#three act story

[poorly-drawn-mdzs]

None of our hands are clean

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[timothylawrence]

"Wyll is boring" he is the personification of daddy issues. he hides away at a beach TWICE and leaving the tav to go find him because he's not used to having people around who care abt him. he's been running around the sword coast for seven years just killing things and saving people because he got EXILED and chose to prove himself to his father and just help others. he spends his time training kids how to defend themselves. you find out his dad is the ARCHDUKE of Baldur's Gate. he almost drowned once trying to find mermaids. he has a literal devil haunting him that watches his every move. He managed to stop an entire cult of Tiamat AT AGE 17!!!!!!! he loves clowns.

Wyll isn't boring, ppl just haven't taken the time to explore his story and it SHOWS

[crabsnpersimmons]

thanks @random-tail and @enamoredfey for the questions! i'll let Sun himself answer:

long-story short, Sun doesn’t believe he has emotions since he is a robot 😔

of course, he sees Moon and Eclipse emote all the time. he usually attributes it to Moon being a fool (believing he is something he's not) and Eclipse being manipulative (given that he was originally built for the theater)

but there is a part of him that wonders if he is missing something—he just doesn’t understand what that is

Note: i should also mention, his voice is almost completely monotone. the closet idea of a voice claim for this Sun is Greg Chun's voice for Lukas from Fire Emblem Echoes—fairly even in tone, somewhat soft

[dekariosclan]

♡ ~ ♡ Act I ♡ ~ ♡

♡ ~ ♡ Act II ♡ ~ ♡

♡ ~ ♡ Act III ♡ ~ ♡

[thewertsearch]

Curt manners. Egregious womanizing. Murdering the help. Casual arson. [o] Even atrocious candy bowl etiquette. But it is the desecration of a priceless timepiece where I must draw the line. I'm afraid I must now insist that you take your beating quite personally.

The man's beating Slick's ass to the ground with Homestuck itself. I’ve been waiting to see how Scratch himself would mix it up, and it was absolutely worth the wait. The guy’s got style.

Not the Scotty Dogs!

Alright, Doc, I can excuse causing the apocalypse, but I have to draw the line somewhere. You're going straight the fuck down to G-tier.

EB: hello? EB: you didn't fly off to fight jack yet, did you? […] EB: anyway, all that stuff you said sounds fun to me, i have hells of the cage flicks in my library. EB: i do not even care that you're an alien! you see, cage is the universal constant which unites us all. EB: well… […] EB: i will look forward to your message in the future. […] AG: OH MY FUCKING HELL, THIS IS SO INSANELY AWKWARD AND SAD.

It's honestly a good thing that Vriska's already out of the picture. It'd really suck to watch someone read through a bunch of embarrassing texts you wrote, while you were awkwardly coming to terms with the fact that you're down bad for an alien.

That'd really suck, wouldn't it?

Wouldn't it, Vriska?

It’s actually pretty interesting that Scratch fights like a brawler, since he really doesn't feel like the type to get his hands dirty. Maybe he's not quite as prim and proper as he makes himself out to be.

As for Slick, I’m just impressed at his constitution. He just took a blow that essentially tore a phone directory in two, and he's still on his feet.

...well, I might be counting my chickens before they're hatched, actually. Let's check in on him in a couple of pages.

[bisclavret]

like many who have suffered at the hands of bbc merlin before me, i recently indulged in a thought experiment in which i outlined my own version of seasons 3-5 that stay thematically and tonally in line with the show (except they're less fucking stupid). but then i quickly realized that focusing on details is pointless: all you need is to solve the one Big Problem the show has, and the rest will follow. the problem in question? ✨morgana✨

i like the first two seasons. s1 achieves what it sets out to do and has fun while doing it, and s2, while flawed, sets up a ton of potential that the following seasons unfortunately squander, beginning with the insidious season 3. you can only distract me with cute knights and goblins and fart jokes for so long before i start seeing through you, evil, evil season of television.

my hypothesis is that if the writers had crafted s3 morgana into anything more sympathetic than a violent half-alive poltergeist that can never be reasoned with because she's suddenly terminally off her rocker, everything would've fallen into place. a sympathetic morgana would've made real, valid arguments against uther (and arthur) that wouldn't just be the ramblings of a woman possessed. her betrayal of arthur would have stemmed from her feeling increasingly morally superior to him because of his complacency in the face of their father's tyranny. under morgause's guidance she would stop believing that arthur is capable of change, and the whole point would be that she might actually be right. arthur would have to actively try and prove her wrong, instead of getting praised for doing the bare minimum because the bar is on the floor.

furthermore, morgana's prophetic dream about arthur and gwen becoming king and queen and her decision to prevent this however she can is a direct parallel to merlin learning about that same prophecy and making it happen by any means necessary. merlin's desires about his and arthur's futures are subtextually fueled by gay love and devotion, so why couldn't morgana's be? why couldn't she properly express her bitterness that arthur gets to be with gwen in a way she can't "took gwen away" from her, instead of suddenly declaring that gwen is nothing more than a servant, after two seasons of demonstrating again and again that she loves, values, and respects gwen more than anyone else in that godforsaken castle?

following this, an angry and emotionally volatile but still sensible morgana asking gwen to stay by her side during the coup of the castle in the s3 finale and gwen going behind her back to help arthur and the knights would've hurt like a bitch. double-sided betrayal! gwen having a real plot! the proper beginnings of a toxic yuri that would shape a generation!

then there's the utter hubris of having morgana shoot arrows at the same civilians she worried herself sick over for 2 seasons — even morgan, her medieval counterpart that was rooted in every sexist trope in existence, doesn't just go around killing senselessly but instead has (often petty!) personal vendettas against gwen, arthur, and the knights. morgana had every right to be sick of the pretensions around chivalry in camelot (she was always quick to mock it, even in s1), and to lash out at the knights and soldiers after years of feeling powerless in a castle full of armed men that blindly followed her oppressor. the show conveniently forgets that morgana was victimized as a woman as well as a sorcerer those first 2 seasons.

but like i said, this is not just about morgana. allowing her to remain a real and multifaceted character even as she betrays everyone in pursuit of her ambitions would've given the rest of the core four more interesting conflict to work with: merlin because he would have to experience real consequences to his actions, arthur because he would watch his sister go against his father (and his knights, and his birthright) and experience some actual internal dilemmas about it, and gwen because she would be forced to choose between morgana and arthur without the pretense that it's an obvious or easy choice for her to make.

even morgause and gaius would come off more interesting as mentors: neither one inherently evil or inherently good, both jaded by events that happened before our protagonists were even born, both heavily influencing morgana and merlin into fulfilling roles that they think are appropriate, but that morgana and merlin may not have chosen for themselves had they not been under their care.

you get the gist. if the show followed its own setup, morgana's mistakes wouldn't lie in cheap and senseless acts of violence but in alienating the people she loves because she is too hurt and jaded to trust them. meanwhile, everybody else would feel guilt over "failing" her and yet they would be too caught up in their own (sometimes flawed!) beliefs of right and wrong to truly see her point of view.

arthur would convince himself it was sorcery that corrupted her. merlin would know that isn't true but he wouldn't be able to argue without confessing everything, which is the defining conflict between him and morgana and it's cheapened when she's just an evil witch caricature and merlin is framed as inherently virtuous in contrast. gwen, too, would become a more active participant in her own life by choosing arthur over morgana and choosing to rule camelot with him instead of just waiting politely to see where things go.

and, of course, uther's downfall and death would be quick, final, and completely earned — when and why did the show even decide he of all people was the sympathetic villain, anyway?

lastly, and perhaps controversially, i think morgana should've learned merlin's true identity by season 4. her being the first of the main characters to find out makes perfect sense considering their shared history and their interconnected and mirrored arcs. even the show seems to agree, considering she does find out a little before arthur. but the narrative itself tried pointing flashing neon arrows towards this way earlier — there is a whole entire episode in s4 where merlin being emrys is repeatedly spelled out for morgana and she still isn't allowed to see it. that episode makes her look like the stupidest person to ever live, which is pretty funny im not gonna lie, but also another frustrating thing in the endless string of frustrating things that make up this show.

morgana learning that merlin has magic would've transformed the source of merlin's anxiety from a crippling fear of being outed someday to the crippling fear of knowing she could out him at any moment. this would make him want to beat her to the punch (perhaps he'd consider killing her for a minute and decide against it because she isn't a cartoonishly insane evil person in my version of events) and maybe he would even feel some tentative excitement at the idea of coming clean, now that it seems inevitable. after all, he always intended to tell arthur eventually! and i think gaius would have to admit outright that he does not want merlin to tell arthur he has magic because he, gaius, simply cannot risk such a gamble. it would be so interesting to see gaius and merlin clash and disagree once it becomes obvious that it's not merlin that isn't ready for the reveal, it's gaius. delicious!

with morgana's knowledge looming, things would inevitably spiral into a magic reveal by the end of season 4. i picture this season as an absolute mess of miscommunication between everyone at camelot, which is, y'know, canon. growing increasingly cunning and vengeful, morgana would use this tension to her advantage, destabilizing the court from the outside while she creates alliances with other sorcerers outside of camelot (instead of living alone in a hovel for no reason — morgana le fay i'm sorry i'm so sorry they gave you agravaine instead of your all-female entourage oh my god).

and here's where the events would change beyond recognition (aka here's where the meta becomes the fanfic i refuse to write). picture it with me: a militia of sorcerers infiltrates camelot and arthur and gwen have to set aside their differences (assuming gwen kissing lancelot and arthur overreacting happens, which it should) for the good of the kingdom as well as for love. picture high priestess morgana in her element, side by side with a bunch of misfit sorcerers that aren't so easily vilified, chopping down camelot's soldiers and knights and assuredly making their way to the newly-minted king.

then, just as it starts to seem that all hope is lost, in swoops merlin (the actual merlin, not his old fart disguise) on dragonback (kilgharrah hates morgana so much i know his sexist ass would stoop to anything to stop her)!!! imagine merlin showing off the extent of his powers in front of everyone and preventing the sorcerers from getting any further, declaring loud and clear that camelot is protected by him, by emrys. imagine that display of power alone being enough to send everyone home.

imagine the loyalties clearly drawn: merlin on arthur's side, morgana on the sorcerers'. imagine arthur, feeling confused and betrayed by everyone at this point, banishing merlin despite everything he's done for him in the angstiest, most emotionally dysregulated scene the show had ever put to screen. imagine merlin starting season 5 free at last but very lonesome, an embittered dragonlord like his father. imagine the absolute mess camelot would become without him, even with gwen — now queen guinevere — there to pick up the slack. imagine arthur actually earning merlin back, finally growing into his role as king as he does so. imagine the reunion.

all this and more could've been not just possible but inevitable if morgana was allowed to remain a complex character that is neither inherently good nor inherently evil: it was undeniably the biased and one-note treatment of morgana's downfall by the writers that set the precedent for literally everything else that happened after merlin chose to poison her. the show wouldn't have even had to jeopardize its tone or the monster-of-the-week vibe, all it would've had to do is admit that even the "good guys" are capable of mistakes and what makes them good is the ability to feel remorse and change for the better. (as opposed to uther, who was miles beyond redemption since way before the pilot and deserved to lose everything and die alone. OBVIOUSLY???)

in a world where morgana remains multifaceted and sympathetic, mordred would get a better arc as well, so if we really wanted to, we could still end on the same tragic note that the show ended on. with so much harm inflicted onto so many innocent people by the pendragons for so long (including mordred and the many druids and sorcerers that raised him), it could realistically end up being a little too late for anything more than one shining glimpse of king arthur and the sorcerer merlin's short-lived golden age before fate catches up to them. glimpsing that reality just to immediately lose it would've been far more satisfying and far more tragic than whatever the writers thought they were doing with all that pointless carrot-dangling.

and finally, an ending in line with morgana's new and improved arc. in this version, rather than bleeding out on the forest floor alone, she would channel the morgan le fay we know from the legends: sobered up by the reality of her brother dying, she would use her high priestess status (and perhaps also her pendragon status) to be granted passage over to avalon alongside arthur on the boat — a one-way ride — just to make sure he gets there safely. this is her penance for the harm she has caused, the same way arthur's penance is to die and leave the true ruler of camelot (gwen) behind to achieve everything he was too slow and indecisive to build while he still had time.

merlin's penance, then, would be to stay behind and watch them cross over without him, waiting and waiting and waiting until they come back or until he can finally join them. which is a bit fucking harsh if i'm honest, so i'd at least make it slightly more faithful to the legends by having him return as an old man and letting him take a long nap under a tree by the shore, his body slowly enveloped by vines like the cobwebbed fisher king in 3x08, never fully sure if he's dreaming or if there really are strange shapes fading in and out of the fog over the lake. still tragic, but nevertheless a little more open-ended and whimsical than [TRUCK NOISES] THE END!

[cardi-c]

x

[call-of-duty-incorrect-quotes]

Act Two

Gaz told Johnny he needed Jesus ONCE as a joke and he starts pretending he knows nothing about religion at all.

Soap: So, Christ’s body is the bread?

Gaz: Yes.

Soap: And he rose from the grave.

Gaz: Yes.

Soap: ..

Soap: Because of the yeast?

Gaz: no.

[sukibenders]

Racism and misogynoir are so apparent in fandom, especially when it comes to shipping because why is it when a white male, sometimes female but I see it more with the former, character is on screen with a love interest, particularly woc, especially if they're black, and even with all the emotional scenes or just moments where they look at one another in ways different from the rest, it's met with "No, they aren't dating/the show is not going to put them together" but let the other love interest be white as well and suddenly it all makes sense? Heck, the examples I mentioned above don't even have to exist between the latter for some to STILL go and believe this rhetoric (eg. some Jace and Helaena shippers because, even if these two only interacted with a dance but yet we see Baela console Jace, after he seeks her out, apparently it's to far fetched to believe that Jacela could be a thing?!)

Sometimes it could be a headcanon that, largely, would make sense (and oftentimes was birth due to lack of respect that the poc characters could have been given by the writers *cough* TVD *cough*), and yet you'd still have people dismissing it left and right and spewing hate. At a HEADCANON! And I'm not saying that just because the other person in the ship is poc that you have to ship them, I'm not, but it's very apparent to many poc fans in fandom that unless the characters are swapping spit and doing the nasty, the possibility of them being viewed in any romantic lens feels too much of stretch even though their white counterparts don't have to jump through the same loops.

[poorly-drawn-mdzs]

Broken Roofs and Fixed Perspectives

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[mikimeiko]

Arcane | Season 2 (2024), Christian Linke and Alex Yee

[nadiajustbe]

I think the most beautiful thing about writing of Howl and Sophie's pair is that they are written as people before being written as a pair. Let me explain this very quick.

The thing about book Sophie and Howl is that they are not really fully fitting into any "classic" romantic trope. They are not exactly enemies to lovers, as their angry chats are definitely cannot be considered a life or death battle, they are not rivals to lovers because the only aspect of rivalry between them is the cleaningness of Howl's room. They are not friends to lovers, as their relationship just doesn't fit into "friendship" structure at the very start, nor they are roomates (yes, they live in the same house but that's not the core aspect of their relationships). Of course, you can go on and fit the name of the trope you found specifically for them, but that's the thing.

They simply cannot be processed through a pairings lenses only, in order to understand how they act in relationship you need to analyse them separately, as a characters first of all. Cause that's what the book itself does!

Sure, it doesn't have a whole lot of romance instead, but it gives us time to learn and observe the life of incredibly written, alive characters, understand them as personalities first of all, while slowly immersing the dynamic between two characters (in this case, Howl and Sophie) into work. They are written as personalities, both being fully separated and interviewing, changing eachother's point of view.

It's difficult to find a trope for them. They're are not a trope. They are Howl and Sophie, and that's probably the only way their dynamic can be properly described. Just as real people, they are not really fitting into the boxes of linial character progression, but go way deeper into being complex, filled with little differences and moments only people with their personality can have in romantic (or any different) kind of interaction. They're imperfect, and silly, and multidimensional and the reader knows them well enough to imagine them interacting way beyond of what the book says to them.

They are being people before being a ship, a pair of a trope — and that's why they work so perfectly charming in the end.

Howl and Sophie are unique in being themselves.

[eglantinesandtea]

Arcane Swan Lake inspired AU with a sneak peek of the storyline

Act I: Birth of a Herald

The story begins in winter. Ximena and her son Jayce are trapped in a blizzard, lost within the woodlands near Piltover. With no way out, and their destination out of reach, it seems like these two will die. Until a young black swan finds them and brings them to safety using his magic.

It turns out that the black swan is actually a magician named Viktor, and he’s one of many denizens of the Enchanted Woods next to Piltover. Viktor introduces Ximena and Jayce to their current main protector and his mentor, the alchemist Reveck. Reveck, with the urging of Heimerdinger and Viktor, decides to allow Ximena and Jayce to stay within the Enchanted Wood. Under the conditions that neither may leave since humans can prove to be tricky to deal with, and they need to protect the woods.

Reveck notes to Ximena that he understands her plight of raising a child alone, since he too was once a single parent himself.

However, Jayce and Viktor soon discover oddities among the forest, forcing them to embark on an investigation that will lead them to a horrible discovery for all the denizens of the woods.

Meanwhile, a young Mel Medarda is the recently exiled heiress to the Medarda family of Noxus. Moving to Piltover with her best friend and assistant Elora has been tough, but getting a foot within the trust of Piltover’s nobles is tougher. That’s not even mentioning the mystery of the Enchanted Woods. With calculated steps, Mel will prove that she can make this city hers.

But first, who’s that boy she sees at the edge of the woods?

[mechazushi]

Kafka Hibino

Kafka Hibino.... with visible salt and pepper side burns.

Kafka Hibino.... wearing glasses and has salt and pepper side burns.

Kafka HIbino.... in that black turtleneck and a dark brown leather jacket and also wearing glasses and has salt and pepper side burns.

Kafka Hibino.... wearing that outfit and is an Animal Biology Professor in an College Au.

Kafka Hibino..... asking out Hoshina who is an Advanced Mathematics Professor working at the same college, to have an after-work drink with him.

Slightly DRUNK Kafka Hibino... becoming very forward with an also slightly drunk Hoshina

Slightly Drunk Hoshina... immediately matching Kafka's freak tenfold and Kafka is very much fine with this.

[n0vazsq]

⯌ avia's intro && masterlist

⯌ intro . . . hi lovies!! my name is alexavia and i am a f1 and football obsessed teenager!! i mostly support ferrari and barca! i am a minor and english is not my first language, also i'm dyslexic so there will be mistakes!

⯌ masterlist . . . here !

who i will write for . . .

★ motorsports :: - f1 :: oscar piastri ,, lando norris ,, carlos sainz ,, charles leclerc ,, max verstappen ,, yuki tsunoda ,, esteban ocon ,, kimi raikkonen (young) ,, sebastian vettel (young) ,, daniel ricciardo ,, liam lawson ,, franco colapinto ,, jenson button (young) ,, logan sargeant ,, fernando alonso ,, george russell ,, alex albon ,, gabriel bortoleto ,, kimi antonelli ,, ollie bearman - f2 :: josep maria marti ,, arvid lindblad ,, oliver goethe ,, paul aron ,, luke browning ,, sebastian montoya ,, dino beganovic ,, roman stanek - f3 :: rafael camara ,, nikola tsolov ,, mari boya ,, james wharton - f4 :: alex powell ,, dion gowda ,, rashid aldhaheri

★ football :: - barcelona fc :: pau cubarsi ,, marc bernal ,, hector fort ,, pablo gavi ,, pedri gonzalez ,, lamine yamal ,, oscar gistau ,, fermin lopez ,, alejandro balde ++ ask for more! - real madrid cf :: arda guler ,, jude bellingham ++ ask for more! - chelsea fc :: joao felix ,, marc guiu ,, cole palmer ++ ask for more! - others :: kenan yildiz ,, jobe bellingham ,, kai havertz ++ ask for more!

⯌ types of fics i'll write . . .

- smau ,, fluff ,, angst !! - prob will write anything besides smut - age gap is fine but if its 10-20 years max. pedophillia will NOT be written and anon will be blocked. - just a note that i write x reader fics!!

⯌ requests . . . they are closed !!! don't hesistate to send me a msg or request!! i most prob will reply like instantly so yeah! tysm for reading <33

⯌ other socials . . . wattpad !! | pinterest !! | c.ai !!

[loren91]

Young Royals and the three act structure, Part one

Seems like there was some potential interest in a full three-act story structure analysis, so I’m taking this opportunity to indulge myself by going full nerd. I’m going to attempt to make the argument that limiting the show to three seasons is actually perfect for Young Royals, by highlighting the pattern the story follows.

A few things to keep in mind before we start.

This analysis is not about the characters deep inner emotional lives. We are not here to pass judgment on their actions. We are simply identifying the beats of the story in a neutral and objective manner, for the purpose of analysing the structure of the story.

As you will notice, the points I have identified are all from Wilhelm’s perspective. That’s because he’s the point-of-view character, the main conflict is shaped by him and his emotional state. He’s the protagonist. Each subplot however, will follow the same pattern and has its own purpose, but I’ll get more into that another time.

I’ll be referring a fair bit to Lindsey Ellis’s video essay on the subject, because I like how she describes the structure pattern in sequences. So I’m gonna borrow some of her language. Also, note that the examples she uses to describe the tree-act structure are all feature films. Since Young Royals is a series, it’s gonna divert slightly from her description. But that’s what is so great about this structure, it’s flexible. It’s not meant to be set rules, but rather guidelines to help keep your story relevant and engaging all the way through. If you find this stuff interesting, I’d highly recommend watching her videos!

The three act structure is absolutely not the only way to tell a story. There’s many different formats that works just as well! It’s really about finding what structure works best to tell your story. The three acts however is the most common format you’ll find in more commercially viable works, such as Disney films for example.

And finally, I’m not a writer, but an animator, and I have studied film theory/structure. I’ll do my best to motivate the plot points I’ve identified, but if you’re a proper story expert and disagree with me, I’m happy to discuss!

Okay, let’s get to it.

A three-act structure is constructed of just that, three acts, and roughly looks like this. Essentially, a beginning, a middle, and an end. Or the set up, the confrontation, and the resolution. These acts may vary in length, act two usually being the longest and act three usually being the shortest. But what truly defines them is the tension of each act, meaning what drives the conflict forward at that point. A story will have a main conflict yes, but that conflict will take on many forms depending on where we are in the story. Lindsey Ellis describes each act as consisting of multiple sequences, and defines each sequence by its individual tension as well. Though all points of tension should always stay related to the main conflict! So the main points we’re looking to identify in the story are the main act tensions and the main sequence tensions. 

Let’s go through season one of Young Royals and talk about each story beat.

Act 1

Act tension - Wille has to attend Hillerska.

Sequence 1

We start with the Set up/Hook. The purpose here is to establish the world and the protagonist along with their internal conflict, such as their flaws and/or desire that makes them feel incomplete - The way Wilhelm’s character is introduced informs us that he is royal, but struggling with his role, because royals have set rules to follow.

“Why can’t I decide how the hell I want to live? I want to live a normal life!”

The thing that sets the story in motion is the point of attack. Something happens that is outside of the protagonist's control/knowledge - That would be the royal court deciding to send Wille to Hillerska without his permission. This gives the protagonist something to react to.

Sequence tension is established - Wille does not want to go to Hillerska. The rest of episode one reinforces Wille’s discomfort at the school.

Next, we get to the inciting incident. An event that disrupts the status quo, and our protagonist has to get involved - The initiation party, particularly when Wille and Simon almost kiss at the end. This leads him to acknowledge his attraction toward Simon and become more proactive in his pursuit of the boy. 

The sequence tension is resolved. Notice how in episode two, Hillerska is no longer the main focus for Wille, but Simon is. The seeds for what will become the central conflict have now been planted. The conflict is usually driven by character motivation. This is where we can consider the protagonist's Want vs Need. The want drives the main tension - Wille wants to be with Simon. But we’ll find want he needs later on in the story.

Sequence 2

The purpose here is to build up the creation of the main tension of the story. The main antagonist can also be established here -  August keeps getting on Wille’s nerves. Especially when he’s trying to hang out with Simon.

That’s our sequence tension - Wille is working to befriend Simon, but August keeps getting in the way.

The end of the sequence sees the first major plot point, the Lock-in. Where our protagonist makes a decision that changes everything. Usually, something they can’t come back from - In Young Royals that would be the first kiss. Wille and Simon’s relationship has fundamentally changed. The main tension is now established.

Act 2

Act tension -  Can Wille be with Simon, despite him being a prince?

Sequence 3

At the start of this sequence, the protagonist has most likely achieved some kind of milestone or learned something - He’s definitely like that.

To keep the story interesting, writers will add so-called pinch points in between the bigger plot points. These usually act as reminders of the antagonist or the pressure our protagonist may feel - Wille feels he needs to break it off with Simon because a prince is not supposed to be gay. As we established in the set up, royals have rules. 

Sequence tension - Can Wille deny his feelings for Simon? Queer pining ensues.

Sequence 4

The purpose of this sequence is to build up towards the midpoint. We see the protagonist making attempts to achieve their goal - The want never changed, Wille still wants to be with Simon, despite the pressure. Wille invites him to spend the weekend with him.

Sequence tension - Wille is trying to prioritise his new relationship with Simon, but August is still being annoying.

Then the midpoint hits. A major disruption, either from a character action or a force of nature. Can be positive or negative, just something that changes the aim of the quest without resolving the main tension - This time it’s literally halfway through the season. End of episode three, Erik dies and Wille becomes the crown prince. Everything has changed.

Sequence 5

Everybody has to adjust to the new world order after the midpoint disruption. We’ve reached another pinch point - Again we are reminded that royals have rules, and Wille makes another attempt to follow those rules. By embracing his new role, he breaks up with Simon once again, then sort of pursues Felice and joins the society.

Sequence tension - Wille adjusting to his new title while mourning his brother.

It’s common for subplots to advance around this time - Like Simon giving August the drugs to sell.

Sequence 6

Another plot point, where our protagonist may stop and reflect. Maybe have a heart-to-heart with another character, and perhaps make a decision - This is where we see the football field scene and the end of episode four. Wille reaches out to Simon for help, reconnecting with him. This leads them to pursue a relationship once again. They are put in a false sense of security. They are finally together, thinking all is good. BUT, we in the audience know that August has the video of them and the writers keep reminding us of him and the threat he poses. Even if Wille and Simon don't know it yet.

Sequence tension - Can this happiness last?

Sequence 7

(Here’s where the story leaves the classic structure for a bit, and adds an extra sequence for some more drama, as filler. In theory, they could have skipped this sequence and gone straight to the video being released. This part is mainly here to give motivation for August’s character, making his actions clearer)

So we are essentially given another pinch point, a reminder of antagonist or pressure -  August tries to break them apart by telling Wille about the drugs, which leads to the music room fight. 

Sequence tension - August is becoming more hostile.

Wille saving Simon from being framed for the drugs is more related to August’s money subplot. And the Lucia hug scene is mainly there for character building purposes. I’ll talk more about that stuff in part two.

The plot has advanced to the culmination of the main tension. The crisis that serves as build-up to act three - August releases the video. At the end of act two, the protagonist faces their biggest challenge yet. They’ve hit their lowest point - The aftermath of the video's release and Wille is totally lost. 

Act 3

Act tension - Can they save their relationship after the video?

Sequence 8

Begins with the protagonist making a big decision that creates the new act tension. The tension in act three will be different, but still related to the main conflict - Wille and Simon talk in the locker room, where Wille says he won’t do the statement. 

Sequence tension -  Can Wille avoid making the statement?

We’ve reached our last major plot point, located at the end of the sequence. Sometimes known as the twist in the third act - And what a twist, Wille does the statement anyway. This narrows down the tension further, to focus on a more character-driven intimate place for the next sequence.

Sequence 9

Sequence tension - Can they be together despite the statement?

Climax, the last big fight - Simon tells Wille off for being selfish and breaks up. Wille also finds out that both August and his mother betrayed him. The protagonist’s need has emerged from this journey and is now clear to us - Wille needs to decide who he wants to be. The want and the need should be different from each other, but still connected. Wille wants Simon, but in order for that to happen, Wille needs to break out of this cycle of self-preservation and stand up for himself against the royal court.

The climax will most likely lead to some kind of character growth - Wille is now pissed because he’s lost everything and realizes how corrupt the royal court is. As Lisa so beautifully put it, “A flame is ignited in him”. Hugging Simon in public is a display of his character growth.

And finally, Resolution. The point where the story is usually wrapped up neatly, but if left ignored, you get a cliffhanger - Which is exactly what happens in this season. Nothing is properly resolved at this point. Resulting in an open ending/cliffhanger.

Oof, that was a lot. How are we all doing? So these are the main beats of the plot. Makes sense? Let me know if you need any further clarification 😅 I was gonna get into how the rest of the show fits this format as well, but that’ll have to be in a separate post. Here’s part two!