#this film has some of the most natural acting

[wangmiao]

An Incomplete History of Zhang Luyi & Chen Minghao's Friendship

Do you like Pangxie's chemistry in Tibetan Sea Flower? Do you feel that they are really old friends? Besides the fact that Zhang Luyi and Chen Minghao are very good actors, they are indeed old friends, and the earliest record that I can find of them working together dates back to 2006. However, CMH was in the 1996 class of acting at the The Central Academy of Drama, while ZLY was in the 1999 class of directing at the same university, so I figured they definitely got to know each other before 2006. So more or less, on Chinese social media, people usually assume that they've been friends for almost 20 years.

Before I dig into the history, I want to mention that some Pangxie scenes are actually improvised by ZLY and CMH on set. CHM has played Pangzi several times, and is insanely good at it, so he knows about Pangzi and the character dynamics inside out. While ZLY is new to the DMBJ universe, he did read all the DMBJ novels before the filming of Tibetan Sea Flower, so he has very insightful understanding of the characters and relationship dynamics as well.

For example, according to an interview of the director, this iconic & funny "拜年/new year's greeting" scene in episode 6 was improvised, and the director just decided to keep it in the final cut. In a BTS footage, Pangxie putting peanuts on Feng's very wrinkled test paper in episode 9 was also shown to be something that ZLY and CMH came up with during rehearsing.

The History

In the first paragraph, I mentioned that they went to the same undergraduate university. Another thing that connects them even more is that they went to the same graduate school - Peking University's School of Arts, and both have the master's degree in arts. ZLY fans sometimes just endearingly call CMH “师哥/shige" because of all of this.

In 2006, ZLY and CMH were in the stage play 琥珀/Amber. Here are some rare photos of 26-year old ZLY and 31 year old CMH LOL:

Both of them continued to do a lot of theatre works, some tv/film roles, and also attended grad school in the coming years. ZLY got his breakthrough leading role in 2014, and started to lead in shows/films.

In 2016, ZLY and South Korean actor Jang Hyuk starred in the drama 新海/New Sea, and CMH was seen sharing the following scene with ZLY. Unfortunately, due to China's ban on South Korean entertainment content in the same year, this drama will probably never see the light of day.

Then, I think some of you already know this, in late 2016, CMH directed the stage play Big D, and ZLY was his lead actor in this play. According to different news articles, the tickets of this play were sold out in either 5, 7, or 8 minutes (LOL no idea why there were such discrepancies, but they were sold out within 10 minutes for sure).

In 2018, they appeared in The Sound which is a very good variety show about dubbing. Celebrities were asked to dub domestic and international shows/films (sometimes in both Chinese and English) to show case their voice acting skills and language skills. What's really funny is that ZLY is one of the typical introverts who can be a clown when he's surrounded by people he's familiar with, but once you put him in an unfamiliar environment, he gets nervous and shy. So after he and CMH entered the room together, he just naturally and subconsciously stood right beside CMH, the one he was most comfortable with, even though he was supposed to team up with another actress (who was off screen). He got really confused for a minute when all the other guests and hosts were questioning why he didn't stand beside his teammate LOL.

Both ZLY and CMH are really very low key actors in c-ent, so you don't see them in public events a lot. The last time that they were spotted chatting in public was during the premiere of the movie Under the Light last September.

Anyways, thanks for reading! I hope this can bring some insight into their friendship. You can tell they are just so comfortable with each other, and shooting Tibetan Sea Flower seemed to be such a fun experience for them. I hope they get to work together again soon in the future!

[wordsmithie]

Mr. and Mrs. Bhamra vs. David Beckham

Bend it Like Beckham, directed by Gurinder Chadha

[mariocki]

Night of the Demons 2 (Night of the Demons: Angela's Revenge, 1994)

"What's the problem here?"

"Oh, the old sexorcist here thinks I stole his precious little ghoulie book."

"Yeah, so?"

"So what would I want with a book?"

"Good point. Perry, Kurt doesn't have your book. He can barely read a clock."

[letmetellyouaboutmyfeels]

The I feel like she sees me line being said to Eddie who is the person that truly sees Buck for all that he is. Are we supposed to take this line at face value which would indicate piss poor writing because they needed to rush to a horrible ending or do we take it as Buck being an unreliable narrator? What was the audience supposed to interpret from Buck saying that, were we truly supposed to believe him or we supposed to be pissed at Buck for saying this to the one person that truly sees Buck?

Good morning to me, I guess.

I'm assuming you haven't really seen people's reactions in the fandom on tumblr because I feel like I saw this said in quite a few posts going around, but you are absolutely not supposed to take this line at face value. I'm surprised that people think you should. 9-1-1 has from the beginning had a habit of turning friendships into romantic relationships (Bathena and Madney) and taking their time with these things rather than having an instalove situation. Even Karen and Hen, who meet when they're set up on a date together, don't instantly fall in love. I do not think they would set Eddie or Buck up for an endgame relationship with a woman by having them date that woman immediately, even if they didn't plan to make Buddie canon.

Buck is clearly struggling post-death. He's lost and once again looking for the answer from a romantic partner. He did a lot of growth in regards to his family relationships this season but not his romantic ones. Remember, his couch ended up destroyed and he asked his latest girlfriend to pick the new one out for him. Again. He's still not picking his own damn couch. After being unable to sleep on the one his mom gave him but passed out instantly on Eddie's where he ran to feel safe.

If people think this is all, somehow, an accident or the writers are doing this without knowing what they're doing, then I can't help you. Do you also think the symbolism I put into my fanfics are a total accident? Do you guys think I picked the name of the poem "Fuchsia Emerald Alizarin Rose" just because the colors are fun and they accidentally spell out F.E.A.R. or do you think maybe I did that absolutely 100% on purpose and was waiting for someone to realize?

Buck saying that to Eddie is 100% supposed to make the audience raise their eyebrows. Especially when we see Eddie's reaction. He's confused and he's hurt and he's annoyed. Eddie then spends his next few lines showing Buck (and us) that he sees Buck. Buck misses it, it goes right over his head, but the audience is shown that Buck is wrong and Eddie sees him.

I think there was a lot of internal stuff going on behind the scenes way high up the ladder that meant Buddie didn't happen this season. No, I don't mean that in a tinhatting way, I just mean that they knew Fox wouldn't renew them, they didn't know if they'd get picked up somewhere else, Fox hasn't promoted or cared about this show the way it has its other shows in a while, and I think it's pretty clear there was shuffling and changes going on with 6B. So I think things had to be put off. Similar to the pandemic, where I genuinely wonder what kind of season four we would've gotten if we'd had the full 18 episodes and hadn't had to work around Covid. I think that when we know there was a big shift going on behind the scenes, we need to have some grace and patience in how that will effect the story that's told on screen.

But I think that this default to "everything good we see on our screens is an accident and the writers are making shitty choices" is a horrible bad faith argument, and it's exhausting. Aren't you exhausted? I'm exhausted. Fandom shouldn't treat the writing and production team like their enemies any more than the writing and production team should treat the fans like their enemies in some kind of war they have to win (looking at you, GoT showrunners).

We are supposed to be annoyed that Buck is missing the point. We are supposed to see Buck's yearning to be a husband and a father, and how he's missing what's right in front of him. We are supposed to put two and two together and see that Eddie was hurt by Buck's words, that Eddie sees Buck, that Eddie is Buck's safe place, and that Eddie in that moment decided he might not have a chance with Buck and needs to move on, because previously we saw Eddie admit he wants romance again but he doesn't want to go out on dates, we saw his aunt say she met her husband through work, we saw him say 'we have time' and then we saw him immediately after Buck tells him about this new girl who "sees him" flee to visit his mother and then immediately actually try dating. On a meta level this is also because Eddie needs confidence in himself as a romantic partner and needs some more experience under his belt before he's ready to take the plunge with Buck, but in Eddie's mind, I think it's pretty clear he feels Buck will never want him back and he's trying to find the love he wants somewhere else, even if his heart is still Buck's.

So that's what I think. I think it's not explicitly spelled out for a few reasons, but frankly if one of them was a woman we wouldn't need it explicitly spelled out and personally I kinda like that it's not. Something that annoys me with M/F pairings is the constant "we all know you two like each other" talks from third parties that half the time aren't about the characters but are about the audience, to either tell the audience SEE THEY LIKE EACH OTHER THAT'S WHAT THIS IS ABOUT or to give the audience some fanservice while the characters aren't ready to get together. I don't need to be pandered to that way, thank you, so I'm a fan of the slightly more subtle approach that I, personally, see going on with Buddie.

If you or anyone else disagrees with me and feels it was just "piss poor writing" then that's entirely your right. I'd just appreciate it if people who feel that way would stop watching the show, and stop putting their complaints into the inboxes of people who clearly do enjoy the show.

TL;DR - You answered your own question, Buck is an unreliable narrator (and always has been) and we are supposed to be frustrated he said this to Eddie who has proven time and again (and does so in that very scene) that he sees Buck.

[murdrdocs]

80s pornstar logan; age gap; pornstar reader x pornstar logan; doggy; brat!reader MDNI 18+ w/ LOGAN HOWLETT

logan doesn't trust you.

he doesn't know you well enough for you to have gained his trust, but he refuses to get to know you. there's no point. in logan's eyes, there's no reason for you to get comfortable.

you won't be here for long.

he doesn't care how much the studio believes in you, he doesn't believe in you. how could he? you're so fucking green that he can smell it on you. only starred in a couple movies before this one, both nothing compared to the expansive record that he has.

gum-smacking, lip gloss shining under the sun, flowy shirts, and tiny shorts. compared to his cigars, fitted jeans, and plaid, the two of you are polar opposites. even though logan sees something in you. that same arrogance he had at your age. it just looks different on you.

you confront him first. standing beside his car in the studio parking lot, resting your hip on the door like it’s your vehicle. you’re blocking the entrance, lazily smacking your gum as you squint at him.

logan doesn’t say anything. he stands there, hands on his hips, his restless fingers tapping against the worn leather of his belt. he shamelessly lets his eyes rake down your body, taking in the natural shape of your tits through your loose shirt, the expanse of your legs barely covered by your tiny shorts. briefly, logan wonders if you’re shaved like some of the other younger girls he’s filmed with.

he finds himself wanting to find out.

he’s wearing his shades, the thin wire-framed ones with brown lenses. he knows they aren’t opaque, he knows you can see the path his eyes take, but he doesn’t care. he holds off a smile when you adjust your stance and scoff.

“what’s your problem with me?”

logan shrugs dismissively.

apparently, his nonchalance upsets you even more. he expects you to give him some speech about how rude he is, how you deserve to be here just as much as he does, how you earned your spot in this production. whatever your little brain can come up with.

but you give him none of that. you push off of logan's truck, step out of his way, and saunter off with a final call of, "see you on wednesday!".

logan lets his eyes linger on the switch in your hips and the shape of your ass.

his eyes find that same spot on wednesday, his view unobstructed now as your bare skin is illuminated underneath the studio lights. he's just staring and he can't stop. his eyes watching the way your skin ripples as he fucks you from behind, following the curve of your back, all the way up to the crown of your head which reaches for him.

he knows at some point he's supposed to grab the ponytail you have. the director wants him to mess it up as much as possible, providing a good contrast from how dolled up you were before. most of that has been done naturally. for some reason, everything with you seems natural. logan's been in the game for a while, he's had to fake scenes before. it's part of the job description, to act according to how the audience would want the sex to go. but with you, logan doesn't think he's been acting at all.

the energy buzzes around his entire body the entire time. he doesn't ever forget that you're both being filmed, it would be hard to, but he loses himself in it. he loses himself in the way you know just what to do. the way you angle your body perfectly according to the camera position, the way you speak to him, the way you're so visibly remembering every single direction you were giving before filming began.

your competence is hot.

by the time filming is over and a production assistant is handing you a warm towel and your robe, logan's fucking spent.

you're just there grinning, watching logan down an entire bottle of water in one go. when he comes up for air, you stand before him, keeping your eyes on his.

"i see why you're known for your stamina," is all you say to him before you turn away and disappear, possibly unaware of the semi that was brewing beneath the towel covering logan's hips. 

the next time logan sees you, it's through a headshot. sitting on the casting director's desk, amongst three others, all labeled with names and facing him. he stands there for a second, hands crossed over his chest as he scans every picture.

"we just need to know who you think would be good for the next job," the casting director reiterates, his words smooth as they wrap around logan's mind.

logan doesn’t know why he’s pretending, why he's taking so long to answer a question that he knows the answer to.

he slides your picture up higher than the rest and leaves it at that.

[asweetprologue]

The most interesting thing to me thus far about this whole goncharov thing is that Tumblr has collectively constructed some pretty convincing side characters for this movie. Katya leaps off the page as this frustrated woman caged by her lack of autonomy, Sofia coyly plays both sides and acts above it all when really she's desperate for the same freedom Katya is. Ice Pick Joe is a less developed character who nonetheless acts as a stand in for the inescapable nature of cycles of violence. andrey, loyal to a fault, gets pulled deeper and deeper into goncharov's orbit until there's no way for him to make it out alive

and yet with all that I have ZERO sense of who goncharov is supposed to be himself. i've see a lot of stuff suggesting that the film is theoretically about loss, including the loss of one's identity, shown primarily through the way goncharov becomes unrecognizable to himself by the time of his death at the end of the film (seeing himself in a fractured mirror is a common motif). it's very interesting to me that we have a fine time coming up with a group of collective blorbos based on mafia movie tropes, but somehow the main character feels unknowable, to the degree that we had to make that one of the core themes of the film.

[itadores]

note: actor!nanami plaguing me frfr

tags: fem!reader, actor!au (you and nanami both), nanami is the most perfectest gentleman ever <3

actor!nanami who is so beloved by his audience for how respectful and polite he is. he’s not uppity like some actors of his standing, nothing like those who have let the amount of fame they’ve accumulated over-inflate their ego and level of self-importance. he treats celebrities and normal everyday people alike with the respect they deserve. nanami believes the bar must be in hell for him to be praised for having some common decency, but alas he also knows how fickle people of fame and fortune can be.

but it’s not just nanami’s well-mannered nature that has people singing his praises. no, it’s the way he treats you — his co-star. fans were excited to learn of the two of you starring in a film together and became even more ecstatic when they learned you would be playing each other’s love interests. you and nanami are both incredible actors, well-known and well-loved, but have never starred in the same film before until now. it has people buzzing to know how you two will mesh with one another on screen and wondering how the chemistry between you guys will take shape.

since the film is soon to premiere in just a short while, you and nanami do a number of various interviews to promote it. fans promptly lose their minds when the interviews finally air. not only do you and nanami complement each other very well much to their utter delight, but nanami is such a gentleman in each and every interview with you. he’s always offering a hand to you and helping you in and out of your seat at the start and end of the interviews. wordlessly passing you the water bottle by your feet when it seems like you may be getting thirsty. redirecting any potentially rude questions posed to you while chastising the interviewer in the process. it makes fans swoon watching how nice he is with you.

but what really has fans going wild is the way nanami helps with any wardrobe malfunctions you may have. if the strap of your top happens to slip down, nanami gently pulls it back onto your shoulder to its original place. if you bend over or lean forward too much and your chest becomes overly exposed, nanami is reaching a hand across to help cover you up. or if your skirt rides up, threatening to reveal your undergarments to the camera, nanami is carefully tugging the edge of your skirt down. he does all of this without missing a beat when speaking, his movements practiced as if he’s more than accustomed to doing this.

it quite literally breaks the internet. edits and compilations of you and nanami flood social media immediately, and rumors abound about whether you two are together or not. i mean, they’ve never seen nanami act so comfortable with a co-star before! he seemed to be throughly enjoying himself throughout the interviews, even cracking a smile multiple times, which is so unlike him. fans are divided on whether your guys’ closeness is just to generate more interest in the film or whether the chemistry between you two is real. regardless, many are shipping the two of you together, a mash of your names trending across all social medias.

it makes you laugh.

if you had known you’d receive this kind of reaction, you would have starred in a film with your husband sooner.

[cosmicconversations]

Daydreaming and Neptune Aspects 🛏️

SUN-NEPTUNE ASPECTS: These are the kinds of people who want to escape themselves. They can spend a lot of time dreaming of being another person, possibly someone they really admire, like a celebrity or a particular role model. It is also common for them to “re-imagine” parts of themselves. They may fantasize about elements of their past or their life being very different than how it turned out. It’s no surprise that many of them have a deep love for acting, as they are really good at morphing into another “character” and hiding behind it.

MOON-NEPTUNE ASPECTS: Fantasy is like a comfort food for them, as they spent their childhood escaping into their daydreams. Their inner child has a hunger for fantastical experiences, which is why many of them feel a deep need to be an artist. Regardless of their life path, though, there is a very deep love of music or movies or video games within them (maybe all of the above) and they can get totally lost in these things for hours. It’s such a habit for them and comes so naturally and those who are close to them or live with them will attest to it.

MERCURY-NEPTUNE ASPECTS: Daydreaming is a state of mind for these individuals. Often times, they think more clearly when they are drifting off. Creatively, they can excel at any kind of writing, whether it is songwriting, poetry, screenwriting or prose (possibly more than one of these). Storytelling is easy for them when they can transport themselves and other people to another world. For some of them, their characters or these pieces of writing can allow them to communicate things that they would ordinarily struggle to say or put into words.

VENUS-NEPTUNE ASPECTS: Love becomes infused with fantasy and dreaminess for these individuals. Some of them can get so wrapped up in the daydream of someone that they are more in love with the fantasy of the situation than the reality. However, they have the potential to be a hopeless romantic with a pure belief in love. It keeps them holding out for “the one”. Romantic films and love songs intensely capture their heart and if they’re artists, they will be able to convey both the saddest and most beautiful aspects of love.

MARS-NEPTUNE ASPECTS: They have a very active fantasy life when it comes to sex. When they are alone, they go to all sorts of vivid imaginary places that get them off. Being comfortable in their sexuality requires them to be comfortable exploring and accepting all of these fantasies. Much of their sexual energy can be sublimated into art. They have the potential to be very visionary and churn out creative projects that beat the competition. If they put no limits on themselves and seek to blur the boundaries in creative expression, their otherworldly output will make a big impression.

[leclsrc]

in so deep ✴︎ cl16

genre: friends to lovers, charles has a huge crush and is a lovesick bloke, smut, humor, Fluff 

word count: 13.1k  

It takes you many cities, a botched Halloween costume and a failed break-in to realize how much Charles likes you. It takes Charles several years to realize he doesn’t need to do much to have you like him back. title from this

nsfw warnings under the cut!

18+ because... penetrative sex, praise central, size kink, unprotected sex

auds here… thank u for all ur love during my periods of being awol .... i wrote this over the course of a week and i hope u all like it!!! its very much a self indulgent thing... :P

The first time Charles realized he liked you, you were both posed for a picture.

It happened at a dinner party in London, in late autumn, thrown by you to celebrate your first year on the paddock as a reporter. Few friends had been invited but, with how noisy everyone was and with the ease of conversation, it felt like a houseful of people in your narrow dining area. Lando was in front of the mirror, tipsy, demonstrating his best rendition of an Irish accent to a genuinely interested Alex and Lily. 

Max was playing with your pet cat, Gene Kelly, and mentally plotting a heist to sneak him out with Pierre’s help. Your boyfriend, Liam, was making himself a cocktail. And Lewis had been roaming around with a glass of dry wine and his brand new film camera to document the night’s festivities—but the host was nowhere to be found. Unbeknownst to everyone, full off dinner and tipsy off cocktails, you’d ducked into the balcony to find where Charles had run off to for the night.

The music was muffled when you shut the door, leaving it ajar just a little bit. Lissie had played Cocteau Twins and was singing whatever gibberish lyrics played, fully drunk off a bottle of Tito’s. Still laughing over her predicament, you turned to Charles and refocused your attention on him. Is it boring?

What w… what is? He asked, turning to you. Briefly his eyes flitted to your hand, the bracelets clasped onto your wrist. He noticed you held matching bottles of beer but yours remained full, nail tapping idly on the semi-opaque glass.

My party, you responded wryly, cocking your head to the side. A loose tendril of hair fell over your eye and he itched to tuck it back in place, thumb over your ear. You continued, still pressing for an answer. You left to smoke but you didn’t come back. 

I like the view. A half-lie but truthful in some way. He squinted to try and make out blurry, faraway signage. I should move here. Monaco makes me sick. He tried to say it jokingly, but was betrayed by the raw tone of his voice. You hummed quietly, to signify you were listening.

So move. Who’s stopping you? You smiled slightly. Aside from your ludicrous career, of course. 

You had a natural disposition of—something. He didn’t quite know how to describe it, almost like the rest of him had yet to catch up with something only his heart was already decided on. You spoke and acted with some kind of smoothness that only the most popular kids in secondary school could have reins over, but you always claimed you weren’t very popular in your teenage years. He just knew he liked hearing you talk, watching you smile. He felt something—but he didn’t want to name it even if he knew exactly what it was. Instead he played into your joke. Yeah, I’ve been told I should move to Dubai instead, become a prince.

You laughed aloud. You are terribly unfunny, you know that?

Am I? He asked. Just then, as the cotton of his tee brushed against your bare shoulder, Liam brashly tugged the balcony door open to find you. He had this drunk smile on his face, brushing his blond hair out of the way and raising a Leica to the two of you.

Hey, I got Lewis’ camera. Smile, Liam had said, eyes squinted behind it. You remained still, half-turned to the camera, and Charles gave a smile whereas you remained in a neutral, half-smiling pose. And right there, at that very moment, as a giggle escaped your lips from having to pose so quickly and even awkwardly, Charles realized with a damning force that he had a massive crush on you.

Liam had left shortly after to resume taking pictures, but would later confront you over your “weird, odd, fucking closeness with the Monegasque bloke” that you would vehemently deny despite a gut-churning feeling boiling low in your stomach. But that’s later. Your conversation continued calmly, along the passive whir of London and the streets below. You both people-watched as you thought of things to say—finally Charles said, Are you interviewing me next weekend?

I always try to get out of it when it’s with you. You rolled your eyes, feigning irritance, then smiled to break the illusion. I think so.

I’ll make sure I have good answers. You’re too smart. Hurts to be in the same room. 

Like you aren’t, you said back, but the rebuttal is shy in nature, like he struck you with a compliment so high you couldn’t bear to return it. He felt then like this was the kind of moment where you would start holding hands any minute, timid touches between clinks of bottles. He remembered Liam existed and screwed his eyes shut. He wished so hard to be able to kiss you. Abandon all sense and just kiss you.

—

“It’s 2023 and still London has the most rubbish ass, fucking cunt, stupid wanker stoplights,” Lissie huffs beside you, checking her watch. “Right then. We’re going to be late. You know how Lando is when people are late. Especially because this is his event.”

“We’re not people to Lando,” you reason, tapping the steering wheel. The ETA on your navigation app tells you you’re still twenty minutes away. “We’re his best friends. If he can’t forgive us, we should kick him out of the group chat.”

“Ooh, and add Alex,” Lily pipes up from the backseat, where she’s redoing her eyeshadow to pass the time. “I keep telling you guys he’s funnier than Lando.” Both you and Lissie make faint, vague sounds of dissent and she grunts again, deflating.

“No boyfriends in the group chat,” Lissie repeats an age-old rule that’s been around for as long as you three (four, including Lando) have been friends. “Or girlfriends, in Lando’s case, but we haven’t worried about that much, have we?”

You’re all en route to watch Lando crank out a brand-new deejay set, one he’s spent the summer break working on. It’s all house and inspired by beach music, and he’s very proud of it, so of course you’re all showing up to laud him. You’re not the only ones, though, apparently—whoever’s in the city is showing up to show their support, which includes a whole stretch of drivers.

“Oh, my God!” Lily says all of a sudden, eyes wide at something on her phone; you both gesture for her to show you and she does with speed. “Do you guys remember this? God, Instagram archives are a godsend.”

“Your dinner party in Chelsea!” Lissie coos, immediately sidling into a fond awwww! You tap at the story Lily had then posted: a video of everybody eating. You tap again to view the one she posted a few days later, which was a collage of Lewis’ camera scans he’d gotten developed overnight. There in the upper right corner, you almost immediately spot your photo with Charles.

“Oh, Christ, that picture.” Memories of your subsequent arguments with Liam flash past your head. Playfully, all you say is, “And I never had a boyfriend again.”

“Liam was an Irish arse, anyway.” Lissie scoffs. “Nobody liked him. Lewis joked about cleaning his camera after he used it that night. Plus, you actively avoid dating, so don’t complain.”

“Fair,” you say with a slight smile. Your mind lingers on the picture, the imprint of it burned fresh into your mind. 

“You—it’s also because you can’t take a hint, babe.” Lily says matter-of-factly. “Who knows how many guys have, you know… fancied, or, like, had crushes on you, and you just never knew?”

“Are you saying somebody fancies me?” You ask, voice whittling out playfully as your eyes count down the seconds to the green light.

Funnily, silence is all that answers. Beside you, Lily and Lissie exchange a look—one that communicates their years-long amusement over your cluelessness. You whirl back to them, eyebrows raised, and double down: “Wait. Does somebody fancy me?”

“No!” Lily ekes out; you don’t miss Lissie’s poorly-hidden laugh. “No. I’m just—it’s just—no.” 

Truth is, it truly seems like the only person in the entire paddock (team and Sky Sports staff included) who hasn’t caught on to a certain somebody’s boyish crush is the crush herself, oblivious as ever, even years and years later. One might think you’d have realized eventually, but perhaps owed to your type A personality and immersion with work, and Charles’ pathetic and total inability to express how much he likes you, the crush has always remained just that, despite your two friend groups’ best efforts to hint at it.

It wasn’t to say, though, that you didn’t sometimes entertain the idea of liking him, too. On that one rainy race weekend when he’d brought you a plastic cup of soup, and embarrassed, laughed sheepishly at Lissie’s joking request for one; then returned twenty minutes later with soup for everyone in the media pen. Or that time in Monaco where he’d pretended to be your boyfriend at a bar to ward off a creepo from hitting on you any further. Or another time, in Budapest, when he’d drank half his body weight in jello shots and slurred out a goofy, heavy I’m soooo sorry, baby while you helped him into the passenger seat of his car.

That one, singular time in Cancun you told your friends once and never again.

But those are isolated incidents, you suppose; plus, dating someone you work with has never seemed like a remotely good idea to you, and you don’t think it ever will.

For all your thinking on the topic, you fail to realize that you don’t know much at all—you don’t know the fact that Charles has liked you for years, after getting to know just how charming and funny you were as a friend. You don’t know that he still gets gut-churning butterflies when he sees you, hands shaky and face tinged pink. You miss the fact that he’s not had any long-term partners in the years of his liking you. You don’t know anything. 

“Don’t lie.” You narrow your eyes as you rev the car and continue the trip. 

“We’re not,” Lily says loudly and a touch too defensively, crossing her fingers. Quietly, she continues, “You should just pay more attention.”

Whatever she meant to say is lost on you as soon as you make a left and spot the club Lando’s at, already teeming with high-profile guests and their high-profile cars. Half an hour later you’re in—valet and being on the guest list effectively cuts your entrance time in half. You separate at the entrance—you, to find Lando; your two girls, to find your reserved table. You find him eventually, busy behind the booth churning out high-frequency tropical music; he pauses for half a beat to flash a huge grin and a thumbs-up before redirecting his attention to the knobs and sliders you can’t seem to guess the functions of.

These kinds of parties are affairs in and of themselves. They mimic the afterparties during the season—nothing if not shows of opulence and networking: champagne paid for by business magnates, yachts that barely make dents in anybody’s wallets, thick CVs, fruity cocktails spilled on pieces of clothing that cost upward of 3000 pounds. You make eye contact with at least seven skeevy businessmen before you spot your friends, but only because you hear them first—by them you mean Lissie, her loud voice raised even more to match the noise at this club.

“I said I didn’t fu—ugh—I don’t want ye fahkin’ champagne,” she slurs out to an old man in a pressed suit, eyebrows knitted angrily. “Got it?!” Behind her, Lily and Alex (who’s arrived now, apparently) watch, concerned and helpless to stop her but equally (perhaps more) entertained.

You step closer and make a move to calm down the exchange taking place, but somebody whispers a “hey” in your ear and startles you. You turn, and come face to face with Charles. His black tee accentuates the breadth of his shoulders, which you connect to his crossed arms; there’s a shy, boyish grin playing on his face. “Oh, Charles!” You smile. “Hey! Haven’t seen you in a while.”

“Thanks,” he says with a grin, straining to raise his voice. “You look—you look well. Are you alone?”

“No, I’m—” You turn to your three friends nearby, and to Lissie’s argument heating up. “I actually have to go.” You raise your thumb, jabbing it toward them. “But hi again… again!” You both laugh, but he laughs much louder. “I’ll see you around.”

“I jus—” He says, and you stick around for a second to hear him say what he has to say.

“Yeah?”

He clears his throat and laughs stiffly, abandoning his previous statement in favor of a new one. “I just…. want… to have a great time.”

“Ohhhh,” you holler, nodding, clearly trying to mask your extreme confusion under a polite smile. “Okay, well… go ahead!”

You smooth down your dress and laugh again, evidently more forced but, unfortunately for Charles, not any less pretty.

You carry yourself in a very pretty, graceful way, loud and quiet at the same time, like your confident voice when you’re holding the mic and asking questions or making drivers laugh. He might sound creepy, though, a touch too observant, if he tells you so. He observes you instead, for a second, the low cut of your dress and the way the red overhead light shines on your exposed collarbones—and then you’re leaving. He watches you walk over to hug Lily, realizes how stupid he’s sounded, and smothers a hand over his face, humiliated. 

—

“I just want to have a great time?” Max’s jaw drops and he shakes his head, disappointed above all else. “Charles, what the actual. Like…. fuck?” They’re all camped out at the latter’s hotel room, around the dining table, in varying states of sober and doing different things to wear off the last hour of the night before they’re all due to train or debrief again in the morning. Charles had relayed the disaster of the night to everyone at some point, but Max is the last to hear of it; this, unfortunately, does not inoculate him from the shock and secondhand embarrassment.

“Pierre told me to—” Charles starts, forlorn.

“Oi, no. I told you to say something like I just wish… I’d seen you sooner,” interjects the Frenchman with a tut. “You know, flirting? Not… whatever the fuck you said.”

“I didn’t—I was—I lost my mind,” he groans, burying his head in his hands. It couldn’t possibly be entirely his fault when you looked so pretty tonight, hair down and a wash of glitter on your eyelids. Just subtle little flecks of them. They brought out your eyes, too. And your blush, the pink flush of it that sat high on your cheekbones.

“…llo? Charles.” He blinks and sees Carlos’ deep eyes, wide and staring right at him, so pointedly he’s genuinely startled.

“Jeeesus fucking Christ. What?” He places a melodramatic hand over his chest. “Yeah?”

“What do you mean with the”—Carlos mimics his confused expression—“I asked you a question, tonto.” 

“Don’t bother with him,” chimes in Pierre, half-distracted by his phone. He looks up with a devious smile and continues. “He’s still thinking of Miss Reporter of the Year.” A round of loud, jovial laughter makes its way across the table, a few teasing quips being chimed in here and there.

“I just,” mocks Pierre from across the table, adopting a sing-songy tone as he bumps his shoulder to Carlos’ with a mocking laugh. “Wanna have a great time.” His voice is much higher and more mocking, which is enough to send Charles into a fit of petulant embarrassment.

“This isn’t sixth year,” he grits out quietly, but the blush on his face could just as well be plastered on the cheeks of a twelve-year-old. “Give it a rest.” 

“Mate.” Pierre’s voice mellows into something more austere. “You do know she’s leaving the reporters’ job at the end of the season? She’s going to London full-time. No more seeing her all year round. You know this. And I keep telling you. If you are really, and I mean really, interested, I say go for it. C’est la fucking vie, yeah?”

“Plus, if she says no, you can go for pretty much anyone else, anyway,” concludes Max with a convinced smile.

“It’s not the same,” he admits helplessly, smothering his hands over his face in bleak frustration. Behind his eyelids he sees you still, beautiful and smiling and funny—he seriously needs to institutionalise himself before he goes even more mad with the years-long malady he’s called a crush. And seriously, for a twenty-something to have something he calls a crush is despicable in itself. He feels juvenile.

“I can’t tell her. She’s always told people that dating coworkers is a bad idea.”

“You’re not coworkers.”

“We’re—well, we still work closely together. It is the same.” He groans. “It’s just… I’ve said it before. If I admit I like her, things will become awkward. I’d rather we remain friends.”

“Well… see, nobody said you needed to tell her,” begins Pierre schemingly, eyebrows raising. Around them, everybody groans at the birth of another Pierre-brained scheme that will, no doubt, need the enlistment of everyone’s help and will likely end in disaster. “What?! I’m just offering… I’m just saying, mate—you’ve liked her since forever. Why not make a move?”

“—I can’t—”

“Without telling her?” 

“Pierre,” groans Carlos, ever the voice of reason, pinching the bridge of his nose. “I don’t—whatever this is you’re planning, it’s going to go to shit. I swear.”

“You are acting like I plan to take somebody hostage.” Pierre shrugs. “You know, girls like when you don’t tell them straight up. You have to show you like them. You know, be interested in the things they’re interested in, compliment them, make them laugh. And then they think, oh, how thoughtful, oh, how adorable, and before you know it, they like you. And you’ve got yourself a girlfriend.”

“Mmm. Uh-uh. Untrue.” Max says decisively, shaking his head. “I told Kelly I liked her.”

“Yeah, sí. I told Isa I liked her, too.”

“Will you two—just—” Pierre gesticulates and makes a funny noise that insinuates just go with it. “Okay?” he points out to the latter, rolling his eyes. He turns back to Charles with a ready, dazzling, so-French-it’s-scary grin and continues. “I suggest you let us be your wingmen and help you charm her.”

“Whoa, whoa, wh—us? You’re on your own here,” Max quips with a laugh. “It’s your stupid idea.”

“It’s not stupid, and it’s going to work. She probably likes you already.” His confidence carries the lie with gusto. “We just need—you just need to show her instead of saying the dumbest shit to her face.” Pierre leans back into his chair and shrugs matter-of-factly. “Max and I will be regular wingmen, but we have a secret weapon.”

“Don’t—” Carlos starts with a sigh.

“Yes. Lando, Lily, and Lissie are all close to her, eh? Well, perfect—Carlos will get information from Lando about things she likes, you gift her those things or talk to her about them, bam she’s in love. It’s literally a perfect plan.”

Maybe it’s worth it. Maybe—

“No.” Charles shakes his head firmly, setting the record straight. “This will not work. Who’s to say she even needs a boyfriend?”

—

Despite what his best and closest friends—on and off the paddock—might have you believe, Charles hasn’t always been so hopeless when it came to trying to catch your heart. His closest call came in Cancun, after a long weekend of racing and a flight to the area, early into the night where he thought he was the only one who decided to opt out of partying.

Your skin’s peeling. You turned from where you sat on a barstool observing the shore, startled, immediately relaxing when you found him standing there eyeing you. Your hair was still damp, crunchy with saltwater, and your skin had tanned considerably, a sunburn sitting on the bridge of your nose. You stuck your tongue out.

I spent the whole day swimming. He observed your bikini, yellow and green contrasting the colour of your skin. He blinked slowly, ordering himself a drink to hopefully pass the thoughts away. His eyes couldn’t stop, though, wandering, the translucent material of the scarf you’d tied loosely around your hips, the tinge of heat on your shoulders and nose. I’m burnt everywhere.

There are remedies for that. He smiled around his glass.

I’m aware, you said lightly, crossing your legs and sliding your finger along the salt rim of yours. But just in case I forgot, maybe you could refresh my memory.

Your voice was so sweet, so low, so tempting. Already he knew he was wrapped around your finger, the same finger picking up grains of salt to press on your tongue peeking between your smiling lips. You brought your glass to your lips. It had been some time since the dinner in London so he pressed, his voice deep and a little rough, Liam can do that for you, I’m sure.

Pity, you said meekly as you set your glass down and looked back at him. He’s not my boyfriend anymore.

Out of eyeline, the bartender’s eyes widened at the exchange he was overhearing. 

Is it a pity? He asked, leaning backwards and cocking his head to the side. It’s easy, an easy glide of conversation, flirt, something he’s wanted for a while now. To have you playing into him, and have himself playing into you, just like this. It was naturally easy in a foreign city where nobody knew who either of you were, where you were just two strangers flirting at a beachside bar.

Two strangers laughing while they dug their toes into the sand. Two strangers basking in the water, tinted orange by the sun dipping below the horizon, scarf untied in favor of one last swim before night fell. There was nothing keeping either of you from doing whatever you wanted. Nothing keeping Charles from finally acting on the attraction that honest to God crushed him.

You ended up leaning on the door of your hotel room, keycard fiddled in-between your sandy fingers. You combed a hand through your hair and offered a shy smile. So. 

So, he replied, leaning closer. So.

Sooo. You were laughing and your breath smelled like a mint leaf and vodka. You looked up at him, blinking slowly. I have a rule.

What rule is that?

I don’t date coworkers. He wanted to dip down, place a hand on the dip of your waist, and kiss you.

Pity, he said gruffly instead, a smile forming on his face.

Is it a pity? You chewed on your lip and looked at his barely parted ones, pink and pretty. When I’m about to break it? He was about to help you do just that—eyes fluttered shut already—when a crash resounded from down the hall and you both turned to find the culprit. You broke apart and with your separation, whatever atmosphere of tension you’d built up popped, too, leaving you awkwardly standing beside each other.

Oh m… Lissie? You asked, leaning closer as you recognized your friend more and more. You narrowed your eyes, watching the girl crawl her way through the carpeted floor. Oh, Jesus—let’s—get you—

You both hauled her up and wrapped either arm around your shoulders, unlocking her hotel room with great effort and tossing her onto the bed. You stood back and sighed at her half-blacked out state, slightly amused but ultimately relieved she ended her night unscathed.

She pried one eye open and sleepily, she groaned out, what were… you two… doing together outside your room?

Nothing, you said quickly, face warm and eyes wide.

Because you—Lissie raised a lazy finger in your direction—don’t date coworkers. 

I wasn’t—it wasn’t—goodnight, you spluttered, eyes refusing to meet Charles’ even as you both exited the room, paying him quiet thanks as he pulled the door back closed.

Sorry, you said, pretty as ever. The light shone on the red splotch on your nose. Goodnight.

And so he went to his room that night, bummed out and still high off your scent.

—

“You’re staring again.”

“I’m not,” he lies through his teeth, averting his eyes away from your figure by the shore. Sue him if he was staring (which he wasn’t… but most definitely was) but he finds you much too pretty. After the disaster that was the Mexican GP, he figures he could use some sort of stress reliever. Apparently he was not alone in thinking this, considering half the paddock hauled ass to Cancun and prompty partied.

Across Charles, Joris and Pierre share a knowing look that doesn’t go unnoticed.

“I said I’m not!”

“So you are not staring at her blue swimsuit then?” Joris tests, mouth twisted into a devious smirk. “It’s black,” Charles says matter-of-factly before catching sight of his friends’ smug expressions and realizing he’s implicated himself. He rolls his eyes and crosses his arms, petulantly almost. “And I wasn’t. Can you fucking—fuck off?”

“Just ask her out already,” Pierre groans, nodding when Joris chimes in with agreement of his own. “I seriously can-not handle another bar of this shit. It’s been years.”

“I don’t know how to,” he laments. “It’s going to be awkward if I do it all formal, and she’s going—she’ll laugh at me, and it’s…” He blows a raspberry. “Non. Pointless.”

“Just kiss her at the party,” reasons Joris with an easy attitude, shrugging. 

“Joris! Charles didn’t know about that,” Pierre says, trying to lower his volume, but it’s pointless since they’re barely a metre apart. “Fucking tattletale.”

“Party?!” Charles repeats, eyes wide. “Why don’t I know about a party?!”

“It’s a Halloween party,” Joris says, a wacky grin on his face. “And you said it yourself, didn’t ‘cha? You told us not to tell you if any functions were happening because you’re too tired to go to any. Too… too wrapped up racing.” He laughs. “Or something of the sort.”

“Well the season’s ending,” he huffs, wringing firm fingers over his face, his shut eyes, “and I still fucking haven’t… so I think I’m afforded a party.”

“Alright, then come to the party! Dress code, Halloween. Sexy Halloween.” Pierre wiggles his eyebrows. “You know, speaking of our plan, Carlos overheard Lissie and Lily talking about what your girl’s costume is going to be.” He leans in closer and laces his fingers together. “She’s going as a… Christina.”

“Christina?” The other two echo, confused. 

“Christina. I did some digging, and I think it’s this.” Pierre scrolls and dicks around on his phone for a minute before turning it back around to Joris and Charles, who peek with great interest. They seem to be looking at an outdated movie poster of—

“Cas-per the friendly ghost,” Charles reads aloud, trying to get his accent to dissipate. “Huh. What the fuck is that?”

“It’s a movie, idiot.” Pierre shuts his phone off. “Starring who? Christina Ricci.”

“Vraiment? You think his crush is going to show up wearing… a white gown?” Joris asks, his mind stuck on the outfit he’d seen just seconds ago. “This doesn’t make sense.”

“Well Carlos and I agreed, so. Two to two. And Carlos says she and her friends always wear silly costumes like these. So if she shows up as Christina, what better way to start conversation than to dress up as Casper?”

Charles’ eyes widen with comical horror. “No. No, no, no. Did the ghost and the kid fuck?”

“No!” The two men across him yell in unison.

“Right!” He gesticulates. “So it’s not a couples’ costume!”

“But it’s still—” Pierre pauses. “It still matches. Trust me on this one, mate.” He smiles. “We even brought the supplies.”

—

The party is a hit as soon as Charles and his group enter. The former finds refuge at the table, unwilling to socialize. Pierre roams for a bit and ends up finding you almost immediately—you’re wearing low-waisted pants, a strappy top, and you sport alternating streaks of blond and black in your hair.

“Hey!” He calls, jogging up to you. “I heard you were coming as a Christina. Guess who I am?”

You rake a hand through the streaks in your hair and smile. “Not just any Christina. The artist. Xtina? You know?” You twirl a bit, the dark material of your strappy pants swishing as you go, as if the movement will help Pierre deduce the costume’s identity. “Whatever. You’ll get it. Lando is—we’re matching tonight, but I g—it wouldn’t make any more sense if you don’t understand it.” You sigh a bit and gesture vaguely to the crowd behind you, referring to the Eminem-dressed Lando, who you guess is currently caught in the thick of.

“Xtina?” Iks-tina, he repeats, clearly confused. “I remember hearing… somebody saying you were going as a… a Christina.”

“Chris-tina, Xtina, yeah. Christina Aguilera.” You smile, fingers pinching at the material of your belt. “Anyway—where is everyone? I’ve only seen Daniel’s costume and then yours.” The recent memory of Danny’s neon orange traffic cone costume bumping into everybody flashes in your mind.

“Save yourself,” he huffs, smoothing calloused hands over the denim of his jeans. “Zhou and Esteban came as Bella and Jacob, Max as a Tifosi. Anyway”—he points to his ensemble—“guess yet?”

Your mental images of each cited costume are cut short. “Aha! You’re, um. Yes! You’re Ken from the Barbie movie,” you crack finally, remembering the revealing denim vest and jeans combo from the film you’d watched four times over in theaters a few months ago. “Wow, even your briefs say Ken. Very accurate. Minus the non-bleached hair.”

He tuts and shrugs. “I’m no Alex. What’d he come as?”

“He and Lily matched—Sonny and Cher.”

“Let me guess,” Pierre starts, and already you’re nodding because you can tell he’s going to predict exactly how the night has turned out, “Alex is Cher?”

“Wig and sequined dress and all.” You nod, laughing and squinting; Alex’s tall figure, head clad in a long, fringey, black wig, stands out above the rest. “Oh, I did see Carlos at the bar. Ricky Martin?”

Pierre really laughs at that, a loud, distinctly French guffaw involuntarily forced past his lip glossed mouth. “What the fuck, mate! Ricky Martin?! He’s El Profesor from La Casa de Papel. You know, Money Heist? Bella ciao? Oh, my God, he’s going to fucking freak if he hears—heard you said that.”

“He seriously gave off Ricky Martin vibes,” you defend in-between laughs of your own. “So that’s everyone? Oh—oh. Charles! What did… I never saw him! He kept telling me how excited he was for his costume, too…” Just a few hours ago, at that—a boisterous voice honing into the your voicemail inbox, boasting about a costume while you prepped for the party with Lissie and Lily. Your eyes peruse the room, but the lighting is too dark and vague for you to make out anything you haven’t already seen.

“Oh. Charles?” Pierre’s voice lilts higher. “Um. Yeaaah. Um.”

You, however, are sufficiently distracted by your own search for him, and you fail to notice Pierre’s clear scrambling attempt to stall you. He takes a long swig of beer and clears his throat. “He’s just, well, around. I should actually—excuse me, I need to actually go look for him. I owe him a drink.”

“Oh? Oh, okay. Well—be careful?”

You’re a bit surprised by his sudden, jolted departure, but bid him a rushed goodbye anyway. He waves back vaguely, his eyebrows furrowed into an expression of worry as he shoves his way back into the crowd and toward the area littered with tables. It’s only then that Lissie surfaces from the crowd, scratching absently at her nose as she crashes into you with a floaty giggle.

“Lis, you’re all sticky.” You place two palms flat against her shoulders and push her off. “Are you high?” 

“Yes but not drunk.” She giggles again, eyes fluttering.

“Oh—that’s not. Whatever, I guess.” You exhale and cross your arms over your chest. “Who’ve you been with?” She listens, plays with the braid in her hair, matching her getup as Lara Croft. 

“Um, the deejay. I gave him my number, but he’s actually pretty fucking weird. Come on, I want to pee.” As always, her speech quickens to something inhuman, an effect elicited by alcohol; giving you essentially zero time to react, she loops a hand around yours and drags you with ferocity to the nearest restroom. She moves so aggressively through the thickly-packed crowd you barely have time to react or say hi to people you’re acquainted with en route.

You whiz by the door, and in the rush, you notice Pierre entering the one adjacent with a worried expression etched onto his face. Just minutes ago you’d been conversing—you wonder why he’s suddenly become privy to worries.

“So the deejay,” says Lissie, effectively distracting you for the time being. You hum to signify you’re listening, fixing bits of your outfit in the mirror as she kicks different stalls open to judge their cleanliness. “One, he was dressed up as James Bond. Which is just about the most fucking pretentious thing ever. Two, all he played was Chainsmokers. You’re telling me this pub—club—whatever—in Mexico could only afford to commission this guy? Three, he was”—she kicks the last door open and a gasp escapes her and morphs into a semi-shriek—“a ghost?!”

“Ghosted you? Already?” Your eyes, focused previously on re-lining your lips, flits to Lissie’s in the reflection. She’s distracted, staring at the contents of a stall with comically wide eyes. “What’s up? S’that a fucking glory hole or something?”

“No!” She yells when you approach, immediately lunging forward to pull it shut. “No. It’s—I saw a roach. Serves us for going to a fucking… pub. Don’t go in there, it’s…” She exhales a long breath. “It was a mama roach and… with eggs.”

“What are you talking about?” This isn’t even a pub, it’s a nightclub—one with a door fee that definitely did not warrant rogue cockroaches in the water closet. “Lis, you’re drunk-hallucinating.” You’re not even sure if that’s a thing, but you shove past her and push the stall door open again, ready to come face-to-face with, maybe, a sleeping Tinkerbell or a puking black cat. Worst case scenario, shit on the floor; worst-er case scenario, Lissie is right and you’ve stepped into a den of roaches.

Weirdest case scenario, though, if that’s an actual thing: Charles Leclerc seated on the closed toilet seat, face painted white, wearing an all-white ensemble of a large white shirt, shorts, high socks, and sneakers. He’s got two hands on either side of the wall, as if he’d been preparing to escape; how or to where, you’re clueless. Why he’s here, you’re even more stumped.

His entire face is a stark white, with black smudges of face paint on his forehead (eyebrows, you’re guessing); his hair’s been curled by the humid air at this club, and he looks like himself in all the ways he totally does not, eyes big and caught when yours click onto them. 

Despite confusion, you chalk it up, as one would rationally do at a party, to intoxication. You spend a few bated breaths staring at him staring at you, his face of pure shock and embarrassment enough to sober up a drunk for a few days. “Hi.” You can hear yourself say it, but you’re so caught off-guard and full of confusion it feels alien.

“Hey,” he says, wiping four fingers over his stubborn face paint with a smile. The smile and the paint barely fade. “I’m a ghost.”

“I see. Classic.” You pause. “I’m Chr… nevermind. Um—are you okay?”

“A bit, uh—a tad bit drunk. I seem to be in the ladies’ room.”

“Yeah, you seem to be,” you recite back to him, amusement quickly overtaking confusion. “I think Pierre was looking for you. Let me go get him. Lis, make sure he doesn’t…” You gesture a puking movement, and the pair watch and listen to your shoes click against the tile, before the door swings open and then shut again.

“Coast is clear.” Lissie’s voice has been lowered to a conspiratorial whisper. “I reckon everyone you know is already looking for you?”

“This is a disaster.” He rubs frantically at the face paint, but it’s horribly futile. “You know, I didn’t even realize I was in the ladies’ room until you two came in. She cannot see me like this.”

“She already fucking has, mate.” Lissie sounds exasperated. “Whose idea was this? If you say Pierre I swe—”

“—Pierre—”

“—ar to Jesus fucking Christ, Charles—I can’t keep saving you from Pierre’s antics.” She grumbles out a sigh. “What are you supposed to be, even? Have you—did you see how hot she looks? This is like… you look like a… I can’t—” She lets herself taper off, so disbelievingly shocked at his odd costume.

“I’m Casper the Ghost!” Lissie mentally forms a crude picture of the kid ghost, which looks absolutely nothing like what’s in front of her. “Casper was opposite Christina Ricci. Pierre told me so.”

“That’s the dumbest analogy ever, holy Christ. You look like a poster child for some…” She regards him for a moment. “Anemia advert.”

“Take that back.”

“You don’t really have the upper hand here, Charles,” says Lissie with a grimace. “I’m texting Pierre. Are you—did you even get drunk?”

“No,” he woes. “I am totally sober. I had to lie. Pierre went to the table and told me that my—that the costume we planned—it was wrong, and I just—I ran to the bathroom.” Lissie can’t help but laugh at the story, raising her camera to record the incriminating evidence.

Mid-video, Charles’ white face droops and his painted lips part to ask: “You think she found me cute?”

—

Charles likes finding things about you. He supposes the first time he realized just how much he liked hearing you talk about yourself—which you rarely did—happened in São Paulo. He’d been stressing over a spiel to recite in front of a camera, rewriting over words for hours to make everything sound more natural.

Each margin had been hastily written on with pencil, run-on sentences with semicolons in the place of periods. The team scriptwriter didn’t do much to make his lines sound more natural and less like they’d just been spat out of an online translator. You peeked into the media pen and coughed. You don’t belong here, do you?

Tch, he clicked his tongue, turning to offer a smile. I’m working on a script for Sunday. Portugese stuff.

I can help, you responded, walking slowly over toward him. You smiled quietly, approaching slowly like you were waiting for him to greenlight your offer. He did so by pulling a chair out for you, and once you sat you traced a nail over each line, murmuring them under your breath.

You speak Portugese?

You looked up and gave a half-shrug, laughing like you were amused with yourself. Kind of. It’s not very good, but it’s enough. You resumed your editing and he felt content to stare, admire, watch every movement of your lips align with the syllables of the words. You asked for a pencil and began writing something much cleaner. He couldn’t help but let himself be in awe of your intelligence.

You read over the last few lines and turned to face him. Let me guess, you said. You want to make a pun on Ferrari before you say bye.

Ah, he laughs. Yeah.

See, I know you so well, you half-joked, scrawling idle edits on the margins of his script.

He was already looking at you when you turned back to him, seeking his response, agreement, anything. When your eyes met, something caught at your chest—it tugged, tugged, then tugged again, a dull feeling burrowed deep in you. Words failed to wrench themselves free, but once they did, all you could manage was a faint—What?

Nothing. He smiled and shook his head, like he was waiting for you to figure it out. You know… sometimes, I wish I met you sooner. He does. He wishes he knew you back then, when you first learned Portugese. Or when you were in high school, so you could see just how exponentially awkward he was in his own teenage years. He thinks sometimes that he’s lost too much time, met and liked you too late.

Hm, you breathed out, because you didn't know what else to. I know why—so you could always have me. As a proofreader. Right?

Hah. The tilt of his laugh was high and mocking, and he stuck his tongue out, as if to punctuate that. He looked away then, like he wasn’t ready to say certain things to your face just yet. Quietly he added, Always have you… something like that.

—

If you ask Charles what he’s doing hiding in a laundry basket of a luxury hotel in São Paulo, he wouldn’t be able to answer you, either. It’s been some time since the disaster that was Caspergate Cancun 2023, and if he’s perfectly honest, he doesn’t feel like facing you again for the rest of his life. Pierre, of course, has other plans. 

All he knows is last night, Pierre suggested he leave a huge vase of roses for you to arrive to in the living room of your hotel; as he planted it in said room, the door’s lock turned, and he sought a hiding place in the adjacent bedroom. Judging by the prevalent scent of Dior Sauvage, this is Lando Norris’ room.

Did u get to escape??? Pierre’s text irritates him. At the same time, the light flips on; Charles curls in on himself, remaining perfectly still. Lando’s voice trills through the room. “I didn’t leave those roses for either of you,” he’s saying to you and Lissie.

Charles hears you hum. “They’re so beautiful.” His heart swells. “I gotta run for a sec, pick up something from Will’s room.” A few seconds pass and the door opens and shuts, which means Charles is currently alone with Lando and Lissie. Which means he needs to plot his escape as soon as he can. Otherwise he’ll be caught in the crossfire and much too embarrassed to—

A foot meets his concealed body and he lets out an oof! as he’s sent flying out of the hamper, along with strewn-around clothes. He keeps his eyes screwed shut, scared shitless and in a fetal position; he only unfurls when a socked foot kicks at his ass. Above him are Lando and Lissie, both extremely confused. 

“How did you know I was…?!” He asks, aghast.

“My fucking laundry was breathing, mate, s’not that hard to leave alone,” Lando retorts sharply. “What are you doing?!”

“I left roses for her,” he explains fruitlessly, gesturing to the vase outside. “But you came in, and this was the closest hiding place. I was told this would be a great gesture.”

“Right. Where did you even get that advice?” Lando tries to suppress the critical tone in his voice, but judging by Charles’ embarrassed grimace, he’s failed. Beside him, Lissie makes a hm? noise, goading Charles to answer quicker.

“I got it from.” Charles pauses. “A friend,” he ekes out vaguely.

“No shit. Who?”

“Um—” Charles’ eyes are shut. “Pierre.”

In unison, Lissie and Lando both release incredulous gasps, throwing their hands up in the air. Lissie points at the mess of clothes in the corner of the room to emphasize her point and asks loudly, with comical cynicism: “This seemed like proper romantic advice to you?”

“Scratch that. Pierre’s words seemed like proper romantic advice to you? His girlfriend is—!” Lando places a flat palm a few inches off the floor and shakes it a few times to insinuate Kika’s age, his disbelieving expression growing funnier by the second. “Mate!” His voice cracks mid-syllable, though even this mishap seems to be the least crazy thing about tonight.

Charles, burning with humiliation, releases a shaky sigh. “I know! I know!”

“You don’t know!” They shout simultaneously in response, disappointed if anything. Just then the door opens again and your two best friends hurry to throw assorted pieces of laundry on the lying Charles, exiting to make sure you don’t suspect anything. 

“Hey,” you say slowly, because they’re both posed the exact same. “Am I… missing something?”

“A shower, girl,” Lando says, and you flip him off before retreating into your room.

Belatedly you ask, “Did you find out who sent those flowers?”

“Some loser, probably,” he calls right back. Charles emerges to poke him accusatorily, but Lando just shrugs. Charles definitely does not have the upper hand here, anyway. 

“Just get out,” Lissie says, completely done with Charles’ antics. “And stop. Listening. To Pierre.” 

He rinses the odor of laundry off him once he’s at his room, but thinks, despite himself, that you called the flowers beautiful.

—

Are you—

—no. I’m not. You wiped a hand over your face and caught mascara along with it. I’m fine, it’s fine.

What he said, it wasn’t…

I said, you turned to face him, eyes rimmed and mouth trembling. You didn’t finish your sentence, just tore the microphone off your lapel and buried your face in your hands. There was always going to be a first time. Your first time insulted on a live feed, after the Abu Dhabi weekend, was not any less shocking. You felt small. You felt humiliated.

You didn’t want to show Charles any of it. You moved around the green room, picking up shit to throw into your bag. Thank God the season was fucking over, you kept thinking. I feel so, you said, still failing to finish anything you started to say. You’d been called an annoying bitch by a fan of one of the drivers—to your face, as you exited the paddock.

He moved nearer. Charles, you said, a half-sob, and then you were allowing him to crash, allowing him to hug you. Your arms were weak when they wrapped back around him, linking softly in the small of his back. You sobbed hard into his chest until his grey tee was dark with tears. I want out, I just want out.

You’ll lord your career over that prick when you’ve made a million dollars doing this, he said. You do it too well to want out. You’re too smart. You’re too good. You cried harder, your face hurt and every word felt wrestled unintentionally, like it took too much work to say much at all. I’m sorry, you said. You should go. 

No, he said. He held you closer. Not until you feel better.

—

He cries after Abu Dhabi. Bad season, everyone’s said. You snap a few smiling pictures with Max, who wins, and Lily and Lissie and the lot of them, the people who made the year so great. You notice an absence in all the pictures and you find it in a room in the Ferrari motorhome.

You’ve found you both find solace in words. In reassurance. But you’ve also found that your connection enables you both to reassure without having to say anything at all. You sit beside him, lean your head on his shaky shoulder, and wait.

“I was waiting for you to come,” he admits brokenly. “I was just not feeling good.”

“I know,” you respond. “It was a bad race. Shit strat.”

He’s quiet. His breaths are ragged and wet and shaky. “Will you stay? Until I feel better?”

You don’t move. “I’ll stay for longer.”

—

In the kitchen Charles unscrews himself a beer. The sky outside is pink and the sun hides behind faraway mountains, gradually darkening the entire atmosphere, save for the few woolly clouds. He’s by the patio door so he can spot people in the wide yard: Pierre, exchanging a Frisbee with Lando. Max, Alex, and Lissie engaged in an intense match of Uno.

They’re all gathered here in Spain at Carlos’ behest to celebrate the dawn of winter, and the end of the season, Max’s third championship.

He’s yet to spot you—he’d been told earlier you’d be late—but it doesn’t matter. He’s been feeling uncharacteristically himself all day anyway. He wrote that on his notebook this morning, on the flight here, verbatim. Looked up the word to spell it right and everything. He remembers you saying it, that time in London where you and Lando took him around and annihilated Borough Market before lounging on the grassy knoll of a nearby park. I feel so uncharacteristically happy, you’d joked. The syllables were too stunted and too fast for Charles to nail it. But he feels it now. Uncharacteristic.

He tells everyone he’s fine, though, and does a good job of it. Three beers in and he’s beginning to trick himself into thinking he actually is doing fine. Nobody suspects he’s been feeling empty from such a bad finish to the season—the season that was already bad in itself. He hasn’t been feeling his usual drive, his usual appetite. He doesn’t know when it will return.

“Here you are.” Carlos has this goofy smile on his face when he bounds into the kitchen, depositing empty dishes at the sink. “Listen, I have to tell you something.”

Charles and Carlos have always shared an easy dynamic—they’ve both always wanted the same thing. Racing has always been at the forefront of their minds. It makes conversation passionate, easy, fun; it was what helped build their now-natural rapport in the first place. “Yeah?” He prods, leaning against the counter and tipping fizz into his mouth.

“I invited everyone here to announce… something important.” Carlos crosses his arms. “But I wanted you to be the first to know.”

“Me?” Charles knits his eyebrows and smiles. “Wow.” He gulps, cocks his head. “What is it, then? Are you switching teams?”

Carlos’ goofy smile grows. “Isa and I are engaged. I’m retiring next year.”

“You—you’re—” Charles laughs and shuts his eyes all at once. “Oh, my God, mate! Congratulations!” The overload of information isn’t lost on him, but he channels it all into a hug. “Are you really retiring, though? I mean. Wow, this is amazing news—but—”

“I was sure as soon as I asked,” Carlos says squarely, smiling as if he’s conjured an image of Isa’s smiling face (which is likely the case). “As soon as she said yes. As soon as I bought the ring!” He laughs aloud, so overwhelmed with happiness of recalling everything. “I’m so glad you were the first person I told.”

“Besides Lando,” Charles says, because he knows it’s true.

“Besides Lando.” Carlos smiles. “I’m… dios, I’m happy. I always knew I’d have something to look forward to after racing.” They hug again, and then he clambers past Charles and into the patio, where he resumes the façade of being unengaged and still a driver. Left behind, Charles thinks over it himself. What does he have to look forward to after racing? All his life, racing is all that ever existed to him. 

The announcement comes eventually—when it’s dark out, intermittent stars white and twinkly against the black above. Charles has once again turned into a blushy mess because you arrived a few hours prior, wearing a lovely dress and with your hair down in messy waves and you said hi to him earlier without him approaching first. They present a stupid, but very Carlos-and-Isa ring-shaped cake to announce it, and somebody queues up music and everyone’s cheering. Of course everyone’s cheering—it’d be impossible for this announcement to not come with bouts of yelling and cheering and goodbyes to Carlos, who accepts them with glee and—dare he say—excitement.

Charles remembers their first year as teammates, the jokes they’d made about needing to beat the other out. For both of them, he recalls, it’s only ever been the drive to race. He didn’t think Carlos would even entertain the idea of retiring yet. He wonders when he will. The thought of it alone is enough to send a well of anxiety run deep into him—which happens after he congratulates the couple, so he excuses himself to the empty outdoors area to get fresh air back into him.

He didn’t mean it, but he finds you already there. “Hi,” you say when he slides the door shut. “You okay?”

“Just… yeah, I’m fine.” You smell faintly like smoke. “It’s crazy, huh. Everyone’s… moving on.”

“So Carlos told everyone, then,” you say, pursing your lips and waiting for his response. He closes his eyes and lets a soft exhale escape him, warm air out and fresh air in, a welcome change from the heady atmosphere in the party. “I knew. I bought that God awful cake. I kept saying get a normal one but they both wanted it to be shaped like a ring.” You punctuate your sentence with a crisp laugh, a stunted exhale of air to break the tension.

You have a natural sway over words, graceful and beautiful and commanding, something he only wishes he could be. For so long he’d been told the feedback loop of one and the same thing: you’re good. You’re the best. You’re going to be the next big thing. And this season had just… aggravated every single insecurity he’s picked up in his years of racing. He wishes sometimes he’d been told something else: you suck. You’re normal. You’re irrelevant. Then at least he wouldn’t exist in some odd panopticon of feeling on top of the world and yet looking at it from the bottom of a pitch black abyss.

“Yeah,” he says instead, wringing his hands. He mimics the wrist movements he’s made to do during gym hours. “It’s wild how—I mean, not really wild, but. I just can’t… even picture my life after racing.”

“You’re young, that’s warranted,” you laugh. “You’re also… I mean, even if you drop out of racing tonight, it’s not like you’re going to become dirt poor or anything. You could become a bloody orthodontist and people will still love you.”

“Will they?”

He didn’t mean to say it aloud but out it comes, garbled and rushed and he’s a bit embarrassed for sounding like a child in front of somebody he finds so beautiful. The silence is suspended and dry, and for a minute all he hears and feels is the slow rise and fall of his chest. To somehow mend the vulnerability, he tries again. “It’s not—I just think I’ll be lonely if I decide to stop racing.”

The fact that Carlos can say with so much ease that he’s willing to drop his career to ensure his pending marriage lasts is almost terrifying, because Charles knows he wants that. He knows—he’s always known—that he wants that intimacy, that realness, but for it to come at the cost of something he’s known for so long is so scary it’s almost a dealbreaker.

“Lonely?” You echo, voice tinged with concern. “Charles—”

“Lonely.”

He says it with an edge to his voice, so final, so steadfast. Loneliness is what he’s always feared and he knows, with a deep drawling punch to his gut, that loneliness is what will come if he decides to stop racing. Even if he’s tired. Even if he’s so pent up with frustration and loss and anger. Racing is all he’s ever known, it’s all he is—when he’s not tied to it, who is he? “Like no one… like I’m just standing in front of what I’m supposed to be, and when people see me, that’s all they see—what’s behind me. Right through me.”

“Well, you’re off racing right now,” you respond, trodding carefully. “So, well. Do you feel that way?”

He knows what you mean: it’s winter break, so he’s not driving or doing some form of it every single day. And he knows in turn what to answer: no, not really, he doesn’t really feel detached from it because there’s a low anticipation in his belly that tells him he’ll be doing it all again soon. But he chooses to interpret it differently; differently, but not falsely.

“I th… I don’t feel lonely,” he says, “when I talk to you. You see me.” 

Your stomach drops and your heart begins to pulse a mile a minute, knuckles tightening where they’ve gripped onto the wooden post of the patio. You can feel the air in your lungs pass through every divot of your body as it escapes and arrives in long, shaky breaths. He’s looking at you, his eyebrows knitted like he wants—needs an answer, if you’d be kind enough to please give him one. 

“I…” You bite your lip, every thought in your head at odds with the other.

Time feels like rubber, like it’s been stretched and manipulated and Carlos is ducking out to announce that it’s time to blow out candles on the stupid ring-shaped cake and you’ve taken too long to respond and your body feels too heavy but your heart feels too light and your eyes are blinking, open and shut and open again, and you feel like the wind could honestly blow you away now because Charles has given you a neutral nod and left you alone again, to contemplate the weight of what he’s finally, finally admitted, tonight here under the sky of Spain.

You move a hand over your hair, watch him walk away. The words lodge themselves in your throat, but they’re there.

—

One minute after  you realized you liked Charles, you swallowed the feelings until they were barely decipherable.

In happened in Dublin, at a pub on St. Paddy’s Day, when you’d emerged fresh out of a breakup with the most arseholic Irishman you’d ever had the displeasure of meeting. And funnily enough, it happened without Charles’ presence. You’d spent the day at Liam’s, hours of fighting over so many things—the growth of your career and the decimation of his, where your relationship had soured, why you never came to visit him, Charles, the sodding bloke you like so much—until finally, you took your things and left.

Wise, because you might’ve honestly gone insane if you stayed a minute longer, attuning your ears to the deafening feedback loop of his voice. Also decidedly unwise, because you had a piece of luggage and barely any battery, in a full city of people you didn’t know at all.

There was no chance Liam would let you return, and no chance you wanted to, for that matter—the fact still stood, though, that you needed to kill the night before your flight to France left at 6AM. You entered the first pub you heard, deposited your bag at the coat check for an extra couple of euros, and accepted the first pint thrust into your hand and first leprechaun hat plopped atop your head.

In between watching people compare how they poured Guinness pints, Sinead O’Connor songs, and exchanging headdresses with a random stranger, you found yourself impressingly drunk. The Irish did it too well.

A university student stumbled past your stool, tears in her eyes; she stopped to steal a shot of whiskey lying unattended on the bar. You looped a hand around her wrist and stared at her menacingly. Manners?!

Fuck manners, she said wetly, wrenching every word out with great effort. Nobody paid either of you any attention. I just caught my best friend and boyfriend kissing. Her accent was unmistakably Irish and was stronger with the tears.

Oh, you said, loosening your threatening grip. Sorry.

Don’t be. I’m sorry I could ever be so stupid, she said, aghast, before finally stalking outside the pub. Half an hour later, you wound up at a table of thirty-somethings, all belting along to a folky sounding song.

Drunkenly you slurred out, I thought it was a stereotype.

What was, love? One of them paused her singing, dipping down to listen to you properly. Your cheek was smushed against the varnished wood, moving with every syllable you eked out.

The songs. You sound like… you belong in the 19th century.

She laughed at that, surfacing and yelling something to the band onstage you couldn’t quite decipher. The song reached its peak, loud and getting the whole crowd singing along, before fading into a familiar opening. S’this better? She asked, her voice slightly raised above the guitar.

You looked up. I liked the other one too, to be fair. M’not a fucking anti-Irish.

Nobody said that, love. Come sing. She hauled you upward, exaggerating her arm swinging in the air so you’d follow suit, which you did. You hummed the opening, eyes fluttering open and closed. You imagined opening them again and finding Charles across the room, already looking, with the same charming, boyish smile on his face that came to you as comfort.

You thought back to the dinner in London, the feeling of his shirt against your shoulder, the way he’d gotten you so easy and laughing and babbly, something you never got with Liam. You squeezed your eyes shut and exhaled raggedly. Fuck.

Linger’ll do that to you, your companion mused. Around you, the entire pub sang along to the song that served as the backdrop to your all-encompassing romantic epiphany. Missing a lover, huh?

No, just… You opened your eyes, watched the band sing out the rest of the prechorus before they slid into the next verse. A new kind of air had crept over the pub, one that exemplified just how much this song could mean to anyone, no matter who. You shut them again and saw Charles. The green of his eyes, mossy on some days and bright on others. The moles on his face. The grooves of his hand, the way it wrapped around things like pens, mics, bottles, your fingers. His voice, how he curved around words. He always knew exactly what you meant even if it took you ages to get to the point, even if you felt like you didn’t know what you meant exactly. 

You opened your eyes. Suddenly fights with Liam didn’t matter. Whatever little sympathy you had left evaporated as you listened to the lyrics and realized, with a damning force, that you were thinking of Charles. And this was not weak, this was not vague, this was a strong thing that took you off your feet like a gust of wind, hurtling you out of the pub. You thought of every time your eyes met his, both of you already laughing at something else present. Every time he saw you at the end of a busy work day and asked if you were doing alright.

Just this guy, I suppose. His name’s… yeah. We’ve been friends for ages. He’s really very talented. Very kind. Your voice was drowned out by the music but you didn’t intend for anything to be heard, anyway. And he’s the smartest person I’ve ever met. He always knows what to say. He’s not in Dublin tonight, not even in Ireland, for God’s sake. 

He’s your boyfriend, then?

You closed them slowly. No. T’wouldn’t be very smart to date him.

Is he an arse?

No either. It’s just too late.

I’m sorry, love.

Don’t be, you mused, eyes still shut as Linger came to a close. I’m sorry I could ever be so stupid.

—

Charles should be in Monaco. You should be in London. But at four-thirty PM, leaning against the counter of a tiny café in Dublin, you cross paths for the first time in weeks, and everything tilts on its axis.

He notices you first, because he hears you thank the barista quietly. It’s not your reporter voice, not the one you put one when you’re interviewing him or his teammate or his fellow athletes. But it’s your real one, and it’s the one he thinks he could hear through a snowstorm.

A tuxedo-clad man exits and suddenly you’re there. You’re wearing a white top, low neck and thin straps covered by a cardigan. You’re sliding coins into the pocket of your jeans and he watches your hand freeze, drags his eyes back up to you, finds you’re already looking.

You look beautiful, he thinks. You put on a lot of makeup for the cameras, and you looked gorgeous, but seeing you like this—caught, almost, in a moment you didn’t expect to see him—you look unbelievably beautiful. He aches with it. 

“You look well,” he says first when he opens the café door for you. “What’s your business in Ireland?”

“Acquainting myself with my new coworker.” You wait for him to follow and squint when the sun hits your eye. “We’ve been here three weeks, fly back to London next Monday. You?”

“It does seem weird for me to be here,” he observes absently. “I needed a change of pace, I think. Gear up for the season.” He shakes his half-full cup of coffee. “Where are you staying?”

“Just up ahead.” A slow silence overcomes you both. “Come over. I have beer. I know you can’t be fucked to have coffee.” He laughs and nods, following you through the road and up into a flat—a BNB, if he’s guessing. There’s a tiny landing and then stairs to a wider living area, where you proceed to unwrap the croissant you’d gotten a few minutes earlier. You chuck it into the fridge and produce two bottles of beer in one go.

“Sit,” you gesture to the spot beside you, and he sits himself there. “We can talk. We should.”

You’ve shrugged your cardigan off, and he observes every detail of your exposed skin, the way your hair layers atop it. Right as he opens his mouth to respond, a blond girl enters, rings of mascara caking her eyes and a wine glass twiddled in-between thumbs. She’s talking her head off and only pauses when she spots Charles.

“Hhhh…iiii.”

“Salut.” 

“You’re Charles?” She notices how close the two of you are seated together.

“Yes,” he says. 

“Charles, this is Robyn—my coworker’s friend. And by extension my friend.” You pat her knee and point to Charles to get them properly introduced. “She leeches off the apartment.” 

“You love me,” she retorts, mockingly—but sweetly. “Anyway, sorry to intrude. I was just on the phone with my situationship.” She rolls her eyes. “Does he think I give two shits about goodnight texts? It feels impossible to be romantically satisfied these days.”

Charles grunts. “I hear that,” he says, just to make Robyn feel less excluded. You get up then, to fuck around at the kitchen sink—he suspects you’re not actually doing chores—but you come back with wet hands and you sit yourself across Charles, on the loveseat, instead of next to him. 

“The thing is, right,” she gulps wine, “there’s such a thing with dating now,” Robyn says, not missing a beat, her Geordie accent curving round the syllables with a distinctive twang. She stares at the opaque red liquid in her glass, like that will supplement her with more words. “Like a deal. A big deal. Everyone’s making this huge thing out of it, and it’s like, can’t we be in our twenties and fuck around occasionally?” She laughs, a high-pitched, tapered noise.

You shift from where you’re seated, buried into the material of the seat. It’s quiet and beginning to touch awkward, so you speak in a rough voice: “I dunno, I kind of… get it.”

“Oh do you, now,” she responds, voice saturated with wine. “No, it’s—I was joking. Of course you would, you’re absolutely fucking gorgeous, is all.”

Suddenly you feel all too seen and inclined to touch a fingertip to your cheek, feather light. You blink so you won’t feel tempted to meet Charles’ eyes, because you feel them on you. “It’s—thank you, I mean. It’s nothing to do with that. I just always feel it’s impossible to find someone who loves you. I feel like I’m not very lovable.”

“You? You’re bloody fucking likable!” Robyn’s laugh is so disbelieving you find yourself semi-convinced. “You’re a bit intimidating, yeah, but you’re lovable as fuck, babe.”

You double down anyway, voice thin. “Right. I don’t think I’m very good at being… affectionate.”

“Hah. Bull. You’re affectionate with… with Charles! I’ve heard you talk about him to Jane.”

She turns to Charles before you have the chance to defend yourself. To him she asks: “Is she affectionate with you?”

But it’s basically rhetorical. Everyone speculates, sees the way you two bend the line between friendship and romance, the care with which you treat Charles, the way you two understand each other in ways impossible for anyone else in your orbit. Fuck if it’s not overtly physical. Robyn’s known you three weeks and has never even met Charles until seven minutes ago and already she’s sensed the energy, the difference, even if she hasn’t seen you do so much as embrace.

“It’s—” You say and say too quickly. You wind up slowing your speech so you don’t sound too defiant and lean backwards, willing yourself to relax. “It’s… different with Charles.”

“Different?” She repeats, miming every dip and rise of your voice. “Why?”

“We’re close.” You refuse to meet his eyes. “Be—because we’re good friends. I feel… things are… just. They’re different. That’s all, really.” Barely satisfied with the answer you eked out, you cross your arms over your torso like it’ll help shield you from the interrogation going on. Briefly you let your eyes fall on Charles; he’s reclined, eyes all over the place, blinking in quick flashes.

“But you admit it, at least?” She smiles. “That you’re affectionate, I mean.”

“Only with…” you taper off, unwanting to dig yourself a deeper hole. “Right. Sure, yeah.”

“Well then,” she says, eyebrows raising as she dows the rest of her glass. She sets it down on the low wooden table with a clink. “I’ll get going. Don’t let me keep you two from shagging or whatever.”

“We don’t f—shag,” you interrupt, voice sharp. “And you’re not keeping us at all. Me, at all.”

Us sounds so exclusive, you realize as it leaves your lips. Us. It tastes like sour cherries on your tongue, bleeds all over. Robyn gives you a look. In response, you insist on seeing her out, leaving Charles at the sofa, elbows on his knees, hands toying with the neck of the beer bottle. He can make out faint words but he doesn’t try translating or deciphering them, just listens to your muffled voice peek through every few words. You sound amused, also accused, also endeared—a bit irritated. You end it with a laugh.

You clamber back in after a few minutes and find him at the top of the stairs.

“Sorry,” you wave off, rolling your eyes to fend Robyn’s earlier interrogation efforts of. “She’s very strong-willed.” You climb the stairs, your striped linen shorts folding with every movement of your legs. Finally you make it to the top, on the second-to-the-last stair, staring up at him.

“You know,” he says, watching you ascend to the top finally, but you’re still staring upward. “You should know.”

“Should know what?”

“I missed you.”

You inhale and are grateful to find the air is all him. “I missed you, too.”

“In a different way.”

“Me, too,” you echo again, voice quiet. “I missed you. It feels like I’ve missed you all my life.”

He can hear your still, controlled breathing. “Thank you for seeing me. Even when, you know, it’s… hard. You know what I mean.”

“I do,” you say. “It’s never difficult, not…” With you.

He leans down and captures your mouth in his then, like it’s a thirst he’s always needed quenched. You allow it, kiss him back like you’ve needed this your entire life. His lips are chapped, but you don’t mind—Dublin’s cold. He kisses like he’s smiling, like he’s happy, and you think maybe that’s not far off. He moves downward, to your jaw; lower, along the column of your throat, around your collarbones, cornering you against the wall, letting you lean against it.

Charles’ kisses are light and soft, but also heavy, like he’s trying to waste as little time as possible. You sigh, feeling light, feeling ecstatic. He puts two hands on either side of your face, presses your foreheads together, and shuts his eyes. 

You feel the divots of his fingers on your hip, your waist, places he’s never touched before. “I’m sorry I left,” you breathe into him. “Back in Spain. In Madrid. I wanted to think about it. About what you said. About everything, about you.”

“I’m glad I found you here, then.”

You tiptoe to kiss him again, because now that you’ve had it once you’re terrified you won’t have it again. In-between kisses he picks you up, cages you fully against the wall, and you breathe shaky little exhales. It builds up quicker and harder; you feel his cock at your hip and shiver, eyelashes fluttering. “Upstairs,” you say breathlessly.

He likes knowing you want this, because he’ll give you whatever you want. He’d fuck you for hours. Have you shaking, eking out moans of his name. He’d whisper praise up and down your ear. He wants this just as much, if not more.

“I want you, so much,” you exhale when he lies you both down on your bed. “So much.”

He tugs your shorts off, then your panties. He doesn’t usually lack self-restraint, but he thinks he’s never felt this much temptation in his life. He’s so hard. He brings one hand to his thigh and squeezes his dick through his pants, but it doesn’t provide him with any kind of relief. You’re needy already, whimpering, mind dizzy. He slides a finger up your slit and watches you screw your eyes shut.

Slowly he sinks in, watches you accustom to the stretch. “Wanted this,” you breathe out.

He thrusts in further, feels your warm cunt stretch around him, feels your breaths get hotter and quicker against his lips. But he takes it nice and slow, so he can feel every little ridge inside of you as you take all of him. “You like it?”

You nod, too dumbed down to speak. “Good girl. Pretty, pretty girl.”

He’s wanted this for so long, fucking you deep and slow and desperate. He thrusts harder, watches you unravel and your hot breaths pick up in pace. He reaches down, smears wetness around your clit as your thighs begin to shake. Your pretty, flushed face is enough to send him into overdrive, your eyes rolling back as he goads you into orgasm.

You’re still cumming around him when he takes a shaky breath, pulls you tightly back against him, and lets the pleasure take over. He fucks you full, rides his orgasm out while you ride yours out—buries his dick all the way inside, so each spurt fills your contracting pussy up.

He pulls out and collapses beside you, pressing his lips to your shoulder before lying on his back. “I’ll clean you up in a minute.” It’s quiet for a second, just you two breathing.

Then: “I did, I did think about it,” you say, voice reedy. “I thought about you.”

“Yeah?” He watches you blink at the ceiling, lets you clasp your hands onto his.

“About me, too.” You open your eyes and stare into the green.

“D’you want this?”

“Believe me,” you say, threading your fingers into his tightly. Your hair’s fussed from the sex. “I do. But—”

His heart drops.

“I don’t want to… I want you to not…” You sigh. “You know, I like seeing you. I like being that. I like knowing I make you feel good. And I want you to know you… you make me feel amazing. Like you and I… we understand each other.” You pause. “Sometimes I feel like you’re the only person who understands every inch of me.”

“Ditto,” he says, and you smile.

“I look up to you, you know? I don’t want you to anchor yourself onto me. I want you to realize that on your own. You’re smart. You’re a great driver with a shitty fucking team I hated reporting on last season.” He laughs shakily. “You know I look up to you. You know… you know I love you.”

“I do. I love you.”

“I always have. It wasn’t… it didn’t always make itself clear, but I always have. And I know I always will.” You smile. “We’ll be in different cities, in separate timezones, but if we survived the years of not telling each other how bloody fucking much we liked each other, this is nothing. When we’ve sorted ourselves out, we’ll know the right time to finally call this what it is.”

He’s never thought of himself as a writer, but his notebooks might beg to differ. Many times you’ve told him yourself that he has an affinity for describing things, especially when he lets go of language as a limitation. He wonders what you’d say if you knew the amount of times he’s tried to write about you. Careful letters or typefaces, in an effort to form a coherent picture of you, the way he sees you, the way he loves you. But he’s so scared he tears the pages off before they get too intimate, too personal, crossing the border from having a crush on you to being in love with you.

For once he’s not. He nods. It’s bittersweet, but it’s a segue to a better ending. He moves a hand over your hair and holds you close.

“You could never be unlovable,” he says, pressing a kiss to your forehead because finally, he can. “I mean it.”

[pal1cam]

About Handala ; the artistic descendant of Naji Al-Ali

Yesterday, the 22nd of July, was the anniversary of Naji Al-Ali’s assassination.

Naji, born in 1936 in the village of Al-Shajarah in Palestine was expelled from his home in 1948, he always had a love for art, and that love was what led him to draw one of the most well known and popular symbols of the Palestinian cause as a whole… Handala

i strongly urge you to please go and read more about him as a person and about the sort of messages that he tried to send and pass down through his art pieces, i also recommend watching this film about his life story which was full of sorrow but also resilience. (this film is also on my list of most recommended films on Palestine & Palestinians figures).

to commemorate his memory, i would like to use this post as a means of sharing with you some of my personal favorite pieces of art…

i would also love to leave you with a personal translation of the formal introduction of the character Handala, that was written by Naji himself, as well as some of what Naji has said when first introducing the character…

Naji Al-Ali on Handala and his backstory :

“Handala was born at the age of ten and will always remain ten years old, because at that age he left Palestine and when he returns back to Palestine he’ll still be ten and then he’ll start aging,

because the rules of nature don’t apply to him because he’s an exception, just like losing your homeland is also an exception.”

Naji Al-Ali goes to explain why Handala has crossed his hands behind his back and says : “i made him cross his hands after the war in October 1973 because the region (the middle east) was undergoing a complete process of adapting and normalization, and right then and there, the act of making Handala cross his hands was a symbol or him refusing to participate in any American settlement solutions in the area, because he’s a rebel, and not a normalizer.”

and when Naji Al-Ali was asked about when will we see Handala’s face, he replied : “When the Arab dignity stops being threatened, and when the Arab person takes back his feeling of freedom and his own humanity”

Handala speaks for himself (written by Naji, as a way of letting the character introduce itself) :

“Dear reader, allow me to present myself to you.

My name : Handala, my dad’s name isn’t of any important , my mom is called Nakba and my little sister’s name is Fatima…

My shoe size : i don’t know because i'm always barefoot…

Birthdate : i was born June 5th 1967

My Nationality : I’m not Palestinian, not Jordanian, not Kuwaiti, not Lebanese, not Egyptian, I'm no one…

in conclusion, i have no real identity and i don’t plan on taking any citizenship, i'm just an Arab person and that is it..”

“i accidentally met the artist Naji, he hates his art because he can’t draw… and he explained to me the reason as to why,

He said it's because whenever he wants to draw about a country, the embassy protests, news and censorships start to warn him…

He said “everyone suddenly became perfect, became an angel… which is good, but in this case i'm planning on taking on another career because there’s nothing i can draw about”

i told him “you’re a coward and you’re running away from the real battle”.

…i was harsh on him, but after i consulted him, i introduced myself to him as a an Arab person who speaks all the languages and dialects of all the people in the whole entire world and i told him that i am ready to draw his caricature artworks instead of him doing it, and i made sure that he understood that i don’t fear anyone but fear God, and whoever will be upset from these drawings, can be upset all he wants.

and i told him (Naji, the artist) about the people who think about fancy cars and about what they’ll cook for lunch today, more than they think about Palestine…

and my dear reader, I'm sorry for my long speech, and please don’t think that I said all this just to fill up the empty space… and on behalf of myself and my artist friend Naji, I thank you for listening to me…

and that’s it..”

Signature : Handala

[xxsugarbonesxx]

retired!Miguel rambling

🩷 I love domestic Miguel he is my everything

i guess this is head canons??? idk i just wrote what i thought felt right lol

mostly fluff, some smut, no gender is specified for reader,

though it doesn't go into depth, pregnancy and pregnancy sex is mentioned so read at your own risk 🩷

MINORS DO NAWT INTERACT!!!!

Miguel is naturally warm, his skin is so soft and warm. He smells like firewood and citrus, trust. In the winter you’ll lounge over his body like a seal on a rock in the sun. In the summer, you drag the kiddie pool from the back and fill it up. Dipping your feet in the cold water while you two watch the kiddos and dogs play in the sprinklers. 

He makes chunky babies. If you have the ability to get pregnant, most people will assume you’re having twins ‘cause how big your tummy is once you’re with child. But you just got one chubby little babe in there, and then they’re born with a whole head of their papa’s coffee colored curls. 

Piggy backing off the previous: once he gets out of his office in the Spider Society, leaving the Spider Man role behind, he’ll gain some weight. He’ll get that daddy pooch/dad bod going down, his pubes thick and curly. A whole forest is growing under his pudgy tummy. He doesn’t think shaving is that important once he’s settled down and has his kids but is willing to shave if that’s what you prefer. 

He did do the thing where he shaved his face completely to show the baby when they were around five months old. Popping out from behind the corner to show the babe his clean shaven face with you filming it. It all ended with all three of you crying and snuggling with the baby once they started sobbing and screeching since all they’re tiny life they’ve seen their daddy with a neat, salt and peppery beard.

And if you CAN’T get pregnant, (whether you’re amab or infertile) bro will be going at it with you like an ANIMAL. He’s got fat breeder balls, full of hot, sticky cum to pump into your needy hole. Once he’s cum, he’ll give one last thrust, nice and deep into your gummy walls. Plugging his semen deep inside you, keeping it there. After care in this instance is nonexistent, since he falls asleep on top of you, still deep in your guts.

He just likes touching you, if you’re alone in the car, waiting at the red light. His palm travels up and down your thigh absentmindedly as his eyes bore into the stop light. (He wears those glasses that turn into sunglasses when he goes outside, argue with the wall) Maybe he’ll get brave enough or the light still hasn’t changed for awhile, his hand will dip under your shirt, his thumb pad playing with your soft nipple until it hardens.

As long as you’re alone, he’ll have his hands on you. Six times out of ten it leads to actual sex.

I don’t think of him as a god in bed really, he’s just a guy. He’s gonna do what he thinks you and him are gonna like (what you want will always be top priority for him I know it) Acting on lizard brain, he’s gonna do what he’s gonna do without much thought beforehand. He couldn’t edge you to save his life, if you’re whining or crying, he’s just gonna let you cum, he just can’t say no to you. :(

Foreplay is always important to him though, mainly just because I want him to rub my back, I think he’d go for the whole massage thing. Spending a good amount of time rubbing and massaging your shoulders, back and cunny/cock. His hand is so big, he’d be able to grip the space between your thighs with one hand no issue. Rubbing back and forth until you cum from his hands alone. He likes to have you cum at least once before he’s actually inside you. He’s a gentleman after all. :))) His favorite positions are full nelson, side fucking, doggy style (I will die on the hill he’s more of an ass then a titties man I don’t care!!!) and face sitting.

If you can get pregnant, pregnant sex is even more tender and loving. Usually taking brakes to pepper your body and face with little kisses. 

@cupcakeinat0r wrote a tasty yummy fic about growing old with Miguel, and I’ve had that stuck in my brain since then. Around his forties, Miguel’s really mellowed out. He’s not as a perfectionist or cold and irritable as he used to be. Having kids has helped him calm more, having a more relaxed approach to problems now. Then his quick to anger, slow to calm back down personality when he was acting as spider man. Getting married and having kids has helped him realize that he doesn’t have to be the tough guy in the room. Though his kids are just as stubborn as him now. 

I love the domestic potential of Retired!Miguel, you two having a song, that’s your song as a couple. Cooking dinner together for your little babies. Having a show you two watch an episode or two of after putting kids to bed. Sitting on the couch, your legs over his lap, drinking wine with a kids movie on as your makeshift date night. 🩷

[doomdoomofdoom]

If you've been boycotting Eurovision, you may have missed out on how bad it truly was, so here are a few events in no particular order:

The opening act of the semi-finals was Eric Saade, a swedish-palestinian singer who participated in Eurovision 2011. He wore a keffiyeh, a palestinian headdress, around his arm like a wristband.

Despite not making any political statements or drawing attention to his accessory, he was reprimanded by the EBU for "compromising the non-political nature of the event".

During their semi-final performance, the Irish contestant had the word "ceasefire" in old irish runes painted on their face. They were ordered to change it for the final, as it was deemed too political.

The contestant from Israel was not allowed to mingle with the other contestants, due to supposed security risks.

During an Interview, she was asked if she felt any concerns over her participation potentially endangering the event and the people present. The host told her she did not have to answer this question. Dutch contestant 'Joost' asked "why not?"

Joost, while not openly antagonizing the Israeli contestant, has made covert critical remarks about the EBUs decision to allow Israel to participate.

On Friday, the day before the Finale, Joost was investigated by the swedish police for a supposed incident where he threatened an EBU crew member. Thursday, a female camera operator had followed him off-stage to continue filming, even though there was an agreement not to film him off-stage. After she ignored his requests to stop, he threatened her with some sort of gesture.

Joost was disqualified mere hours before the finale. He was slotted to perform just before Israel and considered a favorite and potential winner.

The show itself did not address his disqualification. The dutch entry was simply skipped with no further comment.

Israeli broadcaster KAN was confirmed to have broken EBU rules during their coverage of the Irish act in the Semifinal. The commentator spoke negatively about their act, condemning the very scary goth aesthetic, and noting their willingness to criticize Israel's actions.

Despite Irish contestant Bambie Thug lodging a complaint with the EBU, there was no penalty or other repercussion.

If you were hoping that the event itself would turn into some sort of protest, I have to disappoint you:

Despite rumors of other contestants dropping out over Joost's disqualification, all of them performed.

There was audible booing every time Israel was on-screen, including their performance, announcement of points, and every time they received points. There was equally audible cheering.

No contestant or spokesperson directly addressed the ""controversy"" (read: ongoing genocide being artwashed), although very few made covert remarks about peace, love, dignity, and equality.

The most explicit it got was the Austrian spokesperson, saying something along the lines of "It's hard to find only positive words in a time where heartlessness prevails. But we hope everyone can unite through music and show that everyone deserves to be treated equally"

No one stormed on stage or held up a palestinian flag or anything, if you were hoping for that. I certainly was.

Israel gave its 12 points (both Jury and public) to Luxembourg. The singer is half-israeli and born in Jerusalem.

Jury votes mostly ignored Israel, netting them a total of 52 points through jury votes, which put them somewhere in the middle of the scoreboard. Norway, Cyprus, and Germany awarded them 8 points each, making them the main contributors.

In contrast, Israel received 323 points from the public voting. They were second only to Croatia with 337. 15 public votings, including "rest of the world" awarded Israel their 12 points, more than any other country would receive. The only countries not to award any points to Israel in the public vote were Croatia and Ukraine.

Israel thereby placed 5th out of 25.

But hey, at least the winner (Switzerland) was nonbinary, diversity win amirite. Notably, they had to smuggle in their pride flag, since EBU guidelines only allow flags of participating countries and the rainbow flag. (This is also why palestinian flags were not allowed. It's not a new rule, but they certainly weren't going to start bending it now.)

If there's one thing to take away from this: Do not ever think the rest of the world is on your side, just because your social media is. The rest of the world has shown their allegiance, and it lies with Israel and Genocide.

Do not stop fighting for what is right.

[starsandsuch]

The Top “MEAN GIRL” Placements In Astrology 💄🎀👱‍♀️

Considering the most popular films & tv shows, with the quintessential “mean girl” character. I gathered the birth chart info of the actresses who played these characters.

Here’s the TOP 5 key placements that were seen in multiple charts of the actresses that played these roles.

*Using Vedic Sidereal Astrology*

Considering: Sun, Moon, Ascendant and Atmakaraka placements

#1 MRIGASHIRA NAKSHATRA

Mrigashira seemed to dominate in the archetypal “mean girl” roles. With this being a Mars ruled nakshatra these natives are naturally assertive and provocative. They simply aren’t afraid to say really blunt things, and speak harsh truths. They’re extremely intelligent and have sharp mental dexterity. They identify the intellectual weakness in others and exploit it cleverly. They’re great at being “mean” yet seeming to get away with it most of the time. They’d insult someone right to their face without them even knowing it. They always have witty clapbacks and comebacks, making them comical when delivering insults.

Perhaps most famous “mean girl” character of all time: Regina George played by Mrigashira moon native: Rachel Mcadams is a good case study on Mrigashira’s brand of “mean”. In the movie she is admired and fawned over by many despite being a mean girl. People just accepted it and even were eager to be treated badly by her. This is due to the natural charm and magnetism these natives have that make their not-so-nice behavior seem forgivable.

#2 VISHAKA & SWATI NAKSHATRA

Almost every other actress had Sidereal Libra in their big 3 or as their Atmakaraka. Libras as mean girls?!! (Shocking 😳😂) Mainly in Vishaka & a few in Swati. We can’t forget Libras have Aries in the 7th house, so the way they interact with people can be blunt, direct and sharp. These natives often have a controlling nature they keep well concealed. They especially seek to control the social networks they’re apart of. They have a way of obtaining control and influence, through their charming demeanor. They lower people’s defenses and often have ulterior motives toward moving upward socially. They had a two faced nature to them.

If these mean girls felt wronged in anyway, they’d stop at nothing to achieve revenge while simultaneously arising of the “fan favorite” of any feud their apart of. These natives often had fierce feuds with other women, arising jealousy and rage from them. Or being the girl other girls just hated for some reason. Except they’d own it and still be popular bc of it.

#3 MARS DOMINANCE

This seemed to be the most common planetary type to be a mean girl. Almost every actress considered either had Mars in their 1st, Mars conjunct a luminary, mars ruled nakshatras , or a mars ruled sign (Aries or Scorpio) as their big 3.

Mars dominance being common isn’t surprising considering the nature of mars is blunt, direct, ruthless. Mars represents violence, many mean girl characters usually partaking in “verbal violence” against they’re victims. Mars natives are competitive and feel comfortable in positions of power, control and influence.

#4 SIDEREAL CAPRICORN

Mostly Dhanishta and Shravana nakshatra was a common placement. Saturn is innately controlling, restrictive and judgmental. These mean girls were mean and took pleasure in it. We can’t forget there’s a sadistic nature to Saturnian energy. They were cold and intentional with their meaness and oftentimes didn’t feel remorse of whether or not they hurt someone.

These were mean girls who were extremely beautiful, so even if people didn’t like them, they were still lauded for their beauty. A lot of the characters played were the quintessential rich girl, or girl who has a rich dad etc. So they had socioeconomic power as well.

#5 PURVABHADRAPADA ATMAKARAKA

This one was unique because it was most common as the Atmakaraka placement instead of big 3. Mainly being in the Aquarius rashi. This nakshatra has a lot to do with the act of “punishment” and committing austerities. Natives having this as their AK kept a check and balance book of who wronged them, then exacted revenge on people they felt deserved it.

These were mean girls who’d go blind with rage, blind with power. Growing increasingly more ruthless as time went on. They start off being portrayed as a nice girl, but eventually be revealed as a nice girl but with diabolical motives. Since it is a Jupiter nakshatra, the uncontrolled growth theme so relevant in this nak particularly, was displayed in these natives who had it as their AK. Being mean with no filter, being mean to any and everyone, knowing they couldn’t be stopped.

HONORABLE MENTIONS:

+ ARDRA was another key nakshatra, many of the actresses were on the cusp of Mrigashira/Ardra. Sidereal Gemini overall seemed to be prominent. Ardra was often the ostracized mean girl, the girl who was feared more than anything. Didn’t mind playing the villain and getting revenge on people who were once mean to her in the past.

+ REVATI repeated a lot as well. Given the Mercury rulership of this nak, these mean girls were humorous and funny with their insults. Their motive for their meanness was revenge, or insulting who they thought deserved it most. They’re one of the more fearless mean girls , giving the aura of “who gone check me ?” 💁‍♀️ . A lot of their characters were considered “b!tchy” for no good reason. They also a lot of the time acted on their own without a mean girl “posse”.

+ SIDEREAL SAGITTARIUS mainly Uttaraashda and Mula were common placements of mean girls. These were girls who were arrogant and haughty, often depicted as being not too bright. They were bratty and sassy, usually displaying a straightforward attitude of sharpness. These characters were unapologetically mean, not two faced like other mean girl types.

+KETU GIRLS this one makes sense since Ketu is very similar to mars. Blunt, mindless, aggressive anger is seen here. Usually depicted as a “air headed” mean girl.

-starsandsuch✌️💕

[thesilverdoll]

This is the chance of ten lifetimes.

Every five years, twenty breakthrough actors compete over ten weeks for the name of TVs newest obsession, the silver doll. The winner, decided by the global audience, is historically known to make it big. You auditioned on a whim alongside your best friend, and somehow the both of you have made it to the final round of auditions!

Now, all you have to do is make the final cut, get along with your celebrity mentor, remember your lines and... win—all with a camera (or ten) in your face. Don't get discouraged, you made it this far for a reason.

❖ FEATURES

› Customise yourself! Groom yourself into TVs next biggest thing—pick your style, your approach to scenes, your public image, your strengths and weaknesses as an actor. As well as your appearance, personality, gender and your plan b... if you have one.

› Establish relationships with your peers! Befriend your competitors or betray them... engage in a behind-the-scenes rendezvous or two, try and gain a more intimate look into your celebrity mentors life, try and befriend everyone on stage, or keep to yourself and focus on winning.

› Compete! Participate in different challenges throughout the show. Put your best dance shoes on for theatre week, practice your screams for horror week, hope you don't get paired with someone waspish in romance week... decide how you approach each performance, and see how your choices impact your results!

› Furthermore... interact with your fans! Viewership is your best friend in The Silver Doll, so make sure you're on top of your social media game... or you can try to play the mysterious cards and keep away from public eye as much as possible, if you think that'll work out for you. Just... be careful how much you share, there's a gossip blog following the shows BTS that seems to know a little too much.

❖ ROMANCE

*full character profiles coming soon.

- Beck Taylor; he/him or she/her, 21.

‎ ‎ ‎ ‎ ‎Your childhood best friend that convinced you to audition beside them. Computer science student turned dropout to pursue a life on the big screen, Beck may not have years of acting under their belt, but they do have a natural talent for the dramatics. Plus, with you by their side and their on-and-off girlfriend, Sarika, at home cheering them on, they can do anything.

Beck is tall at 6'6, black, with dark braided hair and brown eyes.

- Stirling 'Sekani' Stokes, he/him, 24.

‎ ‎ ‎ ‎ ‎Sekani, as he wants to be known as, is the textbook example of a nepo baby. Born to two of TVs most recognisable faces, he's grown up in the spotlight. Sekani is here to prove to the world that he has the talent to grace the big screen, despite his family name... and also to prove to himself that acting is something he actually likes doing in the first place. Yeah… he’s a bit of a mess.

Sekani is 5'10, white, with messy black hair and pale green eyes.

- Troy Allard-Rose, she/her, 23.

‎ ‎ ‎ ‎ ‎An aspiring actress since she was making her barbies perform dramatic monologues at six, Troy is here to win, and she’ll be damned if she lets some amateurs stop that from happening. Acting is all Troy knows, she’s been in performing arts schools and film camps alike— this is her dream. She won’t let anyone tell her she’s not worthy of achieving it.

Troy is 5’5, white, with platinum blonde hair and dark brown eyes.

Esra Ihimaera, they/them, 27.

‎ ‎ ‎ ‎ ‎Esra is a member of the production crew, and your very own cameraperson. They’re in charge of doing the closed interviews, and also take care of a lot of the day-to-day filming. A little less extroverted than the celebrities surrounding them, but their sweet heart and eye for detail makes them a whole lot more interesting in other aspects.

Esra is 5’11, Māori, with short bleached hair and dark brown eyes.

Bethany Tian, she/they, 28.

‎ ‎ ‎ ‎ ‎One of the best stylists on the show, Beth is in charge of your hair, makeup and wardrobe for the next ten weeks. Talkative and energetic beyond belief, Beth is hard to get rest around, but she’s good to keep morale up. She’s styled celebrities for red carpets and space-exploration scenes alike. From SFX makeup to high glamour looks, there’s nothing you can’t pull off when Beth is the one styling you.

Bethany is 5’2, Chinese, with long pink hair and black eyes.

❖ THE MENTORS

*both mentors are romanceable

- Rome Alivia, he/him, 26.

‎ ‎ ‎ ‎ ‎ A successful child-actor turned even more successful actor into his adulthood, Rome is a family name. Though he’s scrutinising and hard to wrench out of his working mindset, Rome hasn’t let the fame get to his head. He’s dedicated to improving his mentee’s abilities as actors rather than having a focus on winning.

Rome is 6’2, white, with brown hair and brown eyes.

- Shaan Jha, they/them, 30.

‎ ‎ ‎ ‎ ‎The last Silver Doll, Shaan is happy to return to the set that kickstarted their fame and fortunes five years prior. Eager to mould their best mentee into a winner, Shaan is optimistic in the best of times and downright delusional in the worst. They've proven their talents, though, and are positive it will be one of their mentees that win.

Shaan is 5'8, Indian, with long brown and blonde hair and brown eyes.

The Silver Doll is rated 18+ for depictions of drug and alcohol consumption, strong language, infidelity, and optional sexual scenes.

[poweringthroughthis]

love on the beach | jeong jaehyun

desc: paired opposite each other in one of the most anticipated series this year, (name) and jaehyun struggle to see the fine line between play-pretend and real feelings.

warnings: making out

Being the latest topic of conversation in the industry has its benefits. The fans, the money, the vanity, stardom leaves no luxury in life unattainable. And trust him, (name) was beyond grateful for all that and more. But perhaps the general audience is unaware of some unavoidable downsides that actors have to face.

For one, you’re not allowed a lot of autonomy on what projects to sign when you’re a newcomer. Which explains why (name) was in his current predicament. Having to share a bed with Jaehyun.

Jeong Jaehyun, one of the most visually stunning men to ever step foot on earth. He was already an established idol in the kpop business and was recently venturing into the world of cinema, with a BL series no less. Given his natural talent for acting, angelic voice and great face card, there was no doubt he’d take the acting world by storm as well in no time.

This was even more reason for (name) to feel nervous around the man, he was way behind the singer in terms of achievements and fame. The two were in Hawaii to shoot a confession scene at a beach house and the filming ended late.

Since the production was behind schedule(owing to both males’ other commitments), the hotel they had booked for the week long stay, only had one room available for this final (extended) night. Ha, they’d have to make do.

It was not awkward, but the air was a little tense as Jaehyun set his things down. He was just as friendly and soft spoken off-screen as he was in front of the cameras. His personality made it easy for the other to loosen up around him.

By the time they were ready for bed, the awkwardness had long dissipated. Both men were in a good mood, a little drunk too. Nonetheless, the thought of sharing a bed with Jaehyun sent shivers up (name)’s spine.

(name) tried his best to maintain as much distance as he could without seeming rude. Jaehyun was facing the other way, relieving (name)’s nerves a little, though he still spent half of the night squirming in his place with unease.

Eventually, he grabbed his phone from the bedside table and squinted his eyes to check the time.

02.39 AM.

Jaehyun was lying down, his eyes shut. You could never tell what a guy like him was thinking about.

You could tell he was asleep when his breathing steadied. His face looked even more stunning in the dim light. (Name) stared at the other in wonder.

It felt weird having a guy who was not only famous, but also incredibly attractive, lying in bed next to him.

(Name) was sure his lips would taste like heaven.

And suddenly, his arms were wrapping around the observing male, pulling him close. Jaehyun whispered his name, his voice dripping with affection. (Name), startled, could feel the half-asleep male’s hot breath against his ear.

His heart was beating so loud, he was afraid Jaehyun would hear. But Jaehyun didn't seem to care, instead he continued, "(Name), I like you. I know it's wrong but I can't help myself."

A wave of heat spread across (name)’s face. Jaehyun pressed his lips to the still shocked male’s neck. His kisses were hot and wet. His skin tingled wherever Jaehyun’s mouth touched it.

(name)’s body trembled as he nibbled and sucked at his flesh. Jaehyun’s caressing hand traveled down his side, resting on his hip.

His touch was gentle and reassuring, but still, the other actor was nervous. His thoughts ran a thousand miles a second in order to not overlook the gravity of the situation. The Jeong Jaehyun, just told (name) he liked him and was currently smooching him in a hotel room in Hawaii.

He kissed (name) deeply.

His tongue pushed past (name)’s lips, exploring his mouth. He tasted like cinnamon and honey.

Jaehyun pulled away, gazing at the flushed male. One could see the sincerity in his eyes. (Name) liked him too. But this was beyond scary. Jaehyun was one of the most popular guys on the planet and here he was, professing his feelings to his male co-actor.

The situation was almost surreal.

(name) didn't know what to say, so he just leaned forward, capturing Jaehyun’s lips in a kiss. His grip on (name) tightened. He ran his fingers through the shorter’s hair, pulling him closer.

The two were lost in the moment, letting go of all inhibitions. They made out for what seemed like forever. Finally, Jaehyun pulled away, leaving them both breathless.

"I want to take you out. On a date."

The words hit (name) hard.

A date. A real, proper date.

The last time he'd gone on a date was... well, ages ago.

(name) hadn't really dated anyone since he entered the industry. Propelling his career came first, and dating had been the furthest thing from the plans.

But now?

Now he couldn't imagine doing anything else.

"Yes. Yes, of course."

(Name) nodded.

"Really? Are you sure?"

(Name) gave him a small smile.

"Absolutely."

The agreeing male couldn’t help but let out a chuckle again. Jaehyun raised an inquisitive brow at the action as he explained.

“When you were stuttering while filming the confession scene today, I never thought this was the reason.” (name) exclaimed.

“And what do you think now?”

“I think my fluttered just the same on both occasions, Jaehyun.” (name) looked at the male with adoration.

Jaehyun grinned, and it was the most beautiful thing he’d ever seen.

[anominous-user]

Double Indemnity, Veritas Ratio and Aventurine

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

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

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

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

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

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

—

[THE NAME]

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

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

—

[SUMMARY OF THE 1944 MOVIE]

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

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

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

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

—

[THE PENACONY MISSION TIMELINE]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Veritas Ratio - Walter Neff

Aventurine - Phyllis Dietrichson

Sunday - Mr. Dietrichson

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

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

—

[SO, WHAT’S THE PLAN?]

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

Phyllis and Neff —> Mr. Dietrichson

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

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

Main Actor: Walter Neff    |    Accomplice: Phyllis Dietrichson

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

Step-by-step:

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

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

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

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

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

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

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

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

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

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

They leave.

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

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

Profit!

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

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

Aventurine and Ratio —> Sunday

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

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

Main Actor: Aventurine    |    Accomplice: Veritas Ratio

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

Step-by-step:

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

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

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

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

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

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

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

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

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

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

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

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

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

Profit!

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

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

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

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

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

—

[NEFF & PHYLLIS — RATIO & AVENTURINE]

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

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

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

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

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

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

Now the differences between Aventurine and Phyllis:

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

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

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

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

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

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

Neff has dark hair. Ratio has dark purple hair.

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

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

As for the differences…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Phyllis was a nurse. Ratio is a medical doctor.

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

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

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

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

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

—

[THE PHONE CALL — THE REVERIE HOTEL]

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

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

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

—

[QUESTIONING PHYLLIS — THE INTERROGATION]

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

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

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

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

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

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

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

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

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

—

[“GOODBYE, BABY” — FINAL VICTOR]

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

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

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

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

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

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

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

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

And now the differences!

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

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

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

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

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

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

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

—

[THE ENDING — GOLDEN HOUR]

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

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

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

—

[OPPOSITE TIMELINES AND DEVELOPMENTS]

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

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

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

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

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

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

—

[NEFF & KEYES — AVENTURINE & RATIO]

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

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

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

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

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

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

Aventurine - Walter Neff

Veritas Ratio - Barton Keyes

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

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

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

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

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

—

[THE ORIGINAL FILM ENDING]

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

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

—

[THE NOVEL]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Moving on to Ratio:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—

[THE HAYS CODE — LGBT CENSORSHIP IN CHINA]

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

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

(Don’t) Pointed profanity

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

(Don’t) Nudity

(Be Careful) Sympathy for criminals

(Be Careful) Use of firearms

(Be Careful) Man and woman in bed together

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

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

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

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[CONCLUSION]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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