is running. He seems to be the outlier who rose to his ranks from the bottom class of society (which his colleague Oh Jin-joo says, he looks like he's from the shanty town of Seoul). We start off, barely into the drama at this point, with a dramatic scene of a kindergarten bus ramming down barricades and charging towards the Court building. A group of kindergarten children crossing the road there (I've just no clue what businses kids would have near the court building tbh). A little girl tripping as they were rushed across the road, Ga-On jumping to the rescue, and unable to pick her up in time, shields her with his own body. Kang Yo Han is just there, taking a heavy gun from the guard and unhesitantly opened fire at the bus driver who was flooring the pedal. He misses the driver's head and hits the headrest before firing again. The bus swerves and flips. The driver loses consciousness and Ga On (again!) jumps to the rescue. So, here the tone is set. We've got this "devil judge" who seems to be the ultimate modern day anti-hero who's given immense amount of power. 

Much more interesting is that in this dystopian South Korea, we've got what seems like a publicly elected judiciary (or Kang Yo Han is perhaps the first?) and that has always been something that has been discussed in legal academic. Not the idea of electing the judiciary but that the argument of the judiciary not being publicly elected can be seen as slightly out of tune with democracy. (In legal academic, however, this is theoretically seen as being balanced by the separation of powers; ie. the executive branch (=government) and elected members of Parliament/Congress are supposed to be fully separated from the judiciary and should therefore never interfere with the judiciary. But, of course, these are all theoretical stuff. They look good on paper and when discussed in legal essays but in reality, it can often be different (if not, the exact opposite). This series takes things to yet another level by imagining the inception of a publicly televised and publicly voted trial. 

This goes against the nature of trials in general because in our world today, the judiciary (wherever it may be) typically have mechanisms (ie. laws and codes) to prevent manipulation by media. The principle of fair trial requires that no external influence affects the process of adjudication (ie. the judgement by judges). There also tends to be avoidance of trial by public opinion because the way the law is interpreted and applied can be rather technical and different from what people may say or think about a certain trials, the decision delivered and also sentencing. Trial by jury is the nearest it gets but that too can be a fairly technical process which do also include considerations like avoiding a two-day trial to prevent influence by the media or other agents on a jury member's decision. (A recent drama mentioning this is Law School). The thing about this idea of trial by the public is that standards of morality can be very subjective and varies from person to person. Judgement by judges are not entirely free from the influence of morality, but the process is a litle more stable through the processes of interpretative practices, case precedents and legal theories. Previously in another Kdrama, Miss Hammurabi (2018), Judge Lim Ba-reun became slightly frustrated by his friend's comment that having a jury trial is like "true democracy" because the "people gets to decide" and he even thinks the judiciary should be elected too. Lim Ba-reun sarcastically said he must have loved every elected politican since they were elected by the public. He tells him grimly that no jury has ever found a policeman who had beaten up a Black man to be guilty. He also pointed out that Nazi, the Holocaust and Hitler were all supported by the public. 

In this series, the premise allows all of these imaginings to be realised and played out. It is peak criticism, I think, when they portray the scenes of the TV producer being excited about the real-time ratings and viewer ratings. And also the scene of the broadcasting channel's chairman dancing in joy when he received realtime report of the ratings (vowing to treat his equally wealthy friends to a meal). Even when his other friend seemed appalled by the decision delivered by Judge Kang, the Chairman could not hide his joy in the skyrocketing viewership ratings. This really reminded me of the entire Produce 101 franchise which also heralded the shows for putting the decision in "The Nation's Producers" (ie. voters) and emphasised how it is the Nation Producers who put together ("produce") the National Kpop group that is bound for success and set to receive national love. All of this illusion collapsed (and the Korean franchise died along with it) when the court finds its producers guilty of voting manipulation. The Devil Judge seemed to have a similarly dramatic flair in its emphasis of TV production gimmicks, camera angles, cuts of a person's reaction, etc. The President of South Korea (who has a very light voice, a penchant for orotund speeches and a lack of concern for national policies) and all these top 1% of people tuned in were on the edge of their seats watching Judge Kang orchestrate this theatre of public trial. Kim Ga-On watched him closely and was sure that Judge Kang had something up his sleeves and was definitely up to no good, yet he couldn't tell. When he finally delivers a verdict (that yes, this was a case of professional negligence and not negligent homicide), Ga-On was crestfallen and frustrated because it carries a mere 5 year imprisonment maximum. But Kang turns the table and brings up the newly passed legislation which allows accumulative sentence which then resulted in 235 years of imprisonment. 

This sounded very much like how some Korean netizens had previously wondered (online) why Korea couldn't have a sentencing system like the US where the years of imprisonment can go up to 100 years or 500 years. Again, this was like realising an alternative South Korea that many have perhaps tried imagining. Episode 1 ends with Judge Kang stepping down from his high seat when a victim's family member bowed deeply with her hands clasped, as though in prayer, and even kneeled to him. This corresponded well and tied perfectly into the religious/godlike imagery represented in the justice's robes which is reminiscent of the pope's robes and resembles a priest's robe, and the app they named DIKE or Diety of Justice (正義의 神). When Judge Kang hugs the old woman with a compassionate smile, teary eyed and full of empathy, he ends up yawning barely a minute into consoling the weeping woman. Ga-On witnesses this and realises, all of this must have been a gimmick after all. He had his hopes up when Judge Kang serves the sentence of 235 years. The episode ends. 

I think this series is set to be a great one. (Just as Law School was amazing too!) It has tons of stuff to unpack, lots that goes into the cinematography and camerawork. While characters do seem a little more like caricatures rather than realistic people that are properly fleshed out in the narrative, there is still promise to push beyond these caricatures. I think there is also a lot in the imagery of dystopia and the constant bombardment of messages from the government (which is often the mainstay of dystopian fiction) which emphasises a certain narrative which they want the people to believe. For example, Kim Ga-On is travelling up the escalator when there were ads of the DIKE app, ads on electronic billboards on the justice system, paper posters plastered in the dark backalley where a high school girl is being dragged away by two men saying "The government will now create a safe South Korea". That last one is perhaps the most glaring one to me because when I was in Korea, it was repeated to me by different Korean individuals: "Your things are safe. No Korean will steal it. (Not sure about foreigners though!) You are safe. Crimes don't happen. I checked and there are no sexual offenders living in this neighbourhood." But... spycams can be anywhere. Men secretly follow women to their homes and try to break into them. Sexual harassment can happen anywhere. Robbery and theft can happen.

Personally, my paranoia and anxiety won't ever let me believe such words. No narrative, self-made or otherwise, can convince me enough to think that I am in a safe place. I would always have a nagging thought at the back of my mind telling me danger can be lurking just about anywhere. I think Koreans today do have high levels of confidence in their country. Most people do think it is safe to be walking around in the dead of night without any worry. (Again, I do not quite share the sentiment.) But this is a kind of self-made narrative because I also know my countrymen who travel to other countries like the UK and say "I feel absolutely safe walking the streets in the dead of night while I won't feel the same in my own country" when those are simply ideas they've planted into themselves through the mindset that [This country is better than my country and therefore safer.] There is absolutely no correlation between a "better" country and crime rates (or potential of becoming a victim of crime). Not to mention, being an Asian in a Western country sets you up as a likelier victim of hate crime... 

So, I was saying.... This narrative of "safe Korea" is already existing in South Korea today. The need for mass surveillance or a spycam detecting task force in public toilets don't add up with a "safe country" image but the sentiment planted into the people seems to be strong despite all of this. However, Koreans do call South Korea "Hell Joseon". Youth unemployment can be a concern is a country like South Korea and a graying population, increasinly empty gray towns like the one mentioned in the series are all concerns which are ever-present in the public conscious. The mention of plauge and unemployment too must be a major concern now. In a rather similar vein, this narrative of DIKE or trial by the public through app voting creates a sentiment that people can take into their own hands and deliver justice. But what about the people at the margins of society who are homeless and do not own smartphones? What is this concept of democracy that places power in the hands of people? Is it a mere illusion or is power really in the hands of people?

..................................................................................................

(A side note on how the indicted chairman of the company responsible for mass poisoning of an entire town had brushed off concerns about a failing filtration system and the move of industrial plants to Southeast Asia. As a Southeast Asian, it is also something on my mind how South Korea has moved out of China and moved most of its plants to Southeast Asia for cheap labour. But what about the pollution here, the appallingly low wages they pay Southeast Asians (both white and blue collars!) in comparison to the few Korean expat managerial staff or engineers they station out here? I remember how I was at the hospital at 2 am and a small group of blue collar workers in their work uniform came in with their injured colleague; this can only mean they were at work past midnight due to some accident and we are still in the midst of the pandemic. What kinds of welfare and benefits are these blue collars provided with?)

[thespianbooks]

A Court of Nightmares and Starlight //Chapter 15//

Masterlist

(tags: @thron3ofbooks, @df3ndyr, @courtofjurdan, @art-e-mis, @herondamnn, @the-third-me, @im-still-trying-here, @emikadreams, @paytin77, @mis-lil-red, @sleeping-and-books, @lucieisabooknerd, @amandareay-sunshine, @easy-p-lemon, @azymondias05) *bold tags don’t work. Let me know if you’d like to be added to the tag list! 

Thank you all for your patience over the last couple of weeks, enjoy and stay awesome! ❤️

XXX

The remaining session left in our annual summit had followed and ended, for the most part, rather successfully. After Eris had taken his treacherous father back to the Autumn Court, we reassembled the next morning. Each High Lord and High Lady had sat evenly spaced around the reflection pool with our entourages and our human friends as well; Tamlin and his sentry Hart, being the odd ones out. Despite the memory of our first High Lord's meeting, and Tamlin's actions back then looming over us, he continued with his peculiar silence—staring at the reflection pool as our host officially began the meeting and Rhysand began informing the others of our dire situation.

"A coup? In the Night Court?" Tarquin had asked.

I nodded solemnly in return. "Keir, our steward of the Court of Nightmares, has spent the last several years plotting with an Illyrian camp lord named Kallon," I explained.

In the decade of summits we held, Rhys, Cassian and Azriel informed the others more about the Illyrian forces and their ways of life—which they hadn't known much about prior to the war. The latter of the trio emphasized their archaic lifestyle—and his disdain for it, while Cassian and Rhys detailed more on how the armies functioned. I remembered how Cassian's hazel eyes brightened with pride when he announced that he and I had been slowly training more and more females to join their forces over the years. At that moment, however, those eyes had been dulled and matched the grim line of his lips as he and Azriel sat a little taller at my explanation.

"Unfortunately, that camp lord has rallied half of the other camp lords and their armies to his cause," Rhys had continued.

Tension then settled over us as Rhys summoned the reports that Azriel had gathered over the last several weeks in his hands; Helion using his magic to replicate and pass them amongst the group.

"Half of your Illyrian forces have turned against you?" He asked us incredulously, though his gold-flecked eyes were stony.

I nodded grimly, holding my stomach protectively. "Unfortunately. In exchange, Keir has promised to support Kallon in separating the Illyrians from the Night Court," I managed; my throat going unexpectedly tight at the thought.

"Which is why we called this summit early," Rhys continued for me. "Not only does our intel inform us of the traitors in our court, but it also suggests that Beron has joined their ranks as well."

Everyone's resolve had been matched with this news; after the High Lord of Autumn's display having only been hours behind us at that point, we all knew that his newfound alliance was no longer a suggestion.

"What would you have us do?" Kallias asked carefully. His fiercely blue eyes searched for a way to help, but I knew the hesitation was still there as he placed a hand on his mate's knee.

Viviane squeezed his hand in return and trained sympathetic eyes at me. She knew better than the rest that a war brewing on the horizon was the last thing I, nor my mate, wanted to focus on with our youngling on the way.

"We only ask for the same help you offered during the war," I pleaded softly—meeting all of their gazes as Rhys took my hand. "Your armies, should we need them, because if Rhysand and I should fall, then-" my voice cracked a bit, and I squeezed my mate's hand.

"We believe Keir has orchestrated this coup, rallying what Illyrian forces he could through a young and untested camp lord, and now reinforcing old ties with the Autumn Court in order to take over my throne. He's always resented my family ruling the Night Court, even during my father's reign, and now he believes he can take it for himself," Rhys said.

"Make no mistake, my father is ruthless," Mor joined in—voice tight. "And I know he wouldn't just stop with the Night Court. Kallon is an idiot for believing my father would grant the Illyrians independence. The Illyrians, and whatever ties he's formed with Beron, he's using to his advantage. He believes them all to be fools and wouldn't hesitate to bide his time until taking over their court as well. Whatever deal he's struck with the High Lord will ultimately give him leverage in the end. Leverage over them, over the rest of Prythian, and the Mortal Lands as well."

Mor's warning to the others of her father's ambition resounded in my head for the thousandth time since the summit and I groaned quietly as I rubbed at my temples, staring out the window at the wide expanse of the estate's gardens.

"I have to admit, Feyre darling, the rest you've gotten over the last couple of weeks has allowed your mental shields to build back up nicely," came Rhys's warm-tenor voice from behind me. "It's too bad that I can tell just by the look in your eyes what you're thinking of; or rather, remembering."

I glanced at his muted reflection in the library window, mirrored in front of me, and scowled at the taunting smirk on his lips. "You can't even see my eyes from here," I retorted.

"Sure I can," he said easily, his reflection growing closer as he walked towards where I perched on a cushioned seat by the window. "Just like I can see that lovely scowl on your face."

I threw up my hand in a vulgar gesture, knowing he'd see that, and his laughter finally allowed my shoulders to relax as he curled in next to me on the window seat. I adjusted, stretching my back and curving a hand along the ever-growing line of my belly. In the weeks that had followed since the summit, my stomach had only continued with its exponential growth—which left Rhys infatuated. He rested a hand on it now as I moved to recline against his shoulder, returning my stare out the window.

"Your level of stress is beginning to concern me, my love," Rhys said quietly as he ran a hand along my stomach. "I know it's easier said than done, but I wish you would unburden yourself."

I sighed and closed my eyes as I allowed my body to fully relax against him, taking in a few cleansing breaths. He was right; in spite of getting full support from our friends in the other courts and in the Mortal Lands as well, I couldn't shake off my sense of unease. Even Tamlin, our unlikely ally, silently agreed to offer his armies—should we need it. Though he remained speechless as the others asked more and more questions on the intel we had gathered, he listened. At the end when the others offered what they could, he merely stood with Hart and said he and his armies were at our disposal—before they winnowed away without another word.

Perhaps it was his abrupt behavior, along with the lingering question of Eris's true intentions, that weighed on me. After Tamlin's departure, we had all been suspicious of whether or not Eris was truly on our side. There was no doubt that the High Lord of Autumn was our enemy, but we had yet to see if his eldest son was merely using his father as a pawn in this coup for his benefit alone.

"Come back to me, Feyre," Rhys murmured in my ear, knowing my thoughts were once again swirling with anxiety and pulling me away. "Come back to us," he said as he rubbed the swell of my stomach.

"We have the numbers; we have the allies and support we need. Now we wait, and while we wait, we can go back to focusing our attention on him."

I smiled as he kept sending soothing strokes over the fair expanse of my belly and turned my face into his neck. I breathed in his salt and citrus scent, relishing in his touch before I slowly opened my eyes to meet his.

"You're right," I said softly. "I shouldn't worry so much, but I guess I do because…" I trailed off, unable to think of the right words.

"You're nesting," he amended with a smirk.

I raised a brow, "Nesting? Madja said that wouldn't happen until much later."

During one of our previous check-ins with the healer, she expressed that in the last remaining weeks of my pregnancy, I would be overcome with a sudden instinct to clean and organize in preparation for the baby's arrival. This instinct was commonly known as nesting, and every expecting female had experienced it before giving birth. The healer also expressed that males cultivated a form of it as well, something Viviane alluded to when she explained that Kallias's male-bonded instincts would alert him of when her time was approaching and cause him to accommodate her and their youngling's needs on a primal level.

"True, but this could be a form of it," he explained, amused. "As a High Lady simultaneously expecting a youngling, it's only natural that you would want your court in the best condition before welcoming a child into it."

I stared down at my stomach, his hands laying idle on either side of it, "That's still months away…"

Rhys kissed my temple, "Yes, but it's rather transparent that the threat of a coup is what keeps you so troubled." I could feel the shift in his mood as he mulled over his words, but I turned in his arms and carefully straddled him—meeting his gaze so that I could put his mind at ease.

"This isn't your fault Rhys, it isn't anyone's fault," I reminded him. "Like you've told me so many times before, this is still an exciting time for us, and we're coming to a solution. One day at a time, and although I have my moments where I get lost in my worries, I know we're safe."

His returning grin was slow as he held my hips, and I leaned in to press a tender kiss on his lips in an attempt to quell some of the stress he now felt. "Let's concentrate on him," I said.

"And on you," he emphasized as he rubbed the tender spot between my pronounced belly and hip bone. I hissed a bit at the soreness as he massaged the area. "Are you feeling any better after this morning?"

I sighed as I recalled the new aches and pains I had been experiencing as of late. Almost a week ago I woke up with excruciating muscle pain in my hips and out of an abundance of caution, Rhys sent for Madja-who, unsurprisingly, informed us that yet another unfavorable exploit of pregnancy was plaguing me. On top of the lingering nausea spells, dizziness, and fatigue, I was now dealt with the unfortunate side effect of pain in my pelvic area. According to the healer, due to my ever-expanding womb, the hormones being released in order to make room were causing an imbalance in my pelvis bone—thus causing pain in my hip joints and back. Thankfully, there was no cause for alarm in regard to the baby, but it meant another ailment added to the list I already struggled with.

Fortunately, the healer gave us a list of different exercises to try in order to relieve the strain and tautness, and I was more than grateful that my mate was eager to help alleviate it.

"A little," I replied as he kept rubbing soothing circles into either side of my hips. I relaxed as I sat in his lap, allowing him to continue as I laid my hands on his shoulders. "It always feels better when you do that, though."

He offered a sympathetic smile as his hands worked, "I'm sorry you're so uncomfortable, Feyre. I thought this level of discomfort would come at the end stages."

I pouted, "So did I. Now I can't even imagine the mess I'll be then. You'll have to carry me around everywhere because I won't be able to walk." I lamented with a dramatic sigh.

"I'll be happy to oblige you then, and now, my love," Rhys said before placing a kiss on my still pouting lips. "But hopefully you'll have some relief before then."

"Probably not, but it's all right," I said as I glanced down at my stomach. "He'll be worth it…"

He grinned as the glimmer that was our baby fluttered between us, but after a few seconds his lips parted in astonishment as we both felt that flutter turn into a solid bump against his hand. It was small, so subtle that any other lesser being might've missed it, but it was clear as day to us.

"Was that…?" Rhys choked out.

I brightened, "He kicked."

His violet eyes stared at my stomach, amazed, before lining with silver as he beamed. "Our son kicks."

I laughed wetly and rubbed the other side of my stomach, trying to gently coax the movement to continue and we both concentrated on it until we felt another kick in return.

"He's kicking, Rhys!"

"He's strong," he said, voice warm as his hands ran over my stomach carefully. "Try not to kick too hard in there, son, you don't want to hurt your mama."

I smirked, "Are you scolding our son already, Rhysand?"

"Not scolding, just giving him a gentle reminder to take it easy on you," he said.

My heart warmed, but before I could say anything else, something from the window caught in the corner of my eye. I turned to face it, Rhys following my gaze, and gasped as I saw flecks of snow falling outside. Just minutes ago, the sky had been clear and blue, the sun shining as it normally did on a spring afternoon. Now, the expanse of the skies were lined with clouds as it snowed, but I noticed none of it stuck to the ground—still warm enough outside for the snow to melt as soon as it touched the earth. I turned to Rhys, confused at this sudden change in weather—unlike any I had ever experienced in Velaris, or Prythian alone for that matter.

"Viviane has given birth," Rhys answered my silent question. "Whenever a youngling is born into a ruling family's court, it affects all the others in Prythian. In this case, since this child was born into the Winter Court, we have snow."

I brightened as I turned back to the window, a sense of pride swelling in my chest and throat, "So, this means she had her baby today? And they're both okay?"

He stoked my side lightly as he nodded, "Yes, this is a sign that both mother and child are healthy."

I felt my eyes burn at the realization, the relief. Viviane had mentioned that bringing forth a youngling would be difficult, and if fae cycles were any indication for what labor pains might be, I couldn't imagine how excruciating it must've been to endure. But, seeing the light snow shower meant she and her baby had made it through without complication, and were both recovering.

"I can't imagine what it must look like in the Winter Court," I said.

Rhys chuckled, "I'm sure the snowstorm is quite impressive for them, but it'll be nothing compared to what will happen here once you give birth."

I raised a brow, "What happens in the Night Court? A full day of night for all of Prythian?" I quipped.

He flicked my nose with a smirk, "You'll see, smartass."

I giggled, "Wait, but I'm actually curious! What will happen here?"

Just as he was about to retort with another snide comment, Mor and Elain burst through the library doors. Mor squealing in delight as she twirled about the room in excitement.

"Viviane gave birth!" She sang, too distracted to notice when I moved off of Rhys's lap as gracefully as possible, my cheeks warm. Elain was on her heels, but she took in our position and quickly looked away.

"I know, Rhys just explained it to me," I said as I stood, smoothing out my loose long-sleeved tunic.

"Oh, I can't wait to meet her," Mor gushed as she took my hands in excitement. "Did she tell you the name they picked for her?"

I shook my head and Mor grinned, "Eira."

"Snow. How beautiful," Elain chimed as she came to our side.

"It is," I said as I looked out the window again, and it was then that I noticed Nesta standing by the window at the opposite end of the room.

Her arms were crossed over her abdomen as she stared outside, blue-grey eyes actually soft as she watched the snowfall. I was surprised until I remembered the speech she delivered over a decade ago at our very first summit meeting before the war—the condolences she offered on Kallias and Viviane's behalf for the loss of all those younglings at Amarantha's wrath. Her sympathy had surprised me then, and I wondered at the warmth in her eyes now—and what looked to be like a hint of sorrow in them as well.

"Eira," Rhys said as he stood nonchalantly from the window seat. "Seems pretty fitting as well," he said as he took in the sight of the snow falling again before coming to rest a hand on the small of my back. "Looks like we'll have to be equally creative when we pick a name."

I grinned at his insinuation and Mor groaned in exasperation. "Will you at least give me a hint? Are you leaning towards boy names or girl names?"

I shook my head. "Sorry Mor, but my lips are sealed. You'll know the baby's name when he or she is born, just like everyone else," I teased.

"But you already know what you're having, don't you?" Elain asked, and I could see the impatience in her eyes as well.

Though some had implied that our baby was indeed a boy at the summit a few weeks before, Rhys nor I actually confirmed this fact—much to everyone's chagrin; especially Mor and Elain's.

I shrugged and Mor rolled her eyes again. "You know if you don't tell us, we won't know how to decorate the nursery," she tried to argue; and my sister's eyes widened at the idea.

"Then we'll stick to a neutral theme," Rhys suggested.

I laughed at Mor and Elain's equal protests, but my eyes returned to Nesta—who had turned from her place at the window and exited the room as quietly as she had entered.

XXX

I later found Cassian staring up at the cloudy sky, wings tucked in tight as he stood in the middle of the training arena as snow continued to fall. I cleared my throat as I approached, and he turned to face me.

"You aren't here to try and insist I train you again, are you?" He asked, hazel eyes sparkling with mischief.

I rolled my eyes, recalling how in spite of Madja's recommendation, there had been days I still wanted to keep up with some of my training while still in the early stages. After seeing the toll my pregnancy was taking, however, Cassian adamantly refused.

"No, not this time," I said and motioned to the sky. "Did you hear the news?"

He nodded and picked up a stray dagger on the ground, "I know what it means. You should've seen the way the trees around here turned when Lucien was born. It was actually nice."

I watched as the lightness in the words he spoke didn't quite reach his eyes, noting the same strange sorrow in them that were in Nesta's. After she left the library, I had excused myself a few minutes later in order to try and find her—curious to know what melancholy suddenly plagued her. I had let Rhys know through the bond that I felt something awry with my sister, and that I was going to talk to her in the hopes that she might finally open up a bit more with me. However, while I searched for her, I instead heard Cassian's grunts as he vigorously sparred in the outdoor training pit. I watched from a balcony as he tore apart a training dummy to pieces, unusually aggressive, and waited until I saw him calm before coming out to meet him. There was something aching inside of him, and inside of Nesta, and though they continued to keep whatever bond between them private—I hoped I could find out why they were suddenly afflicted.

"It's good news then, isn't it? For Kallias and Viviane?" I asked quietly.

He glanced up at the sky again with a quick nod, "Yes, it is."

I softened as I saw the longing in his eyes, "Why do you look so sad then?"

He quickly averted my gaze, "What makes you say that?"

"Because the look on your face is the same look I saw on Nesta's earlier," I said gently.

He sighed and tossed the dagger in his hands into a crate by his feet. "I'm not sad, Feyre, and I can't always speak for your sister."

"No, I guess you can't." I said as I crossed over to a nearby bench and sat on it, wincing a bit at the pain it caused in my hips, but silently invited him to sit beside me regardless.

He obliged and sat on the bench, "You're in pain?" he asked.

I shook my head, "Moving around is just trickier now, because my growing stomach is throwing off...everything, apparently."

His lips widened into a grin. "Figures Rhys's kid would give you hell before it's even born."

We both laughed and I saw that same longing return in his gaze as he stared at my stomach. I hesitated before asking, "Have you ever considered having a child one day?"

Cassian's shoulders stiffened for a second before he sighed in defeat, knowing he couldn't evade this question. "I'll never have any offspring of my own Feyre," he finally said.

I blinked, surprised, and suddenly his look of sorrow and longing made sense—along with the same expression I had seen in Nesta's. Though unofficial, we all knew of the ties that existed between Cassian and my sister. Rhys and I figured that when they were ready to express their feelings—to share their bond, then they would. In the meantime, we all silently acknowledged it, but never said anything to try and coax a confession.

This revelation however, made me recall that in the decade since she'd been made, Nesta had yet to experience a fae cycle. Shortly after experiencing mine for the first time, I had briefly informed my sisters of what to expect. It wasn't long after that Elain had experienced her own and I had been there to coach her through the agonizing process. I expected Nesta to soon follow, but whenever I tried to inquire about it, she brushed me off. For years, I assumed that she just shut me out whenever her time came; until Elain revealed to me that our eldest sister hadn't had a cycle at all since before being made—when she was still a human.

Remembering this, and hearing Cassian's words now, my heart squeezed in remorse for bringing it up. I looked up at the sky as the snow continued to fall around us, "I'm sorry Cassian," I whispered. "I shouldn't have-"

He cut me off with a huff of laughter. "In my centuries of existence, I never gave it much thought. Rhys, on the other hand," he said, his gaze meeting mine again with solid reassurance. "When he came back from Under the Mountain, it was all he talked about,"

"I didn't know why at first, because we had always been too preoccupied to even consider settling down and having offspring. But after Az and I heard about you, met you, I knew you were the reason why. From the moment he came back from that place, when you both made it out of there, he envisioned a future with you."

My eyes burned as I squeezed his hand. "We wouldn't be here, expecting this child, if it weren't in part for you Cassian," I admitted with a sniff.

He laughed and pulled me into a one-armed embrace around my shoulders. "Those hormones of yours are no joke! It's kind of funny," he teased.

I scowled, "I can't help it. It's not my fault he's thrown me completely out of whack." I said, motioning to my stomach.

Cassian grinned. "He?"

I paused. "Don't tell Mor, or Elain. They're dying to know, but between you and me," I began, resting a hand over the apex of my stomach. "It's a boy..."

Cassian's eyes flickered with a mix of yearning and joy, and I noticed his hand twitch towards my stomach, but he stopped himself—hesitant.

I smiled, "Go ahead. You are going to be his Uncle Cassian after all, and according to Viviane he'll be able to distinguish our voices as he grows."

He blinked, "He can hear us talking?"

"Well right now he hears my voice the clearest, and Rhysand's. But over time, he'll be able to hear everyone else's, including yours," I explained.

He balked before touching my stomach cautiously with an open palm, "In that case, you should get used to my voice now, little one. I'll be training you once you're big enough."

I grinned playfully, "If you're going to teach him to fly, just make sure you don't drop him out of the sky."

"It was one time," he said with a roll of his eyes. "And I would never endanger a youngling's life, especially his. You hear that little one? Don't let your mean ol' mom or dad tell you otherwise. Uncle Cassian will take good care of you."

My heart warmed as he went on to have a conversation with my stomach, and I continued to answer any other questions he had about pregnancy and about my growing son—reminding me that this pregnancy was just a wonder to him, and everyone in our inner circle, as it was for Rhys and me. They were living through it for the first time, just like we were, and they loved our son just as fiercely as well. I then silently promised myself that during this period of waiting, I would spend less time worrying and more time with my family.

[armorsleevedsinglehit]

the huge shippuden music meta

no one asked for this but i’m gonna write it anyway. i’m going to focus primarily on the shippuden soundtrack here, but expect some references to the original series soundtrack as well. also before i begin i know approximately two (2) music so some of my terminology is probably going to be incorrect lol, it’s been a while since college. this is a general shippuden meta but it does focus on the uchiha clan, in particular sasuke and madara.

anyway, to start off, you can pretty easily divide the shippuden soundtrack into a few general categories:

traditional and/or acoustic

electric guitar tracks

some combination of these, plus orchestra hits aplenty

there are a few odd ducks here and there, but no worries, we’ll get to them. and then within these general categories we have a series of recurring character motifs (which can be a bit muddled, because certain themes are used for multiple characters. i assume that naruto (the show) isn’t necessarily scored the way a film would be, and so the directors just slapped whatever dramatic/sad/upbeat music they could find onto a scene, esp if it’s a filler ep, which definitely generates some confusion.) but characters and groups in shippuden DO sort of get their own motifs and themes, so here is my very basic list of those as well:

uzumaki clan and its descendants/allies: “emergence of talents/hyakkaryōran” has a very cool melody towards the end that comes back in “narukami/weeping god” and “shoryu/rising dragon”. we can basically call this the protagonist theme. naruto, sakura, kakashi, jiraiya, most of the konoha 11, and even minato get to claim this one. however, VERY interestingly, narukami is what plays when tobi (as madara) is telling sasuke about the glory days of the uchiha clan... possibly hinting at greater connections between the two clans???????????

akatsuki-related themes: i won’t link a ton of these because they’re super obvious. they’re often full of choir and organ (harkening back to orochimaru’s original series theme); they also tend to be slower. not always, though; look at crimson flames, a slapper if i ever heard one. prime example of akatsuki themes: girei, my FAVORITE bit of the shippuden soundtrack. UGH.

general shippuden themes: things like hurricane suite, heaven-shaking event, etc. most of the first ost goes in here. this category also contains the closest approximation to hashirama’s theme that i could find, experienced many battles and departure to the front lines, which both make me cry lol

there are other fun little motifs and bits and bobs that appear in this soundtrack that i won’t get into here for length (remind me to talk about the angelic herald of death sometime), but it’s a remarkably cohesive piece of work to the point where it gets repetitive sometimes; why are all the super interesting tracks unreleased!!!!??? anyway the purpose of this meta is to attempt to make sense of the way this soundtrack works. we’ll investigate sasuke primarily because i feel that he really ties the whole soundtrack together, and you can extrapolate a lot from the way his theme evolves.

sasuke’s theme (wandering/hyouhaku), yes the dramatic cowboy music theme, is this wonderfully atmospheric track that makes use of the kind of negative space between guitar strums to build up this aura, this Essence of Sasuke. this alone makes it stand apart from other mostly-acoustic pieces on the soundtrack, to me. the whole thing is just humming with this simmering frustration and melancholy and it really gives you a sense of sasuke as this tortured figure who has been severely wronged and experienced the world’s faults firsthand. notably, this version of sasuke’s theme lifts its opening notes (and structure, sorta) from sasuke’s original series theme, which i assume was on purpose. it shows that he’s grown jaded as he got older, i think.

anyway, as the inevitable battle between sasuke and itachi draws closer, we get our first variation on sasuke’s theme: black spot/kokuten. it has the same melody and structure as before, but features heavier guitars, more orchestration, and, in the final bars, notes that previously fell on 1 and 4 but now fall on 1 and 3, which bring a heightened sense of urgency to the whole thing. and more importantly, it ends without resolving itself? it leaves us hanging on this almost call-and-response bit with one wailing guitar after another, before winding the orchestration down and fizzling back down to the level of “wandering.” here we see a sasuke in progress, if you will, working towards a goal that some may find sinister, but he is determined if nothing else, and the instruments match his fervor. it’s roughly analogous to “crimson flames” in terms of intensity, but it’s very distinctly Sasuke.

there are several more variations of sasuke’s theme floating around, but the next one i want to talk about is this one called “sasuke’s ninja way,” apparently, never officially released but relentlessly employed by the anime directors. it takes a more subtle turn than “black spot,” but i don’t see it as a direct sequel to “wandering” for a few different reasons. i think it represents the dilemma sasuke found himself after finally killing itachi and learning the truth about him: the realization that this whole quest for power of his was never really about revenge on one specific person, but rather about reforming the shinobi world as a whole. it’s slower than “black spot,” yet darker, more ominous; it treads the same general path as “wandering” but with added electric guitar, and, notably, choir. recall that choir is often used for themes related to the akatsuki, which i think ties in neatly with sasuke’s motivations at this point. he, like nagato before him, wants to remake the world.

the final iteration of sasuke’s theme, “sasuke’s revolution/junkyousha,” brings it all together. the akatsuki is commonly represented through choir and organ, and this theme starts out with both of these cranked up to the max. this is (pardon the pun) sasuke’s rebirth, if you will. just combine the intensity of “girei,” the anger of “crimson flames,” and the determination of “emergence of talents” and you’re there. seriously: this culmination of sasuke’s character development basically pulls from every single facet of the soundtrack and produces this MASSIVELY rich piece full of anger and rage and hate and fury, while STILL managing to include the twangy guitar bits from “wandering” (which have gone back to 1 and 4!!). we also have someone going ham on a shamisen towards the end of the track, which calls to mind the shamisen solo from “emergence of talents” and other tracks. hinting at an eventual compromise with naruto, possibly?

anyway, i started out this meta trying to find a piece of the soundtrack that could serve as madara’s theme, but i wasn’t sure that one existed. i think the susano’o has a theme, and the uchiha clan has a theme, but....madara just doesn’t?? sure there are unreleased tracks like “legendary uchiha,” but i’d argue that doesn’t really go into his character as much as it just says “watch out for this fucking guy.”

but then i listened to hurricane suite one more time, and i was like HOLY SHIT THIS IS IT. for one thing, it’s long as fuck: this track is a whole journey. it really gives the impression of someone who has lived an impossibly long life and become jaded and cruel and hardened. i realize that the argument could be made that hurricane suite is sasuke’s theme, not madara’s, or that it’s a general shippuden theme and doesn’t represent one character in particular. and yes, i think both of these interpretations are correct. hurricane suite represents what sasuke could POTENTIALLY turn out to be, given his evolution from “wandering” to “black spot” to “sasuke’s ninja way” all the way to “sasuke’s revolution.” hurricane suite warns us that sasuke can (and very well may!) make the same mistakes madara did and end up destroying himself in the process. (the middle of “hurricane suite” GREATLY resembles “wandering.”) and recall that hurricane suite is used in the very first episode of shippuden: the episode where naruto encounters sasuke for the first time, AND- are you ready for this- when madara’s name is dropped for the first time in the series.

this is why i think that, along with it being a general shippuden theme, hurricane suite is also madara’s theme. shippuden as a whole is practically suffocating under the oppressive weight of madara’s presence, right from the very first episode. even before he’s introduced, he is VERY much there. so much of madara’s character is established before he even shows up. we hear so much about him from other characters (kurama, itachi, obito, hashirama), and as such our view of madara changes drastically over the course of the series. and guess what plays when itachi shows sasuke that genjutsu of madara stealing izuna’s eyes?

anyway, in my opinion and in my interpretation of the character, the music fits him perfectly. it starts out all low and choral with these slow ominous drums and deep strings, and this violin comes in that sounds like it’s weeping. we hear something like a heartbeat that grows darker over time, before the music comes to some sort of resolution, an inflection point, and the brass comes in heavy. NOW we’re dealing with the orchestra, three quarters of the way into the song, and we’ve got strings and drums set to a marching pace, more choral chanting, climbing strings and shamisen tumbling down the scales. it sounds like grief!!

and note that yes, this track is used in the very first episode of shippuden, during naruto and sasuke’s first encounter. but it is ALSO used during the scene in hashirama’s flashback when izuna is mortally wounded and madara makes the decision to abandon the clan on the battlefield to take care of him, despite his better judgment and hashirama’s offering of peace. the inflection point in the music represents a very real inflection point in madara’s life: the loss of his last brother. (it always comes back to that, doesn’t it.)

[atomic-taco-muffin]

Sorry I had to send this as an ask stupid tumblr wouldn’t let me just copy and paste it in messages. But please let me know what you think!

Asylum Hearts

Xemnas “Superior of The In-Between”

Occupation: Cult Leader/Serial Killer

Driven by a murderous desire to collect hearts to complete what he, and his father, called ‘Kingdom Hearts’. Kingdom Hearts was thought by many to be just a long ago creation myth that is the basis behind Xemnas’, and ultimately his father Xehanort’s, preachings. Xemnas inherited the Organization from his father upon his ‘death’. (His twin brother Ansem having been chosen to Seek.)

Before being apprehended, Xemnas and his followers were killing their victims, literally ripping their hearts out, and collecting said hearts to sacrifice them to Kingdom Hearts. The thing no one saw coming is that the ritual they had started to conduct, before being busted, had actually started to work. A fact no one had caught onto except for Xemnas, Xigbar, and Saïx. Who now knew what it would really take for them to succeed. He had more then enough hearts in storage to try again, he had made sure of this, just in case something like what had happened actually transpired. All he had to do now was to orchestrate an escape from this infernal abyss of insanity called Arkham Asylum. The only up side to any of this was at least he had something pretty to keep his attention among the thought muddling drugs they had already begun to pump into him.

Xemnas’ head lolled to the side as his gaze eventually fell upon his intriguing new neighbor. “Pretty little doll.” He practically purred making sure he was loud enough for Nightshade to hear. His signature smirk widen as he saw her shoulders tense from hearing his new pet name for her. The little witch had ensnared his mind the moment their eyes had met in admissions. She would be most definitely useful in resurrecting his father for sure, but right now the lust in his blood coupled with the drugs made it incredibly difficult to think of anything else but her or more specifically the thought of what she’d look like underneath him while writhing and clinging to him in ecstasy. His brain may have started to grow foggy, but he was definitely lucid enough to flirt.

“That’s not my name.” She quietly answered as she looked over her shoulder to see his half drugged state.

A low laugh rumbled through his chest before answering “Oh yes of course, forgive me. My mistake. My GORGEOUS little doll.” He said making sure to lay heavy emphasis on gorgeous, but even heavier emphasis on ‘My’ making sure to capture her gaze. Another drugged laugh bubbled out of him as she shivered from the effect he was having on her.

“I’m not your anything.” She spat. “And my name is Nightshade get it right.”

A full chested laugh broke from him at her little display of ferocity. “Not yet maybe.” He said standing to face her cell a large hand coming to lay against the glass that separated him from freedom. “But do believe me, dearheart.” He purred seductively. “I’ll have you screaming for me to finally bring you the release you’ve only ever dreamed of, and one only I can provide, Nightshade.” The hand against the glass slowly lowering to come to palm the clothed hardening length in his pants. “Oh do you not see what it is that you do to me, My Doll?” His breath hitched as lust blown amber eyes met glassy wide smoky blue. “Oh my Witch.” A full throated groan left Xemnas’s throat as he lowered his pants just far enough for his considerable length to spring free from its confines. “What spell do you have me under?” He continued as he started to pump himself.

“You sure it’s not the meds making you horny?” Nightshade finally managed to find her voice, but couldn’t find it in herself to look away. He said she was gorgeous, but Gods damned he was the gorgeous one. Built like a brick house carved from golden brown marble, the face of a fallen angel, and hung like a fucking horse how the fuck was she supposed to look away and ignore that? To make matters worse he was getting exactly what he wanted. To turn her into a wet moaning mess without even having to touch her.

Opening his eyes in the midst of his haze of pleasure, his smirk grew predatory at the sight of her thighs clenching together accompanying the bright flush on her cheeks and chest. “Hmmmm” a hum rumbled through his chest. “I know for damn sure I don’t get this fucking hard for anyone else in this hell hole.” He panted. “Oh what I wouldn’t give to have your pretty little mouth sucking me off right now.” Xemnas looked over to her again, eyes boring deep into hers as she clenched her thighs tighter, letting out a low whimper. “And I bet you wish I was over there to throw you onto that Goddamned bed, rip your clothes off, bury this fat cock into that tight little pussy, and pound into you till you can’t fucking form a thought that doesn’t involve me.” He practically growled as he pumped himself at a furious pace, his peak quickly approaching. “Come now dearheart, show me what you so desperately wanted to touch right now.” He groaned. “Show me how fucking soaked you are for me.”

It was Nightshade’s turn to groan as the very last piece of her self control flew out the window, and her legs slowly slid apart. Her hips lifted slightly into the air to slide her pants and panties off her body. The blush on her ghostly pale skin impossibly deepening as she opened her legs to reveal her drenched core to Xemnas’s hungry eyes. “I can’t believe I’m about to fucking do this, and you.” She said aloud directing a heated gaze upon the silver haired man jacking off in front of her. “You are so beyond Goddamned lucky that we’re the only two housed in this wing at the moment.”

Her legs opening wider, allowing for Xemnas a better view of both her and her cunt, as one hand captured a nipple in between her fingers, and the other hand shot down to her soaking wet folds. A, louder than she wanted, moan graced his ears as her fingers played herself like a beautiful instrument, and making his hips buck wildly into his own hand. “Fuck! I can hear how fucking wet you are from here. Fuck woman.” He whined. “I’m fucking close.”

Nightshade wasn’t far off as she alternated between playing with her clit to shoving three fingers knuckles deep into her own cunt. The spring in her abdomen coiling tighter and tighter as she watched him become more and more undone. Their moans mingling together as she watched him jack off to the sight of her adding a fourth finger to the assault on her pussy, her head thrown back as her fingers stretched herself out. Upon opening them, her eyes met his golden ones, in that moment their erratic hips began thrusting in the air at the same time.

“Cum with me.” He whispered loud enough for her to hear across the hall, and that’s what broke the dam. Her eyes rolled to the back of her head, her entire back arched off the bed as her orgasm washed over her like a tsunami, and her cries becoming soft whimpers. The last thing that came to Xemnas’s mind before his own earth shattering release, was just how unbelievably exquisite she looked in the throws of a powerful orgasm. How exquisite she was period. His own release shook him as he painted the glass separating them with his thick cum. “Mine.” He growled as his half lidded amber eyes met her hazy pale blue.

I love it! You certainly have a talent for writing!

[scottymcgeesterwrites]

Final Fantasy III Review

Year: 1990

Original Platform: Famicom

Also Available on: Nintendo DS, iOS (DS port), Android (iOS port), Ouya (Android port), Steam (Android port), PSP (iOS port)

Wii/3DS/Wii U Virtual Consoles and Nintendo Classic Edition releases are only in Japan.

Version I Played: DS

Synopsis:

Four orphans (originally only named by the player, DS remake gives them names) fall into a crevice after a sudden earthquake. There, a mysterious crystal warns them about the oncoming darkness that will engulf the world. The four orphans must band together to restore the balance between light and dark.  

Gameplay:

ARE YOU READY TO GET YOUR ASS BEAT?

YOUR BALLS ROCKED?

I’m warning you – this is the most difficult Final Fantasy game to date.

There are no ethers - only elixirs, which you should definitely reserve for the hardest battles. Also, phoenix downs cannot be found in stores - only in treasure chests and as dropped or stolen items from enemies.

The gameplay returns to that of the original Final Fantasy –  turn-based combat and the Job System, only this time the Job System is greatly expanded. Vikings and Geomancers and Bards and Dragoons and the list goes on. Summons are introduced to the series via the Evoker job, which later gets upgraded to Summoner. The expanded Job System allowed for greater customization of your four characters than in the original Final Fantasy.

This game is notable for the Onion Knight. In the beginning of the original Famicom game, the default job is Onion Knight. If you continue playing as an Onion Knight, your stats remain relatively low. However, if you dare to play the entire game as an Onion Knight and reach level 99 – the Onion Knight suddenly turns into the most powerful job in the game.

The DS remake does things a little differently. Instead of the Onion Knight, you start out as a Freelancer – a new job that has a little bit of everything. However, the longer you use the Freelancer job, the weaker you become. This is a good incentive to have players naturally explore other jobs.

The unfortunate feature of the DS remake though is that the Onion Knight is ONLY available after performing sidequests via wireless with friends. This is impossible to do now since the wireless features for the original Nintendo DS (and also the Wii) have been discontinued. HOWEVER. Playing the DS remake through Steam allows you to unlock the Onion Knight by completing at least 25% of your bestiary. You will then receive a message via the Mognet to start the sidequest.

Final Fantasy III is notorious for its high difficulty. The trick mostly lies in constantly switching between jobs and finding the right balance for the right moment. However, changing jobs requires you to level up that job. This means grinding – lots and lots of grinding. Insane amounts of grinding. This is Final Fantasy: Grind City.

In retrospect, Final Fantasy II was hard as well, yes, but more in a stupid way. Leveling up there was annoying but people could find tricks around it like finding weaker enemies and purposely hitting yourself and healing yourself to raise your HP or defense stats.

Final Fantasy III is difficult but it hurt so good. This game turned me into a masochist. There's two types of video game rage - the good and the bad kind. The bad kind is usually because the game's mechanics are irritating or virtually unplayable. The good kind is cursing out loud but then saying, "I'LL GET YOU NEXT TIME!" and actually being pumped about trying again because you see it as a challenge.    

The game has an explosively difficult finale. The finale takes place in the Crystal Tower, which is surrounded by Ancient’s Maze. You have to walk through the maze, then through the tower, then fight multiple bosses through other events which I won’t spoil here. The entire ordeal can pretty well take up an entire hour. At least (in the DS version, I don’t know about Famicom) you can save before entering the Crystal Tower. But if you ever need to venture out into the world map again to get something you forgot, you have to go through the Ancient’s Maze. Once you enter the Crystal Tower, you cannot save the game. It’s one long shot to the final of final bosses. In the Crystal Tower, you get to walk around seemingly endless and maze-like floors such as this:

 YAY.

Seriously though - I still enjoyed the challenge and thought it was epic. If you're going to hit me hard, you might as well go all out. Nothing in this game is held back. Also, the expanded job system allowed you to try out so many different things.

I tried for the longest time to play Final Fantasy III on an emulator but for some bizarre reason, I couldn't save, not even on save states. When I have the time, I definitely want to go back to that, try a different ROM or something, and experience the original. But I played enough of the original to know how hard it is. I died right away when I ventured outside the first town.

The DS remake mostly retains the difficulty of the original, which I admired, unlike the watered down PSP Anniversary Editions of Final Fantasy and Final Fantasy II.

Graphics:

The original Famicom game definitely has a lot more going on than the first two Final Fantasy games. Battles are still 90% black space but the rest of the game is 8-bit Heaven. 

The DS remake is AMAZING. I would argue that Final Fantasy III DS is really the first great Final Fantasy remake. They got a chibi thing going on and it works here. It’s cute without being obnoxiously cute.

The FMV sequence for the DS is staggeringly beautiful.

I also kind of laugh at this one part where Luneth and Ingus are arguing and it’s the equivalent to a stock photo of two people arguing.

I only wish they added an ending FMV. That would have been the cherry on top for the remake. 

Story:

Final Fantasy III is kind of like crossing the original Final Fantasy with Final Fantasy II. The story is wider in scope and more epic. The fictional world is much more interesting. The score has a wider repertoire. You fly many different airships. It also begins what I like to call the "Crystal Trilogy." Final Fantasy III, IV and V, as you'll read later, are quite similar in their general plot, which utilizes crystals as important plot devices.

There’s more to the story than people give credit for. You venture into the world and run into secondary characters who have their own stories, such as Cid, Desh, Princess Sara (reference to the original Final Fantasy), Prince Allus, Priestess Aria, and even four imposters of the four heroes of light. You save towns with a variety of problems, from a village cursed by a genie to finding a missing precious stone for the dwarves. Then you discover the truth behind the world you live in. . .

The DS version elaborates on the story by giving the four orphans names: Luneth, Arc, Refia, and Ingus. This sharpens the story by connecting more dots. The DS story starts with Luneth and Arc as childhood friends. They later meet Refia, a runaway who was tired of her guardian's blacksmith trade, and Ingus, a knight of Sasune who protects Princess Sara. I was disappointed by one rather misleading thing in the DS remake. The opening FMV sequence seemed to imply that Priestess Aria plays a wider role in the story – she doesn’t. That disappointed me.

As I’ve said already, the DS version is a wonderful remake of the original. I very highly recommend it. It enhances everything about the original and more. The remake's heroes hardly get any recognition in other Final Fantasy media and that’s a shame.

Music:

As Final Fantasy games keep getting bigger, so does the score. Uematsu shone here. He did some unique things for a Japanese composer at the time. An example is the illusion of having chords in the track Crystal Cave.

Final Fantasy III’s soundtrack is twice as long as Final Fantasy II’s. I’d say that out of the entire Famicom/NES era, this game probably has the best soundtrack. The battle theme has a sexy bass with more drums added to it. Eternal Wind, the world map theme, is definitely the greatest map theme in an RPG. Period. It truly gives the feel of wandering around a fantasy world.

The DS version reinvigorates the entire score. I loved every second of it.

The way Uematsu composed the final of the epilogue is reminiscent of how John Williams does his finales in the credits for Star Wars or Indiana Jones films. In this case, he references the Final Fantasy Main Theme at the end of the credits.

The result is a wholesome feel to the game. Final Fantasy III has a fantastic score that is perfect for closing the 8-bit era of Final Fantasy.

Notable Theme:

I'm split between Eternal Wind and Priestess Aria's Theme. Fortunately, the DS opening cinematic includes both. It has a great orchestrated rendition of the classic themes.

Verdict:      

The hardest out of all the Final Fantasy games (so far). At the same time, there’s so much to enjoy – but it’s not for everyone. Because of the difficulty, I would save this game for last. There’s something about this game that actually gives me a true “final fantasy” feel. The final stretch is so kick-your-nuts-hard that nothing else in the series can compare to it.

If you go for the DS version, however, that can be a tad bit easier. Just a tad. A smidge. Nothing more. It’s one remake that I highly recommend. They did a good facelift on both the game itself and the story. The DS version was adapted into Android and then ported into Steam, so you can get it there. 

Direct Sequel?

No.

[heavy-lobster]

Okokok I’ve had thoughts and I am going to organize them into several paragraphs so buckle up

PMD DX is an important game, because it marks the PMD series not being completely dead, and has given people hope for more entries in the future. Of course, I think everyone would prefer that next entry be something new, rather than a remake of a past PMD game. Even then, since DX was announced I’ve seen plenty of talk about the inevitability of a PMD 2 remake, whether it’s coming next or will be following something new. Most people I’ve seen talk about this seem in agreement that PMD 2 would be the next game in the series to get remade if any. This is really strange to me.

I don’t feel like Explorers of Sky really needs a remake. Here me out.

Like a lot of people, EoS is my favorite PMD game. The pixel art graphics are pretty much everything I could ever want out of a game and the soundtrack might just be my favorite video game soundtrack of all time. The story is incredible and the characters are fun and charming. While I personally don’t really play PMD for the gameplay at all, EoS has the most enjoyable gameplay in the series in my opinion. I really love this game, so why wouldn’t I want a remake?

I don’t feel that EoS needs a remake. I just don’t feel like there’s any improvements to be made here. Let me clarify; I’m not saying EoS is perfect. It definitely isn’t. No game is. EoS has plenty of issues and things that could be improved and added to the game. So what’s the problem? I just don’t feel like hardly any of the things that actually need improving would be improved in the remake I know we would get. The remake would most likely just “update” the graphics, “update” the music, change and update some gameplay features, and maybe some new post game content or something if we’re lucky idk.

I feel the update to the graphics would almost be reductive in a way. The pixel art style of EoS just doesn’t really need “updating”. Clean, stylized, pixel graphics are timeless and will ultimately hold up better than any 3D graphics, the standards for which just keep getting higher and higher. It’s distinct and charming and I don’t feel that anything of value would be gained by making the game 3D. To clarify, I don’t hate the graphics of the 3D PMD games. They look just fine and there’s some parts of these games that look fantastic! I just feel like in the graphics department of an EoS remake, there nothing to be gained and everything to lose.

Music wise, this argument is entirely based on my own nostalgia and biases. I like the music! It’s good! Every orchestral rendition I’ve ever heard of a track from these games just hasn’t done it for me. Part of just really doesn’t want to hear an “official” version of these orchestral arrangements because I just. don’t like the sound as much. I’m a music nerd and even I genuinely can’t justify this with any kind of logic beyond just the nostalgia factor for me personally.

The gameplay is the only area I can see being actually improved and even I’m not really sure what more they could do other updating it to be more like it was in DX. Which would be nice I guess but it still just doesn’t feel that necessary to me idk. I doubt the story would go through any major changes, for better or for worse, so overall there’s just not enough improvements to be made to justify a whole remake.

If any PMD were to get another remake, the game I feel is the most deserving of it is Gates to Infinity.

Gates has grown a reputation for being the worst PMD game, the reasons for which are completely beyond me. Gates is my second favorite game in the series. The story is great and it fixes one problem I’ve had pointed out about EoS story-wise,,,, that being the generally pointless flashbacks to events that happened 5 minutes ago. The graphics are outdated by today’s standards yeah but,,,, Gates was the first fully 3D Pokemon game so how hard can you really be? The music, while not quite as good as its predecessors in my opinion, is still very good! Especially the goodbye theme, that’s a good one. The gameplay is. Certainly gameplay! Overall it’s a really good game and I like it! So why do I think it deserves a remake more than EoS?

There’s a lot more things to improve and expand on with Gates. Gates felt like it was being held back from what it could’ve been. There were so many cool features n shit that just wasn’t really utilized much and it’s sad because these games could’ve been even better! Gates feels almost incomplete to me, like there was supposed to be more to it. Probably not but it feels like it to me.

Graphic wise there’s a lot of obvious improvements to be made. The models in Gates definitely aren’t bad, but they could be better for sure. The environments would look SO good if the graphics were touched up,,, I wanna see the great glacier in high-def dammit! A lot of the animations were kind of awkward too, those could benefit from a touch up. A big problem with Gates is that the camera is zoomed in wayyy too much. You really can’t see shut most of the time and it just doesn’t look very good. That could be fixed in a remake. The music doesn’t need much of touch up that’s not really one of my points here it doesn’t get its own paragraph.

One thing I want improved story-wise is the post game. I really like the post game of Gates but it’s so short and there’s just. Not much there?? There’s actually kind of sort of a bad ending to Gates! You can straight up refuse to return to the pokemon world and then the cave collapses and fades out to some weirdly eerie text. I really like this!! I like everything about this climax in the post game! But that’s like,,, pretty much the only thing worth noting! I like the overwhelming feeling of emptiness, and I like the way your partner just silently stares at your old bed every morning before you get to control him. I just think it’s neat! But it could’ve been so much neater!! I just want to see it expanded on.

The gameplay is mostly fine in Gates dungeon-wise. The other things I’ve mentioned plus just updating somethings to fit in with recent PMD games would fix all the problems I have with the dungeon gameplay here. No I don’t care if they add hunger back or not, hunger adds nothing of substance to the gameplay and I couldn’t care less whether or not it’s a feature.

The gameplay I want to see improved isn’t in the core dungeon aspect. I want to see the Paradise building aspect of the game improved and expanded on. It’s a really cool feature! It could be so much cooler if it wasn’t as limited as it is!! I have so many ideas but I’m,,, not writing them down rn sorry. Also magnagates! That weird little feature no one cared about. Those were cool I just wanted to bring them up,,, I kinda miss them.

TLDR; I feel like there’s so much more they could do and improve with a Gates to Infinity remake, whereas there really isn’t many ways to handle an Explorers remake. But also I really don’t want them to remake another PMD game I just want new content please I’m starving here-

[where-theres-smoak-2]

Julie and the Phantoms Theory

Wow so I just binged watched julie and the phantoms on netflix and this show is amazing, like really really fantastic. It is aimed at a younger audience than most of the series I watch but it really doesn’t matter, I do think this is a show that any age group can enjoy. The music in it is so so good and I’ve been listening to the songs on replay non stop. Also have two new ships I am obsessed with Juke and Willex. If you haven’t seen the show it is defo one I would recommend. However despite watching the whole season I have soo many questions that need answering and well anyone who has read any of my posts ever know how much I love to over analyse and obsess/ theorise about tv shows. The rest I am going to put under the tag because of spoilers so if you want to hear some thoeries/ analysis then read on, but I should warn you I am going to be talking about the sensitive topics of death and bereavement so only do so if you feel comfortable. 

 So one of the biggest questions I have is regarding the deaths of Alex, Luke and Reggie. Now I know that they die from eating bad street hotdogs and I know alot of the reason why they die that way is for the comedy aspect of it. I mean one of the many things this show did really well was balancing the comedy aspects with the emotional aspects. I appreciate that as the audience we are suppose to just accept this somewhat wacky death and go with it but well thats just not me and I kept wondering what exactly was wrong with the hotdogs that it actually killed them. Some things about it just don’t add up and I hate not knowing the answers so here are some theories I have, some more outlandish than others. 

Theory 1- Food Posioning (Honestly this isn’t really a theory but lets just go with it)

My first thought when I first watched it is the most obvious one which is they got food poisoning. I mean the place they got the hotdogs from didn’t look the most sanitary. However here’s the part that doesn’t add up for me and that is how quickly they died. We know from Alex’s comment to Willy in episode 8 that they were two hours away from going on stage the night they died. This means they had to have started showing symptoms within those two hours before the show which lead to the ambulance being called. In the first episode Reggie says that after they floated out of the ambulance they went to a dark room. The part that caught my attention here is the line about the ambulance as this tells us that they died in the ambulance before they ever got to the hospital. Now I don’t know how far away the hotdog place was from The Orpheum but I’m assuming it was fairly close considering how important the show was to them, I personally wouldn’t go too far from the venue if I had a big show in just a couple of hours.  According to my google search the nearest hospital to The Orpheum is Diginity Health California Hospital Medical Center. This hospital is only 5 mins away from The Orpheum, obviously I know this time would be effected by traffic amongst other factors but the point is the time between ingesting the hotdogs and them dying was relatively short. Which makes it unlikely that they died from food posioning. Whilst food poisoning can kill its very rare and usually takes a lot longer than a few hours I mean ordinarily it takes days. So the likelihood that all three of them would have been killed by food posioning that quickly is actually slim to none.

Theory 2- It was Premeditated.  

My next theory is much much darker and definitely more out there. It also depends on how dark they plan to go with Bobby/Trevor’s character. But we know that Bobby stays behind and doesn’t go for hotdog’s claiming to be a vegetarian (which was a lie), he also seems to be pretty eager for the other three to go. Now in the scene it seems like the reason for this is so he can be alone to filrt with Rose but what if Bobby had more sinister plans what if he had some hand in the boys’ deaths and had actually posioned them or arranged for them to be poisoned. Maybe he always planned to steal Luke’s songs and take all the credit, fame and money for himself. When Julie looks up Sunset Curve on her phone you can get a glimpse at the article she reads. In the article it says ‘There was a surviving band member, Bobby, but no one has been able to track him down...’ This article seems to have been written about a week after the night they died which shows that Bobby went under the radar pretty quickly after his bandmates died. Now again this could be explained away as Bobby grieving and wanting to stay out of the spotlight as he worked through that and that him stealing the songs was a more opportunistic act than him premeditating his bandmates murders. 

Another possible variant of this theory is that it was still an orchestrated death but it wasn’t Bobby who wanted the boys dead but Caleb. During that opening scene they were still alive and we know normally lifers can’t see ghosts so for all we know Caleb could have seen them perform and had decided then that he wanted them as his house band, he didn’t want to wait for them to die so he took matters into his own hands. We assume that the first time Caleb hears about the band is from Willie but there was that scene from the first episode where he bumps into Alex and to me it almost seems like he recognises the group. Also I don’t think its a coincidence that he bumps into them right outside The Orpheum. It could be that he knew they would show up as ghosts at some point and figured they would go back to The Orpheum when they did and so would sometimes patrol that area just waiting for them. It could also explain why he’s willing to let Willie skate around the streets of LA maybe he was hoping Willie would do exactly would he did and bump into one of the boys whether Willie was aware of this plan is a whole other kettle of fish I feel like most likely he wouldn’t have because I feel like he would have told them Caleb had sent him to find them when he told them about the jolts. Point is the whole thing could have been one big elaborate plan of Caleb’s to get the band for himself, his obsession with the band could have been bigger than what we were shown in the first season. 

The last variant of this theory could be a mixture of the previous two. Maybe it was an elaborate plan made by Caleb but with the help of Bobby. Maybe Bobby made a deal with the devil so to speak and in exchange for fortune and fame he gave up his bandmates. Maybe he even gave up his own soul too but he gets to live out his dream life first. We know through Willy that Caleb has made deals with lifers that are part of the Hollywood Ghost Club so it wouldn’t be much of a stretch to think he could’ve made a deal with Bobby. 

To be honest I’m not completely sold on this theory purely because the show is aimed at a younger audience and although it does cover some mature themes around death and bereavement I think murder might be a little too dark for its target audience. But then on the other hand they did have that storyline of Caleb trying to destroy the boys with those jolts so maybe I’m wrong.

Theory 3- The Car Battery. 

Ok so this theory I think is the most likely out of them all. When you think about what we know about the boys death and the timeline its that 1) They ate hot dogs that tasted bad. 2) They obviously started to show worrying symptoms that lead to somebody calling an ambulance, these symptoms showed up in under two hours. 3) They died in the ambulance before getting to the hospital (which was approx 5 mins away). Also from the sound of it they all died around the same time, as in all of them were in the ambulance it wasn’t a case of one of them died at the scene, another in the ambulance and another in the hospital. Meaning the effect time was pretty consistent, we know that they all took the first bite at the same time. So keeping all that in mind lets look at the scene again. The first thing I want to point out is that when the boys get the hot dogs they don’t show us them actually being handed the hotdogs, when we see them they already have the hotdogs and they are at the condiments adding their pickles and sauces. This in my opinion tells us that the hazard did not occur during the cooking process but at this moment when they were getting the condiments. Also we see Alex talking about how he couldn’t wait to eat someplace where the condiments weren’t in the back of a car. This scene opens by showing us said condiments and also whilst Alex is talking focusing in on the car battery. Right after his comment about the condiments Alex goes up to the seller and apologises for getting pickle juice on his battery cables once again this draws attention to the battery and its close proximity to the food. The seller just laughs it off stating that maybe it will help with the rust. This seems like a throw away comment but it could actually be a big clue into what happened to the boys. This tells us that not only is the battery near the food but its rusting and in a bad condition and if its in a poor condition it could be leaking. Ok so why is this important to how the boys died? Well because car batteries have sulfuric acid in them. I said before that the whole food poisoning thing didn’t add up for me because generally speaking when things go wrong during the cooking process such as something being undercooked or unclean, it doesn’t tend to kill you and in the rare circumstances if it does it usually takes days to weeks; but the chances of surviving food posioning are very high. However if someone were to ingest sulfuric acid even a couple of drops could be fatal. For examble if there was any sulfuric acid in the bottom of the trunk it could have gotton onto the utensils they used or onto the bottom of the sauce bottles which could then have tranferred over to the food. 

Also sulfuric acid usually kills a person within a few hours and can start having an effect on the body pretty much immediately. The mortality rate of sulfuric acid poisoning is very high the survival rate is only around 35% which would make it much more likely that not only did they all die but that the all died around the same time after exposure. The reason why it can kill so quickly is because it can effect the airways. Also the comment the seller made about the rust could have another possible explanation because whilst a leaking battery could have contaminated the food, sulfuric acid can also be found in some anti rust treatments. So if the seller was trying to treat the rust on the battery without removing the condiments from the trunk then that too could have created an opportunity for the food to become contaminated with sulfuric acid. 

So yeah this is my best guess at how the boys died, they accidently ingested sulfuric acid that had contaminated the condiments that had been stored next to a rusted car battery. It’s tragic and more tragic than that is that although it can only take a few drops obviously the less posion a person ingests the more chance they have at surviving. We know that even though the first bite tasted weird they continued to eat the hotdogs but if they had stopped after that first bite they might have actually survived. Obviously I’m not an expert on any of this so I could be totally wrong but to me this is what makes the most sense. 

Anyway what theories do you guys have? Also what questions are you hoping to get answered if we get a season 2 (we better get a season 2 or I’m gonna be real mad)?