#this time with the formatting done BEFORE I post it

[djotime-allthetime]

Freaky Flashbacks

synopsis: you recall the gradual shift in your relationship with fred when prompted by questions at a panel promoting the movie.

wc: 13k+ (...)

warnings: rpf! reader is specified to be inexperienced! major plot point actually!

a/n: loads of backstory! and banter! and pedro and paul! and kissing!

i hope the format is as intuitive as i think it is, but just in case it isn't, italics means the start of a flashback and bold is the return to present day. feedback is writer's fuel!

cross posted on AO3

<<previous part

The energy in the green room was calm, easy. You sat perched on the arm of the couch next to Fred, laughing as Pedro recounted a story from a previous panel he’d spoken at. Fred’s forearm draped over your thigh, his thumb absentmindedly tracing small circles on your knee, as if he’d done it a hundred times before.

The casual physical affection felt normal now, expected even. No one batted an eye. Not Pedro, not Paul, not anyone in the room.

Ever since filming began, your relationship with Fred had only grown in comfort and familiarity. The closeness of your characters on screen slowly but surely translated to your friendship in real life. And then something more…

Late nights of practicing scenes together turned into deep talks and sharing secrets in the warm light of his trailer. Only a few months into filming, the two of you were attached at the hip. Inseparable. It became a running joke. If anyone asked where either of you was, the answer was always with the other. 

-

“Where’s Fred?” An assistant called out onto the crowded set one day. “He’s needed in hair and makeup!” 

“Where’s y/n meant to be right now?” Paul asked, barely looking up from the script in his lap. The young girl looked down at the clipboard in her hands, combing through the schedules and call sheets. Costume department, she concluded after a few moments of frantic shuffling. “Well, there’s your answer then.”

Pedro had laughed for days recounting the story, shaking his head at how predictable you and Fred had become.

-

“Are you excited?” Fred’s voice softened, meant only for you now despite the buzzing room. You lit up with a smile and a nod. You were incredibly excited. You had never been a guest at a panel before. “Nervous?”

“Not really,” you shook your head and shrugged. “Just more surprised, I think?” You mused aloud with a tilt of your head. In all honesty, you weren’t sure why you were invited to the panel at this convention today. 

You knew that your role wasn’t as impactful as people told you it was, they were just trying to be nice. You had less than ten lines in the whole film. Being invited to a panel discussing the complexities of the plot and the acting behind it was an honor! But a confusing one.

You had a sneaking suspicion that, somehow, Fred was behind it.

“Surprised?” Fred asked, his eyebrows rising and dipping in quick succession in that way that they do. “Why?”

“Just that—” You glanced around, as if gathering evidence. “Everyone here was pretty high up on that call list.” Fred’s brows furrowed even further this time and you knew what was coming.

“Don’t do that to yourself, y/n,” he almost whined. “You were a driving force—”

“I’m not tryna minimize my work, Fred.” You chuckled lightheartedly, cutting him off before he went on a tangent. He was always quick to pop any bubbles of self-doubt that formed in your brain, but this really wasn’t the case. “I know I worked hard on this movie. We both did.” You held his hand in yours. “But… Alexander wasn’t invited.” You pointed out with raised brows. Alexander had played Ravi in the movie, the healer in the Colosseum. “I’m pretty sure he had more lines than I did.”

“But you definitely had more screen time,” came Fred’s quick rebuttal. “Actually, that’s why I told them you should come—”

“I knew it!” You exclaimed in a whisper, making sure your conversation didn’t attract any attention. You were enjoying the private moment in the crowded room and there was no need for it to end so quickly. “I knew you did this!”

Fred’s grin tilted, eyes glinting with quiet defiance. “What? Am I supposed to feel bad for wanting people to notice how good you are?” He laughed. “You had almost as much screen time as anyone here, but nowhere near enough lines. So I told them that your insight into your character and the plot was just as interesting, if not more.”

“Does this count as nepotism?”

“Shut up!” Fred giggled, lightly punching your shoulder. “I just feel like— If I can help you get the recognition you deserve, why wouldn’t I?”

“Alright, thank you all for arriving on time.” A producer spoke up, seemingly appearing out of nowhere and putting an end to your conversation. You turned away from Fred to face her as she spoke, a smile still lingering on your face. 

“We’re gonna start calling you guys out now, one by one. It’s gonna be in the order your names are set up on the table, so you just come out and sit in the chair farthest from your entry. Does that make sense?” She asked, receiving a few nods. “Is everyone ready?” Another round of nods and yeses left the group, yours along with them.

“Don’t overthink it,” Fred whispered to you with a squeeze of your knee. “Just enjoy the moment.”

At that, you could hear the producer hype up the crowd for the cast’s arrival.

“That’s our cue.” Pedro got up from the couch with a clap of his hands. “Ready?”

“As I’ll ever be.” Fred replied, standing up along with Pedro. “How about you, old man?”

“Creaky at the knees, but it’s alright.” Pedro teased, giving Fred a playful punch on the shoulder. That’s when you heard Pedro’s name called out into the microphone followed by the crowd’s roar in applause and cheers. “Later, losers!”

One by one the cast was called out, Fred’s name being the last one before yours. You breathed out a sigh of relief, grateful to be sitting next to him.

“y/n l/n!” Your name blasted through the speaker, signaling your cue to head out onto the stage. You walked out with a smile and a wave, the crowd cheering at your arrival. You sat down at the long table facing the audience, right there next to Fred. 

Your name was printed on a place card in front of you, spelled right and everything. With every passing day of working on this project, you felt more and more that you had finally found your place in the world.

The producer’s voice blurred into the background, distant and dull. Your focus drifted to the sea of faces ahead—posters with your name in big bright letters, shirts with your face printed on them. Some people were even dressed as your character from the movie. It was surreal.

The warmth of Fred’s hand on your knee tethered you back to the present. His steady gaze met yours, silently reminding you to breathe. He knew how overwhelming it could all be. And he knew what you were thinking, he could see it too. He was so proud of you. 

Fred squeezed your knee twice, a small act to show you that he saw you. To show you that he was there for you. And maybe, cockily, he was saying ‘I told you so’. That your presence was wanted here, not just by him. 

“We’ll get started with questions from the audience then.” The producer announced, motioning for a member of the crew to turn on the spotlight facing the crowd. When the light turned on, it illuminated a microphone on its stand in the middle aisle between all the chairs, and, with it, an incredibly long line of fans. Each with a vetted question, the producer assured.

Most questions were for Paul, though that wasn’t surprising. Many for Pedro and Denzel, as well. 

You listened and laughed along, enjoying the easy going nature of the conversation. A lot of the questions were based on the acting, which was a topic well loved by actors of course. But some, as expected, were about the on-set dynamics.

“What was your first impression of your castmates?” A teenage girl asked Paul.

This launched a chaotic answer, with multiple people joining in at once, talking over the other and laughing loudly. 

“We all know that I was absolutely terrified of Denzel at the beginning.” Paul laughed, patting Denzel, who was sitting next to him, on the back.

“So was I!” Joseph cracked up. “But I thought Fred was such a sweetheart.”

“Oh, yeah.” You nodded with him. “Fred was incredibly kind to me on my first day on set.”

“Kind?” Pedro questioned, eyebrows upturned in surprise. “Little asshole is what he was.”

“He saves the sweet stuff for her,” Paul chuckled.

“Yeah, well Pedro was an old man calling me short and she was a pretty girl who was lost.” Fred defended himself with his arms crossed, tone clearly kidding. The crowd’s laughter rose at the banter, even if it was obviously turned up for the panel. “Who would you help, huh?” 

-

It was your first day on set and your very skin was buzzing with how excited you were. Your schedule said that you should start your day in the hair and make up department, and you heard someone say that it was next to the crafts center. But you couldn’t find either of them for the life of you. And you should’ve been worried about being late for your very first appointment on the set, but you were just too enthralled with it all.

The set was beautiful! Malta, as a whole, was absolutely gorgeous, but the set was something else. It truly felt like you were transported back in time— if you ignored the cameras, speakers, and lights, of course. You had heard of Arthur Max’s work on other productions, and of course knew of his work on the first movie. But experiencing it first hand was almost an out of body experience. 

You knew that, when the time came, immersing yourself on the set would be a piece of cake. An actor’s dream really, that was what this type of set was.

“Uh, y/n?” Your name being called out from behind you caused you to spin around. “Oh, it is you.” The man’s shoulders sagged in relief. “Hi, I’m Fred.”

Fred Hechinger. You knew exactly who he was.

“I’m y/n.” You replied, stretching out a hand for him to shake. “But you already knew that.”

“Yeah, well from what I hear, we’re going to be exclusively working together.” Fred laughed as he shook your hand. “Had to do some research on my scene partner.”

“Glad I’m not the only one, then.” You chuckled.

When your manager told you of his secured position as Emperor Caracalla, you knew you wanted to look him up. Many other actors accepted the role before flaking for ‘scheduling issues’, so you were never sure who you were actually going to work with. But once Fred’s acceptance was confirmed, you went on a deep dive. You watched as many of his shows and movies as you could, his IMDb tab constantly open on your laptop.

“They were calling for you in hair and make up,” he said. “I offered to look for you and help you find the way.”

“How did you know I was lost?” You raised an eyebrow as you asked. You weren’t really lost, more so taking advantage of the lack of directions.

“Oh, I know you’re not lost.” Fred shook his head with furrowed brows as he folded his arms, faux seriousness painted his expression. Fred’s effortless confidence had an unexpected charm. It was magnetic. “But if I tell them it took me a while to find you, then we can admire the set for a bit longer.”

Your surprise melted into quiet laughter.

And just like that, you had made a friend.

-

Back on the panel stage, you leaned into the mic, smiling softly. “He gave me a tour.” You recalled. “And he vouched for me at hair and make up, because I was almost half an hour late.”

“On your first day?!” Paul questioned in astonishment, eyebrows raised to his hairline. “Ballsy move, y/n. I could never.” Paul tsked and shook his head at you in disappointment.

“Hey!” You called out in offence, throwing an arm up in Fred’s direction. “Blame Fred, he’s the bad influence here!”

“Entirely my fault.” Fred nodded with his hand raised. “I take full responsibility for corrupting the child.”

“Oh, shut up.” You rolled your eyes, but your smile betrayed you. “You’re like two minutes older than me.”

“Two minutes?! For your information,” Fred pointed at the crowd as he spoke now, “I am years older than her. Years!”

Another fan stepped up to the microphone, pulling you back to the task at hand. “Were there any funny on-set moments or inside jokes that made it into the movie? Or at least stayed with you afterwards?”

“Bless you.” Pedro whispered into the mic, causing a wave of giggles to pass through the rest of the line up.

“‘Bless you’ was a good one, I liked it.” Joseph smiled before bursting into laughter at a memory, sending Fred a look from across the table. "Tell them about the sword!"

Fred groans, but the memory sparks in your mind—the clang of metal and his ridiculous deadpan expression.

Connie lets out a loud laugh as she recalls the incident. “Fear me!” She clapped her hands together as she giggled. “Oh, it was hilarious!”

“Fear me,” echoes in your head, and suddenly you’re there again, barely holding back laughter on the set.

-

It was a late night, you were filming the scene where the emperors confront Acacius and Lucilla regarding their treachery. Ridley had instructed Joseph and Fred to make their reactions as dramatic as they saw fit, considering how fervid the scenario would make the twins.

You had been filming for hours at that point, the energy amongst you growing more chaotic with each take. Everything was funny to you now as the sleep deprivation finally hit.

During one of the takes, Fred jumped out of his seat on the throne and grabbed a prop sword from a nearby guard, as was written in the script. He was supposed to point it at Pedro and Connie, yelling about their punishments, as Joseph held him back. But, with each shake, you noticed how unstable the prop looked.

A loud clang echoed in the marble halls of the set. The sword had fallen right off of its handle.

No one said a word. Fred’s face scrunched up in confusion and anger. He stared at the broken hilt in his hand, then at Pedro. Without missing a beat, he raised it like a dagger. “Fear me.” He whispered menacingly, nose to nose with the older actor.

That’s it. Pedro snorted so loudly that the entire set erupted into laughter. You and Joseph were crying from laughing so hard. Denzel was chuckling into his hand, and Connie was leaning on Pedro to stay upright. 

“How dare you mock me?!” Fred shrieked, staying in character, even when it was clear the take was a lost cause, if only to keep making the rest of you laugh. “I am your emperor!”

“Alright, alright.” You hear Ridley’s voice call out, winding down from his own laughter. “One more time, then we’ll call it a night. Someone fix that sword, please!”

None of you ever let Fred live it down afterwards. 

Pedro would grab a toothpick from the crafts table and follow Fred around with it, a soft and dark ‘Fear me’ heard under his breath.

-

"Honestly, I thought Ridley would leave it in the movie." Fred shrugs, laughing it off. “If only someone didn’t break and ruin it all.” He sent a teasing look to Pedro out of the corner of his eyes.

You wipe a few tears from the corner of your eye as you catch your breath. “It wasn’t even that funny. We were just so tired.”

“It was like four in the morning, we were done.” Joseph explained to the crowd, still coming down from his giggles. 

“Anything would’ve been funny to us at the time.”

After the crowd’s volume slowly dwindled, another fan came up and asked about Denzel’s performance. Denzel spoke about how much he enjoyed the freedom Ridley allowed the actors in this movie. How exciting it all was. 

Afterwards, someone asked about how Joseph balanced working on multiple sets at a time. Pedro joked about Joseph being sought after and hard to find, always in a different part of the world. Joseph shot back at Pedro that they were always together anyways, considering how they both were working on ‘Fantastic Four’ together.

Another audience member asked Connie how it felt to come back to this movie after more than two decades. She talked at length about the differences and similarities the two sets had. How it was both nostalgic and new. 

Someone else stepped up to the mic and nervously waved to the cast after the laughter had died down. “My question is for Fred.” Fred perked up and smiled, nodding at her to continue. “How did you prepare for the emotionally vulnerable scenes you had as Caracalla while staying true to both his character and his sickness?”

“That’s a really good question.” Fred nodded, his arm coming up from your knee to rub at his shoulder. It was so incredibly endearing to you how he reacted to attention. “It was important, definitely. To make sure that you weren’t just seeing his sickness, but the true him under it all. And I think Caracalla, the man and not the sick emperor, really shined in those vulnerable moments.” His hands gesticulated wildly as he spoke and you were enamored the whole way through, not expecting them to motion to you next.  “But, at the end of the day, I think you just really have to trust your scene partner.” 

Fred looked at you with a shy but knowing smile, “It takes a lot of practice to be vulnerable in front of someone, even if it is just pretending. And y/n was always incredibly kind and supportive whenever I lacked that—that vulnerability—that powerlessness. It wasn’t that I lacked it, per se. It’s just a difficult thing to tap into. And she was always there to help me through it.”

Your eyes dropped downwards as you felt your chin dip towards your chest, your head tilting slightly to the side as a smile grew on your face. The crowd awed in response to both Fred’s words and your reaction.

Fred’s compliment sent your stomach twisting in knots. You glanced at him, his hand went back to its previous position, resting on your knee, steady and grounding. It reminded you of that quiet morning on set when everything between you shifted.

-

The set was calmer that morning than what you were used to. The haze of sleep still clung to the few crew members needed on set this early. They shuffled about quietly, setting up for the day's shoot. Fred sat on the edge of the prop bed, script in hand, shoulders slumped forward as he stared at the lines that refused to feel right. 

You were sitting on a couch a few feet away, observing him, script laying forgotten in your lap. His fingers absently tugged at his earlobe, a nervous habit you had come to recognize at this point in your friendship. He had been having difficulties with connecting with Caracalla’s childlike vulnerability. And it wasn’t because he didn’t know the lines—Fred knew them backwards and forwards. 

It was the emotion, the raw vulnerability of Caracalla crying like a child to Lovie about Geta, that he couldn’t quite reach.

You had been running lines all night, but he wasn’t performing it to his own incredibly high standards. So you had told him to get a good night’s rest and that you could practice some more in the morning before call time. You spent some time researching trust building exercises, because you were sure that Fred had it in him. He just had to trust you enough to let it rise to the surface.

After you watched him run through the scene a few more times with no progress, you got a look of determination in your eyes. “Alright!” You inhaled deeply and dropped your script onto the seat next to you. “How about we try something else?”

Fred’s head snapped up at your voice, the both of you having been silently in each other's company prior to your exclamation. “Like what?”

“Trust exercises!”

He blinked, unimpressed. "y/n, I really don't think—"

“Come on, it won’t hurt to try!” You insisted, knowing that he was worn down and everything felt useless. But you had faith in him. “For me?”

He rolled his eyes but a smile tugged at the corner of his lips. “Alright, fine.” You cheered quietly at his agreement. “What did you have in mind?”

You stood and moved to sit across from him, knees nearly brushing. "Eye contact. No talking, just hold my gaze. Nothing else."

“For how long?”

“As long as possible.”

He hesitated for a second but leaned in slightly, blue eyes locking onto yours. The silence stretched. At first, it was easy. The hours you'd spent together on set had built a quiet comfort between you. You were comfortable with each other now, as any pair of friends would be.

But slowly, the air around you shifted.

Had his eyes always been this blue? And so full of emotion? You wondered how you had never noticed these things about him before. The longer you looked, the more your chest tightened, like you were standing too close to the edge of a cliff. You swallowed hard.

Fred’s head tilted, his eyes scanning yours as if he were searching for something hidden beneath the surface. Then, without thinking, he lifted his hand and gently brushed his thumb along your cheek, swiping away an eyelash that had landed there. The touch was featherlight, but it sparked something within you. Something new.

You sucked in a breath, breaking the rhythm of your breathing and pulling Fred’s attention to your lips. 

He quickly pulled his hand away, clearing his throat. "Sorry. You had—uh—you had an eyelash."

You barely managed a nod, heat blooming beneath your skin. The air had changed so suddenly. It was sharp, tense, and neither of you knew how to break the spell.

More crew members were starting to file in, calling out names and times. The usual hustle and bustle on set was rising. Your name was called out from one side and Fred’s from another, instructions to go to wardrobe for you and hair and makeup for Fred.

“I—I should go.” Came Fred’s stuttered response as he slowly got up and backed away, his eyes now finding it difficult to stay on yours.

“Uh yeah, me too.” You nodded with pursed lips, just as awkward as he was.

That was different, you pondered as you walked away. You had never seen Fred in that light before. You had never reacted like that to his touch. This was entirely new territory for you. You liked Fred.

Oh no.

How predictable. Catching feelings for your on screen lover. You had to suppress the eye roll. This was something you had promised yourself you wouldn’t do once you got into the film industry.

But how could you resist? Fred was so kind and caring, so helpful and affectionate. His smile never failed to bring a similar one to your face. Now that you thought of it, you were a bit surprised it had taken you this long to notice. 

You had a crush on Fred.

And you were almost positive he didn’t see you in that way. 

This was horrible, you thought as you reached the wardrobe department. You were regretting everything. Not only was Fred no longer just a friend in your eyes, you were sure that you had ruined any chances of him getting this scene right after this. You groaned quietly to yourself as you changed into your costume in the dressing room. What a way to start the day.

But later, as the cameras rolled, Fred laid in your lap, perfectly in character. Something was different about him. He seemed more… open. More calm. When you softly carded your fingers through his hair to comfort Caracalla, Fred’s hand drifted to your cheek, his thumb brushing your skin without thinking. Almost in the same way he had that morning.

It wasn’t scripted. But you stayed in the scene, unflinching. You wiped away his tears as he moaned about his wretched brother and the empire he was forced to bear the weight of. He was delivering the scene perfectly. Almost like nothing unsavory had transpired between the two of you less than an hour ago.

Ridley, watching from behind the monitors, leaned forward. Eyes glued to the screen. Once the scene had played its course, he called it. "Cut!” His voice boomed through the speakers.

Fred carefully got up from your lap, though not straying far.

An assistant quickly came over with a walkie-talkie. Ridley’s voice broke through the static, fragmented but understandable. “Fred, that wasn't in the script."

Fred sat up quickly, already apologizing. "Sorry, it just—"

"I liked it. Let's run it again. Same way."

Your eyes flicked to Fred, wide in surprise. He liked it. Ridley liked it. Fred shared his own surprised smile with you.

He finally got it. That obstacle was overcome. And Ridley noticed. It was exciting to have your work appreciated in that way. And he had you to thank, even if you thought otherwise.

And, in the process, something had shifted between you.

-

Then someone asked Paul who his closest friends were on set, pulling you back to the present moment. 

“You want me to make enemies of my colleagues now, do you?” Paul chuckled nervously, garnering a laugh from the crowd. “No, in all seriousness, I made many great friendships on this set. Pedro, of course Denzel, Connie, all great mentors that I can call friends now, I think. But who I spent the most time with on set? That would probably be Fred. Fred and y/n, yeah. They’re a package deal, as well. So yeah, it was always us three.”

His answer takes you back to a pivotal moment you had with Paul on set. You knew from then that he had your back, in every situation. Even in matters where he had no stake, you knew you could trust him. 

-

The afternoon sun hung low in the sky over the ancient stone set, casting long shadows across the Colosseum replica. The usual hum of activity filled the air. You were sitting on Caracalla’s throne overlooking the arena, legs dangling off the edge as you scrolled absentmindedly through your phone.

Paul plopped down beside you with all the grace of a sack of potatoes.

“Easy!” You laughed. “What did the chair ever do to you?”

Paul leaned over slightly to peek at your screen, completely disregarding what you had said to him. “Who are you texting?”

“No one.” You locked your phone quickly.

Paul’s smirk deepened. “So it is someone.”

“No, Paul.” You shot him a look.

He tilted his head and grinned. “Oh, so it’s Fred.”

Your stomach flipped. “Paul!” you hissed, glancing around to make sure no one heard.

“Oh, come on!” Paul leaned back, arms stretched behind him. “When are you not texting Fred?”

You groaned as your palms covered your eyes in embarrassment. “It’s not—” you mumbled before smothering your face in your hands.

“Not what?” Paul teased, nudging your knee with his.

“It’s not a big deal.” You exhaled, peeking at him between your fingers. “We’re just friends. Don’t make it weird.”

Paul gave you a flat look.

“Friends?”

“Yes!”

He let out a disbelieving laugh. “Okay.” He shrugged, raising his hands in surrender. “Okay, whatever you say.”

“Thank you.” You breathed out in relief, glad he was letting it go.

After a short moment of silence, he spoke back up. “We’re friends, aren’t we?” He motioned to the air between the two of you with his pointer finger. 

“Paul—” You groaned, knowing exactly where he was going with this. 

“And I’d like to think that Fred and I are friends as well.” He leaned towards your side in his seat now, coming face to face with you. “I don’t take long walks with him on the lot, hand in hand. He’s not giving me his jacket when I’m cold. He didn’t let me braid his hair in the hair and makeup trailer.”

You glared at him. “That last one was one time.”

“Not the point.” Paul leaned closer. “He’s different with you.”

You bit your lip, looking away. “I don’t know… Fred’s—he’s sweet. He’s friendly. That’s just who he is!”

Paul raised his eyebrows. “Yeah, but he’s not that sweet or friendly with anyone else.”

You stayed quiet, fingers picking at a loose thread on the hem of your costume.

Paul’s tone softened. “Don’t sell yourself short, y/n.”

Your eyes flicked to his, hesitant but curious.

“You’re smart, talented, and funny. And let’s not pretend the Roman attire doesn’t suit you perfectly.” He gave you a playful nudge.

You laughed despite yourself. “Shut up.”

“I’m serious.” Paul’s grin changed into something more sincere. “Fred should consider himself lucky that you like him.”

Your cheeks burned.

“I just don’t want to—” You mumbled and trailed off. “Ugh, I don’t know. I don't want to make things weird between us.”

“You two are too stubborn for your own good. Someone’s gotta give.” Paul mumbled before raising his eyebrows at you. “You can’t yearn forever.” 

“Can’t I?”

His gaze softened as he took in your expression. “You really don’t see how he looks at you, do you?”

“What?” Your brows furrowed and you shot up in your seat. “What’s that supposed to mean?”

Paul laughed in shock, pulling back and looking out onto the expanse of the set. “Wow.” He muttered to himself. “I can’t tell which of you is dumber.”

“Hey! I can still hear you!”

“Maybe put some of your other senses to use then, idiot!” Paul retorted as he got out of his seat, the speakers on set calling for him to go someplace or other. He walked away mumbling to himself, leaving you sitting there, staring after him, unsure of what to think anymore. 

-

“And I, of course, was chopped liver.” Joseph spoke solemnly to the crowd, dragging you out of your reminiscence. “Paul loved Pedro, Denzel, Connie, Fred, and y/n. But not poor old Joseph.” 

Paul stumbled over his words as he backtracked. “And Joseph! Of course, I was always with Joseph!” Paul cried, pleading with an unyielding Joseph. All a bit to keep everyone entertained, you knew.

“No, no, you can’t undo what’s been done.” Joseph shook his head dramatically at Paul as he motioned for the next person to step up to the microphone. “You have made an enemy tonight, Paul. I hope you’re happy.”

“My question is actually for Joseph.” The fan sheepishly spoke, sending Paul an illusionary apologetic smile.

“I have what you can never have, Paul. The love and affection of the general public.” Joseph deadpanned as he looked over at Paul before turning back to the girl at the microphone. “Go on, darling. What’s your question?” Joseph smirked as he looked away, leaving Paul rolling his eyes.

“Well, um, Paul and Pedro had extensive physical transformations they had to undergo to prepare for the role.” Joseph rolled his eyes in an exaggerated fashion at the mention of Paul, the joke still running. “What did you have to do to prepare for Geta?”

“Not much, actually.” Joseph snorted. “I got really interested in the history of it, but in comparison to Paul and Pedro? Yeah, we got off easy. Didn’t we, Fred? Just loads of eyeliner.”

“Yeah.” Fred laughed as he nodded. “Shaving and eyeliner was our morning routine for a few months.” The crowd, as well as the cast, laughed at Fred’s note. “Emperor Caracalla is clean shaven, but I’m not.” He chuckled, hand instinctively rubbing at his chin at the thought of his light beard. “So I had to shave almost everyday, but that was about it for me.” With a glance towards you, you knew exactly what he was thinking about.

-

It had been another late night in Fred’s trailer. You were curled up on his couch, legs tucked under you, as you watched Fred pace back and forth. He had been reviewing lines, occasionally muttering to himself, but you hadn’t been paying close attention, not until the soft scruff along his jaw caught the light.

Your eyes narrowed.

“Fred,” you called softly.

He paused, blinking at you. “Yeah?”

You tilted your head, lips twitching. “You’re getting a little...scruffy.”

Fred instinctively brought a hand to his chin, rubbing over the light stubble that had started to grow in. “Ah, shit.”

“What?” You asked, sitting up now.

“Sam’s out sick,” He explained. “Usually, they shave me every morning. I don’t know how I forgot about it today. Emily needs me to be clean shaven tomorrow.” He mumbled lightly, as if he was only thinking to himself out loud.

You pushed up from the couch, standing up and stretching your arms over your head. “Let me do it.”

Fred blinked. “What?” It was like he forgot you were here for a moment. Or, more accurately, he forgot that you were actively listening to his stream of consciousness. He didn’t expect you to offer to solve this non-issue for him. 

“Let me shave you,” you repeated, stepping closer. You gently grabbed his chin, feeling his rough hair between your fingers. You turned his face this way and that, appraising the work you’d have to do if he agreed. “I mean, you can say no if you don’t feel comfortable with your fate in my hands.”

He giggled, eyes softening as he watched you study his facial hair. “Is this another trust exercise?”

You smirked, eyes lighting up and looking back into his. “Maybe.”

Fred considered it for a moment, then shrugged. “Alright, Lovie. Have at it.”

The nickname sent a small spark through you, but you shook it off, hiding your grin as you gestured for him to follow you to the little bathroom in the corner of his trailer.

Fred settled on the closed toilet seat after you patted it, a silent command to sit down. He looked up at you with a mixture of amusement and curiosity. You rummaged through the small drawer under the sink, pulling out shaving cream and a razor.

“Fear me.” You whispered as you held aloft the blade, watching Fred roll his eyes at the reference.

“You better not botch this,” he teased, leaning back. He couldn’t help but admire you from this angle. The bathroom lighting highlighted your features so beautifully, though he was sure he’d think that of any lighting.

“It seems easy enough.” You shrugged as you squeezed a bit of shaving cream onto your fingers, rubbing your hands together before gently spreading it over his jaw. The cool foam made him shiver slightly.

Fred’s eyes got wide, his head frozen in your grasp. “You’re telling me you’ve never done this before?”

Your eyes sparkled as you raised your brows excitedly, grin wide. “I’m testing your limits. Is this one of them?”

You saw Fred’s eyes dance back and forth as he thought this through. It seemed the risks outweighed the cons, though not by much, because he nodded apprehensively. “Do your worst.” His eyes widened once more and then he winced. “That’s just a saying, please actually do your very best. Don’t hurt the money maker, alright?”

“Shut up,” you rolled your eyes with a snort. “I’ll be careful, don’t worry. Now hold still.”

Slowly, carefully, you dragged the blade along his jawline, your hand steady. Fred’s eyes flickered to yours, but he didn’t move. His breathing slowed, eyes dark and half-lidded as he watched you in silence.

The room felt smaller.

Your thumb gently tilted his chin, guiding him where you needed. His skin was warm beneath your touch.

“You’re doing well,” you murmured, focusing on the careful strokes of the razor.

“So are you,” Fred hummed. “You’re sure you’ve never done this before?”

“I’m that good, huh?” You chuckled, feeling him nod in response with the slightest dip of his chin in your palm. “Maybe I should go pro.”

“You’d leave all the glitz and glamour of being an actress and come shave my scruff every morning?” He asked, laughter lacing his words.

“You’re giving away Sam’s job that easy?” You raised your brows.

“To you? Of course.” He chuckled lightly. “Everything’s easy when it’s you.” The words slipped out, softer than he meant. The air thickened, and Fred’s eyes widened a fraction too late. The words weighed heavily in the space around you, stealing the breath from your lungs. Fred’s eyes flickered to yours at your silence. Whatever he said must’ve been the wrong thing to say, he thought, because your facial expression was unreadable to him. “I’m sor—”

“Everything’s easy when it’s you too, Fred.” You whispered back before he could complete his sentence. With one final swipe of the blade along his jaw, you stepped back from him and the moment. “There. All done.” 

-

You smiled to yourself at the memory, glancing back at Fred next to you. You preferred him with the facial hair, you concluded. 

“Who was the best mentor on set?” Someone else asked once they had their turn at the microphone, the question not directed towards anyone in particular. But Joseph took it upon himself to answer for someone else.

“I know who Fred’s gonna say.” Joseph whispered into the microphone, causing Fred to roll his eyes.

“It was me.” Pedro smirked, flexing his biceps and wiggling his eyebrows at Fred. “He can deny it all he wants, but I pushed that kid when he needed it. Didn’t I, Freddie?”

“You did.” Fred mumbled, a hint of a smile on the edge of his lips.

“Hell yeah, I did!” Pedro pumped his fist in the air. “Those stories are private, for Fred’s sake. But I’m a good mentor!”

“The best there is.” Fred confirmed, a slight blush colored his cheeks as he snuck a glance at you.

-

It had been a while since the moment Pedro cemented himself as Fred’s mentor in the younger actor’s eyes. He had learned a lot from him. Both as an actor and as a human being.

But something changed between Pedro and Fred one day. 

A day where you had been utterly exhausted. You were filming in a grand room, the scene depicting a party or gathering of some type, you couldn’t recall the details. Everything was as opulent as you would expect with the twin emperors, of course. 

You and Fred had been up all night, bingeing movie after movie, showing each other your favorites and analyzing every scene. When you saw him the next day on set, you were shocked at how awake he was. Everything felt like it was in slow motion for you. You had never been more appreciative of your lack of lines in this movie.

After a few takes of you blinking slowly in the background, Ridley had called for a break. Something wasn’t right with the focus on a few cameras and a monitor or two needed recalibrating. Technical issues that shouldn’t take too long to fix. An assistant director said the issue could take about half an hour to resolve, so you turned to Fred, a silent question in your eyes and a slight pout on your lips.

You and Fred cuddled often, but never outside of his trailer. Movie night was just an excuse for you to curl up in his arms at this point, though neither of you ever acknowledged that. 

But you were so tired, and the pillows on the couch were decorative and stiff. And Fred was right there. It would only be thirty minutes. Just a quick lie down.

Fred saw your face and knew exactly what you wanted from him. He leaned back into the couch and patted at his lap, giving you space to lie down. It didn’t even register to him that anyone would notice nor care. 

His hands instinctively went to brush his fingers through your hair, your nightly routine as of recently. With his cologne and his warmth enveloping you, as well as the soothing motion of his fingers against your scalp, it was less than five minutes later that you were snoozing away.

Pedro looked over and saw the two of you cozied up together and couldn’t help but roll his eyes at the scene. He had been trying to throw hints at Fred for weeks about the two of you. It was clear as day. But neither of you was brave enough to bring it up, fearing the other’s lack of reciprocation. If only you two could see what everyone else saw.

He shared a look with Paul, who was watching along with him. “Go talk some sense into him, Pascal.” Paul snickered lightly, giving Pedro a slight shove in your direction. 

“I’ll try my best, Mescal.” Pedro sighed. 

“Is she out?” He asked quietly once he had settled down beside Fred on the couch, not wanting to wake you up.

“Like a light.” Fred muttered, eyes never leaving your sleeping profile. “It’s my fault, really. Kept her up all night.”

“What did you watch this time?” Pedro smiled, knowing of the private movie nights held every evening in the trailer next to his.

“The Godfather.” Fred answered. “Actually, both of them.”

“The sequel is amazing.” Pedro nodded, but he wasn’t really engrossed in the conversation as much as he was in Fred. It was hard not to admire Fred as he admired you.

“Definitely.” Fred nodded, not even sparing Pedro a glance. The boy was in love and he didn’t even know it. But so were you, to be fair.

“She’s just as bad as you are, you know? Thinking too much, scared to say something first.” Pedro mused, eyeing you curled up in Fred’s lap. You never looked as comfortable as you did in Fred’s presence. Pedro leaned in and his voice dropped an octave. “You should tell her.”

“Huh?” Fred is finally pulled out of the trance you had unknowingly put him in, snapping up to look at Pedro for the first time since he sat down. “Tell her what?”

“I’m saying,” Pedro emphasized each word, “She’s just as oblivious as you are.”

“What does that mean?”

“It means you should tell her how you feel!” Fred instinctively cupped his hand around your ear, guarding you from Pedro’s sudden laughter like it was second nature. You hadn’t even flinched, too deep in your slumber to notice. But Pedro did, he noticed Fred’s subtle protectiveness. It was sweet. And increasingly frustrating.

Fred scoffed, his cheeks glaringly crimson. “I think I’d prefer not risking those odds.”

“Buddy, trust me. Every single odd is in your favor.”

“Don’t quote the hunger games at me right now.” Fred rolled his eyes. 

Pedro frowned in frustration, leaning closer to Fred. “You really don’t see how gone she is for you?”

A few moments of silence pass between them. Fred’s eyes on you, and Pedro’s eyes on Fred’s lovesick expression. “...You really think she likes me back?”

“She’s not sleeping in my lap, is she?” Pedro smirked, standing back up. “Just think about it, would you?”

-

Fred buried his face in his hands to cover up his flushed cheeks. You shot him a concerned look, but he shook his head to ease your worries. You didn’t know about what had transpired between Fred and Pedro in the same way Fred didn’t know about what happened between you and Paul. And you both wanted to keep it that way. Too embarrassed that everyone else seemed to know of your affection for the other before you did.

“Did any unscripted scenes make it into the movie?” someone asked, pulling you back to the crowd once more.

You and Fred immediately glance back at each other with shy smiles.

Paul talked about the scene where he kissed Pedro’s forehead in the arena, even though it was technically cut. 

But then he turned to the rest of the table. “What about you, Fred?” He asked pointedly, noticing how you had looked at each other when the question was asked. “You had a scene they left in, didn’t you?”

Fred chuckled nervously, scratching behind his ear. “Yeah, a few made it in. But… you probably mean when I called her ‘Lovie,’ right?” The crowd roars in response and Fred’s ears turn pink as he tugs at them. “Yeah, about that…”

-

Fred had started calling you Lovie after that day he was having difficulties with that one scene. He hadn’t even realized when it started, but now, it was just second nature.

Today was the day you would be filming a scene you were dreading. The day Caracalla, the sick emperor you had spent months embodying a devotion to, would die. And you were taking it hard. You had somehow made a place for him in your heart. 

Fred thought it was sweet how your affections grew for his character. He assured you that he understood, working on a long term project like this always leaves an imprint on actors. 

The filming schedule on set didn’t rely on the order of the scenes, but more on the availability of certain sets and certain crew members. So even though this was nowhere near the last scene you had to film with Fred as Caracalla, nor was filming coming to an end anytime soon, you were filming Fred’s last scene in the movie.

The wardrobe department was a maze of fabric and armor, with soft R&B muffling through a nearby speaker, someone no doubt wanting to lighten the atmosphere in the stuffy warehouse. 

You sat hunched in a chair, eyes locked on the hem of your sweater, fingers twisting the fabric. You and Fred were waiting together to be given your costumes for the day.

It all felt so much heavier than you expected.

“You okay?”

Fred’s voice was gentle, but you didn’t lift your head. You just let out a quiet, shaky laugh.

“I’m being ridiculous.”

He came to crouch in front of you, elbows on his knees, watching you carefully. “No, you’re not.”

You sighed, pressing your palms to your face. “I’m getting emotional over the death of a villain in a movie.”

Fred’s head tilted. “Hey, we both know he wasn’t really a villain.” His voice carried a soft laugh with it.

Your lips twitched upward. “He was just misunderstood.”

“And syphilitic.”

You let out a wet laugh, wiping your face. “Yeah, and that.”

Fred grinned, but his eyes didn’t leave yours. Slowly, he stood and offered his hand. “Dance with me, Lovie.”

You blinked at him.

“What?”

“Come on,” he urged softly, fingers still outstretched.

The nickname barely registered in your mind. It wasn’t the first time he’d used it, but it felt different now, like a natural extension of you.

You slipped your hand into his, letting him pull you to your feet.

Fred’s palms settled at your waist, hesitant at first. But when you leaned in, looping your arms around his neck, his grip tightened, like letting go wasn’t an option. You swayed together, slow and easy, surrounded by walls of costumes and muffled music.

“How dumb is this?” you whispered, though the corners of your mouth lifted.

“It’s not dumb, Lovie.” Fred shook his head slightly, his hand gently smoothing over your hair. “Nothing you do is dumb.”

The nickname lingered in the air.

You exhaled, resting your forehead against his collarbone.

“I’d take care of him so well,” you murmured, only slightly serious.

Fred let out a soft chuckle, his breath warming the top of your head.

“You did, Lovie,” he whispered back. “You did take care of him.”

And later, when you filmed the scene, the two of you covered in fake blood and silks, you couldn’t differentiate your character’s tears from your own. It all felt like the end of something. It felt like mourning.

When Fred said ‘Lovie’ instead of ‘My love’ as he wilted in your arms, you didn’t even register the deviation in the script. Only when it was over, when Ridley’s voice crackled through one of the hand held radios, did it hit you.

“Beautiful. Keep calling her that, Fred.” Ridley commended. “Lovie. Should’ve thought of that myself.”

-

“So what he means to say,” you spoke to the crowd, “is that my dramatics fundamentally affected the movie.”

“She was actually so sad,” Fred frowned, “It was heartbreaking. It was an honest mistake, though. Calling her ‘Lovie’.”

“But did you tell them where it came from?” Connie asked, teasingly looking at Fred.

“We uh—” He chuckled bashfully. “y/n and I called her character ‘Lovie’, because it was hard to workshop a character with no name.”

“And then ‘Lovie’ stopped being the character’s nickname,” Pedro chimed in with further explanation, “And it started being y/n’s.”

“I thought it was so sweet.” Connie sighed. “And it suits her so well.” 

“Ridley loved it, too.” Denzel joined. “I heard him grumbling over the radio. Something about how he didn’t think of it before.”

“No one cried when Fred cut off my head, though.” Joseph shrugged with a shake of his head. “Take from that what you will.”

“Actually, I did.” You corrected him with a smirk. “Don’t underestimate my propensity to get emotional when it comes to film.”

“Did you?” Joseph perked up, leaning forwards to look at you across the table. “Did she really?” He asked Fred, like he was the authority on all things true about you.

“Oh yeah.” Fred nodded. “And the scene where Caracalla asks where his brother is. Inconsolable. Sad movies are her weakness. You should’ve seen her when we watched ‘My Girl’.”

“Don’t bring that up right now.” You closed your eyes and shook your head solemnly, raising a palm in Fred’s direction. “He wasn’t wearing his goddamn glasses, Freddie.”

“It’s alright, Lovie,” Fred chuckled, speaking away from the microphone as he leaned closer to you. His voice dropped lower, only for you to hear. “We’ll watch a happy one tonight. Non-negotiable.”

You nodded at him, a smile growing on your face. Fred never failed to make you feel special, like you were a priority to him. Your choices always came above his, no matter how hard you insisted. It was so easy to love him.

“And our final question to wrap up the panel—”

“Make it a good one!” Pedro called into the microphone, a laugh rippling among the crowd in response.

“Come on up, don’t be shy.” The producer smiled at the young girl last in line to ask a question. “What did you want to ask the cast, honey?”

“What was your first kiss like?”

An ‘aw’ passed through the crowd as well as the cast on a stage. But a slight sweat began to coat your palms. You had been admiring Fred and his kindness only a moment ago. So tranquil, almost like you weren’t sitting in front of a crowd of hundreds of people. But this one question sent a shock of electricity up your spine. You were an actress, you reminded yourself. They wouldn’t know if you told the truth or not, would they? 

You heard Paul mention a school dance, and Pedro talked about a pool party during summer break. Denzel mentioned his wife, Connie spoke briefly of a night in Paris when she was a teenager. Joseph and Fred had similar stories, a stage kiss for a school play and a local production. 

When your turn came, you stuttered over your words. It didn’t feel like you had enough time to make something up, at least not something believable. “I guess—uh—technically, it was on screen.”

“Technically?” Joseph asked, confused. 

“Yeah,” You swallowed as heat bloomed across your cheeks. Your lips were upturned ever so slightly as you recalled that day. “My scene partner offered to practice with me before filming. It was much sweeter than it sounds.” You laughed before letting out a sigh. “It’s a memory I’ll cherish forever.”

-

It was the night before you would film your first intimate scene with Fred. The two of you were sitting on his couch, scripts open but long forgotten. The quiet of the trailer is filled with the faint hum of the air conditioning and the occasional rustle of pages as one of you shifts. You could feel Fred’s presence next to you, close enough that your knees brush when either of you adjusts your position.

“I don’t think Caracalla’s ever had anyone look at him the way Lovie does,” Fred mused, breaking the silence. His voice is soft, contemplative, like he’s voicing a thought meant only for himself.

You glanced at him, your heart skipping at the sincerity in his tone. “What do you mean?”

He leaned back, running a hand through his hair, his blue eyes drifting toward the ceiling as if searching for the right words. “It’s like… even through the haze of his sickness and his trauma, he’s desperate to be seen. And she’s the only one who really does that for him. He doesn’t know how to love, not really, but he tries in his own way.” His gaze shifted to yours, a small, delicate frown tugging at his lips. “It’s tragic really.”

Your chest tightened at the vulnerability in his expression, the way he’s peeling back a layer of himself in his explanation. “I think Lovie sees that too,” you said softly, barely above a whisper. “And maybe that’s why she stays.”

Fred’s smile faltered, his brows furrowing as he studies you. “You think she chooses to stay?”

“I think…” You paused as you pondered. “I think she’s grown to love him somehow, through this strange, abusive, co-dependent… thing they’ve got going on. And she’s choosing to stay. What you do with love is a choice,” you replied, your voice tinged with something wistful and raw. “Not everyone handles it as carefully as they should.”

The air between you shifted, growing heavier, thicker, as the weight of your words lingered. 

It didn’t feel like you were talking about your character’s anymore. Fred’s eyes didn’t leave yours after you spoke, and you suddenly realized how close he was sitting. His knee brushed yours again, and this time, neither of you moved away.

“Does it scare you?” he asked, his voice impossibly quiet.

You swallowed hard, your heart pounding against your ribs. “What?”

“Getting it wrong,” he said, his gaze searching for something telling in your eyes. “Love, I mean.”

You felt the heat rise in your cheeks, but you held his gaze, unable to look away. “Yeah,” you admitted, your voice barely audible. “It does scare me, I suppose.”

Fred nodded, a flicker of understanding passed over his face. “Me too.”

There was a beat of silence, and then, without thinking, Fred reached out, his hand brushed against yours where it rested on the cushion between you. His touch was light, almost tentative, but it sent a jolt through you.

“I guess that’s why it’s easier on set,” he murmured, his thumb grazing your knuckles. “You get to pretend, just for a little while, that you know what you’re doing.”

You laughed softly, but it caught in your throat when you saw the way he was looking at you—like you were the only thing in the room worth noticing.

“Fred…” you started, your voice trailing off as his fingers curled gently around yours. “Can I tell you something?”

“Anything.”

“I’m nervous about tomorrow.” You confessed, eyes falling down to your lap.

“I know.” He replied. 

You furrowed your brows and lifted your head to look at him questioningly. “You know?”

“Yeah y/n, of course I know.” Fred smiled softly, reassuringly, “I think I would be a bad friend if I couldn’t tell that you were nervous. And I’ve seen your filmography, I know you haven’t done this sort of thing before.”

You didn’t know if it was a relief or not that he thought you were only nervous about the shoot. 

“Uh, yeah,” you nodded, eyes flickering downwards. “Never for a project, no.” You hoped he wouldn’t catch the half truth. Or maybe you hoped that he would. You weren’t sure how you felt about all of this.

You liked Fred. You knew this about yourself now. And sometimes, you think that maybe, just maybe, he might like you back. Paul never failed to seize an opportunity to tell you that, of course. But you were too scared to make a fool of yourself. And, selfishly, you didn’t want to lose what you had with Fred. But now, things were progressing. 

Fred was going to be your first kiss.

And that would be hard to overcome. Especially when you already liked him so much. You were afraid that you would imprint on him like a duckling, never seeing anyone else in the same light. And then what would you do?

“y/n?” Fred asked, his eyebrows knitted together in concern. “Are you alright?” You hummed in response, eyes still unfocused. “Do you wanna do a trust exercise or something?”

“What?” You questioned, finally pulling yourself back to the moment.

“For tomorrow?” Fred explained, raising his eyebrows as he spoke. “To help you feel better about it?”

You thought about it for a moment before nodding. This might be just what you need. It was so helpful with Fred that last time, and hopefully it could be for you as well. “You wanna do the eye contact one?”

“How about another one?” Fred asked, leaning back against the back of the couch.

“What did you have in mind?”

“Tell me a secret.”

“What?” You balked. “What kind of exercise is that?”

“A secret for a secret.” Fred shrugged. “How about I start?” You nodded, though apprehensively. “I’m nervous for tomorrow, too.”

“Are you really?” You raised a brow at him. “‘Cause if your secret’s just a lie to make me feel better, then you’re cheating.”

Fred giggled and shook his head. “No, I really am.”

“Why?” You tilted your head inquisitively at him.

“Nope, I already told you my secret.” He pursed his lips and shook his head again. “Now it’s your turn.”

You shifted uncomfortably, tucking your legs beneath you on the couch, the script forgotten in your lap. Fred’s gentle, observant gaze had a way of making you feel bare in a way that wasn’t unsettling, but intimate—like he could read every thought you tried to hide.

“I guess it’s not just in front of the camera,” you admitted softly, fiddling with the corner of a page. The confession felt inevitable, like it had been lingering between the two of you for weeks, just waiting for a moment like this to surface. “I mean… I haven’t done this before. Any of it. Not just on screen.”

Fred's eyes softened as he sat up slightly, resting his forearms on his knees, his focus entirely on you. “You mean you—you’ve never been kissed before?” His voice was quiet, not prying but careful, like he didn’t want to scare you away.

You nodded, not trusting yourself to speak.

For a moment, Fred didn’t respond. He simply watched you, and you could feel the weight of his attention, not heavy or oppressive. His brows furrowed slightly as if he were choosing his next words carefully.

“That’s… okay, you know,” he said finally. There was no pity in his tone, only a steady reassurance. “I know how intimidating this can be, even for people who’ve done it before.”

“It’s just—” you sighed, leaning back into the couch, exasperated with yourself. “It’s not that I think I can’t do it. I know I can, or at least I hope I can. I just don’t want to look ridiculous. I want it to look real.”

Fred smiled faintly, his head tilting as he considered your words. “It’s admirable, you know?” You hummed in question at him. “The fact that you’re sacrificing your first kiss for the production.”

“It’s embarrassing is what it is.” You rolled your eyes with a snort. 

“What?” He gasped quietly, the air still feeling ever so delicate between the two of you. “You're giving it away for Sir Ridley Scott! He’d be honored if he knew, I think.”

“He’d be confused if he knew.” You corrected him. “An actress in her early twenties who hasn’t been kissed before. I think I could apply to the Guinness book of world records.”

“Hey, come on.” He shook his head at you sympathetically. “You’re not breaking any records, trust me. There’s no deadline for this kind of thing.” He shifted closer as he spoke, his hand reaching up to rub the back of his neck in that familiar gesture you’d come to recognize as a sign of his sincerity, “But…I could help—only if you want.”

Your heart skipped. “Help?”

He nodded. “I mean… if it makes you feel more comfortable, we could—” he paused, exhaling as if second-guessing himself. “I could be your first kiss. Just to take some of the pressure off tomorrow. It’s not a big deal. Only if you’re okay with it, of course.”

The room felt impossibly quiet, save for the distant hum of the trailer’s air conditioning. You swallowed, your pulse thrumming in your ears. It wasn’t just the offer that stunned you—it was the ease in Fred’s voice, the way he treated it like something simple. Just Fred, offering to help you in whatever way he could. It was so sweet. He was always so sweet to you. But you couldn’t. Not like this

You felt the heat rise in your cheeks, but you inevitably shook your head. “That’s really sweet of you, Fred. But I think I want my first real kiss to be with someone who actually really likes me, not a pity kiss from my scene partner. Tomorrow doesn’t count if I don’t count it. It’s fine, really. I was just in my head about it—”

Fred laughed before he could stop himself, interrupting your rambling. “You really are oblivious, aren’t you?”

“What?” You asked dumbly, not expecting him to say something like that after your vulnerable confession.

“Why do you think I’m nervous about tomorrow?” He asked incredulously, another laugh escaping him. “It’s because I actually really like you, y/n!”

Oh.

It was like someone knocked the wind out of you. 

You had hoped that he liked you back, maybe even thought it might be a possibility in the back of your mind, but to hear him say those words out loud? You were speechless. It was like a dream come true. All those months of pining for him, all that yearning, was reciprocated this whole time. 

“y/n,” Fred murmured, his voice low, soothing. “Can I be your first real kiss? Please?” He parroted your words back to you once more, breathlessly. You felt the blood rush into your head.

You managed a weak nod, barely able to meet his gaze. He waited a beat, letting the moment settle before he leaned in, his hand lifting to cup the side of your face. His touch was featherlight, his thumb tracing slow circles against your cheekbone. The intimacy of the gesture almost unraveled you.

Fred's lips brushed yours tentatively, the kiss soft and unhurried. His movements were gentle yet assured, he understood that this was new for you and he didn’t mind guiding you through it. His other hand found your waist, steadying you, and you felt yourself melting into him.

As the kiss deepened, Fred’s grip on your waist tightened subtly, anchoring you as he shifted. Without breaking contact, he eased you forward, guiding you into his lap until you straddled him, your knees on either side of his hips and your hands resting tentatively against his shoulders. His fingers flexed against your hips, drawing you closer until there was barely any space left between you.

Your lungs felt tight as Fred pulled away just enough to rest his forehead against yours. His breath fanned over your lips and his hands lingered against your waist, sending butterflies crashing into each other in your stomach. You weren’t sure how long you stayed like that—long enough for the rapid beat of your heart to settle into something softer, steadier.

“Was that okay?” Fred asked softly, his voice just above a whisper.

You nodded before opening your eyes to meet his gaze. There was something tender in the way he looked at you, and it made the words on the tip of your tongue feel less terrifying.

“Can we… do it again?” The question slipped out before you could stop it, and your stomach flipped as you realized how vulnerable you sounded.

Fred's lips quirked into a soft smile as his hand slid up, tucking a loose strand of hair behind your ear. “Yeah,” he murmured, a soft laugh coloring his words as he brushed his nose against yours. “Yeah, we can do it again. As many times as you want.”

His lips found yours once more, and this time, there was no hesitation. Fred kissed you with more certainty, his hands firm as they traced the curve of your back, pulling you closer still. You could feel his quiet desire in the way he held you, the way his fingers flexed when you deepened the kiss.

You were glad that confession made its way out before you could stop it.

The next morning, you woke up with a strange mix of nerves and excitement bubbling beneath your skin. 

The day was finally here. 

The scene you’d been dreading—and quietly anticipating—was actually happening. But unlike the restless nights leading up to it, you felt more prepared. More steady.

You had filmed a few suggestive scenes with Fred before. As a syphilitic emperor, Caracalla had the propensity to be very comfortable and open in his desires. But you weren’t asked to be nude for any of those scenes, unlike this one. The complexity of not even speaking, yet being so exposed on screen was a little difficult to wrap your head around. 

This scene was supposed to depict you and Caracalla in the privacy of his lavish quarters when Joseph as Geta barges in and angrily informs his brother of Acacius and Lucilla's betrayal. You and Fred were to be undressed and only covered by sheets from the waist down. 

Clara, the intimacy coordinator, had explained that Fred would be leaned back in bed, propped up by a few pillows, while you sat in his lap. The scene would open with a close up shot of the two of you kissing gently, the camera slowly pulling back with you as you leaned back. Your lower bodies would be covered with various messy sheets, depicting the long night the characters had already had before the intrusion.

The scene was much more than physical, it was also meant to show the characters’ co-dependent nature. Even when his concubine was on him, he needed his hands to be on her, both showing his dominance and control over her as well as his reluctance to pull away.

Fred’s kiss lingered in the back of your mind like a warm ember, small but constant. While you still felt the nerves creep in when you thought about today’s shoot, there was a quiet confidence blooming alongside them.

When you arrived on set, you noticed immediately how different the atmosphere felt. The crew was smaller, the lighting dimmer—intentional choices to provide you with a layer of privacy. 

Clara was already on set, organizing the sheets and setting up the space. She glanced your way, smiling comfortingly, but she didn’t say anything. She knew of your apprehension and had been worried about you. But she noticed something new in you today. Maybe there was a shift in your energy or a slight lift in your posture, she wasn’t sure. Either way, she kept her observations to herself.

Fred was already there, standing near the bed where the scene would take place with Joseph. He smiled the second he saw you, that familiar softness in his expression grounding you more than anything else could.

“Morning,” he greeted, voice low and calm.

“Morning,” you replied, a shy tight lipped smile on your face as you stepped closer to him. Joseph greeted you but was quickly ushered away to his mark behind the door, not giving him enough time to notice the change between you and Fred. 

Clara approached you and spoke with her usual calm authority, a roll of skin-safe tape in hand. “Alright, let’s get these sheets secured,” she said, gesturing for you to adjust your robe.

But you stopped her with a small, assured smile. “I don’t think we’ll need the tape today.” Last night’s events forged a confidence deep within you. You knew your team had your back. You knew Fred had your back. 

Clara paused, blinking at you as if processing your words. Her sharp gaze flickered briefly to Fred, who stood a few feet away, his hands stuffed into his robe pockets. 

He tilted his head at your words, his brows furrowing slightly as he stepped closer. “You sure?” His voice was low, warm with concern.

You nodded, holding his gaze. “Yeah, I feel more confident now.”

Clara smirked faintly, a flicker of understanding in her expression, but she didn’t press. Fred’s gesture was subtle but telling. “Alright, just let me know if anything changes.” She said with a sense of finality before stepping away to oversee the set. 

Fred watched her retreat, then turned back to you with a concerned glint in his eye. He brushed your arm lightly to grab your attention. “You really don’t want the tape?” Fred asked again, his tone tinged with genuine care.

“Yeah,” You nodded with determination. “I can do it.”

He studied you for a beat longer, as if making sure you weren’t pushing yourself too hard, then smiled softly. “I’m proud of you.” 

“You helped.” You confessed in a whisper, a smile curling your lips upward.

“Yeah?” He asked in surprise, his grin only grew wider when you nodded in confirmation. “Glad I could be of service. We could sneak off and practice some more, if you’d like-”

“Fred!” You cut him off before he could say anymore, scandalised yet amused all the same. “You’re horrible!”

“And you’re cute, Lovie.” He smirked as an assistant pulled him away, cutting your conversation short. 

Another assistant pulled you forward as well, telling you to get into place so they could adjust the lighting based on your position. Fred smiled encouragingly at you from the bed he was laying in as you approached. An assistant helped you get into position, straddling Fred’s lap with your knees sinking into the mattress on either side of his hips. The position wasn’t unlike how you had found yourself last night in Fred’s trailer. With a quick glance into Fred’s eyes, you knew he was thinking the same thing.

The makeup artists fluttered around you, dabbing at your skin with soft brushes, unknowingly keeping the moment from becoming too intimate. The lighting crew adjusted their angles, the soft glow from overhead casting shadows that added depth to the space.

Fred’s hands found your waist instinctively, his thumbs brushing circles against the fabric of your robe. His touch was grounding, steady, and it calmed the last bit of tension lingering in your chest.

“You okay?” he asked, low enough that only you could hear.

You met his gaze, but your eyes kept drifting lower, to his lips. The memory of yesterday was still present at the forefront of your mind, your pulse quickened at the thought of doing it again.

Fred noticed immediately, a small chuckle escaping him. “You’re adorable.” He repeated his sentiment from earlier.

“I’m just—” You flushed, embarrassed at being caught. You were unable to find the words to explain the giddy excitement stirring in you. “I guess I’m excited to start.”

Fred’s smirk deepened, but he didn’t push it, not wanting to tease you any further. “Good.” His grip on your waist tightened subtly, the weight of his hands calming you.

As the cameras rolled, Fred’s lips found yours, his kiss was steady and deliberate, his hands guiding you gently as your body pressed closer to his. You pulled away from him when you heard your cue, the camera nearest to you swooshing in the air as it moved backwards. Soon enough, you heard the loud bang of the bedroom doors bursting open. You startled in Fred’s lap, the reaction a mix of yours and Lovie’s. For a brief moment, you weren’t acting on a set. It was just the two of you before Joseph barged in. 

Fred cradled you against his chest, covering your exposed form from Geta, like the scene called for. You couldn’t hear what Joseph was saying over the loud heartbeat in your ears, but you knew what the script expected of you and when. Fred’s warm skin and chest hair brushed against your arms as you huddled close to him. It was intoxicating. 

After the first take, you gently pulled back and shifted Fred’s position. “Keep your hands here,” you instructed, placing his hands firmly on your hips in view of the camera. “To show that he’s in control.”

“Okay,” he nodded, always open to your ideas. “You should try leaning into me more,” he added, his hands guiding your hips to tilt forward. “It makes it look like he’s really keeping her there.”

You furrowed your brows as you digested his notes. “Alright. Should I put more weight into it?”

“Yeah, exactly.” He nodded in encouragement. “Don’t hold back, I’ve got you.”

The next take felt even more intense. Fred’s hands pressed into your waist with more dominance. And you fell into him, relinquishing control, matching the energy you’d both discussed.

Between takes, he was quick to adjust the sheets, shielding you with practiced ease. Each touch lingered longer than necessary, his fingers brushing against your bare skin beneath the fabric, and every time you glanced up at him, his eyes held the same quiet intensity and kindness.

Joseph and Clara shared looks after each run through, the two of them noticing the shift in dynamic between the two of you.

“They’re different today.” Joseph whispered to Clara. 

“They’re more in sync.” Clara tilted her head as she observed the two of you. “Almost like…”

“Almost like they’ve been practicing.” Joseph smirked.

“About damn time, if you ask me.” Clara huffed, though amused all the same.

-

All these months later, and the memory was still fresh in your mind. And apparently, in someone else’s as well. “y/n?” Joseph’s voice broke the quiet hum of the green room. You were standing at the tea station, carefully deliberating over how much sugar and milk to add to your cup when he approached, his tone unusually hesitant. “Can I ask you something?”

“Of course.” You didn’t look up, focused on swirling the tea in your cup. “As long as it’s not about my sugar-to-milk ratio, because I’ll have you know, it’s perfect.”

Joseph chuckled softly, scratching the back of his neck. “No, it’s not that. It’s… uh…” He hesitated, searching for the right words. “You can totally tell me to fuck off and mind my own business if you don’t want to answer.”

“I gotta hear the question first, Joseph,” you replied with a playful smile, still not turning to face him. “But I promise I won’t be offended.”

He took a deep breath. “Was Fred your first kiss?”

Your hand froze mid-air over the sugar tin, the question catching you off guard. You finally glanced up at him, eyebrows raised. “What makes you think that?”

“It’s just…” Joseph shifted uncomfortably, his usual confidence replaced with something softer. “What you said back there—on stage—about cherishing the memory forever. It sounded a lot like you were talking about Fred.” He looked down at the tea he was fixing, his words careful, almost shy. “And honestly, it reminded me of that day on set.”

“What day?”

“When we filmed the scene in Caracalla’s bedroom.” His eyes flicked back to yours, searching for confirmation. “You and Fred were… different that day. There was this energy between you two, like something had changed. I thought maybe you’d finally, you know, come to your senses about each other, but what you said on stage—it made me wonder.”

You bit the inside of your cheek, hiding the small smile tugging at your lips. “Well, you’re not entirely wrong.” You added a splash of milk to your tea. “We did come to our senses that day.”

Joseph’s eyebrows shot up, his curiosity piqued. “And… was he—you know…?”

You glanced at him, tilting your head in mock thought. “While I appreciate your sudden foray into investigative journalism,” you teased, “I think the answer to that question is classified.”

Before Joseph could reply, Paul’s voice cut through the moment. “Or…” he started, strolling toward you with an infuriating smirk. “The answer is a three-letter word.”

“Fuck off, Paul!” you shot back, your laughter bubbling up as you grabbed your cup of tea.

Joseph groaned, shaking his head at Paul. “You’re relentless.”

“And mean,” you added with a grin as you turned to head toward Fred, who had just entered the room and only caught the tail end of the conversation. He gave you an inquisitive look as he draped his arm over your shoulders.

“What are we cussing Paul out for this time?” Fred asked, his voice light and teasing. He leaned down, pretending to whisper conspiratorially, “What’d he do?”

“He’s mean,” you said with a giggle, your words laced with amusement. “Are you ready to leave?”

Fred nodded. “Yeah, the car’s waiting out back.”

“You’re leaving already?” Paul’s mock-pout followed you as you grabbed your bag.

“We’re literally seeing you guys at dinner in, what, two hours?” you shot back, rolling your eyes.

“And tomorrow morning,” Fred added, steering you toward the door. “Hopefully you’ll survive without us until then.”

As you walked out, Joseph’s amused voice reached you. “For the record, I’m still rooting for that classified answer.”

Fred glanced down at you, his brow raised. “What’s he talking about?”

“It’s nothing,” you said, stifling a laugh. “They’re just being nosy.”

Fred didn’t push, his signature crooked grin tugging at his lips as he leaned closer, his voice warm against your ear. “Well, whatever it is, I’m on your side.”

As always, you thought, smiling softly to yourself.

As you stepped out into the cool evening air, Fred’s arm still draped over your shoulders, you couldn’t help but glance up at him. The way he fit so effortlessly into your life—his steady presence, his quiet reassurances—made you wonder how you ever doubted his feelings for you. Looking back now, it seemed almost ridiculous. Every glance, every touch, every word had been there all along, waiting for you to notice.

“Ready?” he asked softly, opening the car door for you and offering you a hand.

You nodded, a quiet laugh escaping your lips at his antics. “Yeah. I’m ready.”

How could you not be, when everything he did made it so easy to fall for him?

[riddlers-left-buttcheek]

Commission Advice? (pls help)

Hey heyy

I wanna start doing commissions, but I've never done it before, and have no idea where to start. So I thought I'd make this post and ask any artist, that would like to share how they go about commissions, for advice.

I've summed up some of the questions that came to mind below the cut. I would want to take requests outside of Tumblr as well, just fyi. I'm well aware that most of what I ask depends on the individual artist and their works, and that there won't be a single formula to follow - I'd just like to gain a bit of perspective and see how different people go about these things, so that I can get an idea for myself.

Any helpful links to other posts or websites on this topic are much appreciated 💚

Replies to this in DMs are fine too ☺️

Questions below ⬇️

Communication?

Do you text with the client entirely through Tumblr (etc.) DMs, or do you use a different platform (like Discord, WhatsApp)?

Pricing?

My biggest issue is how much to charge for an art piece. I know it depends on multiple factors, like what type of drawing it is, is it lineart only, is it in colour, etc. Then there's also taxes. I've looked at a couple artists, but the prices vary so widely, and I have no idea where to put myself on that spectrum. I also have a huge problem knowing my worth, which definitely doesn't help.

Payment?

Which payment method do you use? My first thought was PayPal, I also read that many people use Stripe (that I never heard of before my research). And when do you ask for the transaction to be made? I've seen 50% upfront, the other 50% once it's done a lot. Some say to not give the customer the finished piece until you've received 100% of the money.

Slots?

How do you decide on how many you have available? Do have a fixed number or just take requests until you think you can't take any more?

Time?

How long does it take you to finish a request? Again, I know it depends on many many things. A couple examples would already help a lot.

Updates? Previews?

Do you give the client in-between updates on your progress? Do you send a preview before sending the finished piece? I've read that, before sending the final file, you should always have the images in low quality and with a watermark over it.

Changes?

If the client is dissatisfied with the final piece, do you allow changes? If yes, how many, where do you draw the line? Do you charge extra? Also, what do you do if the client doesn't like the entire thing?

Licensing

I absolutely suck at this, my brain just doesn't want to comprehend legal language. So most I've read on this, I still don't fully understand, but probably because I've never put it to practice. Is there a specific type of licensing you use? What do you tell your client on what they can do, but more importantly, can't do, with the art you create for them?

Final files?

In which file format do you send the finished art piece to the client? I was thinking pdf, maybe jpg and png? Also, how do you send it? In DMs? Per email?

Scams?

Also one of the more important questions for me, since I get paranoid about these things easily (and turn out to be right most of the time). Any advice on scams? I've read Instagram is filled with them, and to best avoid requests over Insta alltogether. Any experiences you've had, anything I should definitely look out for?

Any other advice?

Anything at all. I'm probably definitely overthinking this and it's most likely really not that complicated, but I'm a very anxious, insecure and paranoid person. 🙈 So I'll take any and all advice I can get.

Thank you 🤗💚

[milkywayes]

GARRUS VAKARIAN: DATABASE IMAGE ACCESS. > PT. 1 : 2160, 2166, 2170. > all files backdated according to user preferences: (terran_coordinated.calendar).

[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.

—

[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.

—

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.

[seventh-district]

Figured I'd try my hand at some Redacted character post/text edits!

[ 1 / ? ]

Credit to @/sainthowlzon for all the Listener icons, and to @/elisacaleisa for their google drive with all the canon icons!

(slightly alternative version of the Solaires' GC edit below the cut bc i had a lil too much fun with what Vincent would name his contacts)

[fearandhatred]

to rome: a play by fearandhatred

(5k words, 1/1 chapters)

While trying to tempt Caligula, Crowley makes a discovery that renders all his efforts for naught. But then it turns out that Aziraphale is here too, so maybe his trip to Rome isn't wasted after all.

***highly recommended to read on a phone because of the Multiplicity Of Line Breaks that just look very weird on a laptop unless your font size is huge

-----

i've always loved the idea of crowley falling in love with aziraphale in rome. in some ways it really is my roman empire so i figured i might as well make it happen! featuring many shenanigans and an annoying emperor :)

any and all support is greatly appreciated <3

anyway it all started with a dream:

so this is for @eybefioro @captainblou @crowleys-bentley-and-plants who challenged me to write a fic with no angst and also, coincidentally, for that one commenter who asked me on the same day if i would consider writing something happy for once. against all odds and with much difficulty, i have done it. love u guys sm <333

[pjsk-story-summaries]

Hello! Mod Acey here with a quick, but important, message :3

In the summer, I have the fortunate opportunity to work full-time at the summer camp I've always considered home. I'm incredibly grateful for that opportunity, and I'd like to provide my fullest attention there.

However, that means I will be unable to create any summaries from now until the end of August. I know that's a long time to be away, so-

I have finished summaries chronologically from Time to RE:START! all the way to You Deserve It! Break Time! That's eighteen events lined up! One event will be posted every Monday and Thursday at 3:00pm CST. The first post will launch on 6/10 and the last on 8/7.

During this period, I won't be able to create any new event summaries. There is a chance I may be able to do card story requests, but only rarely. I'll try my best to answer asks in a timely manner as well.

Submissions during this time will be incredibly valuable. If you'd like to share your favorite event or card story, or just try your hand at making one of these, I strongly urge you to submit one. I'll post anything I receive on my days off.

Thank you so much for your understanding!

Link to Master Post (former pinned post)

Submission Form Links

[thegrimreaperisanerd]

This was originally going to be my gift for the Pale Static Exchange, but as I wrote the intro chapter (2000 words, because it's me) I realised that if I was going to throw my axe into this ring then I want to set the time aside to do it justice.

Anyway, guess what I'm writing.

[adriles]

im sorry to say, that by ignoring the plague of apollo, you have doomed the danaans to further misery. Farewell my bitch

[spearxwind]

Hi hello I have two questions for yall

does anyone here know decent book editing software that isnt indesign because i cant afford indesign and its a little incomprehensible (pretty much I'm looking how I can edit a book with spread pages and images) nothing insanely fancy, I am just looking to turn one of my big lore google docs into something nice and art-book looking I wanna be able to do something like this, for example

what I am looking to do is basically turn my challenger deep lore doc into an actual lore book so I will hopefully do some illustrations for it down the line for each section of it. so the next question is then:

would any of you be interested in purchasing that? it would be digital (unless there's an insane amount of interest for physical editions, in which case I will consider it)

[oneirataxia-girl]

aim for the sun ⇝ the wings & the wind of the pirate king

ft. Marionette Mari, Roronoa Zoro, Blackleg Sanji

“Peabrain.”

Blinking open a lazy eye, Zoro makes out the silhouette of a black-haired crewmate staring down at him, and opens his other eye.

“Sighs,” He grumbles, already missing the heat of the sun on his face, “The hell do you want?”

“Oi, Mosshead!”

The remaining scraps of sunshine fade as the blond cook stomps to a stop above him. Zoro glances at him, then recalls the bottle of soju he swiped from the kitchen last night.

Ah.

Sanji peers down at him, smoke from his cigarette wafting in his face. Zoro ignores the smell and returns his gaze. He isn’t sorry for grabbing the booze, and he’s not going to let the lovecook make him feel guilty.

A sigh sounds somewhere on the other side of Zoro, followed by a rough tug as he’s pulled to his feet. Mari’s eyes are bored when he meets them with screwed-up ones of his own, and she simply shrugs and takes a step back.

“Thought you were paralyzed.” she says, folding her outstretched hand back across her chest.

Zoro makes a face at her. Then dodges a kick to his face.

“Don’t be rude to a woman, you shitty swordsman!” hisses the idiot cook because of course he does, “Now pay up for that bottle of soju!”

“Luffy’s going to drown,” when both of them turn to stare at Mari, she tilts her head vaguely in the direction behind her. Perfect timing.

“Again?” mutters Sanji as he takes in a deep breath, then directs a sappy smile at Mari, “Thank you so much for telling us, Mari-chan!”

“I said to not call me that.”

“Of course! My apologies, Mari-san!”

Zoro doesn’t bother to stifle his snort this time.

“Sanji, Zoro!” Usopp voices drifts along the salt-filled breeze, sounding like he got his hand caught with something he shouldn’t have, “Luffy’s drowning!”

the enablers' call: @arrthurpendragon, @bibaybe, @daughter-of-melpomene, @auxiliarydetective, @starcrossedjedis, @fakedatings , @supermarine-silvally -- want to be added? shoot me an ask!!

[triangle-strategy-notes]

Quahaug Concept Art

Quahaug's concept/reference art! Translation notes and image id under the cut.

Translation notes:

"OP sort of powerset" was literally translated as something like "cheat-like." I feel like OP is the more common English term for that sort of thing, so that's what I used, but some of the meaning was probably lost there.

"Older-tween-ish" was specifically a reference to a particular middle school year for children who are about 12-13 years old. Since grades and names of grades vary a lot from country to country, I just went with "older tween."

ID:

[Image id: Several images displaying different parts of 2 pages of the Triangle Strategy artbook, with both the original Japanese as well as versions with English translations. There are several disclaimers noting that the translator doesn't speak Japanese, and that there are likely many mistakes.

On one page, there is a large colored version of Quahaug's canon portrait, along with a smaller, uncolored version. There is an illustrator's note at the bottom that translates to read, "'Manipulating time' is an OP sort of powerset, so though he looks like a child, I aimed to create a look for him that conveyed a sense of unknowable power. (Tatsuaki Urushibara)".

On the second page, there are many drawings of Quahaug, including a closer bust-up portrait in which he's compared to Lyla, with an arrow and label reading, "Mother." There's also several notes that explain the construction of his costume. The costume is labeled as a Greek "phelonion" (a priest's outfit with no real sleeves, just draping fabric). There is a small drawing of this version, with an arrow leading to another drawing that does have sleeves, with the note, "If you can't display this in pixels, use this one." There are several notes that explain how this draping cloth should be considered his everyday clothes, while the ceremonial decoration that goes around his neck is placed over it. There is a close up of the ceremonial dressing's fastenings underneath the metal decoration. Some more notes highlight details on his staff, emphasizing the hourglass on top and the small wheel to the side that can be turned to flip the hourglass. A larger piece of text underneath one fullbody drawing reads, "Character Who Manipulates Time."

On the second half of the second page, there are drawings of some beta designs for Quahaug. He looks much more punk-ish. On one bust-up portrait, there are the captions, "The burden of the time demon caused some of his hair to go gray…." and "All-natural highlighted tips." On the same portrait, he is snapping his fingers, and there's a note that reads, "Manipulating time is as easy as snapping your fingers. You just have to want it or whatever." A speech bubble near his head reads, "I don't think of Anna as a mother." A caption pointing to some green markings on his arm reads, "Demonic time seal on body." In a fullbody drawing of his beta design (which is made up mostly of chains that barely cover him as well as a long roughed-up cloak, there is the note, "Almost naked cloak."

At the bottom of the second page, there is another note that reads, "Initially when we hadn't quite figured out the setting, we had an idea for a more older-tween-ish character as displayed here, but after discussing it with the producers and Mr. Ikushima, we went with his current form. As a boy who manipulates time, I placed an hourglass at the tip of his staff, and his face resembles that of his mother, Lyla. (Tatsuaki Irushibara)". /end id]

[namelessprince]

I THINK THIS IS THE FIRST TIME GILL SAYS HIS TITLES?

"I am Gillion Tidestrider, Champion of the Deep, Hero of the Undersea, Warrior of Rock 'n' Roll, and The One"

[the-insanity-of-mojiru]

 ʙʟᴏᴏᴍ, ꜰʟᴏᴡᴇʀꜱ, ꜰᴏʀ ᴛʜᴇ ᴀɴᴏɴʏᴍᴏᴜꜱ ᴡᴏʀʟᴅ ɪꜱ ʙᴜᴛ ᴀ ᴍᴏᴍᴇɴᴛ ! 咲かせよ華を　無名世界は刹那   !  

Happy 3rd year Anniversary to the Anonymous World! And thank you for sticking with me all this time!

[mostlysignssomeportents]

Happy Public Domain Day 2025 to all who celebrate

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/12/17/dastar-dly-deeds/#roast-in-piss-sonny-bono

In 1976, Congress set fire to the country's libraries; in 1998, they did it again. Today, in 2024, the flames have died down, and out of the ashes a new public domain is growing. Happy Public Domain Day 2025 to all who celebrate!

For most of US history, copyright was something you had to ask for. To copyright a work, you'd send a copy to the Library of Congress and they'd issue you a copyright. Not only did that let you display a copyright mark on your work – so people would know they weren't allowed to copy it without your permission – but if anyone wanted to figure out who to ask in order to get permission to copy or adapt a work, they could just go look up the paperwork at the LoC.

In 1976, Congress amended the Copyright Act to eliminate the "formality" of copyright registration. Now, all creative works of human authorship were copyrighted "at the moment of fixation" – the instant you drew, typed, wrote, filmed, or recorded them. From a toddler's nursery-school finger-painting to a graffiti mural on a subway car, every creative act suddenly became an article of property.

But whose property? That was on you to figure out, before you could copy, publish, perform, or preserve the work, because without registration, permissions had to start with a scavenger hunt for the person who could grant it. Congress simultaneously enacted a massive expansion of property rights, while abolishing the title registry that spelled out who owned what. As though this wasn't enough, Congress reached back in time and plopped an extra 20 years' onto the copyrights of existing works, even ones whose authors were unknown and unlocatable.

For the next 20 years, creative workers, archivists, educators and fans struggled in the face of this regime of unknowable property rights. After decades of well-documented problems, Congress acted again: they made it worse.

In 1998, Congress passed the Sonny Bono Copyright Act, AKA the Mickey Mouse Preservation Act, AKA the Copyright Term Extension Act. The 1998 Act tacked another 20 years onto copyright terms, but not just for works that were still in copyright. At the insistence of Disney, Congress actually yanked works out of the public domain – works that had been anthologized, adapted and re-issued – and put them back into copyright for two more decades. Copyright stretched to the century-plus "life plus 70 years" term. Nothing entered the public domain for the next 20 years.

So many of my comrades in the fight for the public domain were certain that this would happen again in 2018. In 2010, e-book inventor and Project Gutenberg founder Michael S Hart and I got into a friendly email argument because he was positive that in 2018, Congress would set fire to the public domain again. When I insisted that there was no way this could happen given the public bitterness over the 1998 Act, he told me I was being naive, but said he hoped that I was right.

Michael didn't live to see it, but in 2019, the public domain opened again. It was an incredible day:

https://archive.org/details/ClosingKeynoteForGrandReopeningOfThePublicDomainCoryDoctorowAtInternetArchive

No one has done a better job of chronicling the fortunes of our fragile, beautiful, bounteous public domain than Jennifer Jenkins and James Boyle of Duke University's Center for the Study of the Public Domain. Every year from 2010-2019, Boyle and Jenkins chronicled the works that weren't entering the public domain because of the 1998 Act, making sure we knew what had been stolen from our cultural commons. In so many cases, these works disappeared before their copyrights expired, for example, the majority of silent films are lost forever.

Then, in 2019, Jenkins and Boyle got to start cataloging the works that were entering the public domain, most of them from 1923 (copyright is complicated, so not everything that entered the public domain in 2019 was from that year):

https://web.law.duke.edu/cspd/publicdomainday/2019/

Every year since, they've celebrated a new bumper crop. Last year, we got Mickey Mouse!

https://pluralistic.net/2023/12/15/mouse-liberation-front/#free-mickey

In addition to numerous other works – by Woolf, Hemingway, Doyle, Christie, Proust, Hesse, Milne, DuBois, Frost, Chaplin, Escher, and more:

https://pluralistic.net/2023/12/20/em-oh-you-ess-ee/#sexytimes

Now, 2024 was a fantastic year for the public domain, but – as you'll see in the 2025 edition of the Public Domain Day post – 2025 is even better:

https://web.law.duke.edu/cspd/publicdomainday/2025/

So what's entering the public domain this year? Well, for one thing, there's more of the stuff from last year, which makes sense: if Hemingway's first books entered the PD last year, then this year, we'll the books he wrote next (and this will continue every year until we catch up with Hemingway's tragic death).

There are some big hits from our returning champions, like Woolf's To the Lighthouse and A Farewell to Arms from Hemingway. Jenkins and Boyle call particular attention to one book: Faulkner's The Sound and the Fury, its title taken from a public domain work by Shakespeare. As they write, Faulkner spoke eloquently about the nature of posterity and culture:

[Humanity] is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance…The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

The main attraction on last year's Public Domain Day was the entry of Steamboat Willie – the first Mickey Mouse cartoon – into the public domain. This year, we're getting a dozen new Mickey cartoons, including the first Mickey talkie:

https://en.wikipedia.org/wiki/Mickey_Mouse_(film_series)#1929

Those 12 shorts represent a kind of creative explosion for the Disney Studios. Those early Mickey cartoons were, each and every one, a hybrid of new copyrighted works and the public domain. The backbone of each Mickey short was a beloved, public domain song, with Mickey's motion synched to the beat (animators came to call this "mickey mousing"). In 1929, there was a huge crop of public domain music that anyone could use this way:

Blue Danube, Pop Goes the Weasel, Yankee Doodle, Here We Go Round the Mulberry Bush, Ach Du Lieber Augustin, Listen to the Mocking Bird, A-Hunting We Will Go, Dixie, The Girl I Left Behind Me, a tune known as the snake charmer song, Coming Thru the Rye, Mary Had a Little Lamb, Auld Lang Syne, Aloha ‘Oe, Turkey in the Straw, My Bonnie Lies Over the Ocean, Habanera and Toreador Song from Carmen, Lizst’s Hungarian Rhapsody No. 2, and Goodnight, Ladies.

These were recent compositions, songs that were written and popularized in the lifetimes of the parents and grandparents who took their kids to the movies to see Mickey shorts like "The Barn Dance," "The Opry House" and "The Jazz Fool." The ability to plunder this music at will was key to the success of Mickey Mouse and Disney. Think of all the Mickeys and Disneys we've lost by locking up the public domain for the past half-century!

This year, we're getting some outstanding new old music for our public domain. The complexities of copyright terms mean that compositions from 1929 are entering the public domain, but we're only getting recordings from 1924. 1924's outstanding recordings include:

George Gershwin performing Rhapsody in Blue, Jelly Roll Morton playing Shreveport Stomp, and an early recording from contralto and civil rights icon Marian Anderson, who is famous for her 1939 performance to an integrated audience of over 75,000 people at the Lincoln Memorial. Anderson’s 1924 recording is of the spiritual Nobody Knows the Trouble I’ve Seen.

While the compositions include Singin' in the Rain, Ain't Misbehavin', An American in Paris, Bolero, (What Did I Do to Be So) Black and Blue, Tiptoe Through the Tulips, Happy Days Are Here Again, What Is This Thing Called, Love?, Am I Blue? and many, many more.

On the art front, we're getting Salvador Dali's earliest surrealist masterpieces, like Illumined Pleasures, The Accommodations of Desire, and The Great Masturbator. Dali's contemporaries are not so lucky: after a century, the early history of the works of Magritte are so muddy that it's impossible to say whether they are in or out of copyright.

But there's plenty of art with clearer provenance that we can welcome into the public domain this year, most notably, Popeye and Tintin. As the first Popeye and Tintin comics go PD, so too do those characters.

The idea that a fictional character can have a copyright separate from the stories they appear in is relatively new, and it's weird and very stupid. Courts have found that the Batmobile is a copyrightable character (Batman won't enter the public domain until 2035).

Copyright for characters is such a muddy, gross, weird idea. The clearest example of how stupid this gets comes from Sherlock Holmes, whose canon spans many years. The Doyle estate – a rent-seeking copyright troll – claimed that Holmes wouldn't enter the public domain until every Holmes story was in the public domain (that's this year, incidentally!).

This didn't fly, so their next gambit was to claim copyright over those aspects of Holmes's character that were developed later in the stories. For example, they claimed that Holmes didn't show compassion until the later stories, and, on that basis, sued the creators of the Enola Holmes TV show for depicting a gender-swapped Sherlock who wasn't a total dick:

https://www.theguardian.com/books/2020/dec/22/lawsuit-copyright-warmer-sherlock-holmes-dismissed-enola-holmes

As the Enola lawyers pointed out in their briefs, this was tantamount to a copyright over emotions: "Copyright law does not allow the ownership of generic concepts like warmth, kindness, empathy, or respect, even as expressed by a public domain character – which, of course, belongs to the public, not plaintiff."

When Mickey entered the public domain last year, Jenkins did an excellent deep dive into which aspects of Mickey's character and design emerged when:

https://web.law.duke.edu/cspd/mickey/

Jenkins uses this year's entry of Tintin and Popeye into the public domain to further explore the subject of proprietary characters.

Even though copyright extends to characters, it only covers the "copyrightable" parts of those characters. As the Enola lawyers wrote, the generic character traits (their age, emotional vibe, etc) are not protected. Neither is anything "trivial" or "minuscule" – for example, if a cartoonist makes a minor alteration to the way a character's pupils or eyes are drawn, that's a minor detail, not a copyrightable element.

The biggest impediment to using public domain characters isn't copyright, it's trademark. Trademark is very different from copyright: foundationally, trademark is the right to protect your customers from being deceived by your competitors. Coke can use trademark to stop Pepsi from selling its sugary drinks in Coke cans – not because it owns the word "Coke" or the Coke logo, but because it has been deputized to protect Coke drinkers from being tricked into buying not-Coke, thinking that they're getting the true Black Waters of American Imperialism.

Companies claim trademarks over cartoon characters all the time, and license those trademarks on food, clothing, toys, and more (remember Popeye candy cigarettes?).

Indeed, Hearst Holdings claims a trademark over Popeye in many traditional categories, like cartoons, amusement parks, ads and clothes. They're also in the midst of applying for a Popeye NFT trademark (lol).

Does that mean you can't use Popeye in any of those ways? Nope! All you need to do is prominently mention that your use of Popeye is unofficial, not associated with Hearst, and dispel any chance of confusion. A unanimous Supreme Court decision (in Dastar) affirm your right to do so. You can also use Popeye in the title of your unauthorized Popeye comic, thanks to a case called Rogers v Grimaldi.

This all applies to Tintin, too – a big deal, given that Tintin is managed by a notorious copyright bully who delights in cruelly terrorizing fan artists. Tintin is joined in the public domain by Buck Rogers, another old-timey character whose owners are scumbag rent-seekers.

Congress buried the public domain alive in 1976, and dumped a load of gravel over its grave in 1998, but miraculously, we've managed to exhume the PD, and it has been revived and is showing signs of rude health.

2024 saw the blockbuster film adaptation of Wicked, based on the public domain Oz books. It also saw the publication of James, a celebrated retelling of Twain's Huck Finn from the perspective of Huck's enslaved sidekick.

This is completely normal. It's how art was made since time immemorial. The 40 year experiment in life without a public domain is at an end, and not a minute too soon.

You can piece together a complete-as-possible list of 2025's public domain (including the Marx Brothers' Cocoanuts, Disney's Skeleton Dance, and Del Ruth's Gold Diggers of Broadway) here:

https://onlinebooks.library.upenn.edu/cce/

[pathologicalreid]

here with me | s.r.

four times Spencer feels out of place in your house after being released from prison, and one time it's like he never left

margotober masterlist

who? spencer reid x fem!reader category: fluff content warnings: mom!reader, dad!spencer, post prison, crying, stephen walker's death, non-specified illness, baking, kissing word count: 3.58k a/n: i love this fic format i have been wanting to do it for ages. and here we are. as always-tell me how you feeeeeeeel

“I wanna stay home,” your daughter whined from her place at the kitchen table. She periodically reached to her sister’s high chair so that she could steal blueberries from her plate.

You hummed, pouring the egg mixture into the preheated skillet, “We played hooky yesterday, bub. We’ve gotta go back to school today.” Using a silicone spatula, you started to scramble the eggs.

She grumbled unintelligibly, dramatically sliding down the chair, “Livvy gets to stay home.”

Turning down the heat on the stove, you went around the counter and crouched in front of your five-year-old, “Well, Livvy’s two, and before you ask, Finn’s not going to school either.”

“Finn’s a baby, mom. He can’t go to school,” she told you proudly.

You frowned at your daughter, “It’s hard to be the oldest, honey. We can’t keep staying home.” Ruffling her hair affectionately, you get up from the floor and go back to the stove, you continue scrambling the eggs.

To your eldest, going back to kindergarten was a fate worse than death. It wasn’t strictly that she didn’t want to go to school, it was that she didn’t want to leave home. The sniffle from the table lets you know that this morning was going to be harder than you initially anticipated. “I wanna stay with daddy,” she cried, kicking her legs at the table.

Turning off the heat, you set the pan on a trivet before going back to the table, “I know,” you responded. Every time you thought you had run out of tears, new ones managed to find their way out.

Of your three kids, Eleanor was old enough to really feel Spencer’s absence. To your dismay, she ended up bearing some of the burden of her father being gone for three months. After staying with your parents for a few days, she was finally reunited with her dad yesterday morning, and they had been nearly inseparable since.

“Oh, Nell,” you sighed, cupping her cheeks in your hands, “I don’t know if daddy has plans today. He has a lot of stuff that needs to be done.

Pulling away from your touch, she frantically wiped the tears from her eyes, “I can do stuff too,” she whimpered.

She unwound your resolve like a ball of yarn, “I know you can, honey. I just…” you faltered. You had let her miss so much school over the last three months that the school had sent letters home, “We’ll just have to see.”

You sighed helplessly, standing back up and smiling softly at Olivia, who had successfully gotten blueberry juice everywhere. Returning to the kitchen, you put some scrambled eggs on Eleanor’s plate and put more in a bowl for Olivia, setting it aside to cool more before you give it to your toddler.

Putting the pan in the sink, you flipped on the tap before starting to clean it. While you kept a watchful eye on the baby monitor, you didn’t notice Spencer come downstairs and walk into the kitchen. In fact, you were completely unaware of his presence until he spoke, “Can I help with anything?”

You lost your grip on the pan, sending soapy water flying all over the kitchen as you frantically tried to catch the handle. Eleanor either didn’t notice or didn’t care. Olivia thought it was hilarious. “Oh,” you breathed as Spencer reached over and turned off the water, “You scared me.”

The two of you shared a timid glance, his hand ghosting over your waist as he walked past you to where the girls were sitting.

Biting the dead skin off of your lips, you finished rinsing the pan before setting it on a drying mat. You were wiping down the countertop when Finn finally woke up, and you dropped everything to go get him from his crib, almost like you were running on autopilot.

Unzip the sleep sack. Change the diaper. Get dressed. Cuddle him. Every morning. In that order.

Resting the groggy baby on your hip, you made your way back downstairs and into the kitchen, starting the bottle warmer and listening to the conversation between Spencer and Nellie.

“What if you go to school today, but on Friday we can both take the day off? We could go out for lunch,” he offered, crouching down so he was at her level.

She looked pointedly over at Olivia, who was happily eating the eggs that you assumed Spencer had given her, now thoroughly doused in ketchup, “Just us?”

Spencer nodded reassuringly, “If it’s okay with mommy, we can have a daddy and Nellie day.” He reached out tentatively and tucked some of her hair behind her ear, everything about him seemed so timid.

You looped around the kitchen table, ruffling Olivia’s hair before doing the same to Eleanor’s and even Spencer’s, which made Olivia giggle.

“Can I?” Spencer asked, nodding his head to the bottle that you had just grabbed from the warmer.

Blinking absently for a moment, you eventually nodded, handing Finn over to his dad along with the bottle, watching as Spencer cradled him, walking him around the kitchen while his bottle was clamped between his tiny hands. “Hey, girls, time to get dressed,” you said, forcing yourself to peel your eyes off of your husband.

Eleanor groaned but got up anyway, trudging up the steps while you followed with Olivia in your arms, feeling like you were missing something without Finn also in tow.

Nell made her way back down first, sitting on the couch and watching her dad, keeping an eye on him like she was afraid he was going to disappear before her very eyes. “Daddy?” She whispered, her voice barely audible from your place at the top of the stairs.

“Yeah?” He asked, you heard the sound of him setting the bottle in the sink.

She’s quiet for a moment before responding, “I missed you.”

Spencer’s footsteps stopped abruptly, “I missed you too, lovebug.”

You started to make your way down the stairs, letting Olivia go down on her own now that she wasn’t covered in blueberry. Eleanor looked at you with big eyes before helping her sister climb up on the couch. “Finny, Finny, Finny,” Olivia echoed.

Zipping up Eleanor’s school lunch in her bag, you sighed, hoping you were doing the right thing by sending her to school. “Hey, Nell,” you said, checking a new message on your phone, “Mrs. Jareau is here.”

JJ’s carpools had saved you multiple times while Spencer was in prison, you were just grateful she was willing to continue them.

Normally, she’d run out the door at the prospect of being able to talk to Henry, but this time she lingered by the front door, holding her backpack straps in her hands and staring at her dad, “Will you be here when I get home?”

He looked at you, a thousand emotions flashing in his brown eyes, and he squatted in front of her, “I’ll be here,” he said, holding out his pinky finger to interlock with her much smaller one. “I promise,” he said, kissing her forehead before standing up.

Once you knew she was off to school, you made sure Olivia was settled in on the couch and Finn was in his bouncer before going back to the kitchen to finish cleaning up. You were placing dishes in the dishwasher when Spencer came back.

“I’m sorry,” he said, leaning against the countertop and handing you a bowl to put on the top rack.

Taking the bowl, you didn’t look at him as you placed it in the dishwasher before putting a tablet in and pressing the start button, “I wish you’d stop apologizing.”

He stepped slightly closer to you, “I know. It’s just… watching you handle all three of them in the morning. It’s incredible,” he praised you. “I left you alone,” he said mournfully.

You shrugged, having never really thought of it that way, “You didn’t leave me alone. I had them,” you said, nodding in the direction of the living room, where Finn and Olivia were having a conversation that only the two of them could understand.

You sighed in relief as the shower water washed over you, an early afternoon shower just before Eleanor got home from school, the little ones were down for their naps, and you had to race against time before one of them woke up. It didn’t give you a lot of time to just sit under the running water, but you’d have enough time to wash your hair before you needed to pause the shower.

You had narrowly avoided disaster this morning when the girls’ breakfasts had been mixed up. Thankfully, you navigated a toddler meltdown that was triggered by the appearance of ham in her eggs. Poor Spencer was still confused even after you explained to him that she wouldn’t eat ham because it’s pink and pink is her favorite color.

It wasn’t something that made a lot of sense to you either, but the only person that it needed to make sense to was your two-year-old.

Rinsing your hair, you remembered how happy Spencer had been when he got Finn down last night. He’d spent the day talking about how babies don’t start to really recognize faces until they’re around four months old, and that was about how old he was when Spencer left.

Finn knew his dad. He’d even started reaching out for him when he wanted to be held but feeling comfortable enough to be put down for the night by him—it felt like a milestone.

The crying started right after you finished rinsing your hair, you quickly shut off the water and grabbed your towel off of the hook. Wrapping it around yourself, you dried off your feet before opening the bathroom. Sometimes when Finn cried while you were in the shower, you’d just bring him in with you to finish, but when you opened the door, his tears were already waning.

Spencer had gotten to him first, scooping him out of the crib in your room and holding him to his chest, “Hey, buddy,” he cooed softly, “What’s wrong?”

The baby chattered in response, gripping the cotton of Spencer’s t-shirt in his tiny fists and wiping his tears away.

“You’re alright,” Spencer whispered, placing him on your bed to undo his sleep sack, smiling at his son when he kicked his legs once freed. “You just wanted to be held, huh? Your sister was the same way when she was a baby,” he said.

Nell. He was remembering Nell as a baby, who slept best when she was being held and would cry if you were out of her line of sight.

Spencer turned around, stopping in his tracks when he saw you in the doorway, “Did you finish?”

You’d been caught, “Oh. Could you get a new soap from the hall closet? We’re out,” you fibbed, mindful of the way your hair was still dripping wet.

He frowned, “I just put a new one in this morning. Did you look on the caddy?”

Blinking, you shook your head, “No, my bad.”

You had already started closing the door when he called for you, “Honey?”

Pausing, you peeked out the door to look at him, “Yeah?”

“I’m here,” he told you, something urgent in his tone.

Your face warmed, the reminder of his presence making your heart race, “I—” you faltered, “I know.”

You had managed to get Nell out the door without a fight this morning with the promise of her father-daughter date tomorrow. Olivia was settled with her toys in your line of sight and Finn was in a sling. The baby hadn’t slept well last night, and you were fairly certain that he had a new tooth poking through. He seemed fine now, catching up on sleep while you wiped down the kitchen.

Spencer was across from you, filling out some required papers for his reinstatement hearing. He hadn’t fully committed to seeking reinstatement until you brought it up. Frankly, you were horrified by the fact that Spencer was under the impression that you would ask him to leave the BAU for any reason.

“What do you have planned today?” Spencer asked you, still focusing on the papers while making gentle conversation with you.

You raised your eyebrows briefly, “Really awesome exciting stuff.” You took a sip of your coffee before adjusting Finn’s sling. Very slowly, you were beginning to find a new routine with Spencer and the kids in the morning. Spencer was learning about everything that had changed, and you were learning how to give him more responsibilities around the house.

You needed to let go of the notion that you were still alone. Spencer hummed in response, laughing at your blatant oversell, “Like what?”

Smiling, you dried your hands on a tea towel before standing next to him, distracting him from his paperwork with the cuteness of a sleeping baby. “There is so much dirty laundry in this house,” you told him, “I’m surprised anyone has any clean clothes.”

“Anything else?” Spencer asked, placing one hand gently on your hip and pressing a tentative kiss to your lips.

You hesitated, “Uh, cooking?”

He looked at you curiously, “Cooking for what?”

Chewing on the inside of your lip, you looked over at Olivia, making sure she was preoccupied before answering, “Monica and the kids.”

Realization dawned over Spencer’s face, “Oh,” he breathed. It didn’t surprise you that Spencer had conflicting feelings about Stephen’s death, given that he hadn’t known him that well prior to his arrest, but he and his family had grown close to you in your husband’s absence.

You nodded, “There’s a meal train thing going on for them, so I was going to make some stuff and drop it there later.” Tentatively, you smoothed Spencer’s hair back, needing something to do with your hands, “Maya used to babysit a lot when I needed extra hands. I just want to feel like I’m returning the favor.”

“Can I come with you?” Spencer asked, tilting his head back to look up at you.

Smiling softly at him, you answered, “Of course.” You sniffled, “If we time it right, we could pick Nell up from school at the end of the day.”

He squeezed your hip comfortingly, “I love you.”

You leaned down and kissed him again, “I love you too.”

The chattering woke you up, Finn in his crib talking to himself as you glared at the alarm clock. It was just past three in the morning, and the second thing you noticed was that you were alone in your bed.

You sat up in a panic, worried you had dreamt the past few weeks until your eyes found Spencer’s watch sitting on his nightstand. Rubbing your eyes, you dragged yourself out of bed before getting Finn from his crib, taking his sleep sack off to make him easier to hold, “Hey,” you whispered, “Let’s go find daddy.”

It didn’t take you long, Spencer was sitting on the floor in the hallway, his knees bent to his chest as he looked into Nell’s room, her space nightlight providing a soft glow into the hallway.

“If you move to the left about a foot, you can see both of them at the same time,” you informed him.

He listened, shifting over so that he could see Eleanor and Olivia at the same time, both of them sleeping peacefully in their beds. Spencer looked up at you, “Why do you know that?”

You slid down the wall, taking a seat next to him and settling Finn lengthwise along your thighs, “At the beginning of March, Nell brought home a virus from school and gave it to Liv, and then one of them gave it to Finn. So, I’d sit out here in the hallway and watch the girls with Finny in my lap,” you told him, leaning your head on his shoulder. “Just so I’d be nearby if any of them needed anything,” you kept your voice at a whisper, rocking your legs in hopes that it would soothe Finn back to sleep.

Spencer didn’t respond for a moment, thinking through what you had said before finally speaking up, “No one told me they’d been sick.”

Humming, you smoothed the baby’s hair back, keeping it out of his face, “I didn’t tell anyone.” To this day, no one else knew that you had juggled three sick kids at once, “I lied to JJ and told her that I was keeping Nell home for a few days, and she didn’t push for more information.” No one had pushed you for anything in the past three months.

“Why didn’t you ask for help?” Spencer asked, leaning his head on yours and resting a hand on your knee.

You didn’t want to, quite honestly. You hadn’t wanted to have to call your mom or anyone from the BAU when you needed help because it felt like an admission of sorts. Admitting that Spencer was gone long-term and that you were a solo parent. “I don’t know,” you lied, “I felt like I had something to prove to the world.”

Spencer swallowed thickly next to you, “Did it work?”

Shaking your head, you sighed a breath of relief at his presence, “No.”

He was quiet for a while, likely wallowing in a pit of guilt that he had been constructing for weeks, “We should get him back to bed.”

“Spence?” You whispered, closing your eyes and listening to the sounds of your quiet house, “Can we just stay like this for a little while?”

Humming a confirmation, Spencer placed a gentle kiss on the crown of your head, leaving his hand resting on your knee while the two of you remained in the hallway, enjoying each other’s company.

“We should’ve done cupcakes,” you said mournfully, turning on the oven light to see that there was something very off about the cake you’d put in the oven.

Spencer hummed, looking at the recipe again to see if there was something you had missed, “Why didn’t we do cupcakes?”

You huffed, “The Pinterest photo I found was of a cake.” It was a perfect cake, complete with a purple graduation cap made out of fondant that you could put on the top. The only problem was you had severely overestimated your baking abilities.

“So,” Spencer started, “It’s your fault.”

Scoffing, you tapped his chest with a silicone spatula, “It’s the fault of whoever posted the original photo!”

Spencer smiled at you, a dopey look in his eyes despite it being one in the morning. “We should’ve asked Penelope to do the cake,” he told you, flipping over the recipe you had printed out.

“We can make a cake,” you retorted, you were throwing a very small party for Nell’s last day of kindergarten—the first time you’ve invited a group over since Spencer was arrested. “You have three PhDs and you don’t think you can bake a cake?”

He raised his eyebrows at you, “This might come as a surprise to you, but none of my coursework ever involved baking.”

You grinned at him, “That does surprise me, it’s basically chemistry,” you challenged.

Spencer rolled his eyes, “Okay, come here,” he said, pulling you into his arms by the fabric of your t-shirt.

Realization fell over you as you scrambled to get away, “No! You’re gonna put frosting on my nose again.” It would be his second offense of the evening.

He followed you into the living room where you tripped over a toy truck, causing you to fall to the ground. When he offered a hand to help you up, you tugged him to the floor, causing one of the balloons that you had previously blown up to pop.

You covered your mouth to muffle your giggles, waiting to see if the noise had woken any of the kids up.

The kids were all so happy to have Spencer back, but your stomach twisted at the realization that this was the first night you’d really felt like you had Spencer back. You loved the kids, but you haven’t had a moment without them since February.

“Hey,” you said to Spencer, rolling over and flinging a balloon at him for good measure.

Carefully, you rested your chin on his chest, staring at him while he tried to calm his own laughter, “Hi,” he said back, ruffling your hair affectionately.

You took a deep breath before speaking up again, “I missed you.”

You hadn’t said it yet. You’d developed some misconstrued fear of making him feel guilty if you’d told him just how much you missed him, but it was the truth. You missed him. He smiled softly down at you, almost as if he had been waiting for you to say the words. “I missed you too,” he whispered.

Slowly, you lifted yourself up and pressed your lips to his, kissing him. It was more than any of the quick pecks you’d shared in the last few weeks, it was real. His hands dug into your waist as if he was afraid you were going to disappear, but you stayed there. You stayed with him, and you always would.

Up until the timer for the cake went off, your phone buzzing in your pocket when you finally pulled away. Breathing heavily, Spencer asked, “Is it too late to ask Penelope to do the cake?”