#truly leaving my mark here in broadway

[riiviir]

There is glitter everywhere. I have never been more proud and disappointed in myself.

[hotvintagepoll]

Propaganda

Cyd Charisse (The Bandwagon, Brigadoon, Singin’ in the Rain)—LEGS LEGS LEGS I would sell my soul for the legs of Cyd Charisse - she oozed style and glamour and sex appeal!! And she could DANCE! She was dancing next to the greats - Gene Kelly, Fred Astaire but they are never who you're looking at because why would you when you can look at her. I will only sit through too long ballet breaks for her. If there was any woman who you could call sex on legs it was her. These dances are everything to meeee (she comes in at the minute mark) and this dance too of course is iconic. In the words of Fred Astaire 'When you've danced with Cyd Charisse you stay danced with'

Rosaura Revueltas (Salt of the Earth)—She was a Mexican actress who is best known for starring in salt of the earth, an amazing pro-labor movie made by blacklisted filmmakers. She also starred in the Mexican remake of madchen in uniform, one of the first representations of lesbian romance onscreen. She was really dedicated to making progressive films and was also such an incredible actress and artist I truly believe more people should know about her and her work.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Cyd Charisse:

Arguably the Best female dancer of her time, she supposedly insured her legs for $5 million dollars. Stole the show whenever she had a dance number, even if she went uncredited. Musicals started to go out of fashion so unfortunately she didn't have as many big roles as she should have, but those she did are unforgettable. The Broadway Melody number in Singin' in the Rain - the green dress!

Incredibly, Cyd Charisse only started learning to dance as a rehab exercise to strengthen her body after a childhood bout of polio. She was in high demand as a dance partner, Fred Astaire called her beautiful dynamite and said "When you've danced with her, you stayed danced with". She was one of a few leading ladies to dance with both Astaire and Kelly, declaring them both delicious. Kelly apparently was stronger, while Astaire was more coordinated. She also said her husband would always know who she had been dancing with because Kelly left her bruised, while Astaire didn't leave a mark. She's better known for her dance numbers today, but she was a leading lady in her time! Her Scottish accent in Brigadoon leaves a lot to be desired, but compared to the other actors in the movie, it's almost good. She appeared in The Harvey Girls alongside Judy Garland and Angela Lansbury in her first speaking role, but she really burst onto the scene with Singin' in the Rain and her infamous Broadway Melody Ballet number with Gene Kelly (no one could handle a length of fabric like Cyd Charisse). She was brought in because Debbie Reynolds wasn't really a dancer and Kelly was notoriously a stickler about his Vision. After that she starred opposite Astaire in The Band Wagon, which was a bit of a flop but created some enduringly incredible dance numbers. She went on to star in a number of MGM movies, and was one of the last of the Studio era stars to remain on contract. Since we've got up to 1970, I'm including her opening routine in The Silencers (1966) to show just how long she was making a splash - she's into her 40s here and still a siren:

and of course, the iconic Broadway Melody Ballet -

Photos do not do Cyd Charisse justice, unfortunately, because she is at her hottest while dancing, which she was exquisitely good at. Just go watch her first number in Singin' in the Rain, in that green dress; nothing I could say here will be more convincing that that.

She had amazing legs, and she knew how to use them! You probably know her best from the dream sequence in Singin' In The Rain. She was such a stunning dancer, and all her dance scenes are hard to look away from.

Dancing in the Dark clip:

She's an amazing dancer and my favorite from the period. Here's her and Fred Astaire in the Band Wagon:

I just like a woman who's there to be really incredibly good at dancing.

One of the most talented female dancers in Hollywood history, but what sets her apart from other competitors for that title is that she...umm...well let's be blunt, she was the dancer who put sex into it. The one who said "Hey, you know that A+ leg tone that naturally develops from doing this for a living? Why don't I let people see that? Like at every opportunity?" She reportedly insured her legs for five million dollars after hitting it big, which just goes to show that fame makes you crazy. It should have been ten million.

She could pirouette in pointes or tear it up in taps. Fred Astaire called her "beautiful dynamite" and wrote, "That Cyd! When you've danced with her you stay danced with." Gene Kelly partnered with her three times. Her legs were (reportedly) insured for $5 million in 1952 ($57.8 million in 2024 dollars)! Everyone in this poll will be iconic, but for raw physical grace, Cyd is up there with the best.

Legs for days, beautiful dancer in the most iconic scenes of Singin in the Rain. She's glorious. As some guys sung to her in It's Always fair weather, 'baby you knock me out!'

No additional propaganda was submitted for Rosaura Revueltas. Please send me some.

[boopshoops]

TWST OC INTRODUCTION - TCOAV

Ezra Goldspire - Who Knows Best

Name: Ezra Goldspire

Nicknames: Ezzie, Killifish

Gender: Male

Pronouns: He/him

Sexuality: Homosexual

Birthday: May 7 (Taurus)

Age: 362 (In canon and AU)

Height: 5'11 or 179cm

Voice Claim(s): Caleb Hyles

Twisted from: Mother Gothel/Esther Gothel of Tangled

Unique Magic: "What Once was Mine" Through the use of magical herbs and alchemy, Ezra is able to capture the likeness of himself and other individuals. He can share and change other's physical features with these concoctions, ranging anywhere from shoe size to facial structure to vocal coords. These changes last as long as he desires as well as under his own set conditions at the cost of requiring outside materials to complete. Typically the magic is contained in what appears to be a type of spice or powder, and the change leaves a mark/tattoo on the individual which the magic is cast to indicate what exactly was changed.

Grade: Primarily teaches Sophomores and Juniors

Class: Teaches art and music, along with being the homeroom teacher of class 3-D.

Hobbies: Alchemy, botany, herbology, singing, painting, playing the harp, improv.

Likes: Broadway, theater, pasta alla gricia, small spaces, spring, jewelry, floral arrangements, experimental learning, any music.

Dislikes: Crickets, wrinkles, scars, wasted talent, mumbling/whispering, tracking time.

Fears: Aging, other Changeling Fae, not being recognized by those he cares for, forgetting people.

Summary: As the most easygoing teacher on the entirety of campus, many of the students and fellow staff members view him as a scatter-brained daydreamer. However, his dreams filled with immense passion, as he desires for nothing more than to watch his student's talent blossom... and keep the bloom contained and protected in a glass case.

Now, don't get him wrong! He has the best intentions, of course. There are many, many scary people and places out there in this Twisted Wonderland. People who would take advantage of such bright minds. He is simply preventing that from happening. The man has been around for a long time and has been through his own share of ordeals, so he would most definitely know.

He has a big heart. While he goes about an odd, constrictive way of showing it, he does truly care. He has a hard time letting things go, and he simply wants the best for those he cares for. Ezra would spoil every single one of his students rotten if he were able. Even as a rather new professor at NRC, he wishes to guide every single one of them on the right path.

Outfit Inspiration

Author's Notes: ARGHHH MY BOY... Ezra is a very new character I made only a few months ago. He was created specifically for TCOAV, but alas I have grown attached. Given we already have quite a few gaslight gatekeep girlboss type characters over here, I decided to focus more on twisting different aspects of Mother Gothel. I particularly focused on her parental tendencies as well as her means of "caring" for Rapunzel. Whereas whether Gothel truly cares for Rapunzel or not is still up in the air, and they truly had a toxic relationship nonetheless, I wanted to make Ezra a more misguided but good individual.

[dhaaruni]

Do you have any recommendations for romance novels with women who are sexually dominate?

Lol idk about sexually dominant per se but here's some romance novels that have that vibe.

Brazen and the Beast by Sarah MacLean: at one point she ties him to the mast of the ship, enough said. I'm personally a huge Day of the Duchess fan as well, and one aspect of that book that I really loved is that it was about giving Seraphina agency that she lacked. Also, Heartbreaker is also a really great book in terms of sexually dominant female leads because for one thing, Adelaide isn't a blushing virgin so there's no easing in period and it's hotter for that.

Devil in Winter by Lisa Kleypas: So like, Sebastian St. Vincent is recovering from an injury and making himself be celibate ("I'm Sebastian, Lord St. Vincent. I can't be celibate. Everyone knows that") so that his wife will fuck him and said wife basically climbs on top of him while he's comatose (it's all consensual obviously) and rides him. It's very hot but also hilarious.

A Rogue's Rules for Seduction by Eva Leigh: a truly excellent second-chance romance, and well, let's just say that Willa gets to ... take charge so to speak, in a way that's very rare for mainstream romance that's not ~erotica~

Thief of Shadows (Maiden Lane #4) by Elizabeth Hoyt: There's a blowjob scene in this one that made me gasp out loud (and then start crying) and I'd definitely classify that as dominant. Plus, the hero in that one is a virgin! Also, Duke of Midnight (Maiden Lane #6) has a scene in a chair that's ... intense and I don't know if I'd classify it as dominant but that particular one is one of my favorites because it's a cross class romance that doesn't feel remotely inequal, which is super rare when the man's the wealthier party

The Duke Gets Even by Joanna Shupe: This is probably my favorite Shupe novel (along with The Prince of Broadway), and something I loved is that Nellie, who's basically a lady rake for lack of better term, gives as good as she gets. There are multiple instances where she CLAWS at Lockwood to the extent of leaving marks, and it's just so refreshing to read.

For the Duke’s Eyes Only by Lenora Bell: I haven't read this one in a while but from what I can remember, aside from the fact it's like, basically a gender-swapped Indiana Jones (Lady India Rochester) and Marian Ravenwood (The Duke of Ravenwood) with a very dramatic and headstrong heroine, there's a rare 69 scene, which almost never happens in historical romance.

Her Night with the Duke by Diana Quincy: A widow heroine who attempts (and fails) to have a one night stand lol. Also, I loved that this book really hits on the fact that just because you end up together doesn't mean that all your flaws as an individual just go away. At one point, the hero stalks away from the heroine during an argument because he's avoidant and instead of just letting him have his time, she stalks out after him to tell him he's being stupid (and they end up having sex against a tree).

A Rogue of One’s Own by Evie Dunmore: the best of Dunmore’s books, a childhood friends-enemies-lovers and I cried a LOT. Also, Oscar Wilde shows up!

That should get you started!

[mvndrvke]

IF IT'S TRUE

particular little things about different interpretations of this song that i carry through into my portrayal of orpheus. yes, this is a completely unnecessary headcanon list. yes, i'm doing it anyway. all comparisons are done to the obc official recording. performances referenced are linked with the name of each orpheus.

dylan & donal [ west end ] jordan [ broadway ] italics marks emphasis bold marks where the actors chose to yell the lines rather than sing highlighted text marks a spot where i liked something the actor did and describe it

[ donal and jordan both do this first part like. literally fighting back tears. which is the best choice here, especially when it transfers through and we continue to the rest of the performance ]

if it's true what they say if there's nothing to be done if it's true that it's too late and the girl i love is gone if it's true what they say

is this how the world is? [ donal and dylan both opted to take this line and instead of having it be filled with sadness and despair, with orpheus' determination coming later on in the song, the west end versions of orpheus choose to shout it, angry, disgusted that the world is so needlessly cruel to one who truly didn't deserve it. ]

to be beaten and betrayed and then be told that nothing changes it'll always be like this if it's true what they say [ jordan adds a pause/sob here ] i'll be on my way

[ west end chose orpheus leaving angry and frustrated rather than sad, which, in my opinion, was the right choice here ]

if it's true what they say i'll be on my way but who are they to say [ jordan opts up here ] what the truth is anyway? 'cause the ones who tell the lies are the solemnest to swear and the ones who load the dice always say the toss is fair

[ from this point going forward, orpheus presents himself much more as someone at a rally, riling up the workers to stand with him against hades ]

and the ones who deal the cards are the ones who take the tricks with their hands over their hearts while we play the game they fix [ jordan adds another pause here ] and the ones who speak the words always say it is the last and no answer will be heard to the question no one asks so i'm askin' if it's true i'm asking me and you and you and you [ descending as notes ] i believe our answer matters more than anything they say i believe if there is still a will then there is still a way i believe there is a way i believe in us together more than anyone alone [ donal runs these two lines right together with no gap, so instead of a pause like "us together (pause) more than anyone" it's run through, which i like because it makes those lines a Unit ] i believe that with each other, we are stronger than we know i believe we're stronger than they know i believe that we are many [ jordan puts the rhythm on this by clapping it out, like "we 👏 are 👏 many 👏", which is something i like ] i believe that they are few and it isn't for the few to tell the many what is true so i ask you: [ insane opt up/riff here ]

[ lyrics are changed in the last part of this song in the west end version. ]

brother, look around today is this how the world will stay? there must be another way is it true? is it true what they say? [ another insane opt up to a shout from our boy ]

[aonoexpat]

10-01-2024

Happy new year everybody! And as the previous submissions highlighted (thankss friends ❤️), yes, it's been a while, and I do apologise for the radio silence. My mental health has been a bit of a rollercoaster the past month and a half, and I've had to prioritise other things. But I'm not about to let the daunting task of summarising 6 weeks in 1 post discourage me! Let's go.

The talks of politics and philosophy at home have continued, occasionally with extra participants. They sent me down a pretty depressing and nihilistic spiral for a little while, but I feel like I've really managed to climb my way out of that again. I was finally brought to a bit of an epiphany that's made me able to at least pick myself up by my bootstraps, and though I'm currently not very comfortable in any hard political or philosophical positions, I seem to have a bit more grip on a general framework again. And that helped me stop moping around and start enjoying my time here more again. Though I'm still quite fragile mentally and quickly overwhelmed, sometimes to extremes that I haven't experienced in years, all in all I feel like this has been an incredibly humbling experience that has helped me grow tremendously. Who knew the last leg of my journey would be one of this kind? I spent four months exploring the South island, and now I've spent the next two exploring my own mind. Though I think that's a journey that will never truly be over, which is both exciting and terrifying.

I have been extremely lucky to be able to live this last bit of my journey rent-free, thanks to my wonderful housemates (and their adorable little dog):

Which meant that I could get away with only working part time. I still thoroughly enjoy my job and my coworkers (we love singing along at the top of our lungs to broadway songs as we clean up after close), but it's great to have a lot of free time around work to meet up with old friends and eat sushi or go to the beach...

...Play board games...

...Celebrate Sinterklaas...

...Organise all my marked road maps, give myself manicures and haircuts, and, with deep deep pain in my heart: sell Elrond 💔 I will say I was extremely lucky to be able to sell him for DOUBLE what I paid for him back in May 😱 I definitely did improve upon him, with the brand new solar panel, newly constructed bed and shiny new rear brakes. Still, I hadn't expected to get my asking price for him, but I got lucky having two interested buyers who wanted to compete. I can barely believe it, but this means I have almost fully earned back my entire South island trip, car costs and fuel costs combined! And now I don't have to worry about the scenario in which I wouldn't manage to sell him, and would have to leave him with friends. All that was definitely the silver lining I forced myself to focus on as I gave him one last deep clean, both to be able to present him properly to his new owners, and as a sort of closure ritual for myself. I cleaned out all the dead sandflies, dusted all the surfaces, vacuumed the floor mats, and gave the kitchen a thorough wash. Saying goodbye is never easy, and I definitely had to fight back some tears when his new owners came to pick him up and take him away. But they are absolute sweethearts (they already sent me a photo from their adventure with him), so I can rest assured that he is in good hands! Farewell my darling, you were the best first car I could have wished for, and you will not be forgotten ❤️

Aside from all that, I was also very glad to have the chance to go on two more spectacular hikes in this area!

Patuna Chasm

This GORGEous ~3-hour hike definitely justified my bringing my Teva active sandals with me from home, as almost three quarters of the walk was through knee-deep river water. It was a cold and windy morning as we got driven to the start of the track in a 4WD car by the owners of the land, and were told to be back at the drop-off point in three hours to be brought back to our own car. If we were to miss that car, we'd have to wait a full hour for the next ride. So with our route map in hand, we set off on the first leg of the hike, which took us up the hills and back down to the chasm. The views were stunning, with spectacular rock formations and the grass on the hill faces waving in the wind like a green ocean:

Down at the river, we got our clothes and bags ready to get wet, and stepped into the water. As we followed the river, first upstream towards some serene waterfalls (where I may have given myself a brain freeze and mild hypothermia by deciding to stand under them):

And then downstream to start making our way back to the car, it started to slowly rain, but that didn't stop us. We saw eels:

We clambered up muddy hills and over huge boulders, down ladders, through deep and shallow sections of the river, explored caves:

And when we finally got back to the section of the track that would take us to our starting point, two of my friends were kind enough to carry mine and our fourth friend's backpack, so we could go down the alternate route: the last stretch of the river, which required us to swim through neck-deep water. I couldn't feel my feet or forearms by the end, but the adrenaline drowned that out as we sprinted up the riverbank to make it back to the 4WD car, only to catch it right as it was about to leave without us! It was absolutely exhausting, but so much good old childish adventurous fun, and one of the most spectacular hikes I've done in the country! (Photo credits to Liv :) )

Escarpment Track

This was the last hike my friend and I did together, which was a sad fact I tried not to think about too much as we walked. The track took us about 10km along the East coast, and it was quite the climb. The view was stunning though, the path itself was very well laid out, with stairs and ropes to hold onto, and benches along the way, which we happily used to take a lunch break about halfway through.

We were very happy to have some cloud coverage that day so we weren't constantly exposed to the sun. My favourite parts were the two rope bridges that were bouncing wildly in the wind. Standing on them felt a little like flying!

And for most of the track we were flanked by immense amounts of fennel, which gave the whole walk a wonderful background aroma:

I was so amazed by the thought that this hike was literally 15 minutes from my friend's home. That type of easy access to incredible nature is definitely something I'm going to miss when I go home. But that made me all the more grateful I got to do this while I still could! (Photo credits to Liv :) )

Soon enough my birthday rolled around, which was an incredibly emotional day for me. I had to say goodbye to my dear friends, one of whom I won't see again before I leave the country. I gifted her a little hand made photo album of our adventures together, which had taken me a lot longer to make than I had anticipated, but luckily I had managed to finish it the night before:

She told me this wasn't a 'goodbye', but a 'see you next time', and though I'd happily believe that, the next time will be at least a long time from now. She has meant the world to me during this trip, has helped and supported me more than I could thank her for, so I had to bite back tears as I watched her walk away. After that I had drinks at work, where my super kind coworkers surprised me with vegan chocolate and doughnuts, making me struggle not to cry for the second time that day. In the evening I had a video call with home, during which I remotely participated in their game of Memory, and still WON 💪😤

After my birthday my housemates and I went straight into Christmas mode, running around decorating the house and cooking all sorts of dishes! It was very odd to have Christmas without the associated weather/season, and without getting to see my family. My housemate introduced me to Tim Minchin's song White Wine in the Sun, which makes me cry like a baby every time I listen to it. So I took a photo of myself and my housemates, drinking non-alcoholic sparkling white grape juice in the sun, and sent it home along with a link to the song to make my parents cry as well 😈 We spent our days here enjoying all the wonderful food and the company of the neighbour and his family, and I even got to sing some songs which I hadn't done in a long while. I also got to give Christmas presents to my housemates, which I worked quite hard on: matching cowl scarves for the two of them and the dog 😊

Of course next on the calendar was New Year's Eve. In honour of my family traditions, I got some non-alcoholic sparkling rose and cocktail fruit from the supermarket, and a couple of minutes before midnight a musician friend and I combined them into portable cups, so we could cheers to 2024 at the waterfront as the fireworks lit up the sky!

I had a wonderful night of music, dancing, playing on the beach, walking in the woods, and eventually sheltering from the rain, and didn't fall asleep until 6 in the morning. My sleeping rhythm still hasn't recovered! The next morning I woke up from my alarm at 11:55, and quickly got up so I could listen to the last minutes of the Top2000 and wish all my Dutch people a happy new year at noon. It felt so odd to do this in the sun in the middle of the day, but in a way that felt more real than the midnight before!

The next days I spent some time looking back at my highlights and achievements from 2023, and I created my own makeshift "Spotify wrapped" by analysing some statistics from my offline music player app. It turns out that (besides Asha, which is the music I play to fall asleep nearly every night) Ghost was my top artist of the year 🎧 Oh and I caught a big spider in my room!

For Sinterklaas, my parents had gifted me a metaphorical voucher to spend where I wanted to, so I got myself a ticket to a tour at Wēta Workshop, the SFX and other movie magic studio behind the Lord of the Rings trilogy, the Avatar movies, and many more. I dragged one of my housemates and a mutual friend along, and I'm really happy we got to go! We were shown around the different stages in the SFX process, we got to hold some movie prop swords, and got to see the original weapons and armour used on-screen in a plethora of different movies. Unfortunately for copyright reasons we weren't allowed to take photos inside the studios and work stations, but I snapped some photos outside!

And while I'd much prefer not to face it... By now I have had to start focusing on my upcoming homebound trip. Slowly plans for when I get back home are trickling in, which feels very surreal. I can't believe it's actually only two weeks until I go home, a fact that I like to hide from as much as I can. It's not that I don't want to go home, I've been looking forward to seeing my family again, eating all my familiar foods, seeing my neighbourhood and getting to hug my friends again for so long now. And I am genuinely excited for that. Part of the reason I enjoy traveling is that it reminds me of what I love about home, and allows me to miss it, and return to it more grateful than before. But it also feels like returning to 'normal life'. I'm afraid of going from a time of adventure to a time of stagnation, even though I know that's not a fair or reasonable thought. I suppose something I was afraid of is happening, which is that I feel at home here now, and happy, and have found the right people, and am enjoying the summer, and so going home (to winter 🥶) actually doesn't sound very attractive at all at times, at least not the way it did when I was living in Elrond. Back then I was struggling a lot more, I felt alone and lost, and so the thought of going home felt like such a relief. Now that I've grown accustomed to the luxury of living in a house again, and being surrounded by a social network I feel safe and appreciated in... the contrast is a lot smaller. And it almost feels like I'm going to feel homesick towards here when I go home. Like this upcoming flight is my departure, not my return.

This thought was solidified even more when my housemate asked if I'd be willing to wear a sweater that I'm not going to take with me as much as I can for the last two days or so, so that it will smell like me and I can leave it for the dog 😭💔 I really struggle not to cry at that thought, and I'm wondering if maybe (i.e. am pretty sure actually that) I'm even procrastinating with booking the trip between here and Tāmakimakaurau out of pure denial. I don't want to leave. I don't want to say goodbye, and never come back. Much more than I ever felt with Australia, I want to return here. I don't care when, maybe that will be when I'm old and retired and have no family left in Europe to miss, or when the most important people to me come with me, or if I find out I have been irrevocably changed and flee back here in a year or two. But I want to come back.

I have procured a second suitcase, and am slowly working on getting all my possessions sorted. I've sold my busking amp and microphones to a good musician friend after we'd used it for a last busking hurrah at the harbourside veggie markets last Sunday. It was a fantastic end to this busking season for me, as we connected with the crowd, the weather was wonderful, and I got to sing all the songs that were important to me. I can't bring my guitar with me, so I'll bring it to my friends' house for safekeeping, and maybe they can get it back to me some day. And the big pink bear who was riding shotgun with me in Elrond? It would break my heart to leave him behind, so I stuffed him into one of those vacuum seal bags:

And I'm going to break my back trying to fit him into the new suitcase! He means too much to me, even if I only paid $10 for him.

My to do list is shrinking slowly but steadily, and I really have to plan well to fit everything that's left into the little time I still have here. I am going to make the most of it, spend time with the people here that have meant the most to me, immortalise the memories and when the time comes, I will get on that plane with a fond smile ❤️

[dweemeister]

2022 Movie Odyssey Award for Best Original Song (final results)

TAGGING (even some folks who didn’t do this but I hope will join/rejoin us someday): @addaellis, @emilylime5, @exlibrisneh​, @halfwaythruthedark, @idontknowmuchaboutmovies, @introspectivemeltdown, @machpowervisions, @maximiliani, @memetoilet​, @metamatar, @myluckyerror​, @phendranaedge, @plus-low-overthrow, @rawberry101, @rosymeraki-blog, @shadesofhappy​, @shootingstarvenator, and @theybecomestories, @umgeschrieben, @underblackwings, and @yellanimal

Hello everybody,

This is being sent much later than it has been in the past, but hopefully the first few weeks of 2023 have been treating you all well. Whether or not you participated in 2022′s Movie Odyssey Award for Best Original Song (MOABOS) final, I thank you for your consideration, your time, and your support. This was, as many of you know, the tenth edition of MOABOS and the ninth with outside involvement from family, friends, and tumblr followers. This strange little tradition has some history behind it now. Stunning upsets, controversy, runaways and nailbiters, my friends asking what is up with the musical taste from my other friends, and much more.

Only the basics can be found in the body of this post (if you did those over email, I also sent you some details over Excel). The “read more” includes the ten Best Picture winners for this year's Movie Odyssey Awards.

Over the last few years, we've alternated between upset winner and mainstream winners. Last year for the 2021 edition of MOABOS, the upset winner was "Lullaby in Ragtime" from The Five Pennies (1959) - stunning the prohibitive favorite, Billie Eilish's title song from No Time to Die (2021). That year saw parity at the top (when you used the points system used in the preliminary). Only two points separated 1st and 3rd last year.

This year was a two-horse race and it was apparent, from less than a dozen rankings submitted, the direction this year's edition of MOABOS was going. Once more, MOABOS alternates between an upset and the mainstream. This year was decidedly mainstream.

First, the standings on points. It should be noted that MOABOS 2022/MOABOS X smashed 2019's participation record for the final. Up from 33 rankings received (including yours truly), this year we had 40 participants in the final (and we still had people who i invited who didn’t have time/didn’t participate).

STANDINGS ON POINTS (USED ONLY AS A SECONDARY TIEBREAKER... the actual final result is the list below this one). Using the method used in the preliminary round, the count would’ve looked like this (“Song”, Film title (points) / #1 votes).:

“9 to 5”, 9 to 5 (255) / 9

“Someone’s Waiting for You”, The Rescuers (229) / 7

“Why Should I Worry?”, Oliver & Company (172) / 1

“A Kiss at the End of the Rainbow”, A Mighty Wind (163) / 4

“Island in the Sun”, Island in the Sun (149) / 1

“Johnny Guitar”, Johnny Guitar (145) / 2

“Tomorrow is the Song I Sing”, The Ballad of Cable Hogue (144) / 3

“I’ll Never Stop Loving You”, Love Me or Leave Me (144) / 3

“Love Survives”, All Dogs Go to Heaven (135) / 4

“A Journey to a Star”, The Gang’s All Here (128) / 3

“Never Look Back”, Love Me or Leave Me (121) / 1

“Good Morning”, Babes on Broadway (114) / 1

“Pillow Talk”, Pillow Talk (113) / 1

“No Love, No Nothin’”, Love Me or Leave Me (73) / 0

 “A Mighty Wind”, A Mighty Wind (71) / 0

Using the points system tiebreaker alone, 9 to 5 ran away on points. It is the second-largest point differential in a final ever, behind only the result in 2017. That year, “Remember Me (Recuérdame)” from Coco (2017) beat out “Knockin' on Heaven's Door” by 39 points. That year also marked the final year - due to too many participants ranking only one, two, or three songs on their rankings - I used the points system above as the primary tabulation method to determine the winner.

One more note here: "Tomorrow is the Song I Sing" and "I'll Never Stop Loving You" were separated on the tiebreak which averages out both song's placement on my rankings and my sister's rankings. Taken together, the former averaged higher than the latter.

THE OFFICIAL TABULATION FOLLOWS AND DETAILS CAN BE FOUND IN THE READ-MORE. We used a single transferable vote (which is explained visually here). With 30 votes, a song needed 50% + 1 vote of all #1 and transferred votes to be declared a winner. Thus, a song needed 16 votes to win. One ballot was discarded midway through the count due to that person ranking ten songs, but having their top ten completely eliminated as the count progressed. Thus, the magic number to win was lowered to 15. The top ten songs became nominees; the bottom five are considered honorable mentions:

2022 Movie Odyssey Award for Best Original Song (FINAL STANDINGS)

“9 to 5”, Nine to Five (1980)

“Someone’s Waiting for You”, The Rescuers (1977)

“A Kiss at the End of the Rainbow”, A Mighty Wind (2003)

“Johnny Guitar”, Johnny Guitar (1954)

“Love Survives”, All Dogs Go to Heaven (1989)

“Tomorrow is the Song I Sing”, The Ballad of Cable Hogue (1970)

“I’ll Never Stop Loving You”, Love Me or Leave Me (1955)

“A Journey to a Star”, The Gang’s All Here (1943)

“Island in the Sun”, Island in the Sun (1957)

“Why Should I Worry?”, Oliver & Company (1988)

“Never Look Back”, Love Me or Leave Me

“Good Morning”, Babes on Broadway (1939)

“Pillow Talk”, Pillow Talk (1959)

“No Love, No Nothin’”, The Gang’s All Here

“A Mighty Wind”, A Mighty Wind

NR (honorable mention because I couldn't find a replacement audio/video in time for the final after the Criterion Collection copyright striked it): “Nous sommes seuls dans la forêt (We Are Alone in the Forest)”, music and lyrics by Armand Bernard, Philippe Parès, and Georges Van Parys, Le Million (1931, France)

The bottom five and “Nous sommes seuls dans la forêt (We Are Alone in the Forest)” all received honorable mentions. The top ten received nominations.

SUMMARY

Composed by Dolly Parton, the title song from Nine to Five wins it in a (mostly) comfortable affair. It took - as detailed further in the attached spreadsheet - the full 12 counts for it to eventually emerge victorious, but it does so here. From the 1980 workplace revenge comedy film of the same name co-starring Parton with Jane Fonda, Lily Tomlin, Dabney Coleman, Elizabeth Wilson, and Sterling Hayden, "9 to 5" was Parton's breakthrough outside of country music circles into pop music. She received an Academy Award nomination, two Grammys, and the #78 spot for the American Film Institute's (AFI) admittedly flawed "100 Years, 100 Songs" list (flawed because the list includes songs not original to their respective movies).

Along with the likes of "Jolene" and "I Will Always Love You" (most associated with Whitney Houston, but the writing credits are all Parton's), "9 to 5" is among her most recognizable hits outside of country music circles. Parton is damn funny in 9 to 5, as well as another movie I saw her in this year, the 1982 musical The Best Little Whorehouse in Texas. For whatever reason, Hollywood hasn't been knocking on her door to star in more musical films. Our loss. Will Parton appear in MOABOS again? Given her limited filmography, probably just one more time, but goodness knows when that will be. "9 to 5" is the first MOABOS winner to be confined completely to an opening or closing credits; the song is never reprised and its melody is never quoted in the film's score. 2016 MOABOS winner "Stayin' Alive" first appears in the film's opening credits, but is reprised later in Saturday Night Fever (1977). It is the first 1980s MOABOS winner.

Runner-up "Someone's Waiting for You" benefitted from a greater number of people who had previously watched The Rescuers (1977) more than I anticipated. Set aside the song's instrumentation, and, lyrically, it sounds like something composed in the late '40s or '50s. It was, as many of you have related to me, the tearjerker for this year's edition of MOABOS. In third was "A Kiss at the End of the Rainbow", with Eugene Levy and Catherine O'Hara as the fictional folk music duo of Mitch & Mickey. A Mighty Wind, a mockumentary sending up American folk music, leads up to that very moment - the emotional climax to one of the better Christopher Guest mockumentaries. We'll see the Christopher Guest mockumentary troupe another day on MOABOS.

Elsewhere, we had a few people make their MOABOS debuts, all overdue. Harry Belafonte was more of a recording artist and civil rights activist than he was a film star, but his calypso title song for Island in the Sun is a good introduction for many of you to one of the smoothest entertainers in the business in the second half of the last century. We'll see Harry again.

Two blonde singers that represented their respective contracted studios also made impressions here. We've seen Doris Day (Warner Bros.) here before, having made her debut last year (I really, really should have had multiple Doris Day entries in 2013, but that was in the before-times when younger me wasn't sure what to make of her ughhh). Over the last few years, I've been so happy to see so many of you take to Doris - a brilliant singer, an underrated comedic and dramatic actress due to her image hoisted upon by the media. Doris will be back another time.

And of course, debuting this year was Alice Faye (20th Century Fox). In the decades since Faye's star burned brightest (1930s and early '40s), the singer with the distinctive alto has seen her work buried by a studio that did not see much value making their older movies easily accessible to the general public (as opposed to Warner Bros., who own the pre-May 1987 MGM and RKO libraries, too). In recent years, Fox was bought by Disney - a company also known for not making available selections deep in their back catalogue - and encountering these Old Hollywood Fox movies comes once in a blue moon. Hopefully we get luckier more often than not. Alice will make another MOABOS appearance some day.

CONCLUSION

MOABOS is only a small glimpse into the larger 2022 Movie Odyssey. But I hope you enjoyed even this sliver of a look into that moviewatching journey.

“9 to 5” joins our past winners for MOABOS:

2021: “Lullaby in Ragtime” from The Five Pennies (1955)  

2020: “Can't Help Falling in Love” from Blue Hawaii (1961)

2019: “I Wish I Didn’t Love You So”     from The Perils of Pauline (1947)

2018: “Love Is a Many-Splendored Thing” from Love Is a Many-Splendored Thing (1955)

2017: “Remember Me (Recuérdame)” from Coco (2017)

2016: “Stayin’ Alive” from Saturday Night Fever (1977)

2015: “Amhrán Na Farraige” from Song of the Sea     (2014)

2014: “Rainbow Connection” from The Muppet Movie (1979)

2013: “The Gold Diggers’ Song (We’re In the Money)” from Gold Diggers of 1933 (1933)

The 1970s was one placement away from a third winner, which would have broken a tie with the 1950s and 2010s. Among all full decades since synchronized sound was introduced to movies, only the 1990s and 2000s have yet to get on the board.

Once more, thank you all for participating in 2022′s Movie Odyssey Award for Best Original Song. Thank you for your friendship, time, effort, and personal support over this last year.

I end every year not quite knowing if we are going to do MOABOS for the following year. There are many factors going into it, and I never know what movies might come my way by the year's end. So it is my hope that I will see you again next year, for what will be the eleventh edition of the Movie Odyssey Award for Best Original Song. Until then. 

40 ballots were submitted; twenty-one #1 votes and transferred votes needed to win

2ND COUNT: One vote from “Pillow Talk” to “Someone’s Waiting for You”

3RD COUNT: One vote from “Good Morning” to “Johnny Guitar”

4TH COUNT: One vote for “Never Look Back” to Island in the Sun”

5TH COUNT: One vote for “Why Should I Worry?” to “A Kiss at the End of the Rainbow”

6TH COUNT: Two votes for “Island in the Sun” to “9 to 5”

7TH COUNT: One vote for “A Journey to a Star” to “9 to 5″, another for “Someone’s Waiting for You”, another for “Johnny Guitar”

8TH COUNT: One vote for “I’ll Never Stop Loving You” to “Johnny Guitar”. The others to “Someone’s Waiting for You” and “9 to 5″.

9TH COUNT: One vote for “Tomorrow is the Song I Sing” to “A Kiss at the End of the Rainbow”. Another to “Johnny Guitar”, another to “Someone’s Waiting for You”.

10TH COUNT: All four votes for “Love Survives” to “9 to 5″.

11TH COUNT: For the six votes for “Johnny Guitar”, two went to “9 to 5″, two went to “Someone’s Waiting for You”, and one went to “A Kiss at the End of the Rainbow”. One ballot was discarded. 39 ballots remain; 20 to win.

12TH COUNT: For the seven votes for “A Kiss at the End of the Rainbow”, four went to “9 to 5″ and two went to “Someone’s Waiting for You”. One ballot was discarded. 38 ballots remain; 20 to win.

“9 to 5″ won on the 12th and final count - 23 ballots to 15.

[itsallyscorner]

Can you write a little mix member x avengers cast?? Maybe?

Hello love! Thank you for the request, I apologize for taking so long to work on it! I’ve written this as a headcanon, since I haven’t done any of those in a while. I hope you like it❤️

💌.

The Marvel Cast Finds Out You’re In Little Mix

Why is this lowkey a crack fic/headcanon😭💀

Alrighty so, I feel like they probably wouldn’t know you’re part of a band or who Little Mix is.

Since SADLY, the girls aren’t as big in the States as we’d like them to be:(

The people who definitely might know you are ✨The Brits✨ and Scarlett because she has a young daughter who probably listened to Wings or something—kids find everything on the internet these days.

Working with Marvel was your first acting gig; so none of them knew anything about you or if you’ve been in other films, etc.

Except for Tom Holland, who was lowkey fangirling at the fact he gets to work with one of the Little Mix members.

Side note: he’ll be deeply offended when he figures out the others don’t know about Little Mix or that you can sing.

The rest of the cast (RDJ, Chris Evans, Anthony Mackie, Seb, Lizzie, etc.) had a hunch that you were some kind of writer.

You were always humming to yourself and writing in your notebook or typing down notes in your phone when something came to mind.

Though they didn’t pry at your business because—well, it wasn’t their business.

They could find out about your other job through many ways. Maybe you guys are doing promo and some interviewers mention the band and things about a new album, to which most of them were confused about.

“So (Y/n), I know this is your first time acting. How different was it from performing on stage and acting on camera?”

Everyone’s attention would be on you (this is a panel btw) Mackie’s looking at the back of your head in confusion, Robert fully turns in his seat to look at you, Lizzie is also curious, Evans is looking between you and the reporter—everyone is just confused.

“Performing on stage? Did you do Broadway (y/n/n)?” Evans asked. Tom (Holland) scoffed shaking his head, disgusted to be part of this group of uncultured swines.

You chuckled and shook your head, “No, I’m a singer. I’m part of a girlband.”

The whole cast gasped in shock. Mackie let out a loud “WHAT?!”. Robert leaned even closer to you trying to see if you were lying. Others whispered amongst themselves asking each other if they knew.

Tom (Holland) just sat back watching everyone’s reactions along with you. Amused at the amount of questions that were suddenly being thrown your way.

He’d also be quick to add, “NOT just ANY girlband, but the biggest girlband on the planet.”

For clarification, Tom’s a very proud Mixer.

Scarlett finally recognized you, knowing that she’s seen you somewhere before, but could never put her finger onto it. “Wait you’re from Little Mix!”

“THANK YOU! FINALLY SOMEONE WITH SOME TASTE!” Tom yelled, dramatically turning to Scarlett.

After the initial shock, everyone was very curious. They wanted to hear your music, wanted to know the other members, when your next tour was—they were very ecstatic.

When you guys finally reached London for the press tour, there was a lot of hype for Little Mix because you guys were going to finally reunite after months of being apart.

The girls were allowed to visit set, but since you guys were working on your new album, they were stuck in London. You were relocated to Atlanta, filming an Avengers movie and working on the album via FaceTime/Zoom.

You and the girls reunite the same night you land in London! As tired as you were, the five of you hung out in your hotel room.

You were all excited for the days to come. Not only were you doing promo for the movie but you and the girls were going to be performing again on night time talk shows and were having a Live Lounge session with BBC Radio 1.

The panel of the cast discovering you were part of a band went viral. Many of the fans couldn’t believe they didn’t know about your other job.

There were even edits going around social media of the cast looking clueless and or reacting to your ‘secret’.

Then there were ones like “Tom Holland being a Mixer for 10 minutes and 57 seconds straight”.

Your favorite one was where they zoomed in on everyone’s confused expression while that one Nicki Minaj song played in the background.

It was mentioned in almost every interview after it went viral.

“So none of you had a clue that (y/n) was also a singer? Like at all?”

“I didn’t even know homegirl could sing, matter of fact I never imagined her to be in a girlband.” — Anthony Mackie

“I had a hunch that she was a musician or artist, but no one ever listens to me.” — Chris Evans

“(Y/n)’s in a girlband? Since when?” — Paul Rudd

“After we found out, I listened to all six of their albums on the flight here.” — Elizabeth Olsen

“Of course I knew, my music taste is immaculate compared to the others.” — Tom Holland

“Shut the fuck up, Tom.” — Anthony Mackie

“I really enjoy Black Magic, it reminds me of Wanda.” — Paul Bettany

The cast was so eager to hear you sing and watch you perform with the girls.

They finally got to do that when you invited them to the Live Lounge session. They also got to meet the girls.

You were very happy at that moment; seeing the two groups of people you love meeting each other and getting along meant a lot to you. It gave you a lil warm tingle in your heart.

Since there were no fans in the studio, it was only you and the girls, the band, and a bunch of the Avengers.

While the cameras rolled and you guys were performing, they were crowded together behind the scenes. Some of them were sitting on the carpeted floors or standing against the walls.

They were absolutely stunned when they heard you sing. You had a powerful voice that ranged from high to low, something they never expected of you.

When they heard you and the girls sing or harmonize with each other, it was like they were all in heaven.

“They sound like angels.”

“My ears are tingling, but like in a good way.”

“Seriously, how did we not know she can sing like this?”

“Hear me out—this is a perfect reason as to why we should have an Avengers musical.”

“Chris if we hear you bring up a damn musical one more time I swear.”

“Their voices go so well together, how do they even do that?”

Scarlett would secretly film videos to show her daughter. I have a feeling that Evans, Tom, RDJ, Sebby, and Mark would record some parts as well and would post it onto their Insta stories.

When fans found out they were at the Live Lounge they freaked out.

Ever since they found out you were in a band, they’ve been the biggest fans and supporters of the group.

They’re always promoting your albums on their social media accounts without you even asking.

Privately and publicly praising you guys for performances or achievements.

Your two main groups clashed and now everyone was friends. It was definitely the most weirdest collision— Little Mix and the cast of the Avengers. But it worked out perfectly.

Everyone got along with each other and the girls would always visit you on set.

They’re always playing the band’s song in the background on set.

Most of them won’t admit, but they definitely memorized the lyrics to almost every song.

*cough cough* Mackie and Hemsworth

I feel like Samuel L. Jackson would join in on the action too, one way or another. Somehow he got looped in.

ANOTHER THING OMG, they would definitely stand up for you and the girls whenever Piers Morgan or some asshole hates on you guys or pulls a jab on you all.

Best beileve Evans will be calling him out publicly on Twitter.

“Why are you so worried about a bunch of talented women who are doing their job and bringing happiness to others? They’ve done nothing to you, you’re always the one making jabs at them. Leave them alone you fucking British meatball.”

I feel like Robert helped you and the girls find a better management company after learning about the unfair treatment you all faced under Simon’s care.

In conclusion: The Marvel cast would be ecstatic to learn about you being a singer and they’d become your biggest fans. They truly adore you and the girls for your amazing talent :’)

[chidoroki]

TPN - “Dreams Come True”

What better way to cheer up the TPN fandom after the second season’s final episode than with the special exhibition chapter finally being fully translated. I caught glimpses of a few pages here and there over the past couple months but seeing all the children live happily together in the human world in their own little village that they made close to Emma and Alex warms my heart. Of course I would’ve loved if we got to see more of the GP Resistance (because the anime denied us of them) but following the GF kids around the world as they experience their dreams is fair enough. We started the series alongside them so might as well finish strong with them too. I really loved seeing everyone grow up but no matter how old they get or how much time passes, I’ll probably never get used to seeing Emma without her iconic “63194.” It’s a bittersweet feeling for me, but her smiles bring me so much joy and I’m beyond happy that she accepted everyone into her life as they accepted her without her memories.

I haven’t a clue on how much time passed since everyone found Emma in ch181 to now, but seeing her call out everyone’s names is a little detail that I love so much considering she had no idea who anyone was at first. Trying to remember 60+ names doesn’t seem like an easy task to me. No doubt I was just as shocked as our girl upon learning these mere children bought a goddamn plane! We learn in a couple pages that it’s because of Norman’s company that they can afford it, but still, he’s like 15 or 16 now? He’s still a child! And I’m impressed! Not only at him, but that Oliver and Violet became pilots as well! It’s especially cute when you remember that Lucas gave Oliver a little toy plane during their time at Goldy Pond.

Speaking of GP, is it just me or does Emma’s current outfit resemble her GP one just a little bit? Sure we have no idea what color scheme this one has but come on, the short jacket, the dark shirt and jeans.. just imagine it! Jemima, Yvette, Alicia and Mark remade Gillian’s original GP outfit sometime before the Grace Field Raid arc (ch137 extra page) so I don’t doubt they could’ve done the same for Emma. Of course that’s just me being completely hopeful and missing the Goldy Pond arc to death but yeah! I’m also so happy to see Chris up and moving again! Seeing him wake up briefly in ch181 was nice but this is so much better. I imagine he and Emma have a lot to catch up on in terms of stories, with him being unconscious since ch105 and Emma not remembering anything.

But here we go, the original 15 escapees plus Norman, Phil, Sherry, I believe I saw Carol somewhere and a couple other random kiddos ready to see the entire world. They get to accomplish so much.. and in a single day too I believe? At least that’s what Phil and Alicia say a bit later about everyone’s wishes, but aahh what a lucky bunch. Hell, I’ll say we’re lucky readers too to be able to see such a great story. Can’t thank Shirai and Demizu enough y’all. I wish we got to see more of Alex though. He’s such a kind soul but I’m sure he’ll be just fine staying behind with everyone else.

This entire page where we learn about Norman as a CEO is gold. I still can’t believe this child successfully built up an entire multipurpose company not only to help their search for Emma but also because he didn’t want to live off the Ratri clan. I wish I knew about this last week when writing out Norman’s birthday post because hell yeah this deserves some praise! AND he managed to graduate school as well during all that! Well, by skipping grades which totally makes sense. I mean, if he managed to pass all the Grace Field and Lambda tests effortlessly I’m sure normal human world school was a piece of cake for him. Holy shit dude, keep on impressing me why don’t ya. Not only him but Nigel and Sonya too! I’m not surprised that Vincent helped out but I’m glad those two got a tiny moment to shine as well! Ray is another obvious choice when it comes to helping Norman, as they’re best friends and he’s always been good with machines.. but boy, I can’t take you seriously when you’re just sitting there unamused and eating chips! Hahah I love him so much! And the fact he replies to Norman’s idea with just a simple “kay” is an eternal mood.

Okay boys aside, can we talk about our fabulous girls now? Because oh my god, they’re so darn beautiful! They’re more fashionable than I’ll ever be and it’s so cute how they drag Emma along to take advantage of the 3-for-1 deal. But our girl pulls off that sporty look so well! (r.i.p. goldy pond outfit ver2.0). I’m not at all surprised that Nat wanted to go see the opera. That's perfect for him and I’d like to think the anime did something similar with that one shot we see of him in the human world. We don’t see him in a theater like this but to me it looks like he’s on the streets of Broadway? At least that’s the vibe I get from it. I’m sure there was something music related on one of those signs.

I can’t get over how adorable all the children look and how happy they are fulfilling their wishes, even if some of them aren’t as extravagant as others. Like eating a fluffy pancake and a ton of ice cream? We can do that whenever we want. But for these kids, it means everything and they absolutely deserve to experience such simple joys like that after all the harsh nonsense they’ve been through. I also love how Ray continues to be such a great older brother by still looking out for them too. The fact he remains completely unfazed by the haunted house is perfect. This boy has been haunted by his own nightmares and demons his entire life, there’s no way a couple of lousy jump scares are gonna spook him. Though I do find it funny that Alicia and Rossi still manage to get scared while Yvette is having the time of her life. I can’t help but laugh at Thoma’s “Shirai face” as well.

I find it interesting that out of all the different kinds of exhibits they could’ve shown us while Rossi visits a museum, they give us dinosaurs.. like that seems so silly to me. Y’all have seen several demons in your young lives already and yet dinosaurs manage to amaze you too? God these kids are precious. And then our boy Phil finally gets to see and ride a train! Just look how happy he is! The poor kid can’t even sit still he’s so darn excited and I can’t help but smile with him! Thankfully the anime showed us this too.

We eventually get to Ray’s wish and guys.. oh my fucking god. Tell me that this is not the absolute best and prettiest smile we get to see from him!! It honestly leaves me speechless okay? Ray never imagined he would ever get to see the outside world, let alone live past the age of 12, and yet here he is, seeing such a beautiful sight such as this, right in front of him instead of from inside a book. You can’t believe how happy and proud of him I am right now. Did you see how ecstatic I was when the anime kept Isabella alive? Multiply that feeling by ten and there ya go. That’s my level of happiness upon seeing my favorite boy smile like THAT! AAHHH!! That panel is gonna live rent free in my head until the end of time. I can’t get over how damn perfect it is. His smile is so pure and how he looks like he’s in complete awe is beautiful. He’s about to burst into tears and I swear I might do the same because I’m making myself emotional over this fantastic boy. Someone hold me.

No seriously, hold me because we’re about to get into some angst as we move onto to Emma’s wish. We all know that ever since 2039 her one dream was to ride a giraffe once they got outside, so here we are, about ten years later and the animals in question are within reach. Our girl should be totally excited, right? Ha, not quite.

That wish was something the old Emma wanted, but since demon god had to be such a bastard, this Emma doesn’t know what to think, let alone what to even feel. She hasn’t experienced the same hardships as her family. She hasn’t gone through hell and back while holding onto that one wish that would make all the suffering worth it. The amount of joy everyone else felt upon living out their dreams, she wonders if she would be able to feel it too.

They brought her here to make her happy, but is this truly want she wants as well? This is old Emma’s wish after all. What about her and what she wants? Could this wish make her just as happy as her old self? She knows her family is only trying to help, but seeing her doubt herself does a number on my heart. Even without her memories, she’s still the same Emma deep down, as she doesn’t want to disappoint her family. She spends so much time worrying about living up to her family’s expectations, to try and be that Emma they all love so dearly.

Little does she know that she acts the exact same as usual, almost as if nothing has changed when she finally expresses how much she wants to ride a giraffe. And that’s great considering when they first arrived at the giraffes, no on had even mentioned riding them. She came across that feeling all on her own and everyone else can’t help but laugh and feel relieved. Her mind may have forgotten but her heart remembers everything. There is no “old Emma” and “new Emma” to her family, just “Emma” and words can’t express how wholesome that is because they love her regardless. All that matters to them is Emma’s happiness because if anyone deserves to feel and experience that, it’s her.

I just made myself tear up, damn it. I started this series with season one okay? I heard about this precious girl’s dream within the first minute of the first episode and here I am, a little bit over two years later, finally reading about it coming true and seeing that bright as hell smile on her face. Do you know how amazing it is to come full circle like that? My heart feels so full right now. I’m beyond proud of her and love her to death. Say what you want but I believe this to be the true manga ending in my eyes.

(damn this series for always getting me emotional)

[x--daughters-of-darkness--x]

HALESTORM: Behind-The-Scenes Footage From Making Of 'Back From The Dead' Video

HALESTORM has shared behind-the-scenes footage from the making of the official video for the band's new single, "Back From The Dead". The track is taken from the group's upcoming fifth full-length album, due in 2022. Directed by Dustin Haney (Noah Cyrus, Luke Combs) and produced by Revolution Pictures, the clip features frontwoman Lzzy Hale and the rest of the band in a morgue and cemetery somewhere between life and death.

Lzzy says: "'Back From The Dead' is about survival, not in a physical sense, even though I know we all have been touched by death especially these last few years. This song is personal and written from a mental health perspective. I wanted to give myself and the world a hard rock song we could shout out loud as the gates opened again. I was on the edge of this world getting completely lost in oblivion, but even though it was the harder of two choices, I didn't just let the darkness and depression in my mind dig me an early grave. I didn't just sit and let it take me. I've erased my name from my headstone, so save your prayers, I'm back! I hope this song, as I pass it on to you, reminds YOU of your strength individually and that you are not alone."

She continues: "The video was so much fun to film! Dustin Haney is an amazing director. Dustin and his team really helped bring my words to life and the video is one of the most cinematic pieces we've done in years! I hope this song, as I pass it on…reminds YOU of YOUR individual strength and that you are not Alone. Raise your horns!"

By breaking rules, bucking trends, and busting down doors, HALESTORM has surged through rock 'n' roll on a singular path without compromise or apology. Along the way, the Pennsylvania-bred and Nashville-based quartet — Lzzy Hale (vocals, guitar), Arejay Hale (drums), Joe Hottinger (guitar) and Josh Smith (bass) — has collected a Grammy Award, scored successive number ones at radio, garnered multiple gold and platinum certifications, and performed to sold out crowds on five continents.

Going against the grain again in 2021, the band weathered the flames of chaos in 2020 and returned stronger than ever with their most empowering and undeniable anthems to date.

"Throughout the pandemic, I was writing a lot of melancholic and hopeless songs about the ups and downs of the world," admits Lzzy. "I've been in this group longer than I haven't been in it. We've always had shows. Even when I was 13 years old, we had a couple of bowling alley gigs once a month. This was the first time I didn't know if we would ever play again. However, I started to use music in the same way I did as a teenager—to get myself through this situation that was plaguing us all. I sidestepped and said, 'Let's keep our heads up, get our attitude back, be a light in the dark for a second, and celebrate the fact we're surviving and there's hope for the future.' So, we started to write songs that were a reminder to ourselves of who we are and what we're capable of. That became the mission statement."

In a way, it's always been the mission statement…

Since roaring to life in 1998, HALESTORM has uplifted audiences with a combination of sonic ass-kicking, provocative songwriting, and unshakable hooks. The four-piece received a Grammy Award in the category of "Best Hard Rock/Metal Performance" for "Love Bites (So Do I)". The song also minted them as the first female-fronted band to hit #1 on the Active Rock radio charts. Thus far, their discography spans two gold albums "Halestorm" and "The Strange Case Of..." , a platinum single "I Miss The Misery", and two gold singles "Here's To Us" and "I Get Off". Between surpassing one billion cumulative streams worldwide, they've notched two consecutive Top 10 debuts on the Billboard Top 200 with "Into The Wild Life" (2015) and "Vicious" (2018). The latter represented a critical high watermark with Rolling Stone citing it as "a muscular, adventurous, and especially relevant rock record." In its wake, "Uncomfortable" emerged as their fourth #1 at rock radio and earned their second Grammy Award nomination, while Loudwire christened HALESTORM "Rock Artist Of The Decade" in 2019. Not to mention, they have supported everyone from HEAVEN & HELL and Alice Cooper to Joan Jett on the road.

Even as the world went dormant during 2020, Lzzy remained prolific. She lent her voice to collaborations with everyone from Dee Snider of TWISTED SISTER, IN THIS MOMENT, APOCALYPTICA, and Mark Morton of LAMB OF GOD to EVANESCENCE, Cory Marks, and Mongolian phenomenon THE HU. Additionally, she joined forces with a trio of legends — Corey Taylor of SLIPKNOT, Scott Ian of ANTHRAX and original SLAYER drummer Dave Lombardo — for the theme song to Netflix's "Thunder Force". Plus, the group contributed a cover of THE WHO's "Long Live Rock" to the documentary of the same name. Expanding her presence across television, she hosted the AXS TV "A Year In Music" series, joined the cast of Hit Parader's "No Cover" as a judge, provided the singing voice for Bella Thorne in the Prime Video hit "Paradise City" and launched her own show "Raise Your Horns" on Rolling Live. On the channel, she appeared in Mike Garson's David Bowie tribute with a performance of "Moonage Daydream" alongside Broadway star Lena Hall. She also participated in the platform's Ronnie James Dio tribute, supporting the Stand Up And Shout Cancer Fund.

At the same time, she remained a huge proponent of encouraging the dialogue around mental health. She participated in a Grammy Mental Health panel and empowered the next generation of rock musicians as the keynote speaker at the Little Kids Rock Modern Band Summit. She also made history as Gibson Guitars' first-ever female ambassador.

"I've learned a lot about myself through all of these different projects," she admits. "I said 'yes' to various adventures, and it made me a better artist."

Working out of her home studio in Nashville, Lzzy and the band channeled this renewed spirit into the music at the onset of 2021. Collaborating with Scott Stevens of THE EXIES, the musicians hit their stride and cooked up the single 'Back From The Dead'. Dramatic distortion and drums rumble as she screams, "I'm back from the dead!" HALESTORM come out swinging as punchy verses give way to a call-and-response chorus shocked to life with a searing solo and thunderous groove.

"We needed a reintroduction," she exclaims. "We needed something that simply said, 'Hey, we're back'. The live show is the time we feel as truly alive as we can be. When you walk out on stage with your guitar strapped on, your guys are next to you, and you have an audience looking at you, it's everything. We're celebrating the fact we're all back together again. Whatever it is that was trying to destroy that part of myself and my bandmates that our fans need couldn't do it. It failed miserably. We're fucking back."

From the moment the band graced the stage at a secret Nashville gig, they were indeed "back," albeit louder, heavier, and emboldened by an unbelievable year. Amped up to jump back in, their tour schedule took shape with festival dates followed by a co-headline run with EVANESCENCE in the fall.

Readying their fifth full-length album, they're delivering the soundtrack for a world ready to roar again.

"We've lost a lot of people, but we can start healing again," she leaves off. "I appreciate the little things even more. I don't only feel this confidence in myself, but also in every one of my band members. We're not the same people, none of us could ever be. HALESTORM is my source of my joy. It's my connection. It's the closest thing to my religion. We're moving forward. With this next album, I hope we're able to create a greater sense of community. We have a beautiful opportunity. When you listen to it, I want you to feel like you can walk through any fire."

[kimmyiewrites]

Finding Home ~ Chpt 7

Catch Up      Masterlist      AO3

AN: I just wanted to say thank you so much for the love for this story. I truly appreciate it! I hope you enjoy this latest chapter and don’t forget to come back around 12 pm EST for the next one. Much love!

The show was a revival but Katherine couldn’t for the life of her figure out why someone wanted to revive it. The set and costumes were gorgeous. The actors were even doing the best they could with what they had been given. The plot and the music just didn’t mesh well. The drama unfolding felt out of place with the more popular style music. It felt like she should be watching an opera instead of a Broadway musical.

Jack had long checked out, now focusing his attention on other audience members since he had already filled the pages of his playbill with drawings. He was currently playing a game of how many phones he could see. When he got to fifteen he grew bored and once more turned to Katherine.

He had done this twice already and twice she had rejected his offer of leaving. This was either going to be third time’s the charm or three strikes and he was out. Well at least until intermission but honestly how could it not be intermission yet? “Katherine?” He whispered, chuckling when he saw in large, looping letters the word again followed by three question marks and underlined three times next to the character’s name that was part narrator, part comic relief.

“Jack, I already told you, it’s rude to leave in the middle of a performance.” She whispered back, flipping to a new page.

“But you’re not even enjoying it. We could be doing something ten times more fun than watching this. Don’t you have enough to write your review?”

Katherine sighed. “We’ll go at intermission.”

That should have been enough for Jack but this show was torture. He couldn’t even properly enjoy the set. He pointed over to the box next to them. “C’mon, ace. That reporter is on his phone and the one next to him is asleep. No one will know.”

She looked over to her fellow reporters and then at the audience. There were a handful that seemed entranced by what was happening on the stage but most were fidgeting. She made one last note about what she observed and then nodded towards Jack. “Okay, let’s go.”

He beamed as he lead them out of the theatre. Once on the street, Katherine placed her notebook and pen into her coat pocket and looked towards Jack. “So, what do you have in mind?”

Jack just smiled and motioned to her as he began walking backwards. “Follow me.”

Katherine gave him a look but followed after him anyway. As they got closer to their destination, she was glad she had worn wedges instead of heels. While it was still difficult to navigate the shore of the lake in Central Park, it would have been an absolute nightmare in the heels she originally contemplated wearing tonight. “Jack, what on earth are you doing?”

His phone light that had help illuminate their path was now being used as a search light. “Trying to find the perfect rock.” He explained, picking one up and looking it over before tossing it back to the ground.

“I never pegged you as a rock collector.” She said as she continued to watch him in his hunt.

“It’s not for collecting, princess, it’s for skipping.” He picked up another rock, smiling when it was exactly the type he was looking for.

“Oh.”

Jack looked over to Katherine, shining his light towards her as she toed at the dirt. “Katherine?”

“Hmm?” She didn’t look up. The ground was far more fascinating.

“Have you never skipped rocks before?”

She shook her head, finally looking up at him. There was a moment of disbelief before a grin broke out over his features. “Well, then it’s your lucky day. I happen to be a record holding rock skipper. No one’s been able to beat my five skips.”

He motioned for her to come closer. “This here is a skipping rock. You want one that’s smooth, round, and flat. You want to hold it like this.” He demonstrated for her before giving her the rock.

She tried to mimic what he had shown her as he came around behind her. “Almost. Like this.” He took her hand in his and showed her. He then placed his free hand on her shoulder and shuffled them around so that their left side was facing the water. “Okay, so it’s kind of like throwing a frisbee. You’ve done that, right?”

Katherine sighed, trying her hardest not to roll her eyes since it seemed to be a crime to not have skipped rocks before. It wasn’t her fault she wasn’t allowed to be near dirt long enough to even look for a proper rock. Although she did suppose it was nice to be this close to Jack. “Yes, I’ve thrown a frisbee.” She may have kept herself from rolling her eyes but it didn’t stop her from sounding indignant.

This caused Jack to chuckle, a smirk dancing on his lips. “Just making sure, princess.”

Katherine huffed. “Are you going to teach me or continue to tease me?”

That caused Jack to laugh again. “Alright, alright. Hold your horses, princess.” He brought their arms back and then swung them forward, crossing over Katherine’s body. He did that a couple of times before adding how she should use her wrist.

“Okay, now for real this time.” He brought her arm back and when they got to the prime spot for release, they let go of the rock and watched as it just kerplunked into the water.

“Maybe we should try it individually.” Jack suggested after a few moments of shared disappointed silence.

They soon began looking for rocks, Katherine every so often holding out one for Jack to inspect. With each no, he would explain why it wouldn’t be good for skipping. Once she had a few good skipping rocks tucked away in her coat pocket, she stood from crouching over. He went over the steps one more time, helping when he needed to before stepping out of her way.

This time it skipped once before dropping into the lake. Katherine took out another rock from her pocket, more determined to get it to skip more than just once. Jack threw his rock at the same time and it was like they were racing. He wasn’t even watching to see how well his did, especially after Katherine let out a small squeal of excitement when her rock skipped more than once.

She played with her different variables after watching Jack’s go on for another skip after hers. She tried out different forces, speeds, and flicks of her wrist with each throw until her very last rock. Their rocks had been keeping up. It was the longest skip Katherine had managed the entire evening. Her grin wide as she bounced on her toes in excitement.

It was then that the unexpected happened. Jack’s rock dropped into the lake but Katherine’s did one more skip before sinking to the bottom. Jack stared in amazement, his mouth opened. Katherine let out a squeal and a little laugh. She had gotten six skips. “Jack! Did you see that?!”

He nodded and turned to look at her. The bit of chagrin that he had been feeling for having been beaten out of his rock skipping record vanished when he saw just how happy she looked. “Yeah, guess you hold the record now. Beginner’s luck.” He teased her a bit, shaking his head.

“Nah, just had a really good teacher.” She smiled back at him, stuffing her hands in her coat pockets. “I gotta say though. This was tons more fun than sitting there and trying not to fall asleep.”

He gave her a cheeky grin. “Aren’t ya glad I made ya leave then?”

She nodded. “Yeah, I guess I am.” She teased him right back.

“You guess?” He placed a hand over his heart, acting as though her words had hurt him. “You wound me, princess.”

She rolled her eyes. “You sure you’re supposed to be behind the scenes? Those dramatics say otherwise.”

“These dramatics are for friends eyes only. I don’t wanna see nothing about ‘em in the next piece you write on me.”

She gave a mock salute, giggling. “I won’t let the people know. Promise. Can we go back to the apartment now?”

“You tired of me already?” He asked, moving closer to her so he can help her climb back up the bank.

“No, I’ve just got a morning meeting and I would like to try to look awake during it.” She laughed, taking his hand as they climbed back up to the main path.

As the pair walked along, someone followed them in the shadows. Having not seen the man her father had hired to follow her, she had stopped looking over her shoulders. Her father was a sensible man after all and while he had his not so great features, she knew that there was good inside of him.  

The portly man wore an all black suit with a hat pulled down low so the shadow from it would hide his face. The two in front of him were smiling and laughing on their way back home, completely unaware of the fact that they were leading the man both of them so desperately tried to get away from directly to where they now lived. Once they were inside, the man smiled, writing down the address before slinking back into the dark. The boss would certainly be happy that he found his daughter but he would not be happy to know that his daughter was in cahoots with a boy he had previously locked away in The Refuge before the governor shut him down.

[realm-sweet-realm]

Angel of the Ink Machine, Chapter 1: An Unlikely Encounter.

Alright, this was a long time coming. And by a long time, I mean I have literally had it in mind since Fall. As a result, I’m going to ignore new information from TIOL so that I can do it as I originally planned.

The premise of this AU is simple: Sammy leaves the studio instead of Henry, and as a result, Joey needs a new partner in crime. He finds one in Allison. Power struggles, sacrifices, passion, ecstasy and tragedy ensues.

---

Sammy never even bothered to formally quit the studio, and it fell on Henry to explain to Joey what had probably transpired.

“He told me a few days ago that he wanted to get Mr. Arch’s attention and maybe a job from him. Sorry to say, Joey, but I think he got what he wanted.”

Joey’s face twisted with disbelief and anger and then back to serenity. “No, Sammy loved it here! I’m sure he’ll be back soon- he’s probably just sick. And even if he isn’t, well, we don’t need him anyhow, do we, Henry? So long as we have each other.”

“Hm? Yeah.” Henry didn’t tell Joey that Nathan had made him an offer as well, and that he was beginning to regret not taking it.

After a few days, Joey accepted that Sammy was gone and promoted Jack to the head of the music department. It was better that way, anyhow- Jack wasn’t so demanding, and let Joey have more run of the music room when he wanted it.

For the next decade, things went along as usual. The studio grew, Henry remained Joey’s finest and most hardworking artist, and Joey even began to look into some dark magic that could help him make his vision for the studio a reality. Joey was, however, beginning to feel increasingly alone in his vision. Henry had grown bitter and distant to him over the years, and then quit. It was disappointing, but not a surprise. It left Joey feeling rather empty in the realization of how little he’d lost. The loyal, invaluable partner he’d once had had turned into just another artist years ago.

Joey needed another person who truly understood his vision. Sadly, he didn’t know anyone that could have fit the bill.

And then he found her.

The place he’d found her had been a speakeasy during the prohibition- a hub of all sorts of illegal affairs. Joey had come here for booze and the occasional round of cocaine during the prohibition and had discovered magic that way. Now, the prohibition was over, but criminals still came to peddle their wares, and Joey, a frequent user of magic now, still came to supply himself with books and reagents that couldn’t be found anywhere else. It was a sleazy place- dirty, greasy, full of prostitutes and men who looked like they could rob you. So it didn’t surprise Joey when a woman- mid-twenties, curvaceous, and on the tall side- approached him while he was buying potions. He figured it was just a prostitute trying to find a customer.

“I need three of the generic restorative ones.. And a vial of clean animal blood, and a liter of chloroform, please.”

The woman next to him chuckled. “You know that restorative potions are horrendously marked up, right? And you could get the animal blood... from an animal.”

Looking at the woman for the first time, Joey realized two things. First, the nearly knee-length pink dress and grey leather jacket she was wearing looked far too new and expensive and a bit too modest to be a prostitute’s, and she looked awfully healthy and clean for one. Secondly, he recognized her from somewhere. Still, he wouldn’t let the woman embarrass him. “Well, yes. But I haven’t practiced making my own yet, and I don’t want to test the first few on myself! And I just so happen to have plenty of money for them.”

The woman finally made eye contact with him. Light grey eyes, Joey noted. “Really? So, you been into magic long, Mr…”

“Drew. Joey Drew. And not too long. My specialty is in the demonic, but I’m experimenting with a bit of everything. Trying to figure out what will work with my vision. Yourself? Actually, why don’t we have this conversation somewhere more pleasant.” Joey paid the man for the potions, and the two walked out of the dark alleyway and into the city lights.

“My specialty is potions. I brew my own. I also really like charms.”

Joey’s eyes went wide. “Charms? You criticize me for buying potions, and you buy charms? There’s no way of even knowing if they work!”

“Well, unlike you, I’m not working towards any grand vision. I think charms work. I think they make my life better. And that’s good enough for me. Honestly, some magic users forget that magic is meant to enhance life, not fill some kind of void in it. Heck, I could say the same of some artists.”

“Funny you should mention art. I’m an artist. And my life’s goal is to reflect life in art. It seems we have a similar view on life, don’t we? It’s just that I want to be the one to show it to other people. Say- would you like to see a bit of my vision tonight?”

“Sure!” Allison said with a smile.

Joey took her to his car and held the door open for her.

“Oh. A gentleman. And a rich one, it looks like!”

“Yes. I own one of the greatest animation studios in the world: Joey Drew Studios.”

Allison giggled. “I’m no cartoon expert, but if it’s one of the greatest in the world, then why haven’t I heard of it?”

“Well, it might not be the very best yet, but it will be! Especially once the project I’m about to show you takes off.”

“Great!” Joey could see the excitement in her eyes, and he loved it.

“And what do you do, Ms. Pendle? I feel like we’ve met.”

Allison’s face darkened a little. “Well... I used to be a Broadway performer. I quit. You see, I have an ugly history with cocaine, and some of my coworkers were getting me back into it. I knew I couldn’t stay without it ruining my health... so I didn’t. I’m still trying to figure out what I want to do with the rest of my life, though.”

Joey could remember her now- a backup dancer in one of the plays he’d seen. He committed everything she’d said to memory, knowing it could be useful later on.

Before long, they were at the studio, and Joey showed her to the pedestal room.

“Wow. You got your entire staff to participate in your rituals? That’s amazing.”

“Just a few of them, actually. But yeah, a little power goes a long way when you’re dealing with magic. And this isn’t even half of it. Come. I assume you aren’t a vegetarian witch?”

“Well, I’ve never slaughtered an animal for magic, but I’m up for it so long as it’s not too often. It’s no different than meat, really.”

“Fair enough,” Joey said. Maybe it was stupid to trust this woman that he’d met this same night, but he got a good feeling about her. He just had to share everything with her. The elevator wasn’t romantic enough, so he took her to the ink machine, suspended with chains, and watched the amazement on her face as it lowered until its top was at floor level. Joey stepped onto the machine and pulled Allison along with him. He held her waist as the machine lowered until it hit the floor of the very basement.

“Wait a moment,” he said, before climbing down the machine and running to turn on the lights.

Allison’s heart was beating a million miles a minute looking at all the pentagrams on the floor, the supplies on the shelves, and the strange machinery. A small part of her was glad she’d packed a knife in her jacket pocket, especially given the human-sized iron cages. Mostly, though, she felt like she’d died and gone to magic-user heaven. Joey had thought she wouldn’t be scared off by this, and was more than happy to be proven correct.

“This is amazing!” Allison beamed. “What do you use it for?”

“Well… nothing good, yet. I’m trying to create life, but there’s only been failed attempts. Let you show you my best one.” Joey led her to a supply closet that only he had the keys for. The door opened to reveal a metal cage and little else. When Joey clicked on the lights, a mound of black sludge, maybe a foot and a half tall, made itself visible. A cartoonish mouth floated down about where an ear should be, and two black mounds that vaguely looked like pie-cut eyes rested at its base. “I don’t know what to do to improve results,” Joey admitted. “Ultimately, I want to bring my cartoons into the real world. But can you imagine me presenting this old thing on a stage?” Joey laughed. “Wouldn’t exactly have them cheering, now would it?”

“Hmm... well, it’s a long shot, but a while ago while I was traveling, I stayed with a witch for a while and learned the recipe for a special potion. I kind of... stole the recipe from her, so I don’t know all about how it works, but it’s had all kinds of effects on the substances I’ve used it in in the past. I once burned all my hair off by mixing it with shampoo! So, you wanna to see what happens when you mix it with ink?

“Why not?” Joey said. He was sure to hear an earfull from Thomas the next day about some mechanical nonsense, but at that moment, Joey didn’t care.

“Alright,” Allison said, digging out a small vial of clear liquid from her bag. “Where do I put this?”

Joey directed her to the insertion nozzle. Allison put in the substance. Joey gathered some film of Bendy and added it in as well. And then, Joey started up the machine. What came out was an abomination- a strange, humanoid creature made of ink, its spine and joints jutting out at sharp angles from its body. It had Bendy’s horns, his smile, and one of its gloves, but the similarities ended there. It looked around at its surroundings before beginning to wander off.

Allison yelped. “What do we do? I’m sorry!”

“Don’t be,” Joey said in an extremely calm voice. “Just be calm. Find an iron cage big enough and open it for me.”

Allison did as she was told, and Joey calmly approached the beast as it took in its surroundings. “Hey, there, buddy. Come with me. It’s okay.” He offered the beast his hand and led him towards the cage. He and Allison wrestled the creature into the cage and locked it. Joey sighed in relief. “That could have been ugly.”

“Yeah. That was amazing. But I’m sorry for causing it!”

They made eye contact. “Don’t be! That’s the closest I’ve ever come to making a functional toon! I mean, it still needs something... but thank you.” Joey ran his hand over her arm. “Allison. You can sing, right? You sang on Broadway?”

“Yes.”

“I’ve been looking for a person who understood me- this side, the artistic side, the lust-for-life side- for years. Would you like to join my studio as a voice actress and help me with this grand project? Help me to do what no magician has done and create sentient life with me?”

“Yes! I’ve been looking for the next adventure since I quit Broadway!”

She hadn’t hesitated. This could only end well.

“Okay. Now, I’ll want you as a partner in crime and voice actress either way, but would you like to go out to dinner on Friday?”

Allison rolled her eyes. “Oh, well, pentagrams and demonic machines were one thing, but dinner? Now you’ve gone too far.” A pause. “I’m joking, Joey. Of course I will.” Dangerous just so happened to be Allison’s type, and she knew she could handle this little adventure if it turned sour.

[prurientpuddlejumper]

Out Tonight (Part 1)

Part 2 ->

Summary: Barba would never admit to being a RENT geek, but when he gets drunk and no one from the SVU squad is there to see him, he can’t resist the siren call of the karaoke stage. You would never approach a stranger at a bar, but when you hear Barba singing your favorite musical, you gather the courage to ask for a duet. 

Rafael Barba x Female Reader

Warning: NSFW, 18+, Dub-con!! Everyone is enthusiastically willing, but also super drunk. So... use your best judgement. (No smut this chapter just some intense kissing)

4,144 words

The thing about Scotch whisky is, it’s a drink meant to be sipped. A.D.A. Rafael Barba drank a Scotch every day, especially after a difficult case. One or two, mulled upon over the course of an hour. 

At over 40 percent alcohol by volume, the practical difference between Scotch, the gentleman’s drink favored by lawyers and Wall Street executives, and the tequila swigged by rednecks ripping their shirts off at a dive bar is the speed at which the beverages are consumed.

The thing about being a Scotch drinker is, you’re only ever one particularly bad day and a few extra drams carelessly tipped down the hatch away from getting well and truly shitfaced.

This would never happen to A.D.A. Barba. He had complete control of himself at all times. In the courtroom. In his manner of dress. In his speech. He won cases other prosecutors wouldn’t dare to take on, because he was meticulous. He was relentless. And he never let his guard down.

But on this particular day, nothing was going according to plan. All week, in fact, a case he was certain of had been falling apart piece by piece, slipping through his fingers, until today, a man who made Barba’s stomach sicken walked out of the courtroom a free man.

It was his fault. He got cocky. The victims subjected themselves to retraumatization just to testify on the hope of getting some kind of justice, and it was all for nothing. He let them down. He let the SVU team down. The look on Benson’s face when the foreman delivered the not guilty verdict made Barba want to crawl inside himself.

So he did what he always did on bad days, and went to his favorite bar alone to sit quietly and numb his sorrows over a glass of Macallan.

Except it wasn’t fucking quiet. This was supposed to be a subdued, sophisticated establishment that didn’t draw a big crowd. This was his bar! But for some godawful reason, the new manager had decided—unbeknownst to Barba—to try hosting karaoke night.

Karaoke!

He scowled at the colored stage lights. Glowered at the rambunctious crowds of young people. Seethed at the bad 80’s music and off-key bellowing. He dropped heavily into his usual seat at the bar and exchanged withering looks with the bartender, who slid him his usual drink without needing to be asked. What the hell was happening to his life? Barba began to wonder whether he had anything under control at all, downing the dram in one shot.

As he gasped on the fiery liquid burning down his throat, he gained determination. They were not going to take his bar from him. Not a chance. If these tourists and college kids wanted to have their revelry, they would have to do it with a grumpy old killjoy glowering at them. He ordered another round.

***

An hour and a steep tab later, and Barba was gripping the microphone with sweaty fingers, belting out One Song Glory at the top of his lungs.

He rationalized it as “better bend than break,” but the truth was, he had dreamed of becoming an actor before going to law school to please his mother. His inner theater geek was always waiting to slip out whenever he let his guard down, but since that was never, it was side he rarely indulged. Tonight, his head was spinning, and it didn’t seem like a bad idea.

“One song to redeem this empty life. Time flies—and then no need to endure anymore!”

The wooden bar stool creaked as his weight sank back down on it, and he ordered another drink to question about his life choices. “Will I ever be remembered for anything besides my failures?” he asked the glass. He’d come this far from the poor barrio where he grew up, but every step was a fight. He couldn’t just be good, he had to be better than the privileged WASPs he was competing against. He had to be the best. Every little mistake, every lost trial, could be the end of all he had worked for.

Barba was so busy nursing his latest drink, he almost didn’t notice someone else drunkenly belting a track from RENT. Except, as his head swung up to listen, it wasn’t drunken belting at all. A woman with a low-cut blouse and tight jeans that hugged her curves was singing so seductively, staring right at him. She winked and sweetly begged him to take her out tonight.

No—he was imagining it. He was just drunk, lonely, and pathetic. She was working the crowd, making everyone feel like she was singing just to them. Maybe she was a Broadway performer to have that skill, or at least a master at flirtation. Either way, she was way out of his league. There was no chance she had singled him out.

***

So what if you didn’t know anybody, and it was dangerous to go alone? You were in Manhattan on a Friday night—you were going to go out and have a good time, dammit!

The promise of karaoke drew you into a small but packed bar, and you were a few drinks in when you heard a voice like an angel and a rock-star had a baby singing a song from your favorite musical ever. The voice belonged to a singer wearing old-man suspenders, a pink tie, and a light coating of stubble from not having shaved since morning. He was fashionable, you guessed. Dapper. But it was that expressive voice that mesmerized you. As he sang, your gut was wrenched with the emotional pain woven through each note.

You were smitten. You tried to go talk to him, but the moment the song was over he vanished into the tightly-packed crowd. It was silly. It was far too bold to approach a stranger in the big city, but the warm tipsy feeling in your gut gave you confidence to hatch a plan.

Step one: Locate him from the stage.

Step two: Impress him.

Step three: Bond over mutual love for RENT.

Step four, if you managed to get that far, was a bunch of squiggly question marks and “kiss his face?” hastily scrawled in pencil. It was a long shot, you knew that. You were way too shy, and he was far too handsome not to have a girlfriend, or a boyfriend, or a husband. Frankly, even if he were single, he was way out of your league. But still, the nebulous step four could simply be “Have a fun night with your new karaoke buddy,” and that possibility alone made you feel like glitter was exploding inside of you.

When it was your turn to sing, you found him from your elevated vantage—he was sitting far from the stage, at the end of the bar—and tried to catch his eye. You’d been using Out Tonight as your karaoke icebreaker for years, so you’d gotten good at playing up the sexiness, tossing your hair and biting your lip. Your clumsy ass had even picked up a few dance moves to spice it up, and you gave them your booty-shaking all when you saw him look up at you.

You were glad you’d worn the jeans that made your butt look fantastic, and your sexiest, strappiest sandals (which were actually Tevas with a two-inch wedge heel, purchased from an outdoor gear store). He was watching you with fascination as you pouted the lyric, “don’t forsake me,” at him.

It sent a shiver down your spine to think he might really be looking at you that way.

The moment you got off the stage, you were bombarded by guys offering to buy you a drink, asking for your number. It was discouraging that Sexy Suspenders was not among them. Apparently your sexy routine worked, but entirely missed its intended target. Then again, a man like that probably let women come to him.

Ducking and weaving past your suitors like they were physical obstacles and not people, you reached Suspenders. The bar stool next to him was open, held by a briefcase and folded suit jacket. His shirt sleeves were rolled up to the elbow, and his hair was a little mussed. He appeared to be deep in conversation with his empty glass. You took a step forward to approach him, but an anxious constriction in your chest froze you in place.

Who do you think you are?! A gorgeous, sharp-dressed city guy will never even give you the time of day! Your mother’s nagging voice chimed in to warn you not to talk to strange men in bars when you’re out alone, in New York City, no less. You grimaced at your awesome double-dose of anxiety. He would either laugh in your face, or you were about to get murdered. Hooray!

But there was a loneliness in his demeanor that encouraged you he wouldn’t laugh, and up close, you noticed he was so short you could probably pick him up like a little baby chipmunk if things got out of hand. Ignoring how thick his forearms were, of course. But if he crushed you with those, you would die happy.

***

The next singer on stage had started screeching a rendition of Don’t Stop Believin’ with ten drunk buddies, and Barba was squeezing his eyes closed to try to drown them out, so he was caught completely unaware when a tap on his shoulder startled him.

“Is this seat taken?”

His vision blurred. He had to rub his eyes and look twice to be sure he was seeing who he thought he was seeing. “Mimi!” he blurted. “From the—nice, um—no. No one’s sitting here.”

He moved his belongings to the top of the bar, and you sat on the vacated stool, quite pleased with yourself. The bartender immediately handed you a pink icy cocktail with a slice of lime, and pointed his thumb to someone at the other end of the bar who paid for it. Barba followed his gesture to a very cute guy in his twenties and felt a twinge of double-edged jealousy that the most beautiful woman he had ever seen was most likely about to get up and leave him, and that the drink hadn’t been for him, because frankly, he couldn’t blame you. You did get up, but only to crane your neck to find your benefactor. When you did, you gave the world’s dorkiest thumbs up, while conspicuously putting your hand on Barba’s shoulder.

Barba’s lips spread into a smug bastard what-are-you-going-to-do-about-it smirk as he stared down his attractive rival. His head cocked to the side pleasantly. The other man’s flirtatious gaze fell into an annoyed tick. You sighed with relief as he moved away.

Turning back to Barba, you realized your hand was still on his shoulder and quickly removed it. You inhaled and said, “I heard you singing you were amazing do you want to do a duet together? Can we? I love RENT! I’ve always wanted to do Light My Candle—can we do it together?” in one breath.

Your flurried gush of words nearly knocked him off his stool—he put his hands up defensively and sat wide-eyed, nodding slowly as you went full babbling-nerd on him. You may not have been as suave as he initially thought, and oddly enough, he was okay with that. It was disarming, and your enthusiasm was infectious.

Because his instinct to distance himself from anyone he might risk forming a real emotional connection with wasn’t working at the moment, he grabbed you by the shoulders, locked his piercing eyes with yours, and emphatically answered, “Yes. We must!”

***

Having a karaoke partner is essential for Broadway musical numbers, as most of them are duets—two or more characters interacting with each other as the plot of the show advances. Light My Candle was one of your favorite songs, and snagging the mysterious suspendered singer meant you could finally perform it outside your shower.

It was a bouncy back-and-forth duet that was fun to sing, but you forgot how aggressively flirtatious it was until you had to ask him—you hadn’t even asked his name yet—if you had the best ass below 14th street, and about wax dripping between your… um, fingers. But the way he looked at you made seducing him so natural. You just had no idea if it was part of the performance, or if it was real.

When the song was over, you bounced on your toes, clinging to his arm for balance as you tripped on the stairs down from the stage, squealing, “That was so much fun!” He put his hand around your waist to steady you. It felt like it was made to be there.

His face was flushed red and his eyes sparkled with exhilaration, and he quickly agreed to another duet, though he muttered, wiping a light sheen of sweat from his brow, “Thank god no one from the precinct is here.”

Performing together with a partner always makes you feel a connection—even if it’s just drunken karaoke. When you sang one part of a harmony and he picked up the other part, your voices became two halves of a whole. And with musicals, it’s as much about acting as it is singing. He threw so much emotional intensity into the lyrics, which gave you something to respond to, throwing it back at him in fluid conversation as your voice soared above his and dove beneath it again.

You hadn’t had this much fun in a long time, and you had a feeling he hadn’t, either.

Not that you had any way of knowing, really. You guessed it by the ease in which he embodied Roger’s stubborn refusal to open his heart, by the mournful way he lifted his drinks to his lips like he was toasting at a funeral. His expensive leather briefcase and formal attire, too, suggested a well-paid but dreadfully boring line of work, like a financial manager.

Your guess was dead-on, in truth. Barba was vigilant against dating anyone he met professionally. Even if there had been a secretary or paralegal or two he’d had chemistry with, for the sake of his career, he could not afford to conduct himself in a manner that could raise even the hint of a scandal or ethical conflict in the workplace. And anyone he met outside of the workplace… well, he didn’t. His entire life revolved around his job.

The bartender had just brought a fresh round of drinks, and your head rested on your fist, elbow on the bar. Barba was staring deeply into your soul with those pretty green eyes, trying to figure out how he managed to get you and how he could keep you.

“We should do Another Day next,” you grinned.

“Who do you think you are, barging in on me and my guitar!” He sang in a gritty rock voice, poking at your chest accusingly while holding an air microphone with the other. You forgot to be surreptitious and blatantly checked for a wedding ring.

After Roger’s verse, you sang back Mimi’s part, seductively leaning in closer to him. “There’s only us. There’s only this...” As you leaned closer, his eyelids drooped, and his eyes darkened. “Forget regret, or life is yours to miss.” The smoky smooth molasses of Scotch was strong on his breath. He studied your face hazily, his eyes drawn down to the movement of your lips. There was no mistaking his attraction for a performance now. You sang softer and softer until your forehead was resting against his, your lips almost touching. Then you just breathed.

“No day but today,” he mulled the lyric and the impulsive circumstances that had led him to being with you in that moment. “I should follow that advice more often.”

“That’s what I’m trying to do,” you murmured. “Here I am in the city, having fun,” your voice slowed to a crawl as your eyes flicked up and down his face, “...with a perfect, handsome stranger...”

His tongue ran over his lower lip again as his eyes dropped to your mouth and clouded over with some sultry thought.

You’re not sure which one of you moved first, but in the next moment his lips were melting into yours, desperate and passionate. That tempting tongue of his ran along your lower lip now, sliding easily inside as your mouth parted to invite him within, swirling in heated wet circles around yours. It was heavy with the taste of Scotch and the faint bitterness of coffee, as if that were all he’d eaten that day. You curled your fingers into his hair and deepened the kiss, moaning into his mouth, and his broad arms closed around your back and pulled you off your bar stool onto his lap.

His skin was burning hot, and waves of heat coursed up through your body like you were both on fire. Your pulse thundered in your ears until it drowned out the off-key music, and each pounding heartbeat sent a corresponding throb to your cunt. Your eyes closed. All that existed was the messy clashing of your teeth and tongues, the woody-sweet scent of his cologne filling your lungs, the heat of his strong hands on your back, and the bulge of his cock twitching beneath you.

When you finally had to come up for air, and hopped back onto your own bar stool, suddenly self-conscious of how pornographic that nearly was, all he had to say was, “I’ve never done that before.”

You blinked. “You’ve never… kissed someone?”

“Not someone I just met in a bar!” his eyebrows shot up and he sounded so utterly scandalized, your euphoric high from kissing him came crashing down. He saw you as some kind of cheap tramp for kissing him. Pretentious asshole. Suddenly you felt like shit.

You turned your attention to the second round of that fruity cocktail that random guy paid for. It turned out to be a pretty tasty drink, so you ordered another. Maybe you should have given that guy a chance.

“So, are you here by yourself?” Barba asked your profile, not bothering to hide the patronizing concern in his tone.

“Yeah,” you said without looking up.

“Jesus. I thought so. That’s really dangerous, you know.”

“Ugh,” you groaned and pivoted away from him further, leaving him confused. So first he implied you’re a slut, and now he was pulling the whole, the city is full of predators, but I’m a Nice Guy—let me walk you home routine. This is what you get for picking a guy based on how good he sings.

“I did not mean to imply that. I only meant that I’m usually more... careful.” Oh. You must have said all of that out loud. Oops. “But you’re right to be suspicious of my intentions. There are… all kinds”— he breathed the word out in a jaded huff—“of tactics predators will use. Manipulations, brute force, drugs, fake personas… And all they have to do is claim consent and half the time the jury believes it even if the physical evidence is horrifying.” He was getting visibly angry thinking about it, his drink dangerously close to spilling as he clenched his fist around it.

You stared at him. “Um.”

“Oh,” he cleared his throat, “I’m an A.D.A. for Manhattan. Prosecutor. I’m a lawyer,” he clarified when the acronym earned no look of recognition in your eyes. “Lately I’ve been working with the Special Victims Unit, so when I see someone drinking alone late at night, talking to complete strangers,” he gestured at himself. “You have no idea how many sexual assault cases start with this exact scenario.”

“Big-shot lawyer, huh? Sure, now pull the other one.”

“What?” His head cocked at you in utter bewilderment.

“Pull the other… leg. You’re pulling my leg?”

“I know what it means, I’ve just never heard it said by anyone under sixty. Are you secretly an old man?”

Your cheeks burned. “You’re an old man,” you retorted childishly.

His lips folded in on themselves as he tried to keep a straight face. “I don’t know. What can you tell me about the Model T?”

You took a grumpy swig of the fruity strawberry cocktail.

“What was World War II like?”

“So are you really a lawyer, or do you just use that line to pick up chicks?”

“I am, I am!” he laughed. “I can prove it. Let’s see...” he pulled out his phone, brought up a search result for his name, and scrolled through headlines. “DA’s Office Helps NYPD Persecute Immigrant Families,” “Justice at Last for Serial Rapist Victims,” and others rolled across the screen. He narrowed his eyes as his index finger hovered over each one. “Oh, sounds like I’m an idiot in this one,” his mouth twitched into a sardonic smirk, “and I’m a real asshole here… Oh, look, here’s one where I’m the big hero.” He held out his phone so you could see the photo of him in another flashy suit and bold tie, speaking to crowd of reporters in front of the courtroom steps. He looked so sexy in his full three piece suit, and much more severe, his face hard and intelligent. The caption below it praised his victory putting away a notorious rapist, and identified him A.D.A. Rafael Barba.

“Wow. That is you. Who knew I was doing karaoke with such an important guy?” You slung your arm around his shoulders, which were irresponsibly broad and solid. God, being with him felt so right. Casual touches were so comfortable even though you’d just met, and the way he responded, melting under you, sent a wave of heat through your lower back.

He kept flipping through headlines, his brow quirking a little at one, eyes narrowing at the next. Then he saw one that made him stop scrolling. He put the phone down on the bar and scrubbed his hand over his face and hair, blinking back tears suddenly forming. You caught the glowing screen before it automatically locked. The headline was from today. “Local Teacher Found Not Guilty—.”

His head dropped into his arms on the bar. “It was my fault. If I had done something different, been more prepared...” A sad groan emitted from the Barba puddle.

“I’m sure you did everything you could,” you soothed, and rubbed his back sympathetically. “So one guy got acquitted. It happens every day.”

“I know,” he growled. This fact was the opposite of comforting.

“You’re sure he was guilty?”

“He did it. To at least a dozen kids over the last two decades, but no one wanted to testify, or the statute of limitations was up, and then our key witness… There must have been something I could have done, something I didn’t think of. I let him get away with it.” His shoulders heaved as he sobbed into his arms. “I fucked up.”

You kept rubbing circles over his back, whispering soothing words to him. You leaned down and peppered his head with soft kisses. He shifted off the top of the bar and began crying into your chest, his arms wrapping around you like a baby lemur. You held him tight, suddenly understanding that this was the memory he came here to drown. This was why all night you had caught him looking wistful every time the conversation lulled. “I’m sorry,” you murmured. “It’s alright. Shh.”

His arms tightened around your waist, then relaxed, tension melting from his body. “This is nice,” he sighed into your shirt, enjoying being snugly pressed against you, surrounded by warmth. “Thank you… this is nice.” He never let anyone comfort him like this. Never let his need for comfort show under his stoic exterior. If his judgment were functioning properly, it would have struck him as a red flag how easily he sought comfort from a stranger that he wouldn’t have accepted from his closest friends, but it felt good to let it out.

Eventually, he remembered his dignity and sat up, drying his eyes on his sleeve and glancing regretfully at the wet splotch he’d made in your shirt.

“Sorry,” he said, clearing his throat. He picked up his latest glass of scotch, and swirled its half-empty amber contents before setting it down again. It was possible he had drunk enough.

“It’s OK. You had a bad day.”

His lips tightened at the corners in agreement. “Usually Liv is the only one who tries to cheer me up. So, thanks for…” He closed his eyes and tilted his head. “You’re very nice.”

Your chest fluttered. He was terribly cute, and far too vulnerable for you to be having these lascivious feelings about him.

[ambitionsource]

AMBITION Season 3 ♫ “Moment of Truth” [ 3.08 ]

CREATED BY Esther (waterstribe) & Maggie (quincywillows) || Official Page || AO3

SHOWDOWN – Adams and Haverford go head-to-head at the senior showdown finals. The A class scrambles when their polished routine is thrown into jeopardy, and Riley takes control. Charlie makes difficult decisions, culminating in a major confession.

72 Minutes (34.5K words) || No content warnings apply.

[ ← Can You Dig It? ] [ S3 Synopsis ] [ Nature of the Beast → ]

( Follow along with the music on Spotify here! )

EXT. AAA - AUDITORIUM - DAY

We launch into the episode, the midseason finale, with focus on Riley’s inspiration board. It not only has the same old stuff from the last couple of seasons but now is updated with new mementos and charming keepsakes -- photos of her and friends (at least one for each bestie), a program from semis and West Side Story, a snapshot of Susan Egan as Belle on Broadway, brochures for NYU and Barnard, plenty of photos of Lucas.

Then we drift down, finding RILEY MATTHEWS settled in the bay window seat beneath it. She’s got her laptop on her lap, hair braided over both shoulders, and gaze focused as she takes a deep breath and then definitively hits her mousepad.

On the laptop screen, the webpage changes, showing a confirmation page on the college common application. Congratulations! Your application has been submitted. When she clicks back to the home page, we see it’s not the only one -- she’s got half a dozen applications officially done and squared away. The only one left hanging is NYU, shooting for the Tisch performing arts program still an uncertain shot.

But otherwise, she’s done. She lets out a pronounced exhale, lifting her head to look at the camera. Not only is her relief palpable, there’s something else shining in her eyes -- excitement. Yes, it’s daunting, but now the future is out there waiting for her.

Optimistic opening tones kick in, setting us truly into motion as Riley pushes her laptop off her lap and jumps to her feet.

Song Cue ♫ ♪ “Love It Or Leave It” as performed by Tess Henley || Performed by Riley Matthews

Riley’s vocals are easy and carefree as she steps into the performance, dancing around her bedroom in victory for finally being free of applications. She spins and stops in front of her whiteboard, crossing the task off her list with a flourish. When she steps away and out of frame, the writing left behind reminds us just what’s at stake this week.

SENIOR SHOWDOWN FINALS!!

It’s all come down to this moment, and all things considered, Riley seems in good spirits. She continues her energetic singing and grabs her backpack, slinging it over her shoulder as she climbs out the bay window…

EXT. NEW YORK STREETS - DAY

And onto the streets of her city, taking her sunshine optimism on the road. She continues through the first chorus as she dances along the walk to school, interspersing her commute with skips, slides, and even a few ballet movements and twirls. She deftly avoids other passersby and sends smiles around selflessly, not letting anything tamper her bright mood.

INT. MINKUS HOME - FARKLE’S BEDROOM - DAY

Not everyone is in quite the same high spirit, however. FARKLE MINKUS finishes submitting his last application, to University of Southern California in Los Angeles. He hovers for a moment before hitting submit, then goes back to his email inbox, where an unread email from his therapist is waiting for him. Just from the preview of the email, we can tell that she’s reaching out to check in with him after what happened last week when he suddenly left their appointment.

Any new diagnosis can be scary, but…

Farkle can’t look at it right now. He closes his laptop, taking a deep, centering breath and trying to get back in the zone. This is the week where he has to have it together. This is not the week to be less than perfect.

Looking for a boost of confidence, he reaches into his closet and pulls out his infamous blazer. If there were ever a moment to channel the old him, now would be the time. He pulls his arms through the sleeves, adjusting it on his shoulders and absorbing its energy.

Then he heads out, holding his chin high.

INT. BABINEAUX HOME - ZAY’S BEDROOM - DAY

ZAY BABINEAUX could probably use some of that confidence too. He’s also looking at his applications. Only one remains unsent -- his one for Turner Academy. As much as he’s dying to go there, with how everything has changed, he can’t bring himself to hit submit.

And this morning won’t be when he does. He runs from it yet again, shutting his laptop.

INT. GARDNER HOME - CHARLIE’S BEDROOM - DAY

CHARLIE GARDNER, on the other hand, has had no trouble submitting his applications. He’s just wrapping up sending in the last one, this one to the prestigious Princeton University. When you look at his full list of submitted apps, they’re all names like that -- Harvard, Yale, Brown, Columbia. Only a couple of others vary in focus, a couple of dance programs peppered in for flavor.

And yet, he seems nonplussed about all of them. In fact, he doesn’t seem to feel much of anything, detached from his college prospects. Like they don’t even belong to him -- and certainly not indicative of anything he wants. Hard to be, when he doesn’t even know what that is for himself.

He clicks back to the home page, glimpsing over his application one more time. One question on the common application seems to be glaring at him.

Tell us who you are.

Charlie glares back. It’s a wonder when the time will come to truly answer it…

INT. AAA - HALLWAY - DAY

Riley takes back control of the narrative, diving into the chorus again with a spring in her step. Some of her other peers feed off her positive energy, like YINDRA AMINO and JEFF MONROE, who dance around her as she passes them in the hall.

She makes her way to the dressing room hall and pushes through the doors…

INT. AAA - AUDITORIUM - DAY

And spins her way into the wings of the auditorium, back in top-tier shape after the debacles last episode. But the true heft of the lyrics don’t land until she sets her sights on something across the stage, that excited glimmer even brighter in her eyes.

LUCAS JAMES FRIAR. Clear to her through the clutter of her other classmates congregating on the stage, as if he’s spotlighted in her eyes. He’s working on discussing something for showdown with ASHER GARCIA and JADE BEAMON, but after a moment he lifts his gaze and locks eyes with her. Naturally, a small smile ghosts over his lips.

Riley bounces back into the rhythm, pulled in his direction like gravity.

Forgive me but I know what, I know what I want!

She weaves her way through others, skillfully dancing her way through the obstacles, only stumbling when she finally makes it to the other side of the stage. She basically collapses into Lucas, who catches her and steadies her upright, keeping her on her feet. Support and pseudo-choreography all at once.

Riley looks over her shoulder to grin at him, then spins so she’s facing him.

Sometimes I get the feeling I just can’t help myself…

She pulls him towards her and back out of the wings, actually managing to drag him along in half a dance for a good chunk of the remaining chorus. It’s no mystery where at least half of her good mood comes from, with the way she’s unable to stop smiling as she sings to him and twirls under his arm.

When she twirls away he lets her go, allowing her to traverse the stage freely for the rest of the number. As she’s finishing her cheerful solo, the rest of the A class makes their way onto the stage around her, all in rehearsal clothes.

Riley finally comes to a stop as the music peters out, finding her place in the dance lines and standing ready to move. The camera rotates around her, showing off the rest of the seniors also ready to roll, then panning to Lucas, Jeff, and Zay standing at the front of the stage with ERIC MATTHEWS, HARPER BURGESS, and MAYA HART.

And it’s Maya who takes over from there. She steps forward, clapping her hands together, and shatters the hopeful vibe with ease.

Maya: Alright, countrymen, get ready to have your ass kicked for the next five days. Showdown is Saturday, and I will be damned and cast to Hell if Haverford Shlep beats us for the seventh bloody year in a row. This is not amateur hour. And with God as my witness -- if you’re into that sort of thing -- we are going full fire and burning this showdown to the ground. [ lifting her bullhorn ] On your marks! And five, six, seven --

Cue title sequence.

INT. AAA - AUDITORIUM - DAY

We’re in the darkness of the wings, though we can still see most of the class doing run-throughs of their setlist and hear Maya clapping and shouting commands in the background. We’re looking through the lens of NICK YOGI’s camera, who has it facing towards himself. He speaks in a whisper, trying not to get targeted by Maya.

Yogi: So, AAA thotties, here’s where we’re at. After a wild semester, senior showdown is finally upon us, and the A class has been in better straits. A shit ton has happened to get us where we are now, so before I continue on with capturing all the magic and whimsy of showdown preparations --

Maya, off-screen: Is that what you call a kick-ball-change, Chey? When we lose on Saturday, I’m blaming it all on your kick-ball-change. Let’s go again!

Yogi: Dave and I thought it might be smart to quickly recap how exactly we ended up in this mess.

INT. AAA - A/V CLUB STUDIO - DAY

Obviously filmed as an earlier segment, the camera now focuses on DAVE WILLIAMS casually seated at the news desk across from wherever Yogi is set up. The footage is far from polished, shot more like a documentary, and it’s not clear whether Dave realizes they’re filming or if he thinks they’re just shooting the shit. He’s not looking at the camera, eyes directed at his best friend off-screen.

Dave: It’s so crazy, man. Like, I feel like it all started when Charlie left Triple A.

Yogi: Oh?

Dave: Yeah, dude. ‘Cause like, who even cared about Haverford before that, you know? Like, they sucked or whatever, but no one really gave a shit. We knew we’d have to face them with showdown, but the moment Charlie jumped ship it’s like it got all personal. Like he defected to the dark side, and so suddenly we had to know the dark side. You know, like that blonde bitch from Camp Rock and Camp Star which didn’t even exist until they needed a rival and suddenly it had all these important characters in it.

Yogi, trying not to laugh: For sure.

Dave: And the thing is like -- I don’t know if we really told him enough when he was like, actually here, but -- Charlie is good. He was one of our best performers, or at least most reliable, and between him and Zay it’s like we had a monopoly on dance. Hotels on that shit. Showdown felt pretty assured, because when you’ve got dudes who can dance like that, I mean, what was anyone even gonna do to top it? But then Charlie transfers, that juice gets drained by half, and the rest of the dominoes fall.

Yogi: Uh huh. Go on.

Dave: And TBH, I feel like that was part of another thing too -- what happened to Zay. Because everyone knows he went like mega-diva earlier this year, and he didn’t used to be like that. I don’t know if anyone else noticed, but I feel like he and Charlie were close? Best friends, really, which makes sense, since they’re like bonded by dance and stuff. And so when Charlie left I feel like that just totally… like knocked him flat, and made him go all haywire, and all that is what led to him going nuts and never taking a break and fucking up his leg.

Yogi: That’s an interesting take. The way you connect the dots amazes me.

Dave, earnest: But like, look dude, I totally get it. It’s like, I think about if you left Triple A all the sudden and just left me behind. I’d be bummed as fuck. Like I wouldn’t even wanna be at this stupid school anymore. I think Zay is way tougher than I’ll ever be.

Yogi: Wow… that was so sweet. [ sniffling theatrically ] I just need a moment --

The tape cuts quickly, still at the same angle, but indicating a lapse in filming.

Yogi: Would you really wanna not stay at Triple A?

Dave: Why would I, if you’re not here to make it fun?

Yogi: What about Lucas?

Dave: Oh yeah… okay, I’d probably stay. But it wouldn’t be the same.

Yogi, amused: That makes more sense.

The tape cuts again, this time Dave having changed positions. He’s sitting slouched in the chair with one of his entire legs propped up on the table in front of him -- i.e., like a weirdo boy who can’t sit normally.

Yogi: So Zay gets fucked up.

Dave: Zay gets hurt, and that’s a major blow. I mean, there’s where we’re at right now, trying to figure out some bizarro way to replace him. But he was a huge part of the original routine, so now we’re like trying to put a band-aid over a bazooka hole. Then all the money stuff added on top of that which totally distracted us for way more time than we can spare. Not being able to be in the auditorium wasn’t good either.

Yogi: Nope.

Dave: Then with Dora’s mom dying, that like knocked her out of the ring. Which is bad, because Dora is like our tiny, terrifying WWE fighter. A little secret weapon. But like, RIP Valerie and all that.

Yogi: Rest easy, queen.

Dave: But we need the win. Lucas needs it to give scholarships to all the destitute future AAA thotties, and I really feel like if we lose, Maya is going to go full Carrie. But with everyone all wigged over college apps and stuff, and the legacy of six years of Ls hanging over us… it’s not looking good, chief. I wouldn’t say that out there for risk of getting shanked by Maya’s stiletto, but a good reporter tells the truth.

Yogi: Right you are. So if you could say one thing to us for later, win or lose, what say you, Dave?

Dave: Well, I’d say “good luck, Charlie,” but as I just said, Charlie is gone. And he’s with the enemy, so I can’t give him any luck.

Yogi: No. How about “good luck, Davie?”

Dave: [ looking miserably at the camera, which zooms in ] Good luck, Davie.

INT. AAA - AUDITORIUM - DAY

Back in the present, Yogi whispers a thanks to his best correspondent, Dave Williams, before throwing attention back to rehearsal.

Yogi: Time to see if we can salvage this L.

For a while, we stay with the camera perspective, Yogi stepping through the rows of his classmates to capture footage. Most of them toss him dirty looks or nearly bump into him, and SARAH CARLSON gives him an especially unimpressed glare when he gets up close to her.

Sarah: Aren’t you supposed to be rehearsing?

Haley, off-screen: Can we not have cameras rolling while we’re trying not to crash and burn this week?

Nate, off-screen: Oh, no, Yogi. Run. Yogi, run --

Yogi whips around, coming lens-to-face with a very haughty Maya. She narrows her eyes.

Yogi: Oh, Neptune…

The camera cuts to black.

Back in our usual frame, Maya snaps the camera shut, pointing for him to get back to his place in formation. He snatches his device back, holding his head high as he marches back to his spot.

Yogi: Just trying to preserve the memories. You all will thank me someday when you want to relive these moments.

Zay: I don’t want to live them now.

Maya snaps for them to run it again, moving back to the front of the stage. She claps them in, running the “Rain On Me” choreography beat-by-beat without vocals. Although the moves are still sharp, it just doesn’t feel as coherent without Zay, since the number was built with him in mind. And something just feels… off. Stale. Like we’ve seen it all before.

And distracted minds don’t help. Even with his blazer, Farkle can’t just magically return to top form, so he’s a couple steps behind. His uneasiness creates a ripple effect, those around him adjusting to avoid his missteps and just making ones of their own, until the whole ensemble is out of sync and lost. Maya growls, ceasing her clapping and holding her hands out to stop.

Maya: Come on, people! This whole thing is falling apart before my very eyes. Do not lose your heads now!

Lucas: Maybe it would help to not have a manic pixie nightmare girl screeching at them.

Maya: [ holding up a finger, not looking at him ] Didn’t ask you. Again, from the top! Five, six --

INT. HAVERFORD PREP - AUDITORIUM - DAY

BRANDON RIVAS is in the same role as Maya, clapping them through the choreography of “Seize the Day.”

Brandon: Seven, eight!

Unfortunately (for Adams), the boys are in much better shape. Their synchronization and energy are as sharp as ever, and they’re even back in full dress to work with the costumes. The only thing putting a dent in their perfect rendition is the fact that it seems they’ve introduced some new choreography here and there, Brandon correcting one or two peers while they perform.

Charlie is keeping up easily, but he admittedly seems put off by the changed details. His brow is furrowed as they run through the last pieces of the sequence, eyeing his classmates as they work to adjust their understanding of the number.

When they finish they hold their pose until Brandon signals for them to be at ease, launching into notes. He reminds them that they should put their vocal focus this week behind the new harmonies they’re learning for the middle piece in their setlist -- they’ve swapped it out for something different for finals.

Charlie fidgets until he works up the nerve to raise his hand, waiting for Brandon to acknowledge him. He does, raising his eyebrows at him, and Charlie clears his throat.

Charlie: Is there a reason we’re changing so much stuff? I thought the original choreo for the dance break in Newsies was fine. The judges liked it during semis.

Billy: Duh, of course you like it, Gardner. It’s your choreography.

The comment is said playfully, but there’s just the slightest of edges to it that BILLY ROSS doesn’t conceal. A few of the other Havies chuckle at this, but Charlie persists, trying not to let himself be deterred.

Charlie: And a whole new song for the middle? What was wrong with “Would You Mind?”

Dweezil: Does something have to be wrong to be improved?

Charlie: No, I’m only wondering --

Brandon: It’s fine, Charles. I get it. [ to the group ] Charles wants to know why we’re putting the effort into changing things around when the routines we’ve established have worked for us so far. Is that right?

Charlie pauses, then nods. Close enough. Brandon returns the nod, keeping cool as he paces in front of the boys.

Brandon: I don’t fault you for that. It’s a natural instinct. Stick to what you know, what you know works. Safer that way. [ a beat ] But safe doesn’t win showdown. We need to stay alert, fresh, open to the possibilities. We’ve been doing it for six years, and I believe we’re going to score a seventh. That means being flexible, assessing opportunities for growth and stretching to reach them.

Nice speech, one that Brandon delivers seamlessly. Charlie accepts it, but something about it is still itching at him. Maybe he really is just intrinsically averse to pushing the envelope…

Brandon: As for why we cut the pop middle, strategic maneuver. I just thought something more… classic might better highlight our strengths. Show the ways we stand out against the competition. That’s all. So, if question time has concluded, let’s get in places for “Brotherhood.”

The Havies move swiftly, shifting positions. Charlie follows suit, taking his place behind Brandon, but his expression is still contemplative as they count into the showstopper.

INT. AAA - GIRLS DRESSING ROOM - DAY

Maya finds ISADORA DE LA CRUZ in the dressing room, marching up to her at the mirrors and cutting right to the point.

Maya: Okay, we are in meltdown mode out there, so the time has come. Izzy, you need to square up and join rank. It’s time to get back out there.

For what it’s worth, Isadora doesn’t seem surprised. She’s known this was coming for a while now, Maya’s ability to leave her be cracking every day.

Isadora: It’s not that I haven’t thought about it.

Maya: Perfect. There you go then. It’s a sign. So get your jazz shoes on and let’s go.

Isadora: But I’m not at the same level as you all. Maybe I was getting there with the singing last year, but I’m way out of practice now, and I was never there with my dancing. We’re trying to win, and I’ll be lucky if I can get on stage without passing out.

Maya: Please, if Garcia can do it when he’s prone to collapse like an anemic Weeble Wobble, you’ll be fine.

Isadora: But we don’t know that. There’s no guarantee. Even if I want to help, is it really worth risking me fucking it all up? Just for a little extra oomph from someone who is average at best?

Maya snaps, shaking her head and gripping Isadora’s shoulders. Isadora flinches slightly, but she’s used to Maya at this point, so she can get away with the aggressive touch in a time of great consequence. Maya insists that Isadora is way too in her own head -- she was fantastic before, and she will be fantastic now. Talent doesn’t just disappear.

Maya: You have royal blood running through those veins of yours. Bona fide, liquified star power, the real deal. I know it hurts that your mom isn’t here to foster that -- believe me, I know how it feels -- but you’re still here. You are her legacy, and this is your birthright. So it’s time to claim it!

Song Cue ♫ ♪ “Born For This” as performed by Paramore || Performed by Maya Hart & Isadora De La Cruz

Maya launches into the rambunctious early Paramore hit, appealing to Isadora in a language both of them know -- angry, empowering, female-led punk rock. It’s the artist that first bonded them, after all, so it’s the best she can offer in a last pitch to get her to come around. As she sings through the first verse she climbs up onto the countertop, strutting along it and hitting strong poses, before leaping back down in front of Isadora.

As she hits the pre-chorus, she leans in close to Isadora, challenging her with her body language to fight back or take the risk to meet her at her level. Then she takes her hand, leading her out of the dressing room --

INT. AAA - HALLWAY - DAY

And into the halls for the chorus, Maya jumping and head-banging as she goes. Isadora jogs to keep up, taking over on the second verse as other AAA students begin to join in as the echo. Maya leads them, matching her movements in response to Isadora’s sing-shouting. Then they all create a rocking crowd formation for the chorus again, similar to when the techies took the halls with “Thnks Fr Th Mmrs,” sharply bouncing and dancing their way to the intense music and following the lead of Isadora and Maya, standing side by side at the front of the pack.

INT. AAA - CAFETERIA - DAY

Then the mob descends on the cafeteria, finding most of the remaining Adams students. Maya and Isadora take over the lunch room, rallying students at their tables and heightening the energy across the board.

Maya hops up onto a table and pulls Isadora with her, gathering the students around them. This is where they lead the “We! Were! Born For This!” chant, getting the others to echo their declarations. When they escalate up to the belt at the end of the bridge, they stand back to back, Maya leaning her head back theatrically and shouting the note to the ceiling.

Everybody sing!

The cafeteria has become a full-on rock concert, other students jumping onto the tables and getting into the spirit. Maya has a knack for turning lunch time into a spectacle, and this is no exception. The school rock-and-rolls their way to the end, where they all break into hollers and cheers. Maya turns to face Isadora again where they’re standing on the center table, quirking an eyebrow. Well?

Isadora catches her breath… then grins, clasping her hand with Maya’s. Officially on board.

INT. AAA - GIRLS DRESSING ROOM - DAY

Back in the dressing room and now part of the team officially, Isadora seeks out CHAI FRESCO. She strikes up conversation as Chai is arranging their semis costumes on the rack, asking if she has a second. Since she’s now joining the performance, Isadora knows she needs to brush up on her dancing. And well, it’s a lot to learn in a short amount of time…

Isadora: Though it kills me to admit it, I know I’m going to need help. I was wondering if you would be willing to stay later with me each day and run through it until I get it down.

Chai: Really? You want me?

Isadora: Honestly, my first thought was Maya, but you’ve seen how she is lately. She is so stressed out over this, I know she won’t have time, and I think she might actually murder me for slow uptake. But her aside… you are the best dancer we have in the A class. Maya would also kill me for saying that.

Chai, touched: … well, thanks. Most people don’t really notice.

Isadora: Not everyone.

Yes, clearly not everyone… either way, Chai is flattered. She agrees to tutor Isadora, assuring her that no matter the choreo, they’ll get her up to snuff in no time. Nothing to freak out over.

INT. AAA - BOYS DRESSING ROOM - DAY

Farkle’s blazer has been discarded on the floor, bold callback abandoned. Farkle has folded himself into a protective position on the countertop, avoiding the mirror next to him as he tries to calm down from what feels like an impending panic attack. His hands are shaking as he pulls his sweater over his head, down to just his plain tee but still feeling hot.

Riley pokes her head in, commenting that she finally found him. She’s been looking for him before they go do another run-through… then she notices his shaky state, immediately shifting from friendly to concerned. She rushes over to him, asking what’s going on and if he’s okay.

Farkle: I tried. I really tried, Riley, I tried to just work through it --

Riley: What? Work through what?

Farkle: But I can’t. I’m just -- I’m not myself. I don’t even know what myself is right now.

When she prods him once again, he cracks and spills everything about what happened with his therapist. About his new diagnosis, about being bipolar. He knows it doesn’t actually mean anything, or maybe it actually means clarity, but right now it just feels like too much. So much he doesn’t understand, like having to relearn a whole new identity. Riley does her best to keep up, frowning as Farkle grows flushed and chokes up.

Riley: It’s okay, Farkle. You’re not… I mean, millions of people are bipolar, and they get through it. They figure it out. You’ll figure it out, too, especially since you’ve got top-rate care and the best people to help.

Farkle: I know. [ huffing and wiping his eyes ] I know, it’s silly for me to be freaked. I know it doesn’t really change me, it’s just a label for what I already am. But it just feels like… I don’t know. [ voice cracking ] Like I’m even more to deal with than I was before.

Riley doesn’t know what to say -- she’s not a therapist -- so all she can do is offer comfort. She steps closer and wraps him in a hug, Farkle returning the embrace tightly. They just hold each other for a few moments.

Riley: Farkle, you have always been unique. Uniquely a challenge, but uniquely wonderful, too. Both are some of my favorite things about you. And more than that, you are damningly resilient. [ pulling back to look at him ] You will rise above this too. And it’s not like you have to do it alone, you know that we’re going to have your back every step of the journey.

Farkle: Yeah… yeah, you’re right. Thanks.

He leans forward for another quick hug, which she happily gives him. When they break apart again, Farkle releases a heavy exhale.

Farkle: But Riley, with all this going on… I don’t think I can do it. Showdown. I don’t want to drop out of the performance, but I can’t carry it the way I did for semis. I want to, and I know Maya is going to lose her shit if I don’t, but I just don’t think I can handle it right now.

He’s right about one thing -- Maya is going to flip. Right after she collects one advantage, another domino falls… but Riley understands. Of course she does. She pats his shoulder, giving him the bravest smile she can muster.

Riley: It’s fine. We’ll still have your star power in our ranks, and we’ll find a way to rearrange. You need to do what’s best for you.

Farkle: Yeah. Yeah, I hope.

Riley: Everything is going to be fine. Don’t worry.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Riley reports directly to Lucas and DYLAN ORLANDO, soothing smiles long gone.

Riley: It’s time to worry.

She relays to them that Farkle is stepping down without divulging the details, keeping it simple by explaining he’s not doing well at the moment. It’s lucky that they’ll still have him in the ensemble, but this is just another body blow that she’s not sure their team can take.

Riley: With Farkle off the table, our routine is basically on life support. That’s two out of three of the main vocalists on “4 Minutes” out, and “Rain On Me” isn’t doing so hot either. We can move Nigel up to take Farkle’s role -- which we should, he’s severely underutilized at present -- but even then we’re still lacking major male stage presence.

Lucas: Not great considering Haverford is all testosterone.

Dylan: When you say it like that, it sounds so awful. All testosterone… I can’t believe that’s something our society idolizes.

Lucas: You’re gay.

Dylan: And? I like men, not hormones. It’s not like when I kiss Asher I’m thinking about his sexy cortisol levels.

Riley gets them back on track, reiterating the problem. With their arrangement the way it is right now -- head count and track list -- they’re royally fucked. Dylan and Lucas concur, agreeing that they’re going to need to find some additional male star power to fill the gaps Farkle is leaving behind.

Now where are they going to find that… Dylan glances around them, as if something is missing, and arrives at the obvious answer at the same time as Riley and Lucas. They all exchange a look, tacitly acknowledging exactly who their saving grace should be.

INT. AAA - PROP LOFT - DAY

Convincing that saving grace, well, that’s another story.

Asher: No.

Asher turns away from Lucas and Dylan, both having just pitched the idea to him. He continues to shake his head adamantly even as they scramble to appeal to his better angels, avoiding eye contact by aimlessly shifting around props on the shelves.

Lucas: We’re running out of options --

Dylan: You’re the best damn performer in this school --

Lucas: We’re literally running on empty right now --

Dylan: No, the best performer in the whole state --

Lucas: This whole thing is about to go spectacularly to shit, and you’re really going to sit there and do nothing?

Asher: [ holding up a finger ] Don’t guilt trip me.

Lucas: Well what else am I supposed to do, Asher, when we’re standing on the precipice of total annihilation and you won’t even consider stepping in to save us? When we lose and my political agenda to improve the status and future of Adams itself goes down the tubes, there will be no one left to blame but the secretary who didn’t show up.

Asher: You are so dramatic. Hell, you go up there and take the spot. You can at least match Farkle for theatrics.

Dylan: Come on, Ash! You learn fast, and everyone knows you’ve got talent. You performed during comfort zone week.

Asher: Yes, specifically because it was outside my comfort zone. Hence, the assignment being referred to as “comfort zone week.” And there were consequences if I didn’t. There were grades involved. There was pressure.

Lucas: There’s pressure now. Me. I’m pressuring you to do it.

Dylan: And also last week. Remember “Boogie Shoes?” It was fun!

Asher: A performance for convenience’s sake. Very low stakes. And I was doing it with you. That’s different.

Lucas: So why can’t you do it again now, for convenience’s sake, when the team needs you? Can’t you just, I don’t know, go feral for a week and unleash it all and then we’ll all move on? Just do it, spaghetti!

Asher scowls and narrows his eyes, pointedly dropping the prop he was moving back on the shelf. He whips around to face them again as he responds, escalating in pitch as the words tumble out.

Asher: How many times do I have to tell you that I HAVE ANXIETY!!

Well, Lucas wanted feral Asher, and boy does he get him. Lucas and Dylan both go quiet as Asher spirals into a deliciously lively spiel about how anxiety works, and no he cannot just turn it off for “convenience sake,” and you Lucas James Friar really have no conception of how other people’s feelings work, not to mention the fact that even if he did think he could keep up with the performers for this it will be in front of a huge audience, which is a big fat automatic no. It’s not that he doesn’t want to help, or be a team player, of course he does, all he ever does is try to be a team player, that’s like his whole life playbook, but sometimes they all ask just a little too much of him! Sometimes he has to put his foot down and say no! Although it’s quite an impressive monologue, the whole thing kind of has a ridiculous comedic hue to it.

Asher: So no, I am not brain dead enough to act like I’m good enough to step into the showdown setlist. I would pass out the moment I hit the stage, and I think if I have to learn all that in five days I’ll break out in hives, and if I have to work with Maya Hart I swear to God I will pitch myself off the catwalk. So read my lips. No. No! Nay! Negatory!

Dylan, under his breath: Thesaurus bonus.

Asher: I will absolutely not perform in that sinking ship that is showdown. And there is nothing -- nada! -- you could possibly do or say that will make me change my mind.

Asher exhales a huff, raising his eyebrows and daring them to challenge him on it. Lucas and Dylan blink, exchanging a look out of the corner of their eyes. Then they glance back to Asher, perhaps at a stalemate…

Then Dylan smiles.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “4 Minutes” as performed by Glee Cast || Instrumental

The horns blare, signaling that we’re on a roll again -- and Asher is in Farkle’s spot. He spins around to reveal him amidst the performers, looking overwhelmed and reluctant, but doing his best to keep up with the new choreography as Maya continues to clap out the beat.

So much for no way, Jose! In the wings, Lucas and Dylan watch smugly, victorious. Lucas shakes his head at the ridiculousness of the whole thing.

Lucas: And he calls me dramatic. What sort of threat did you have to throw at him to get him to cave?

Dylan: [ with a sly smile ] Who said anything about a threat…

They exchange another side glance, Dylan’s smile widening. He wiggles his eyebrows suggestively, and Lucas rolls his eyes.

But while Isadora and Asher fill out much needed lapses in captivating stage presence, “4 Minutes” is a disaster with them in the ensemble -- let alone trying to fill the shoes of such different performers. It just doesn’t work for this new combination of people, and it doesn’t take long for Maya to shut it down and declare the run-through a failure.

Maya: Though who is surprised, considering the no-meat chicken legs we’ve subbed in for Farkle.

Dylan: Oh boy.

Asher: I’m sorry, Maya, did you see anyone else chomping at the bit to join this trainwreck. No? I wonder why… maybe because they didn’t want to be yelled at by Tyrant Barbie.

Maya: Deflect all you want, Garcia. It’s not my fault your chicken legs can’t keep up.

Asher: Oh, say that again. I dare you. Say it again.

Maya: [ into her bullhorn ] Cluck. Cluck.

Asher: Okay, that’s it --

Tensions are already high, and Asher and Maya are the perfect gasoline to set it all on fire. Dylan and Lucas dart out of the wings just as Riley and Isadora dart between Maya and Asher, nudging them towards opposite sides of the stage. Asher tries to leap for Maya but Dylan grabs him by the torso and yanks him backwards, facing him away from her.

The rest of the class has broken into chaos with them, but Riley shouts to restore order. She points out that losing their heads isn’t going to do them any favors. They need to keep their cool if they want any chance of getting through this week -- and that means everyone.

Zay: Take her bullhorn away, I think that’s a good first step.

Crisis temporarily averted, Riley jumps into team brainstorming. Clearly, something isn’t clicking. Her brain is working a mile a minute, trying to land on what the problem might be.

Haley: Maybe we just need more people? There’s strength in numbers.

Darby: Haverford has at least 25 boys competing from their senior class. We’re not even matching that.

Yindra: A good performance doesn’t need quantity. It takes quality.

Missy: Which is clearly out of stock in this auditorium.

Nate: Well maybe if we had more quantity, we’d collectively get more quality.

Considering the stakes and tension, Yindra takes NATE MARTINEZ’s snippy tone as a dig, and the two of them start to bicker. Riley cuts it off preemptively, Nate retreating over to Jeff and Jade. Dylan jumps in, trying to help.

Dylan: If we need more people, I can tag in.

Maya: For the love of God…

Dylan: I don’t learn as fast as Ash, but I can pick up enough to get by.

Lucas: Help round out the male presence too.

Riley: Yeah. Yeah, that’s great Dylan, thanks.

A potential solution for now. Maya tells everyone to take five and then they’ll regroup to run it again one more time before they wrap for the afternoon -- and Dylan should start getting tips from others in the meantime if he’s gonna catch up.

But Riley stays put while the others disperse. Her brow is still crinkled, lost in thought. It’s great that they’ve got another talented person bolstering their performance, but something about it still doesn’t feel right.

And though she dreads to think it, she wonders if the issue runs much deeper than manpower.

INT. AAA - DRESSING ROOM HALL - DAY

Isadora catches up to a grumpy and frazzled Maya, pulling her aside and advising her to take a deep, cleansing breath. Maya waves off the impact of such a silly gesture outright, yet she complies anyway and takes a long, theatrical breath.

Once she’s done, Isadora continues.

Isadora: After rehearsal, I want you to come with me. I think I have something that’ll make you feel better.

Maya: Oh, do you? Bold claim, Izzy. Don’t tease me. You’d need a miracle to relieve the tension knots I’ve got in my starlet shoulders right now.

Isadora: And I’ve got just that. This will be good, whether we win showdown or not.

Isadora raises her eyebrows, playfully challenging her not to agree, then saunters off with a knowing smirk. Seems like a high bar, but Maya is intrigued nonetheless.

INT. HAVERFORD PREP - SENIOR LOUNGE - DAY

We hear the familiar track of the A class’s rendition of “Rain On Me,” but it’s filtered through tinny laptop speakers rather than being appreciated in its full glory.

That’s because a bunch of the Haverford boys are watching a recording of their semi-finals performance on DWEEZIL HOWARD’s laptop. Professional-grade filming, all right there for them to see. Brandon’s flash drive is plugged into the computer. The Havies laugh and talk amongst themselves as they watch the performance, both making fun of it and making note of all the ways Adams might be a threat at the same time.

Evan: Babineaux is a really good dancer.

Havie: Yeah, thankfully he took care of himself so that we didn’t have to.

A couple others snort, high-fiving. Charlie enters the student lounge, pausing when he hears the unfamiliar content his classmates are watching. He frowns slightly, listening closely. Curiously, it actually sounds strangely familiar… like… but no, it couldn’t be…

Then he hears a baritone he would recognize anywhere -- Zay on his brief vocal solo -- and he knows his instincts are right. It is the A class, the medley of his former peers’ voices undeniable once he confirms it.

He makes his way over, trying his best to be cool and casual as he joins them. Most of the boys greet him cheerfully, though Dweezil’s smile fades and he tenses up when he realizes Charlie has joined them. It seems like he wants to turn the screen away, but it’s too late.

Charlie: [ feigning ignorance ] What’s everyone looking at?

Havie: Check it -- Brandon got his hands on the Adams showcase.

Charlie takes the invitation, stepping closer and looking over his classmates to see for himself. There they are, right in front of his eyes -- the A class, doing their full routine at semi-finals. Someone makes a snide comment about one of Maya’s vocal runs and the group chuckles, Charlie awkwardly laughing along.

Charlie, innocently: Isn’t that against the rules?

Havie 2: Only if you get caught.

Havie, smugly: Considering we’ve done this for the last six years, I don’t think the showdown rules committee is especially strict.

The last six years? That certainly explains Haverford’s damning winning streak… and Brandon’s sudden desire to change up their setlist. He’s making tweaks based on AAA’s performance, finding ways to heighten their strengths and set them even further apart from the competition. Charlie swallows, trying to process everything without giving away his panic, but Dweezil is watching him like a hawk.

EVAN SCOTT notices too, eyeing him with concern.

Evan: You okay, Charlie?

Charlie hesitates, unsure what to say. He knows it matters. Tell us who you are. Tell us who you are. Tell us who you are…

Then he relaxes, managing an easy smile. Stepping into that same charm he flexes at church, disarming everyone and negating any need to give him a second thought.

Charlie: I was just thinking my former classmates were going to bring tougher competition. [ nodding to the video ] Obviously, I was wrong.

The boys laugh, nodding and hooting in agreement. A couple of them pat Charlie on the arm, and he flashes the Prince Charming smile. But once attention goes back to the Adams tape, the veneer dims.

INT. APARTMENT BUILDING - ELEVATOR - DAY

Maya eyes Isadora with suspicion as the two girls travel up in an elevator. Isadora has refused to explain what’s going on, but has an uncontrollable smile on her face. 

Maya: If you’re bringing me here to show me a new luxe pad you and Eric are getting, it will not make me feel better, I hope you realize.

Isadora laughs, but says nothing. The elevator dings as the doors slide open.

INT. APARTMENT BUILDING - HALLWAY - DAY

Isadora leads Maya to the door for apartment 803 and stops in front of it, her excitement palpable. Maya raises her eyebrows and looks at Isadora expectantly. 

Isadora: Open it. 

Maya: I really don’t have time for this, Izzy. Your dance skills are severely lacking, remember, and this is starting to feel like a way to avoid practice. 

Isadora: [ with an eye roll ] Just go in. Trust me.

Maya sighs, but obliges.

INT. APARTMENT 803 - DAY

Behind the door is a cozy apartment with large windows looking out to the city. There isn’t much furniture, only the essentials such as a couch and kitchen table, along with cardboard boxes dotted around. With her back to Isadora and Maya, a blonde woman crouches to dig through one of the boxes.

Maya looks around as they enter, impressed but confused. Upon hearing their entrance, the woman hurriedly stands up and turns to them. It’s KATY HART, who grins when she sees her daughter.

When Maya notices her mother, her jaw drops. She stands frozen for a moment while Katy rushes over and embraces her. It takes a moment for her brain to catch up, but when it does, Maya hugs her back just as tightly, squealing with joy.

When they pull apart, both their faces are streaked with tears. Katy holds Maya’s head in her hands and brushes hair away from her face.

Maya: I missed you so much. 

Katy: It’s so good to see you, baby girl.

Maya: I don’t… why are you here? How are you here? What even is here?

Katy looks over at Isadora. When Maya spins around to follow Katy’s gaze, realization hits her. She looks around the apartment again, this time in awe. 

Maya: Is this… for us? 

Isadora: My mom made a lot of promises that she didn’t end up keeping. Moving Katy back to New York to be with you was one of the biggest. It didn’t feel fair for that to fall apart because of her death. I’ll foot the rent bill until you’re all settled and find new work and help with the decorating. 

Katy: You’re such an angel, Isadora. I can never thank you enough for this.

Isadora waves Katy off, a blush rising to her cheeks. A fresh wave of tears hits Maya and she pulls Isadora in for a hug. 

Maya: You’re the best. The absolute best. I love you, thank you. 

Isadora, lightly: You’ll pay me back when you’re rich and famous, anyway.

While Maya takes off to inspect every detail of the space and begin designing her dream apartment in her head, Katy stays with Isadora. She gives her a warm smile. 

Katy: You’re growing up into such a fine young woman. I’m sure Valerie would’ve been so proud. 

Isadora, quietly: Thank you. 

Katy: Eric is wonderful, but know that I’m here if you ever need a mom to talk to, okay?

Katy gives Isadora a small pat on the shoulder, then heads over to where Maya is taking pictures of the space. Maya grins up at her mother and hugs her again. 

Maya: I need to make sure you’re really here and not a figment of my imagination. The power of my creativity has been astounding me lately. Remember what I told you about the dentist? Well, I had a revelation…

Isadora watches on with a bittersweet smile. Not a bad first impact to make with what Valerie left behind.

INT. CHUBBIES - DAY

Lucas is at his usual spot behind the counter, but work is slow and his mood is even more dejected than normal. Riley is in the same low spirit, chin propped on her hand as she sits opposite him on a stool, both of them talking about Adams’ increasingly poor chances at finals. At this point, with the way they’re hobbling through it, it’ll be a miracle if they aren’t booed off the stage.

Lucas: It’s fine. I wouldn’t be the first president to make promises they didn’t keep -- nor the last, I’m sure.

Riley: I just… I feel like we’re stuck. [ sitting up straighter ] It’s like, we’re not short on star power or talent. We’re not short on effort. We all want this victory, maybe for different reasons, but there is a unified cause. That’s not always the case with our class.

Lucas: You’re cute. It’s never the case.

Riley: My point is that we have all the elements, all the right pieces, but I feel like we’re trying to put them together to create a tableaux that doesn’t… exist anymore. Like sure, the routine got us through semis, but it was a different time and a different team. By sticking so tightly to this predetermined vision of how things were supposed to go, I think we’re shooting ourselves in the foot. Like shoving a round block into a square hole -- it just doesn’t fit.

Maybe so, but what’s the alternative? Start over from scratch, with a week to go? Riley admits that it seems daunting…

Riley: But I don’t know. At this point, what do we have to lose? There’s so much talent that we’re not highlighting in this set, so much unique charm in our class. And I think if we have any chance of beating Haverford, it’s going to be because of all those things that set us apart. We’ve pulled off greater feats before, I think we could do it if we all really committed to it. [ with a sigh ] But I know that’s not going to happen. No one wants to risk changing it up.

Understandably so, but it’s clear it’s weighing on her. She presses her palms to her eyes, releasing another sigh. Lucas frowns, obviously wishing there was more he could do to fix it -- he doesn’t even have the words to comfort her since he’s no good with them. But he offers an attempt, speaking softly.

Lucas: Look, you know I’m the last person you should go to for performing advice, so I can’t exactly comment on whether the setlist would be better off scrapped. I mean, I know it’s a fucking trainwreck right now --

Riley: I think that’s clear to even the most presentationally challenged.

Lucas: But what I do know is that I trust you. If your gut is telling you that something about this isn’t right, then I believe it. Your instincts are almost as sharp as mine --

Riley: Almost?

Lucas: In performing, you outrank me. Everything else, up for debate. [ off her nose crinkle ] Bottom line, you know what you’re talking about. And when you talk, people listen. If you feel like doing this might save our chances, wild as it might be, then you should tell the others. And whatever you choose to do, I’m marching right behind you.

Wow… well, with that shining seal of approval… Riley holds his gaze, contemplating his words. Then she manages a tired smile, taking his hands and pressing a quick kiss to his knuckles.

The brief slice of serenity is interrupted when Charlie pushes through the door, spotting Riley at the counter. He rushes over and tosses half a greeting towards Lucas, restless and out of breath, then turns to Riley.

Charlie: I need to talk to you.

Riley: Well, good thing we’re having lunch then. [ hopping off the stool ] Do you want to like order anything first --

Charlie, desperate: No, Riley, I -- it can’t wait. It’s important.

Riley clocks his nerves, losing her friendly ease. She takes his arm and leads him quickly to a booth.

Riley: What’s wrong? Is everything okay with your family? Rosie, or Bridgette --

Charlie: No, no, they’re fine. It’s not about that. It’s about showdown.

Riley: Showdown? [ uncertain ] Charlie, I don’t know if we should be discussing…

Charlie: Not like what Haverford is doing. I mean, sort of -- [ hitting his palm against his forehead in agitation ] shit.

Riley: Charlie, you’re worrying me. What’s going on?

Charlie screws his eyes shut, inhaling a breath and holding it. When he opens his eyes, he meets her gaze, and that’s the moment where it’s all or nothing. Dangerous consequences in either direction, the fear of action paralyzing him, but that same question rattling in his skull.

Tell us who you are.

Charlie exhales, eye contact steady as he steels himself.

Charlie: There’s something you need to know.

Riley stares at him, eyes wide, bracing for the unknown.

INT. AAA - AUDITORIUM - DAY

The A class is assembled on the stage, forming a semblance of a circle around Riley. She’s holding court, reluctantly delivering the bad news.

Riley: Haverford knows our setlist.

The reaction is instantaneous. There’s a mix of gasp and curses, and only seconds before nervous and indignant chatter breaks out. What? How? You’re kidding.

Isadora: How is that even possible?

Riley: As far as I know, they got their hands on a recording of our performance at semis from an outside source.

Zay: So they didn’t risk getting caught recording themselves.

Chai: Lord knows they could afford it.

Riley: They’ve been using it to alter their routine. They’ve already changed a lot of stuff to contrast ours.

Lucas: And apparently they’ve been doing this for a while. [ pointedly ] Like six years.

Nate: Those bitches.

Dave: So many people begging to get egged these days.

Asher: So we should report them. If we file a complaint, the sponsors will investigate and they’ll no doubt find the footage on them. Karma.

Riley: No, we can’t. It’s probably too late for them to do a thorough investigation anyway, and I don’t want this to blowback on Charlie. He risked a lot telling me about it, I’m not going to risk throwing him under the bus if they find out we know.

Nigel: Or worse, if they think he snitched himself.

Riley: I mean, imagine if one of us went and told Haverford information we wanted to keep secret. What would you do to them?

Maya: Itching powder in their stage make-up and a full-throttle psychological assault until they’re so worn down they drop out and transfer to Quincy High to be a humdrum accountant for the rest of their days. [ a beat ] Oh, I see. You meant that rhetorically.

Long story short, no going to the disciplinary committee. It wouldn’t do much, anyway, seeing as the only technical proof they have is word of mouth. This grim reality settles over them, Yindra declaring what everyone is thinking.

Yindra: Well, it’s over. Nice run, gals and gays.

Maybe so… the energy in the room plummets, the feeble hope keeping them moving dissolving with their prospects of a showdown victory. Zay grits his teeth, crumbling the edges of his choreography sheets. Maya delicately places her bullhorn at her feet, walking away from it and turning from the group to hide her emotion. Dylan rests his chin on Asher’s shoulder; Isadora reaches for Farkle’s hand and squeezes, keeping her eyes glued to the floor.

Riley looks around at all her classmates, empathizing with their defeat… until her gaze lands on Lucas. He’s already looking at her, watching her expectantly. He dips his head in half a nod, subtly emphasizing his earlier encouragement. It might feel hopeless, but if there were any time to suggest the impossible… and where she leads, he will follow…

Riley squares her shoulders, keeping her eyes locked on his, and finds her voice.

Riley: Maybe it’s not over just yet.

She certainly captures everyone’s attention. Heads perk up and eyebrows raise as Riley steps center stage, appealing to all of them that the fight isn’t over until the results are read Saturday.

Sarah: Come on, Matthews. You can’t be serious.

Nate: Yeah, I mean, I love the sunshine bit as much as the next baddie, but how are you going to spin this?

Riley: Am I wrong? This thing isn’t done until a victor is declared -- or we decide it’s over. And I don’t know about you all, but I’m not looking to just hand over a win to the Havies, especially one they really don’t deserve.

Maya: … okay, I’m listening. Make your pitch, Riles, and make it a good one.

And she does, ardently. The way she sees it, their chances aren’t dead. They just have to reinvent themselves. Rearrange, reorganize, find a better way of showcasing who they are and what they’re about. They did it last year -- in circumstances much harder than these -- and came out stronger for it. They’re a team now, and if they could survive all of that, they can rise above this. They just have to do exactly that: showcase who they are.

Riley: Haverford thinks that to win, they need to know what we’re up to ahead of time -- which means they’re scared -- and prove all the ways they aren’t us. Well, I say we hit them back right where it hurts and show just how much they can’t match our stride.

Nigel: With what, a whole new routine?

Darby: You’re kidding. In a week?

Riley: Every week we come up with dozens of performances! That’s what we spend every single day in this school doing. And with all of us working together? Yeah, I think we could pull something off.

Clarissa: Something the Havies have no way of cheating to beat...

Exactly! Now we’re feeling the spirit! The energy is tentative, just starting to bubble up again amidst them all, hope peeking back out through the darkness to shed some light. Riley feeds off it, growing more impassioned.

Riley: And this time, we need to focus on all of the things that make us stand out. That make us different, better, special. What are some of the things we have that Haverford doesn’t?

Farkle, flatly: … women?

He’s somewhat joking, but Riley rolls with it. She taps her nose in agreement, a signal to keep the ball rolling. The wheels are turning now…

Yindra: Individuality. You don’t see us walking around in some pretentious ass uniforms.

Nigel: And the best costumer in the state in our ranks.

[ All eyes turn to Jade, who flushes. She bashfully pushes some hair behind her ear from her spot beside NIGEL CHEY, but then straightens up in an attempt to match the confidence. ]

Jade: A costumer who did just submit all her applications and now has free time to make something new…

The thought process keeps moving from there. Personality. Some of the best young talent in the city. Skilled technicians.

Riley: We have one of the best student technician programs in the country here, and yet there’s never a focus on that at showdown. But we can change that. Jade can make costumes that are unforgettable. We can play with movement, set pieces, production details that’ll put it over the top. These are the kind of things we should be showcasing, the things we’re so lucky to have in this class that the Haverford boys will never get.

For what it’s worth, it seems like everyone is coming around. The spark is back, and even if it’s a futile mission, might as well go out with a bang rather than fizzle to nothing before the fire truly gets going.

As if to cement the mission, Maya makes a statement of her own. She scoops her bullhorn off the floor and marches to center stage… then hands it over to Riley. A symbolic passing of the torch for a new game plan. She gives her a smirk, only the slightest bit reluctant to relinquish control.

Maya: Bang bang.

Yes, Riley Matthews has let her firecracker side take control. She returns Maya’s smile, choosing not to use the bullhorn but launching into planning mode regardless. She turns to Zay first, asking if he’d still be willing to sketch out new choreography for them on such short notice and although he can’t run through it himself.

Riley: We should have never boxed you out of the vision. You’re the best dancer there is, and that doesn’t change just because you can’t do it yourself at the moment. [ a beat ] Do you think you can do it?

Zay: … [ as if it’s a difficult decision ] It won’t be anywhere near as good as it would be with more time and actual mobility, but I’m sure I can throw something together.

The corners of his mouth lift just slightly, signaling to Riley what she wants to hear. Apology accepted. She nods, grateful for more than one thing.

Nate: You should get Jeff to help. He’s a killer break dancer.

Zay: That’s true. If we’re talking about underutilized assets, that’s a big one. You can probably fill some of the gaps left behind by me with some skillful showing off. Even just some basic party trick break dancing will wow a standard audience. [ to Jeff ] What do you say?

Jeff: As long as I can map out the lighting design and pass it off to Lucas, then I say hells yeah.

Sick! Jeff jogs over to Zay and exchanges a fist bump handshake with him, Riley grinning at both of them. She then turns to Farkle.

Riley: I know you’ve got a lot on your plate right now.

Isadora raises her eyebrows at this. News to her, though she definitely clocked his uneven mood as of late… Farkle listens attentively, waiting for Riley’s request.

Riley: But you’re the most creative person I know when it comes to innovating music, at least from a spectacle standpoint. [ re: Clarissa ] And we’ve got an amazing concert musician in our midst who knows a thing or two about composition. Between you, Clarissa, and Nate’s mixing skills, I think you might be able to mash together a showstopper not easily forgotten.

Farkle: Give me the tone you’re going for, and I’ll see what this basket case can deliver.

Okay, now we’re cooking with fire! Riley turns to Jade, but she’s already moving, passing by her with Asher, Nigel, and Haley in tow en route to the costume loft.

Jade: Already on it. Let me know the setlist when it’s mapped out.

Having spun basically all the way around, Riley is back to Lucas. She meets his eyes, the two of them holding eye contact for a long moment. The rest of the techies and remaining A class yet to be assigned a task stand at attention, waiting for marching orders… but he’s looking to her. The hint of a flirtatious challenge laced in his expression, daring her to tell him what to do.

And she does, though she can’t help the teasing smirk that ghosts over her features.

Riley: If we’re going to pull this off, it’s going to be all hands on deck. The techies might have to work double time to pull together what we need, but it’ll be worth it to show off how fantastic we really are. And you can put the performers to work too when we’re not rehearsing… if you think you can do it.

Challenge laid down... as if there was ever any doubt he would accept it. But Lucas plays along, unable to hold back the slight quirk in his lips that mirrors her own. He doesn’t break eye contact with her, but declares to the assembled group:

Lucas: You heard her.

That they did, Lucas. Loud and clear! Riley continues to smile at him as the A class erupts into a flurry of movement around her, back to work and more energized than ever before. The engine of Motown swing rumbles to life, underscoring the new endeavor…

INT. AAA - BLACK BOX THEATER - DAY

Song Cue ♫ ♪ “Get Ready / Dancing In The Street” as performed by Motown The Musical Original Broadway Cast Recording || Performed by AAA Seniors

The performance carries through the ensuing montage of the A class hustling to put together a brand new routine, firing on all cylinders to bring it together. To kick us off, Riley starts in the black box classroom with Zay, Yindra, Maya, and Isadora, deliberating on the white board about what songs or series of songs should populate their new list. There’s a lot of key words scattered across the board -- individuality, range, the power of women -- but it seems they’ve already narrowed it down to their chosen concept.

Riley finishes up jotting down all the ideas on a piece of paper, the others leaning over to snap photos and send them out to people in the class. Sarah rushes in and takes the original paper from Riley, saluting as she takes off again into the hallway with it. The moment she’s out there door of one room --

INT. AAA - PRACTICE ROOM - DAY

She’s dashing into the next, joining Farkle, Nate, and CLARISSA CRUZ in the practice studio. Sarah hands the setlist ideas to Farkle at the piano, settling down next to DARBY WINTERS who is helping try out chords on her guitar. Nate has one half of his industrial headset on, fiddling with a sound mixing program on his chunky laptop as they avidly discuss whatever they’re scheming together.

Clarissa is listening with rapt attention to the discussion, only tuning out when she gets a text on her phone. She quickly lets them know she’ll be back in a minute, darting out of the studio --

INT. AAA - COSTUME LOFT - DAY

And arriving in the costume loft, though she pauses in the doorway. Jade is already dealing with someone, Maya having paid a visit to the costume loft to argue over certain costume concepts in regards to the new setlist. Just before the dance break, the music quiets somewhat, vamping under the scene as it unfolds.

While Maya is at her full diva pitch -- though, to be fair, she is just trying to do what she thinks is best for the team -- Jade Beamon has finally had enough. She stops trying to ignore Maya and holds up a hand to stop her costuming team at work, Asher, Nigel, Yindra, and Isadora pausing and staring as Jade swivels to face off with her. She sharply and deftly defends her vision for the costuming, citing her thought process with curt, to the point reasoning. She also takes Maya down with impressive calmness, especially considering the circumstances and the fact that Maya used to make her cry from being so nitpicky just about two years ago.

Jade: Believe it or not, Maya, I think I know what I’m doing given that I’ve designed almost every costume you’ve worn and made you look good for the past three and a half years. So how about you focus on your business, and you let me handle mine?

Damn. Mic drop! Maya stares at her, processing the clapback and debating whether to tear her to shreds in response or not… but ultimately, she opts to back off. If anything, Jade growing a backbone might’ve been the cure to Maya’s overbearing obnoxiousness the whole time. She leaves Jade to it, claiming she should let her know if she needs any additional help -- she’ll send someone else to do it tout de suite.

The others watch in fascination as Maya Hart retreats, strutting past Clarissa shocked and awed in the doorway. Jade takes a deep breath, recentering herself, and flips her loose ponytail back over her shoulder.

Jade: Where were we?

Back to work, team! No time to waste! They get back down to business as if nothing happened, which is impressive considering that was some big news we just witnessed.

The only one who doesn’t immediately get back to work is Nigel, who continues to stare at Jade like he can’t believe she’s real. What a woman…

As the dance break instrumentation swells back to full volume --

INT. AAA - DANCE STUDIO - DAY

Zay is tapping out the beat to a track with his good foot, bopping his head and talking through some choreography and steps with Jeff and Chai. They actually walk through the steps since he can’t, but the rapport seems to be good, and whatever they’re putting together already looks cool. They land on a particularly neat idea for a combination and Jeff and Chai high-five, the former leaning over to fist bump Zay too.

Suddenly, the dance studio that felt so lonely and isolated for so long is filled with camaraderie and enthusiasm again. Zay grins, feeling the rhythm again even though he can’t be on his feet. He jots down the combination idea, flipping the paper over --

INT. AAA - AUDITORIUM - DAY

And becoming Dave slamming a paint bucket at his feet, working with Dylan to put together a rolling flat that will become part of the dynamic backdrop for their performance. Dylan tests it by hopping onto it, throwing his arms out as Dave practices pushing it. They roll seamlessly out of the wings and onto the stage as the last pre-chorus launches into the final minute…

Where we find the A class back together, running through choreography and vocals together of their new routine. In this moment they perform the current song, subbing in for what their actual setlist will be, but getting the energy up and translating the hard work all the same. It’s powerful seeing them all come together, truly united like never before, and showing off exactly why they’re at such an elite school in the first place.

Zay takes the final belted run of the performance, jumping up from his seat where he, Lucas, and Maya are watching the run through. He throws his head back and lets it fly, the rest of the class backing him up at the very end to drive the number home.

Break 1.

INT. AAA - AUDITORIUM - DAY

The A class finishes an actual run through of their new routine, the passage of time indicated by the fact that they’re all in new rehearsal clothes. They’re breathless and sweaty but teeming with excitement. Even if it’s slapdash, even if it ends up not being enough, they clearly feel invigorated by whatever they’re putting out there. There is something so naturally riveting about underdogs making their last shot…

Zay has the floor in Riley’s absence, giving feedback and not only pointing out what could use refinement, but also what’s working. The positive reinforcement seems to be helpful, keeping everyone in light spirits in spite of the odds stacked against them.

As they’re about to break for rehearsal for the evening, Maya pipes up, asking if she can have a few words. Zay is reluctant, but obliges, stepping back next to Lucas.

Maya reveals that while they have been working hard on a majority of their new banging setlist, they still haven’t settled definitively on an opening number. Nothing has quite clicked right yet. Because of this, she argues, they’re going to need something that will fall together effortlessly -- which means a diva number. Since the rest of their routine is so heavy on the ensemble, it shouldn’t be an issue to let a powerful mezzo soprano kick off their show. It’s traditional, really, to have a star force central to some part of a showdown routine.

Maya: Lucky for us, I have the perfect pitch. It came to me in a vision, actually, when I was heavily incapacitated in a dire health operation --

Farkle: Oh no.

Isadora: It was a filling, Maya.

Maya: And I can think of the perfect starlet to carry the number.

For a moment, the class hangs in limited suspense. Of course, she’s going to volunteer herself. But then Maya steps across the stage, making her way to stand in front of Yindra.

Maya: If we’re showcasing the best and most underutilized, then I believe the choice is obvious. [ off her surprise ] Now I’m not giving up this opportunity lightly -- and rest assured, the pain in my ego is so blinding I will probably have to undergo another incapacitating surgery to recover from it --

Zay: Really selling the selflessness here.

Maya: But I know you’ve got what it takes. If anyone here was ever sincerely a threat to my mezzo diva dominance… I can admit you come close. So now is the time to deliver, Amino.

Another crazy moment. Maya, sharing the spotlight… I guess that’s growth. Yindra beams, shrugging her shoulders suavely.

Yindra: Don’t have to ask me twice. Let’s get to staging.

INT. AAA - DRESSING ROOM HALL - DAY

Post-rehearsal mayhem, everyone is rushing around gathering their things for the weekend and making sure they’re all up to date on what the plan is for tomorrow. Isadora bumps into Farkle, asking him if he’s seen Riley, but he merely shrugs.

Farkle: I think she said last week that she had a doctor’s appointment. Probably wasn’t planning for our entire showcase to change in that time.

Isadora: Yeah, no kidding.

Whatever she wants to debrief with Riley, it’ll have to wait until later. Isadora starts to check in with him, see if everything is okay since he randomly stepped down from the spotlight -- concerningly out of character, in her opinion -- but Farkle dodges the question.

This doesn’t sit well with her, but she lets it go for now. Too many crises going on right now to keep up with -- though Farkle will always be high on her priority list.

INT. AAA - BLACK BOX THEATER - DAY

Yindra is hanging back to gather the last of her things and read through the new opening number choreography one more time, lightly stepping through the moves as she sings to herself under her breath. The rhythm sounds slightly familiar, but it’s just soft enough that only someone really listening carefully could make it out.

It stops soon anyway, Yindra halting and jumping in embarrassment when Zay appears in the doorway. She tilts her chin up and grows defensive again, but it’s clear the effort of being cold with him is tiring. He chooses not to acknowledge it, entering the classroom and commending her for her soft-shoe last-minute rehearsing.

Zay: If it looks that great at 10% volume, I’m sure we’ll have no issues on Saturday.

Yindra: … well, I’m sure you wish it was you taking the diva opening. Since you’re the one working the hardest all the time.

Zay: Nah. If we’re aiming to secure an instant jaw-dropper, Maya couldn’t have chosen a better leading lady. Even if I were fit enough to be considered a contender right now.

Oh. Well that’s… nice. Yindra shifts focus to put her choreo sheets in her shoulder bag. Zay approaches and settles on top of a desktop to ease off his boot, taking the opportunity to guide the conversation.

Zay: Do you remember when we became friends?

Yindra, loftily: … was it when Miss Moore partnered us for duet assignments the second week of freshman year and promised a prize to the best breakout first duet, and we brought the house down with “Stand Up For Love,” but she chose Farkle and Maya instead?

Zay, amused: No. Though that was classic. [ a beat ] And maybe an eerie premonition about dear Angela.

Yindra: Anyone who chooses Anything Goes over the Destiny’s Child is deranged, so.

No arguments here. The moment of fellowship passes quickly, but it doesn’t feel like it’s gone for good... Yindra nods, still trying to maintain her aloof demeanor but allowing Zay to elaborate.

Zay: It was earlier than that, first week of class. No one really knew anyone, except like Haley and Clarissa since they met over the summer or whatever. So it kind of felt like every day was coming into battle alone. Anyway, Maya was giving her first -- of many, many -- psychotic mini-monologues before a performance, and this one was especially cracked. Probably because she was trying to establish her bitchutation.

INT. AAA - BLACK BOX THEATER - FLASHBACK - DAY

Though it’s brief, we catch a glimpse of what the world was like all those years ago. The A class -- or those that we can see -- are styled to look how they might’ve that first year, awkward and definitely poorly dressed compared to now. Freshman year is so hard. A slightly frazzled ANGELA MOORE attempts to maintain order, but clearly the A class of 2021 is already proving to be a… unique challenge.

True to Zay’s word, most of them are sitting on their own, though there are clusters where it seems friendship has already sprouted. An even shyer Charlie is sitting behind Clarissa and Haley, who keeps glancing over her shoulder to smile at him and then giggling nervously. Dylan, Dave, and Nate are whispering and passing notes mischievously -- Dylan with his embarrassing glasses and Bieber cut -- while Asher watches him wistfully from a couple desks away where he’s sitting with Jade. Farkle is in his blazer and semi-bowl cut and shooting daggers into Maya who is loudmouthing up at the front; Lucas is nowhere to be seen.

Zay is seated amidst it all, but distinctly on his own. He’s probably dressed better than most of his peers even then, and his hair is different than he wears it now, but even someone as cool as him can’t shake the quintessential freshman awkwardness. Presently, he’s scowling as Maya talks, clearly unimpressed.

Zay, voiceover: Now, I admit, I was making a bit of a stank face. I mean, it was Maya. But I remember I glanced around to see if everyone else was hearing this nonsense --

Freshman Zay does just that, freezing and reigning in his distaste when he spots Yindra. Her hair is different as well, and she’s not clothed as fashionably as she is these days. But she’s glancing towards Zay, too, and he doesn’t want to seem like a bitch. However…

Zay, voiceover: And you were making the exact same face.

For a second, freshman Yindra and Zay just stare at each other, caught. Then, Yindra cracks a smile, conspiratorial and a touch embarrassed. Zay immediately returns it, the two of them sharing a silent laugh across the room.

Zay, voiceover: That was when it clicked for me. I don’t think I even knew your name yet, but it felt like we’d been friends for years. Kindred spirits.

INT. AAA - BLACK BOX THEATER - DAY

Back in the present, Zay finishes recounting the memory, light smile on his face as he looks at her. She’s listening but avoiding his eyes, fiddling with the strap of her bag.

Zay: And I was right. I think that’s probably the only thing I was right about from freshman year. [ slipping off the desk ] You and I are one in the same. That’s why we’re best friends. We have impeccable taste. We always bring it. We work our asses off. [ a beat ] We find it really hard to admit when we’re wrong… or when we’ve been stung.

True enough. Yindra clears her throat, tentatively meeting his eyes.

Zay: I’m sorry I was such a bitch. And I’m especially sorry that I made you think, even for a second, that you’re not good enough. That you’re not on my level or whatever bullshit I was selling this semester. It’s not true. You are the only person who is always on my level. Bar none.

Yindra: … well, you’re certainly not the only one good at being a little bitch…

Zay: No, but I get why you did it. Honestly, if the roles were reversed, I probably would’ve done the same to you. Like I said, one in the same. [ a beat ] And I hope you’ll forgive me and we can go back to the whole kindred spirit thing, because I really don’t want to miss the boat when you’re wildly successful in L.A. and inevitably lift me up with you. Just strategic thinking.

This, finally, really breaks the ice. Yindra can’t help but smile, shaking her head.

Yindra: You are so dramatic.

And then she’s hugging him, pulling him into a tight embrace. Zay returns it, relieved, and the universe tilts one degree closer to being back in order.

They pull apart, Yindra scrunching her face fondly and lightly patting his cheek. She reaches over to grab her bag and slings it over her shoulder, linking her arm through his as they slowly walk towards the door.

Zay: I’m serious about the career thing. Maybe we should tag team. Maybe we should go full Destiny’s Child.

Yindra: Ooh… [ tapping her chin ] But who’s gonna be our third…

Zay: Nigel?

Yindra: … well, we can always hold open auditions.

Zay laughs, the two of them disappearing into the hallway.

INT. TOPANGA’S CAR - MOVING - DAY

Riley is in the passenger seat of Topanga’s car, focused on a text thread where the A class is recapping any last-minute notes and thoughts for prep tomorrow. She types a quick response apologizing for not being there that afternoon and highlighting how hard everyone has worked. In her other hand, she’s clutching a prescription slip on her lap.

TOPANGA LAWRENCE comments that it’s good they arranged this doctor appointment for today -- she is so incredibly snowed under with work at the firm, it’s lucky she was able to drive Riley out today. As if Riley doesn’t know a thing or two about being swamped these days… still, her mother is in good spirits.

Topanga: I’m glad to hear everything seems to be in good shape, though. And smart of you to get this physical done in a timely manner -- your dad is such a disaster when it comes to keeping up with appointments. [ with a smile ] I must’ve raised you well.

Riley manages to return the smile, ignoring the comment about Cory. At this point, those are so natural to conversations with Topanga, it’s like white noise. Topanga casts a sideways glance at the prescription she has, knowing smirk ghosting over her lips.

Topanga: Though I think considering what you came to get, the reason you asked if I would take you is fairly obvious…

Riley awkwardly shifts her fingers on the slip, allowing us to get a better look at what she’s being prescribed for the first time. Birth control. She puts her phone in her pocket and absentmindedly fiddles with the braid on her shoulder.

Riley: I did think you were the much smarter option for help in this matter, yes.

Topanga: No doubt about that. You should spare Cory the knowledge of this little development as long as you possibly can. For his own good.

Yeah, Riley doesn’t seem to disagree on that. Although it’s just another one-up against Cory, they do exchange a small humorous smile, like a new inside joke they share.

Riley: Thanks for coming with me.

Topanga: Of course. [ a beat ] So… you and Lucas must be getting pretty serious, then.

Riley’s expression shifts into something softer. She looks out the window, unable to look at her mother as she contemplates it. Not because she’s embarrassed, but because something about Lucas and what they have is sacred. He’s something she doesn’t want -- or have to -- share with anybody else.

Still, thinking of him naturally elicits a delicate smile.

Riley: Yeah. Yeah, we are.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Lucas is packing up, stuffing things into his backpack. He takes care to handle the showcase binder gently, not wanting to do anything or lose anything that might throw them back into the pits of hopelessness.

But something does fall out anyway, dropping to the floor at his feet. He curses under his breath and slips the binder into his bag, crouching down to recover whatever escaped.

Money. A few crisp hundred dollar bills, folded neatly together. Lucas knows he’s not just carrying that kind of money around, and it’s clear that it was slipped into his things with careful intent. It’s no mystery where it came from.

But that also means someone was rooting through his stuff, once again intruding his sanctuary without permission. Lucas scowls, crumpling up the bills in his fist as he climbs back to his feet.

Missy, pre-lap: No, no, it’s supposed to be that side of the stage. Do you all have directional dyslexia?

INT. AAA - AUDITORIUM - DAY

MISSY BRADFORD is standing on the stage, directing a bunch of the underclassmen techies to move some final set piece adjustments. But they’re young and still learning, which she clearly doesn’t have the patience for. She shakes her head, unimpressed, while behind her we can see Lucas jogging down from the booth.

Missy: I swear, they just don’t make help like they used to…

Lucas: Hey!

Missy swivels around, expression brightening in interest when she sees who’s snapping at her. She saunters over to the edge of the stage as the younger techies disperse, leaving them alone.

Missy: Just the person I wanted to talk to. I finally got those panels for the rolling flats. Normally it shouldn’t take this long, especially considering how much I paid, but when it’s a rush job --

Lucas: What makes you think you can go through my shit?

Lucas’s tone is harsh, more scathing than the usual dry sarcasm he employs with her. But it doesn’t intimidate Missy much -- in fact, if anything, it just seems to intrigue her more. She raises her eyebrows as he reaches the front of the house, now standing essentially below her.

Lucas: And the booth. I told you you can’t just go waltzing in there whenever the fuck you want. To do whatever the fuck you want --

He tosses the crumpled bills at her feet on the stage, glaring up at her derisively. She shrugs coolly, clasping her hands together.

Missy: As far as I understand it, actually, the booth is available to all students for use. So I have every right to it just as much as you do.

Lucas clenches his jaw, obviously wanting to bite back, but in this case he has no argument. Technically, technically, she’s right. Even if every other student silently respects the unspoken rule that the booth is his, there’s nothing he can use against someone who doesn’t. His anger is palpable when he speaks again, voice low.

Lucas: This thing, whatever it is? It’s done. It has to stop.

Missy, innocently: “Thing?” I’m afraid I don’t know what you’re talking about --

Lucas: Yes, you do. Cut the bullshit. Whatever game you’re playing, or… dance you think you’re doing, you’re doing it on your own. I’m done with it.

Bold words. And obviously not something Missy would want to hear… though for what it’s worth, she seems unfazed by his declaration. She maintains her confident nonchalance, examining him for a long moment… then holds her hands up in surrender.

Missy: Okay. I never meant to upset you, Lucas. I was just trying to help. [ a beat ] But if you’re really not into it anymore, you can always… give the money back.

Oh. Well… that’s not so simple. Lucas opens his mouth as if he’s going to respond, but nothing comes out. Some of the fire he marched down here with burns out, leaving him uncertain. And Missy sure notices, her sweetness sharpening into coy smugness. She tilts her head.

Missy: But you’re not going to do that. Are you?

She casually extends her designer shoe to kick at one of the discarded bills, threatening to send it down the thin gap between the orchestra pit and the floor. But Lucas reaches out to save it just in time, hastily catching it before it’s lost forever.

Got ‘em. She’s spotted Lucas’s brazen dismissal for exactly what it is -- a bluff.

And he’s clearly ashamed of it, how easily he caved, when the thing he needs so desperately is dangled in front of his face. Missy gives him a sympathetic look, but it’s closer to pity than empathy. It’s so hard to tell what is real from her, how much she actually sees Lucas as a human being versus an attractive puzzle for her to toy with.

But in this moment, she’s won, so she’s feeling charitable. She primly lowers herself down to sit on the stage across from him, crossing her legs and picking up the other wrinkled bills. She spreads them on her lap and smooths them as she talks, restoring them to pristine condition.

Missy: I thought we already discussed this. We’re on the same page about our little dynamic. And it’ll all be worth it, won’t it, when you get what you want… [ eyeing him ] if you truly care so much about UC Davis.

Lucas: There are things I care about more. [ a beat, then softer ] Things I don’t want to mess up.

Although he doesn’t say it, it’s fairly obvious what he’s thinking about. Missy’s not an idiot, and she knows where he stands with Riley. But he’s been willing to play along this long… and given her lack of context and history and how brusque Lucas tends to be around others, it’s unlikely Missy considers Riley much of an issue. But if he wants to continue the game…

Missy: And that’s why it’s a private affair. Hush-hush, just between you and me. There’s no guilt in what people don’t know. And besides, do you want to welcome all the additional trouble you’ll have to contend with if I don’t contribute? I think you’ve already got enough on your plate.

She finishes flattening the bills, placing them gingerly on the edge of the stage next to her. Ready to be his again, should he deem to take them. All of the rage that drove him to confront her has been extinguished, replaced with that cold, cornered feeling he always has when she’s there.

Missy: Focus on the big problems, Lucas. Showdown, your scholarship plans. And once that’s all squared away and the dust has settled… then we can explore what comes next. [ slipping off the stage ] One step at a time.

She passes him without another glance, making her way up the aisles and leaving him on that note. He starts to glance over his shoulder but ultimately doesn’t, not even wanting to look at her anymore. He looks a little sick.

But the money remains, waiting for him. No Missy there to scrutinize him as he takes it, no judgment being cast down on him but his own. He knows his truth. He knows what he cares about, what matters above all else. And money is money… he’s always known that… doesn’t matter where, or who, it comes from…

Lucas hangs stuck in that moment, torn between shame and sense.

INT. AAA - DANCE STUDIO - NIGHT

Long after the final bell of the day has rung, Isadora remains in the dance studio, going over the routine again. It’s usually Zay’s territory at this time of night, but instead of his perfected moves and graceful poise, Isadora is following the steps in almost a robotic manner, and cursing at herself whenever she makes a mistake.

Chai peeks her head around the door, having been practicing herself in another studio and wondering who’s still here. She watches Isadora struggle for a moment before stepping in and pressing pause on the music. Isadora looks over to her in shock. 

Chai: Sorry, didn’t mean to startle you. What are you still doing here?

Isadora: What does it look like? Failing miserably at the routine.

Chai sighs in sympathy and shrugs off her sports duffel so that she can help Isadora. Isadora cringes as Chai does a couple of stretches to warm herself up again. 

Isadora: I feel bad. You already spent so long trying to help me and here I am the night before the showcase, as terrible as ever. 

Chai: You’re too hard on yourself. Everyone’s been struggling with the choreo since it changed in such short notice, and for a non-dancer you’re doing well. You remember all the steps, you just need to do them more gracefully.

Chai demonstrates one of the moves that Isadora was trying to do a moment earlier, but when Isadora copies, she doesn’t have the same natural rhythm and movement that Chai does. Chai tries coaching her through it, giving her instructions to twist a bit more, or move her arm like this and that, but it only makes Isadora more frustrated. 

Isadora: We’ve been trying this for days. It isn’t going to work. I’m a lost cause. 

Chai: Nobody is a lost cause. We just have to try something new.

Chai tells Isadora to do the routine again, and starts the music. She walks around Isadora as she dances, scrutinizing every move. At one point when Isadora seems particularly robotic in her movements, Chai reaches out to correct her position on instinct. She freezes when she realizes it might not want to be touched, hands hovering over Isadora’s hips. Isadora looks down at Chai’s hands and halts. 

Chai, shyly: Is this… okay?

Isadora gives a tentative nod. Chai rests her hands lightly on Isadora, and guides her through the movements. Both are quiet and a little tense, an odd tension in the air, but it isn’t uncomfortable.

As they get used to it, they relax and Isadora’s dancing becomes more natural. Once Chai thinks that she’s got it, she takes a step back and lets her hands drift away. She requests Isadora go through it again. This time, Isadora’s moves flow much better and she looks less awkward. Chai smiles brightly. 

Chai: You got it! 

Isadora: Really? 

Chai: Yeah, it’s looking good. Really good. Let's do it again.

Chai steps in line with Isadora, and they start the routine from scratch. That odd tension is still there, but it feels more like tentative excitement than anything else. They glance at each other as they step through moves in the routine, exchanging a smile before spinning in opposite directions.

INT. HAVERFORD PREP - AUDITORIUM - NIGHT

The Haverford boys are wrapping up their last evening rehearsal before Saturday, all of them sweaty and exhausted. Even if they’re got an unfair advantage, they’re not going to skate on it.

What is interesting is that Charlie is nowhere to be seen. Everyone else is accounted for except him, and his absence is noticeable -- particularly on the eve of showdown. Brandon runs through final notes and reminders, then relaxes just a fraction to rally his boys and assure them that victory is all but guaranteed. All there is left to do is go out there and do the damn thing.

Hurrah! The Havies come together as Billy leads a rallying cheer, demonstrating that iron-clad brotherhood once again. They do a final hoot and cheer and disband just as Charlie appears in the wings, hanging back to let them have their moment.

As his classmates pass him, their reception towards him is mixed -- some are casual and friendly, as if nothing is out of the ordinary, while others shoot him dirty looks for his blatant skipping of rehearsal. Billy makes a point of bumping him with his shoulder.

Billy: Way to show up, C.

Charlie takes it all in stride, swallowing his nerves and not reacting. He waits until the rest of the class has cleared out, hovering on the sidelines until there’s nothing left for Brandon to do but address him.

Brandon: I’m assuming, since you deemed to grace me with your presence now, that you have a good reason for missing our last rehearsal before showdown.

There’s his cue. Charlie nods, stepping out of the shadows and joining him on the stage.

Charlie: I’m sorry about that. Just… a personal emergency.

Brandon, unimpressed: It doesn’t reflect well on you, Charles. I admit, I thought you were more reliable than that. [ off his sheepish expression ] But it’s fine, we all have off days. Thankfully we were able to work around you.

Charlie: That’s good. I’m glad to hear it. [ a beat ] If you’ve already figured that out, then you’ll be able to do it without me on Saturday.

Now that, Brandon wasn’t expecting. His eyebrows shoot up. Charlie holds his ground, trying not to wither under his stare and keep his voice even and resolute.

Charlie: Believe me, it’s not my ideal outcome, and I really don’t want to let the team down. You guys have been good to me, really taken me under your wing, and I needed that when I first got here. I don’t want to screw that up.

Brandon: But?

Charlie: But I don’t think I can get up there and compete against Adams. You and the boys deserve to have everyone on the same page, one hundred percent dedicated and focused on the win. And as much as I want to be a part of that, I know in my heart I won’t be able to deliver.

Brandon remains skillfully unreadable, simply listening without giving any of his reactions away. Charlie clears his throat.

Charlie: I like being at Haverford. I like being part of the brotherhood. But part of me will always be with Adams. Those people… they’re my family. And I can’t go against family. [ a beat ] You get that, right?

Considering his commitment to the brotherhood, you’d think he would. Brandon contemplates for a long moment, leaving Charlie nervous and vulnerable in the encroaching silence… one that grows more painful the longer it ticks on...

Then he smiles, suave and unbothered like always.

Brandon: Sure, Charles. I understand completely.

Charlie exhales, managing a relieved smile. He thanks Brandon for being so cool about it, and assures him that he’ll still be there on Saturday to support everyone. But this already feels so much better. He thanks Brandon one more time and then heads out, wishing him luck for the whole team as he goes.

Brandon upholds his pleasant smile until Charlie is gone, granting him an easy wave as he steps out the door. But once he’s out of sight, the charm dissipates. His expression sours, the barbed edges bleeding through his smooth demeanor.

Announcer, pre-lap: Ladies and gentlemen, we’re in for a face-off for the ages!

INT. SHOWDOWN FINALS VENUE - LOBBY - DAY

Saturday. The day of senior showdown. The energy is electric as we move through the elegant space, the same arts and cultural center where the Jacobs Gala was held in 112. It’s grandiose and professional-grade, a sense of the big leagues if there ever was one. It’s like one step below an actual Broadway stage -- think the Dolby Theatre Oscars vibes, or the Kennedy Center.

The place is already buzzing with life, venue officials rushing to and fro to keep things organized and groups from different schools wandering and congregating. Adams and Haverford are only one showdown of many this afternoon, as the announcers explain over the scenery that senior showdown is an annual event that encompasses multiple forms of competitive art and multiple delegations of the cream of the crop. Manhattan is only a piece of the program today -- though admittedly, it’s one of the most anticipated segments of the day.

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

The announcers say as much, describing that the orchestra showdowns will kick us off, followed by show choir, dance troupe, and a couple of other categories. And then by this afternoon, we’ll dive into the highly awaited performance showdowns, including the two Manhattan elites: Adams Academy for the Arts versus their long-time rivals and reigning six-year champs, Haverford Preparatory Academy. As they wrap up their opening spiel, we get a look at the fancy stage digs they’ll be working with, already filling up with spectators.

What a way to fund the arts. It’s time to showdown!

EXT. LUCAS’S APARTMENT - DAY

Well, not quite yet time. The A class still has time to spare, and things are much quieter over in the East Village.

INT. LUCAS’S APARTMENT - LUCAS’S BEDROOM - DAY

Which is where we find Riley and Lucas, picking up a couple of items for showdown that Lucas had been storing for safe-keeping. His shoebox bedroom is remarkably neater than we’ve seen it in the past, all that spring cleaning from last year having paid off. It’s at least decent enough that he’s allowing Riley to be in it -- though the reasoning for that is more likely the lack of a certain someone or something.

Either way, they’re not staying long. Lucas hands the materials to Riley and they head out, discussing how long they think it’ll take to get uptown. Traffic is pretty dastardly today, apparently, especially around the venue.

INT. LUCAS’S APARTMENT - DAY

They duck out of Lucas’s room and he shuts the door behind him. He tells Riley to give him one second while he grabs one more thing from the closet, jogging out of sight down the tiny hallway. She says no worries, perfectly content to wait on her own and take in every last detail of his home given how rarely she’s allowed inside to see it.

When suddenly the door opens in the entryway. Riley freezes, staring towards the doorway. She braces herself for the worst, completely unsure what might happen or what she should do if he shows up. Worried about what might happen to Lucas…

But it’s not the worst. It’s only GRACE FRIAR, who mirrors Riley’s surprise as she enters the living area and finds her unexpectedly parked in her apartment. She’s dressed for work at the florist, dressed in a worn but pretty floral dress and an evergreen apron, light hair pulled back out of her face.

Riley, uncertainly: Hi.

Lucas reappears in the next instant, having rushed back when he heard the noise. He’s relieved to find it’s only his mother, but barely. He quickly comes to stand at Riley’s side, evidently nervous at this turn of events. It was never part of his plan.

Lucas: Mom. What are you doing here? I thought you weren’t going to be home.

Grace, timid: I swapped shifts with another employee. Since Kenneth is in Jersey for the game, I thought I’d try and see if I could free up my afternoon to see your showdown performance today. [ glancing at Riley ] And I guess I got lucky.

Oh. That’s nice. Lucas wasn’t expecting it, uncertain what to say next. He only figures it out when he realizes how intently Riley and Grace are looking at each other, both fascinated and curious and definitely a bit nervous. He clears his throat, awkwardly scratching his neck.

Lucas: Um, this is Riley. Riley, this is my mom.

Very informative, Lucas. But that’s all Riley needs, and with permission to interact, her bubbly charm does the rest. She steps forward, holding out a hand and offering a sincere smile.

Riley: Hi again. It’s so nice to finally meet you.

Grace: [ accepting her handshake ] Likewise. Unexpected, though… I suppose the best things in life are.

She chuckles anxiously, and Riley does her the favor of laughing along with her. So skilled at making others feel comfortable, like that’s just naturally how she operates.

Grace: I’m sorry I’m so unprepared. If I had known I would’ve… cleaned up, or had something ready to…

Riley: Oh, please, no. Don’t worry about it. I’m the one intruding on you.

Lucas: And we’re just passing through. Picking up a couple things. [ pointedly ] And we should go if we want to beat the traffic --

Grace: Right. Right, of course. Don’t let me get in your way.

Grace quickly steps to the side, an expert at making herself smaller. She skirts around them and gives them easy access to the entryway and a swift exit, wishing both of them luck with showdown. Hopefully she’ll be able to make it down there.

Riley, enthusiastically: You definitely should. It’s going to be an amazing show. And our competition is notoriously tough to beat, so they should at least be enjoyable.

With a pitch like that, how could she say no? Riley should do marketing for the showdown committee. And she could probably find generous ways to keep the conversation going for hours, but Lucas is keen to expedite this escape and gently nudges her towards the door. She gifts Grace one more goodbye before they depart.

Although she wasn’t prepared for it, Grace seems happy with the introduction. A light smile lingers on her face.

INT. BABINEAUX HOME - DAY

DONNA BABINEAUX pulls open the front door, finding Nigel and Yindra on the doorstep. Yindra already has her hair and make-up done, looking stellar, and Nigel’s hair is brushed up out of his face. Donna seems unsurprised to see them, stepping back and knowingly nodding towards the stairs.

Donna: He’s in his room. Good luck.

Nigel and Yindra exchange a look.

INT. BABINEAUX HOME - ZAY’S BEDROOM - DAY

Zay is far from ready to roll, still wrapped up in his blankets and hunkered down to wallow. His boot rests on the floor at the foot of his bed.

He’s looking at videos on his phone, mainly of the days when he could dance. The semis routine, clips from rehearsals pre-injury, ones he recorded that he ended up using for his applications. Today is the day he’s supposed to be doing all of it, helping elevate Adams to victory.

And that’s not the only thing interspersed throughout his library as he flicks through files. There are videos of him with his friends, too, and the ones he always hovers on longer are the ones of Charlie. Ones that are now almost a year old, like them rehearsing in their usual studio together, goofing off, or where he didn’t even realize Zay was filming. The one he hesitates on longer than the rest involves Charlie laying where he is right now, bashful and uncontrollably giggling while Zay picks on him from off-screen.

It’s all mixed together, all haunting him in different ways, but it doesn’t set him off anymore. There’s no more aggressive fuel compensating for the loss, so now it simply aches. Crazy, how much has changed in so little time… how he has no idea how much of it will change back or inevitably shift again from underneath him…

Yindra and Nigel swing open his door, startling him. He quickly locks his phone and grumbles at them as to what the hell they’re doing.

Zay: Why are you here? You can’t be all the way in Queens when you should be at the venue already.

Yindra: We know. It’s a calculated risk.

Nigel: But if we should be there, we could say the same to you.

Zay huffs, tossing his phone onto the covers and sinking deeper into his bed. They must have miscalculated, because they’re wasting precious time. He’s not performing, so he has no reason to be there like them. He’s not going.

They thought he might say that -- and they’re not taking no for an answer. Not now, on a day that means everything. In a surprisingly feisty move, Nigel leans forward and rips the blankets off him.

Nigel: Get up.

Zay: Yo, what the hell --

Yindra: Damn, Nige.

Zay: What’s your deal? Did you not hear me? There is no reason for me to go. I can’t perform, and sitting there watching what I can’t do doesn’t sound like an exciting afternoon for me. I have nothing to contribute, so why should I bother?

Nigel: Bullshit.

Yindra: Damn, Nige.

Nigel: That’s bullshit, Zay! You know it is. You have contributed plenty to our setlist -- you choreographed an entirely new routine in a week!

Yindra: True.

Nigel: We never would’ve been able to pull that off without you. And we still won’t if you’re not there, because I’m more than positive some of us are going to need refreshers right up until we get on that stage. You know, since again, we picked it up in a week.

Yindra: Also true.

Nigel: And even if that weren’t the case, it shouldn’t matter anyway. You should want to be there because this is it, man. We have worked our butts off for three years to get to this point. And I agree, it sucks that you can’t be up there on dancing it out with us -- you know I think that. But that doesn’t mean you should forgo it all and crawl under a rock to wait it out. This is one of those experiences we’re going to remember forever, and I know you. You don’t want to be the person who missed it all and can’t share in the memories because he didn’t even try. Even if you can’t be on stage yourself, you should want to show up for the rest of us. For Riley, for Yindra. For me. I think you want to, underneath your pride and your self-pity. [ a beat ] And deep down, I think you know that if you tap out and skip it, you’re going to regret it forever.

Wow. It would be a good argument on its own, but since it’s coming from an impassioned Nigel, it’s especially compelling. Yindra stares at her usually laid back, non-confrontational best friend, jaw hanging open slightly.

Yindra, hushed: Damn, Nigel! Where has this been for the last three years?

Yindra shifts her wide eyes to Zay. You’re seeing this too, right? But Nigel doesn’t break, holding Zay’s gaze and continuing the encouragement with his classic Shakespearean smolder.

Finally, Zay relents. He pushes himself forward to the edge of the bed and asks them to hand him his boot, and for Yindra to grab something from his closet for him to throw on. They’re going to have to move fast if they want to get there on time.

Zay: [ as Yindra dashes to his closet ] Pick something fresh!

Yindra, off-screen: You insult me!

Nigel hands him his boot, Zay taking it gratefully. He meets his eyes again.

Zay: Thanks for not leaving me behind.

Nigel, sincere: “To me, fair friend, you never can be old.”

Okay, Bard nerd. But it’s sweet, and the sentiment obviously means a lot to Zay.

INT. SHOWDOWN FINALS VENUE - LOBBY - DAY

Eric and Isadora arrive together, the latter in a rush to get backstage. She thanks Eric for driving and promises she’ll see him after the show, and he shouts a good luck after her in return.

Once he’s alone, he scans the room and all the well-dressed patrons mixing and mingling. An usher offers him a program and he takes it cheerfully, but he finally spots who he’s looking for before he can read it.

JACK HUNTER. It’s like he hasn’t been able to find him all week — and this seems like the kind of time where you want your principal to be around. He’s conversing with EVELYN RAND, charming and professional as always.

Eric heads over to join them, friendly but keeping that healthy distance between them after their discussion last week. Evelyn brightens when she sees him approaching, giving him a jolly hello and stating she better be off. Performances to see! But she is wishing the best of luck to them and the delegation from Adams.

Evelyn departs, leaving the two of them alone. They exchange warm greetings, though it’s muted from Jack. They mention all of the stuff they heard about the scramble the A class went through from Lucas and Isadora, noting the stacked odds.

Eric: Well, all we can hope is that they managed to pull it together. They’ve done it before -- I believe they’ll do it again.

Jack: Yeah… yes, me too.

But given his own stacked odds at the moment, Jack’s belief doesn’t seem wholly convincing. Eric clocks his apprehension, the way he feels like a shade of his former self. He steps a little closer, dropping his voice to a murmur.

Eric: Things will work out, Jack. You don’t have to disappear from the equation for things to work out.

Jack doesn’t seem convinced. Eric frowns. He starts to say more, but Jack’s eye has caught HARRISON YANCY across the room, mingling with JEFFERSON DAVIS GRAHAM and other prominent school board members. They cast a glance in his direction, unreadable, holding too much power in their hands.

Jack clears his throat, creating more distance between him and Eric as he starts to retreat.

Jack: Should head on in. I believe Harper saved us a seat. Wouldn’t want to miss our competition’s performance.

Eric glances over his shoulder where Jack was looking, spotting the crowd of conservative board hawks. He scowls, starting to comment, but when he turns back around Jack is already gone.

INT. RILEY’S CAR - DAY

Lucas and Riley arrive around the same time, pulling into a parking spot and killing the engine. Lucas is behind the wheel today, and from how quiet the car is it seems there wasn’t much chatter on the drive over. The two of them sit in the silence for a moment, Riley searching for a way to broach the subject.

Riley: … your mom seems really nice. It’s cool that she wants to come to showdown. You know, maybe we should’ve offered her a ride…

Lucas, quickly: I’m sorry about how I acted. That I like, rushed you out of there.

Riley: It’s okay. I figured it caught everyone by surprise.

Lucas: It’s not that I don’t want you to meet her. Or don’t want her to meet you. I’m not trying to hide you or anything. [ scoffing ] Honestly, if there’s anything in my life worth showing off, I know full well what it is. And it’s not like I think she wouldn’t like you -- I mean, it’s impossible not to.

Riley smiles, bashful. He’s still nervous, keeping his eyes on the keys rather than her, but he pushes through the vulnerability anyway. Really trying.

Lucas: It’s just that… things with them… me and my parents, it’s not… it’s weird. They’ve never -- my mom, she doesn’t even really feel like… it’s more like we’re… I don’t know, roommates rather than blood. Prisonmates, sometimes. [ chuckling awkwardly, then frowning; he just can’t say anything right ] It’s not that I don’t… I know she cares about me. In her way. I just didn’t… it’s hard to explain. It’s all kinda fucked up, and I didn’t want to get you all… tangled into it. [ a beat ] But I don’t want you thinking it’s because of you, because it’s not.

He said more than enough. Riley reaches across the console and gently touches his cheek, waiting for him to meet her eyes.

Riley: It’s okay. I understand. But thank you for telling me.

Lucas nods. She turns the light touch into a caress, stroking her thumb against his cheekbone. He closes his eyes and leans into the gesture.

Riley: She really did seem lovely. Pretty, and super sweet. [ fondly ] I see her in you.

It’s possible no one has ever said that to Lucas before. He processes the compliment, letting it sink in, then manages a shy smile. He takes her hand in his own, pressing a soft kiss to her palm and then linking their fingers together.

They soak in the peace, the kind they can always rely on to find with each other… and they’re going to need it, because it won’t last long inside that venue…

INT. SHOWDOWN FINALS VENUE - DRESSING ROOM HALL - DAY

Case in point, backstage it’s a circus as performers scramble to get ready. Isadora is marching through the chaos, back in stage manager mode, trying to account for everybody and figure out what fires are still left to be put out. One of which would be the fact that so many people from their team still aren’t here -- Nigel and Yindra; Jade with the costumes; Farkle; Riley and Lucas.

She shouts amidst the group if anyone has seen any of them. Darby stops mid-jog to the girls dressing room.

Darby: Farkle is already here, I saw him. We were a couple of the first to arrive.

Isadora: And where is he now?

Darby: No idea. But he’s around here somewhere!

Isadora: Perfect. That’s so helpful. Absolutely enlightening information!

Isadora whips around just as Riley and Lucas make their way into the hall. She exhales a dramatic sigh, complimenting them sarcastically for finally making it. At least somebody can roll up when they’re needed. The two of them exchange a yikes look, scooting around Isadora carefully so as not to detonate her further.

Isadora: And where the hell are Nigel and Yindra?!

INT. NIGEL’S CAR - MOVING - DAY

Nigel and Yindra are en route, but “moving” might be a misleading slugline. They’re stuck in that bumper-to-bumper traffic Riley and Lucas were discussing, tensions high as they race to make it to the venue.

Yindra: This is going to give me high blood pressure! Can’t you go any faster, Nigel?

Nigel: GO? GO WHERE, YINDRA? I CAN’T GO FASTER WHEN WE’RE STOPPED.

Zay leans forward between them from the middle backseat, breaking into their bickering to inform them of updates from Riley. They’re transitioning into the performing arts section of the program, which means the clock is ticking down by the second. Yindra and Nigel continue to bicker, volume rising under the stress, until Zay finally smacks Nigel’s shoulder to get his attention.

Nigel: WHAT?

Zay: GREEN LIGHT. CARS MOVING.

Yindra: GO! GO! GO!

Nigel: AHHHHHHHHHHHHH --

Nigel hits the gas, and they’re moving once again --

INT. SHOWDOWN FINALS VENUE - BACKSTAGE - DAY

Riley is concealed in the shadows of the wings, watching nervously as another school from a different league showdown completes their routine. Based on the music playing, they’re going for a more classical repertoire, but Riley seems grateful they don’t have even more competition to be worried about than just Haverford.

She leans forward just enough to peer through the curtain, still hidden but able to glimpse the grand house beyond the stage. It seems like a pretty packed audience, and somewhere out there are the judges who will decide their fate. Their standing against Haverford, the future of Lucas’s scholarship initiative, the spirit of her class… the weight of all the above resting on her shoulders and creating the subtle frown on her face.

Brandon: Nice accommodations, aren’t they?

Riley spins and comes face to face with Brandon. He’s already dressed in his performance attire -- no longer quite as glossy and more refined to contrast AAA’s original shiny style -- but he’s taken the time to double check that everything is right where it needs to be for their setlist… and apparently, to run into her.

Brandon: I don’t believe we’ve had the pleasure of formally meeting yet, Riley. [ offering a hand ] Brandon Rivas.

She’s not eager to change that, but Riley is socially savvy. She knows how to play things right, so she mirrors his pleasant smile and accepts the handshake.

Riley: Oh, I’ve heard all about you. But I’m sure you already know that.

Brandon: Guilty as charged. There’s not much I don’t know. But it would be hard for me not to know you, considering how often Charles has talked about you. He speaks highly of you, rest assured.

Riley: That I believe. Charlie is a good friend. I wouldn’t expect any less from him.

Brandon: Yes… he is, isn’t he.

They exchange a couple more small talk niceties, including Riley mentioning that she’s heard they were quite impressive at semis. Both of them have their work cut out for them, facing each other. Brandon shrugs humbly, then claims he should go gather the boys. The team on stage is wrapping up, and then they’ve only got 10 minutes to show. But he’s pleased they had the chance to meet.

Brandon: Good to confer leader to leader -- makes for good sportsmanship. I know there are power structures in place at Adams, but to my understanding, it’s you who pulls the strings across the park. The true brains of the operation.

Well, if we’re aiming for good sportsmanship, the Havies are already laps behind. And Riley clearly doesn’t like his tone, what he’s subtly implying about her friends -- including and especially her boyfriend.

But she doesn’t show it, merely sharpening her smile instead.

Riley: I wouldn’t underestimate any of my cohort.

Tell him, Riles! Brandon starts to back off, easing further into the shadows.

Brandon: Break a leg -- though you probably can’t afford many more of those, can you?

Oh, shots are being fired. Riley’s expression twitches, but she doesn’t give him the satisfaction of a response. She releases a pointed exhale once he’s gone, the audience launching into applause behind her indicating that the time to bring it is in fact inching closer and closer…

EXT. SHOWDOWN FINALS VENUE - ROOFTOP - DAY

The exterior of the venue is less glamorous but just as stunning as the interior. A beautiful rooftop terrace acts as a place for guests to mingle during intermissions or events, similar to the outer walkways of the Kennedy Center. It provides a gorgeous view of the city stretched out around them, the sky a hazy periwinkle on this chilly early December afternoon.

Farkle seems to be enjoying the cold, though. He’s perched on a bench looking out towards the south of the island, just glimpsing the peak of his building in the financial district. He closes his eyes and inhales deep, absorbing the cold air and letting it cool his nerves. He’s hiding his costume under his coat, but we can see the beginnings of what the aesthetic might be given the stardust-like eyeshadow and eyeliner he’s sporting.

His momentary peace is destroyed when Isadora slams open the door and stomps towards him, hands on hips.

Isadora: There you are! Do you know how stressed I am already attempting to manage everyone before this absolutely convoluted last-minute showdown showcase without you deciding to disappear off the face of the earth? Why the hell are you out here?

A couple of other patrons stare at them, then awkwardly retreat towards the other side of the roof. Theater kids. Farkle glances around them to see if anyone else reacted, then mutters a halfhearted apology. Isadora sighs, unimpressed, but shifts her demeanor to be less threatening (or at least, she tries).

Isadora: What’s going on with you? You haven’t been in your right mind recently and I’m starting to worry. 

Farkle, dryly: Do I even have a right mind to be in? 

Isadora: I’m assuming that’s rhetorical, so I won’t respond. Just tell me what’s wrong and I’ll fix it. 

Farkle: Nothing you can do. Or anybody. I’m cursed. This is just something I have to deal with on my own.

Isadora scoffs and rolls her eyes. 

Isadora: You’re being such a little bitch right now. 

Farkle, surprised: Excuse me?

Isadora: You’ve been spaced out for days, you drop out of the showcase, you hide yourself away from everybody. Fine, do what you have to do. But at least tell me why. Don’t just sit there moaning like a crybaby about dealing with it by yourself. If you tell me, then you don’t have to do it alone. Simple. 

Farkle: But there’s nothing you can do to help. Why bother you with my stuff when you’re so stressed already?

With a sigh, Isadora sits down next to him. 

Isadora: You being all depressed and closed off is one of the main things stressing me out, for your information. 

Farkle: [ relenting ] Fine. My therapist told me that I’m bipolar.

And there it is. Out in the open, even if Farkle looks extremely sulky while saying so. Isadora nods at the reveal, not all that surprised. 

Isadora: That makes sense. It was one of the things I suspected you might have. 

Farkle: One of?

Isadora: Oh, I had a whole list of possible diagnoses for you. How are you dealing with it? You don’t seem particularly happy about it.

No kidding. Farkle explains how he’s struggling to grapple with the diagnosis, and how it’s thrown his entire sense of identity into question. Isadora listens to him carefully, nodding along while she thinks. 

Isadora: I get that. When my social worker first told me that she suspected I might be autistic, I hated it. I only knew about autism through Rain Man and Sheldon Cooper, so I wasn’t thrilled. I thought it meant that I was an antisocial freak who could never make friends. But as I learned more about it, the more I like… made sense to myself. It wasn’t just me against the world anymore -- there were other people out there like me, who understood me. 

Farkle: I’ve been researching a lot, but that hasn’t helped. 

Isadora: Have you joined any online communities? Read about it from an actual bipolar person’s perspective?

Farkle admits that he hasn’t, so Isadora suggests that he do that. 

Isadora: I know that right now it’s scary -- like your entire world has changed and you no longer fit into it. But you’re still the same Farkle, and we’re still the same world. Nothing has changed except for a label; a label which will allow you to access resources that will actually help you. 

Farkle: What helped you come to terms with your diagnosis? 

Isadora: Lucas and Riley. I got diagnosed in middle school, and I didn’t really have any friends then. When I started at Triple A, I did a lot of research on how to cope in high school and make friends. It all felt way too forced and awkward, and I was so sure that I would never have any. That because of the way I was, I would also be an outcast. [ a beat as she remembers ] With Lucas, everything happened naturally. We just clicked, and started to spend almost all our time together. 

Farkle, under his breath: Codependency...

Isadora: He made me realize that I could have friends, and that I was enough exactly as I am. Then, sophomore year, Riley came along. I had to make an effort to be friends with her, there was compromise and a lot of learning moments. She helped me whenever I was struggling and didn’t judge me for my mistakes. They both accepted and loved me wholly. [ looking to Farkle ] I accept and love you wholly, Farkle. And I will be here to help you figure it out, I promise.

As Isadora gives him a warm smile, Farkle seems unable to speak. His eyes are glossy, but shining with something else too as he looks at her. He swallows before thanking her.

She stands up and offers him a hand.

Isadora: Will you come downstairs and participate now?

Despite not needing to, Farkle takes Isadora’s hand to help pull him up. Isadora lets go as soon as he’s up, but he’ll take it. As the bouncy and energetic percussion of “Seize the Day” slowly grows louder from below…

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

Haverford is running through the tail-end of their opening number, giving an excellent show already. Considering Brandon gifted Charlie the opportunity to take the solo in the first place, he steps back into it effortlessly, so it’s not as though they’re completely hobbled without him. Still, the dancing isn’t quite as precise, not exactly as compelling, and Brandon lacks his earnest spark that left such an impression the first time around.

But they’re not at all out of the race. They’re still intimidating competition to be up against, and they’re leaving nothing to chance. The applause is effusive as the lights dim and they wrap up the Newsies number, quickly rearranging formation to get ready for the next one.

This is when Charlie makes his entrance, quietly moving through the house and finding a couple free seats in the back center section. He settles into a spot just as Haverford is beginning their second, new number, the lights brightening again.

Song Cue ♫ ♪ “Sherry” as performed by Franki Valli & The Four Seasons || Performed by Haverford Seniors

Dweezil starts us off front and center, the rest of the boys standing in formation behind him as the jaunty, rhythmic orchestration kicks off. He takes the lead due to his impressive falsetto, and when he starts to step along in some simple movements to the beat, the boys layer in on the harmonies and echo his movements. It creates that same chilling, enchanting effect they showed us from their first performance in 301, the sensation of watching a machine in perfect sync.

And Brandon’s strategic adjustment of their setlist is on full display with their new choice. It’s indisputably classic, a callback to different times and classier days, which is a major deviation from AAA’s original contemporary setlist. The simple choreography allows them to emphasize their well-oiled machine feature, and the choice shows off their harmonies and vocal range just as much if not better than another pop hit from PRETTYMUCH.

It’s impossible not to tap your foot along, and without a doubt will butter up the older judges who feel rosy about that era. Say what you want about Brandon, but there’s no denying the man thinks of everything.

INT. SHOWDOWN FINALS VENUE - PARKING GARAGE - DAY

Nigel, Yindra, and Zay finally arrive, wasting no time in hopping out of the car and booking it. Nigel freezes halfway around the front, eyes wide, while Zay scrambles to get out of the backseat with one good foot.

Nigel: Pass. I need a pass. Where do I get a pass?

Yindra: [ slamming the car door ] No time!

Nigel: I need a pass or I’m gonna get a ticket!

Yindra: THEN GET A TICKET.

Nigel lets out another exasperated yell, hoping for the best and starting to sprint after Yindra. Zay tries to hobble after them, but he’s not nearly fast enough.

Zay: Um, guys --

Nigel: Zay --

Zay: No, it’s fine. I’ll make it eventually. Go on without me. Save yourselves.

Nigel: I swear, damn Shakespearean tragedy in this trio --

Yindra glances between them, then back at Zay, conflicted. But she doesn’t want to leave him behind…

Yindra: Oh, for fuck’s sake.

EXT. SHOWDOWN FINALS VENUE - DAY

The three of them emerge from the garage and make for the steps up to the main entrance, Yindra now carrying Zay piggyback style while Nigel takes the lead. He makes it to the top of the steps, shouting for them to hurry up.

Yindra: Excuse me, you’re not the one carrying another person! No, I had to because of your frail vegetarian bones!

Nigel: Vegetarianism has nothing to do with your bones, in fact studies show it improves --

Yindra/Zay: NOT NOW.

Zay: Go, go, go!

Nigel holds open the door for them to zoom past, diving in after them.

INT. SHOWDOWN FINALS VENUE - DRESSING ROOM - DAY

The A class has assembled in the dressing room together while the Havies finish their set. They’re mostly all dressed up and ready to go, though it’s obvious elements of their costumes are missing.

The girls are dressed in shimmery leotards with intricate detailing on the bodices,  alternating in either silver or gold, and lower halves that are closer to shorts than an actual leotards would be. The only exception is Yindra’s, still hanging on the rack, which is ruby red. They also vary in sleeve length, some closer to tanks while others have long sleeves similar to this. The boys are dressed in red dress shirts that appear to match the design of the leotards, but they’re currently concealed under sleek but breathable black suit jackets, and their pants are silky and alternate in either silver or gold.

On top of traditional stage makeup, the girls also have a bit of rouge to accent the color scheme and bright red lips. Every single one of the performers has shimmery gold eyeshadow accenting their eyeliner, and Darby and Chai are taking careful care to give each of them a sprinkling of crimson rhinestones just around the corners of their eyes.

Riley is just finishing up pinning her hair, styled so it’s tumbling stylishly over one shoulder but will hold. She’s been trying to keep it cool all afternoon but the nerves are starting to creep up on her now -- especially since once again so many of them are missing down to the wire. Maybe they won’t be able to pull it together in the nick of time after all…

Isadora is also feeling the pressure, marching back into the dressing room with Farkle in tow. Her tenderness from that conversation is long gone. Darby gestures Farkle over to get his crimson added, while Isadora threatens to implode over the fact that certain people still aren’t here. Are they trying to send her into cardiac arrest? Maya raises her eyebrows from where she’s volumizing her award-winning golden locks, fussing it up with her hands to give it that starkissed quality.

Maya: Wow. Is that what I sound like?

Yogi: Most of the time, yes.

Maya: Well. Happy to hear I sound like a passionate, intense woman with vision.

Chai tries to calm Isadora, tentatively reaching out and patting her shoulder. Isadora allows the touch, willing to take serenity from any source right now.

Sarah, Missy, and Nate all rush into the room at the same time, claiming that they’ve bought them a little more time. Sarah says she complained to one of the stage managers so much about something nitpicky that they almost started crying, so now they’re pausing to fix it; Nate straight up just stole one of the announcers microphones and hid it so now they’re stalling to look for it. And Missy paid off one of the stagehands to get the crowd to do a 7th-inning style stretch like in baseball, just for theater nerds.

Darby: Seriously? I didn’t think they’d go with something silly like that.

Missy: When someone slides over a few hundreds, people will do anything.

Maybe so. If it buys them even a few more minutes before they have to get ready to hit their marks, so be it.

Thankfully, the cavalry rolls up just in time. Nigel and Yindra race through the doors, everyone exclaiming palpable relief. Yindra waves them all off and immediately grabs her leotard to start changing, wondering if they’ve gotten the rest of their costumes yet. Zay limps in a few moments later, everyone greeting him cheerfully in spite of their anxieties.

Riley slides over and pulls him into a tight hug.

Riley: I’m so glad you came.

Zay: Yeah, well, I’ve got good friends and am attracting wake-up calls like a magnet these days. Honestly, if this one could be the last one for a while, I’d appreciate it.

With that, Zay wishes all of them the best of luck, assuring them he’ll be out there cheering them on. They cheer him off, then frantically go back to pulling themselves together.

The last missing link swoops in just as Zay disappears, Jade entering to great fanfare with Dave, Jeff, and Lucas on her heels. They’re carrying the last remaining costume pieces, basically hot off the sewing machine, Jade holding a pretty-looking gauzy fabric in her arms while the boys are holding bulkier items.

Jade: Okay, now we’re ready to roll.

Riley, in awe: Jade, you are a genius.

All of them gleefully commend Jade for her hard work, swarming the boys to get their last costume piece -- for the girls, blazers similar to the ones the boys already have. But they’re glossy silver and gold, at least as far as we can see. Nigel is staring at Jade, mouth parted open, once again struck by how she manages to pull off the impossible.

Jade: Make sure you’re picking one that matches your leotard, and remember when you do the reverse to move gently, even though you’re moving fast. These are durable, but you don’t want to risk tearing it apart in the middle of the set.

Then Jade gestures Yindra forward, handing off the last piece to her. She tells her how to put it on and fasten it correctly, and also how to remove it correctly while still allowing for showy flair. But she knows she can handle it -- and it was custom-made for her, so.

Yindra: My very own Jade Beamon original. [ with a grin ] Coveted rite of diva passage.

Jade beams. But their nice moment is interrupted -- and from a very uncommon source of interruption, at that.

Nigel, boldly: Jade.

She jumps lightly, swiveling to find him. Yindra makes a face, stepping back a bit, and it’s like the seas part for them to be able to see each other. The entire A class goes silent -- a rare feat -- watching the interaction with rapt interest.

Jade: … yes?

Well, he’s done it now. Now is the moment to say what he needs to say -- if he fumbles it now, he may not ever get the frenzied courage to speak again. He takes a deep breath, holding her gaze, speaking confidently even though he’s breathless.

Nigel: You are the most incredible person I’ve ever met.

Jade has stopped breathing, standing like a deer in headlights at the center of the room. She knows all eyes are on her, and that shy part of her core is quaking… but there’s a hopeful gleam in her eyes, too. An electricity that doesn’t let her look away, doesn’t let her even think about escape. And she doesn’t want to anyway. This moment is something she’s daydreamed about since she was fourteen... is it finally actually happening…

Jade: … yeah?

Nigel: Yes. You outshine everything else. You never cease to amaze me, you consistently pull off the impossible. You’re insanely talented, and yet you’re one of the most down-to-earth people I know. I like down-to-earth.

With each statement, Nigel slowly closes the distance between them, coming to join her at the center. She doesn’t stop him, not able to do anything but keep looking at him.

Nigel: I like you.

Jade: Oh.

Nigel: And I know I’m quiet, and hesitant, and don’t usually speak my mind. I’ve been distracted, and clueless, and some have even called me a chickenshit.

Yindra, quietly: Well, we don’t need to bring that up right now...

Nigel: I know all that, and I know it hurt you. It made you unsure, and I completely get that. But I’m not distracted now. I’ve got a clue. And I’m not scared anymore.

He’s right in front of her now, only a bit of space between them. Jade gazes up at him, holding her ground, but that hopeful gleam has spread into an aura. It’s bouncing between them, it’s filling up the room.

Nigel, softly: And I don’t know if I’ll ever stop being quiet --

Jade: … I like quiet…

Nigel: But I’m speaking up now. I’ll speak as loud as I need to make sure you hear it. I like you. I like you, Jade Beamon. And if you’re not too busy being the incredible woman you are… I’d like to take you on a date.

Whew! The class is holding their breath, riveted like it’s their very own TV show, waiting to see what happens next. There’s a pause, a beat of uncertainty where we don’t know what direction things are going to go… and then Jade breaks into a smile.

Jade: Yeah. [ nodding eagerly ] Yeah, okay, I’d like that.

VICTORY! Not the main one of the evening, but a victory nonetheless. Nigel mirrors her smile, obviously relieved, as the Yogi starts an uproarious clap that the rest of the class echoes. Once they’ve just a few moments to soak it in, Lucas clears his throat.

Lucas: This is nice, and everything, but is it really the best time…

Nigel snaps his head to look at him, smile dropping. His expression is incredulous.

Nigel: Are you kidding me? For real? As if you all haven’t been making dramatic scenes and making everything about you for the last three years?!

Maya: Well.

Nigel: But no, I make one statement one time --

Yindra, to Darby: I swear, whatever Nigel is on today, I want some of it.

His (perhaps righteous) tirade towards the mains is cut short, though, an usher popping his head in and explaining that they finally found that missing microphone. So they should be backstage for places in about five minutes and counting.

That’s one way to get everyone back on track. Lucas tells Dave and Nate to go head backstage, the two of them exchanging quick bro hugs with Dylan, Asher, and Jeff and wishing them luck before they zoom off. Lucas takes one last second to reach Riley, taking her hand and accepting the brief kiss she gives him automatically. They keep their foreheads pressed together, pretending for an instant amidst the chaos that it’s just the two of them.

Lucas: You look amazing. You’re going to kill this thing.

Riley: Ditto. [ breathy ] I love you.

Lucas nods, opening his mouth as if he’s going to respond. Like he’s going to say it back, like it’s right on the tip of his tongue… but it doesn’t come. Not yet. He kisses her again instead, pointedly, then he pulls away and dashes out after Nate and Dave. Missy eyes him as he goes, expression hard to read.

Riley takes a deep breath, holds it, lets it go, and spins to rally the troops together. She gathers them in a circle and Maya leads them in an empowering but kickass -- and classically Maya -- pep talk to hype them up. Then Dylan takes the lead, putting his hand in the middle. The rest of them follow without hesitation, and he leads them in the war-cry pump-up ritual he usually  leads the techies in before shows. Let’s go, Triple A. Let’s go, Triple A. LET’S GO, TRIPLE A --

Then they throw their arms in the air, full to bursting with infectious energy as they look towards the ceiling -- or in this case, at us, looking down on them from above.

LET’S GO!

Break 2.

INT. SHOWDOWN FINALS VENUE - LOBBY - DAY

A couple of light dings and the venue lights dimming and rising indicate to those mingling outside that the intermission between competitors is nearing its end. Charlie finishes the cup of water he was drinking, tossing it into the recycling and turning to head back towards the auditorium -- when he locks eyes with Zay, also slowly making his way in that direction from the dressing room hall. Charlie approaches uncertainly.

Charlie: Hi.

Zay, awkwardly: Hey. [ eyeing his plain clothes ] What are you doing out here? Shouldn’t you be backstage, embroiled in a post-performance high?

Charlie: [ with a nervous laugh ] Actually, no. I chose not to perform.

Zay raises his eyebrows, surprised. His non-answer begs for further explanation, though, so Charlie shyly elaborates.

Charlie: It just didn’t feel right. Don’t get me wrong, it was fun, getting to be front and center for a time. Try something new. But going up against you all… I don’t know. Just didn’t feel like me.

Zay: I bet nefarious factors behind the scenes didn’t improve that feeling either.

Charlie: No, yeah… yeah, that didn’t help. [ with a shrug ] Oh well. Just one performance, right? No big deal.

But it is. It’s one of the biggest deals of the year, and they both know it. Charlie sacrificed his chance to be a part of it, and risked a lot more in telling them the truth so they could save their routine -- and yet, that doesn’t feel out of character for him at all. Zay knows all too well.

Zay: Well, at least you didn’t fully turn yourself over to the dark side. [ off his amused head shake ] I guess it’s nice to hear that even with all the other changes, you’ve managed to remember who you are.

Charlie: … maybe, yeah. But thanks. That means a lot, coming from you.

He should know, as perhaps the only person who ever really knew him in the first place. The sentiment lingers between them, trapping them back in that uncertain space of not knowing exactly where they stand. It looks like Charlie wants to say more, but the intercom dings again, signaling that Adams’ performance is imminent.

Charlie: It’s great you could be here to support them, though. Even though you can’t perform yourself. [ a beat ] I’ve got a seat open next to me… you know, if you haven’t settled anywhere yet.

Another beat of hesitancy… and then Zay nods.

Zay: Since the rest of my crew is a little busy… yeah. That’d be cool.

Just the right amount of arrogance and graciousness, and a perfect dose of Zay. Charlie smiles instinctively, the two of them heading towards the doors together.

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

The lights dim, the announcer introducing Adams Academy of the Arts as the next showcase. The curtain is closed, and behind it the performers are heading to their places. Dave, Nate, and Jade, dressed in all black, are gearing up their rolling flats backstage for when they’re needed. A few rows of steps have been installed in the back leading to a high point where a doorway disappears to backstage, but nearly all of the A class is arranged in windows in front of it on the stage. They’re facing away from the audience, which is nice, because it gives them the chance to steel themselves before the number truly kicks off and the games begin.

Riley weaves through her classmates, wishing them all good luck as she finds her place on the stage. And just in the nick of time, as the announcers are just wrapping up their summary of their team and passing them the floor.

INT. SHOWDOWN FINALS VENUE - TECHNICIAN’S BOOTH - DAY

Lucas is up in the booth, headset on, fitting in surprisingly well with the rest of the professional technicians working the event. He’s on the lighting board, sound levels a reach away, and the other workers give him a wide berth to do whatever he needs to do. His glare is determined.

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

So, without further ado… Riley takes a deep breath, centering herself. The curtain rises...

It’s now or never. The time has finally come for Adams to showcase everything they’ve got -- and they are going to damn well try.

Song Cue ♫ ♪ “There She Goes! / Fame” as performed by Fame - The Musical Original Cast || Performed by Yindra Amino (feat. AAA Seniors)

We’ve heard this track before, back in Maya’s dream sequence, but it’s got a new coat of paint and we’re turning the volume up to eleven. Yindra appears at the top of the stairs to kick off the vocals, the A class still theatrically turned towards her. Her full costume is now apparent, the final piece a sheer gauzy red dress wrap, similar to what Taylor Swift wore on her reputation Tour. It’s vibrant and saucy, perfect to swish and flick as Yindra steals the show.

About thirty seconds in she begins her descent down the stairs, Dylan and Jeff jogging up the steps to meet her and guide her down. When they get close to the bottom, they lift her by the arms and do a spin, placing back down as the A class parts to let her through. She makes it through the class and playfully flirts with most of them as she goes, matching the tone of the number effortlessly. She makes it back to the steps just in time for the belt before the dance break, lifting her arms to the sky and swinging her hips.

Everything is beautiful up here in the clouds!

Then we jump into the dance, really allowing the A class to take flight. They sharply in unison, demonstrating only the first tastes of Zay’s savvy choreography. Yindra makes it back to the front to lead the pack when they get to the chorus (“Fame! I wanna live forever…”)

Then an unexpected soloist takes over when we switch into Spanish, Asher jumping to the front and channeling diva. He’s the only boy with his suit jacket unbuttoned, letting more red bleed through and also helping him stand out. The reason he can stomach taking on the challenge is clear with Dylan right behind him, acting as his dance partner and taking center stage with him when they shift to the salsa bit at 2:20. The rest of the A class has paired off too, including Haley & Clarissa, Jeff & Yindra, Isadora & Chai, and Farkle & Riley.

Asher delivers a killer vocal run, and it appears he has been doing his stretches since “If I Didn’t Have You” in 302, because this time when Dylan dips him at the transition, they nail it perfectly.

Then the dance truly takes over, the front of the stage clearing for solo dance moments to take spotlight. This starts with Haley, doing a few ballet moves, and then passes to other classmates -- Chai, Maya with a dazzling split and leg kick. But the true star of the dance break is Jeff, bringing those promised break dance moves and earning cheers from the audience. Then he and Yindra dance together for the remainder of the break, making impressive salsa partners and definitely fulfilling a daydream for her little lesbian crush on him.

As the dance break winds down, Yindra makes her way back up the steps, the boys chasing her up, so that when she starts again on the pre-chorus (“I’m on top of the charts…”), she can lean on them effortlessly. She slides across Dylan’s shoulders and then leans into a lift, Dylan, Farkle, Nigel, and Yogi holding her sideways across them and bringing her back down to the stage. On the next line (“I’m on top in their hearts…”), the boys rotate her around before depositing her front and center stage again.

As she launches into the final chorus at about 3:45, Yindra backs into dead center as her classmates weave in circles around her, the vocals and energy building in intensity. The lights glow from their rosy, warm hues and transition closer and closer to red. On the last line, Yindra gives it her all, allowing Dylan and Nigel to lift her up onto their shoulders high above the rest as she throws her arms up in a final declarative diva pose.

Remember my name!

The lights turn blood red, casting the A class in shadow. The resounding applause is well earned. Zay and Charlie are on the edge of their seats, clapping enthusiastically. Assuming correctly that that was the dance standout of the set, Charlie braves nudging Zay with his elbow, which he glances at and then smiles in return.

Backstage, though, Haverford seems less pleased. This is not at all what they saw from semis. Brandon glowers with his arms crossed, Billy shaking his head in frustration behind him.

On stage, the A class works quickly in the brief transition. Nigel strips off his suit jacket and hands it to Yindra, who has just stripped off her sheer dress and is now down to her ruby leotard that otherwise matches her peers. She slips on the jacket while the other A class girls take theirs off and flip them inside out, now also black like the boys. Nate darts on stage to grab the discarded dress and then all the boys disperse, leaving just the A class girls on stage in a line with their heads downcast. The anticipation builds…

Song Cue ♫ ♪ “The Man” as performed by Taylor Swift || Performed by AAA Senior Ladies

[ Lyrics specific to characters -- follow along here! ]

Maya brings the setlist back to life, tilting her chin up and launching into the first verse. She moves sharply but fluidly, reanimating each of her fellow girls as she struts and spins past them along the front of the stage. When she reaches the end and spots Brandon scowling in the wings, she gives him a cocky little head tilt, flipping her hair as she spins back around.

Every conquest I made would make me more of a boss to you

Riley takes over from there as the “fearless leader,” and from there it’s a strong, upbeat showing from the senior A class women. Each one has a solo, as indicated by the lyric sheet, and the choreography is simple but effective. Their reversible blazers show off Jade’s creative costuming as well as echo the presence of the boys in the previous number, driving home the theme.

Brandon isn���t the only one who can strategize a setlist. With this female-dominated interlude, Adams not only showcases one of the biggest assets they have against Haverford -- women -- they essentially get a fun musical fuck-you towards them out of it too.

All the girls come together for the end of the number, creating a sisterhood-type formation with their arms around each other and at varying levels -- crouching, standing straight, etc. -- while Maya stands front center. She delivers the airy final lyrics, a teasing smile on her lips as she smirks at the audience.

If I was a man… then I’d be the man…

The lights dim again, darkening the stage for transition into the final number in AAA’s setlist. Eric glances to his program, eyes widening in surprise. He elbows Harper and leans over to talk to both her and Jack.

Eric: They did everything for this by themselves?

Harper nods proudly. That’s right! And as for why Eric is so surprised, we’re about to find out. This is the time to make a lasting impression… as the lights rise on Adams’ final number…

Song Cue ♫ ♪ “Bellas Finals Mash Up” as performed by Pitch Perfect Original Cast || Performed by AAA Seniors

[ Lyrics specific to characters -- follow along here! ]

Okay, quick disclaimer. The mash-up performed here is not the same arrangement as the Barden Bellas. But we aren’t mash-up creators, nor would we ever pretend to be (I only write fake lyrics on TV), and this performance has the perfect ebb and flow of how we envision the A class’s final track unfolds. So while we’re providing a lyric sheet and encouraging you to listen to the song to get immersed in what the performance would feel like, keep in mind that it wouldn’t be the exact same songs and arrangement.

But it is impressive, because for the A class mash-up, they put it together all on their own. Farkle, Nate, and Clarissa wrote and arranged the conglomeration of songs, and they made it a capella for easier preparation. So it’s nothing but high energy and the A class harmonizing powerfully throughout -- putting a dent in Haverford’s usual boast of having mastery of harmonies unlike anyone else.

The A class starts demurely on stage, back in group formation, Nigel at the front to kick us off. His smooth, unassuming tenor is perfect for the gentle opening, easing the crowd back into the music before the performance erupts in a burst of sound, movement, and energy. All of them strip off their suit jackets and toss them aside, Yogi energetically taking over the next part of the mash-up with more of a rap-like, fast-paced cadence. With the suit jackets gone, Jade’s designs finally shine at full power -- intricate and mesmerizing design on both the leotards and dress shirts, each one the slightest bit unique yet a united aesthetic, creating a shimmering, captivating visual like firelight as they move and dance. Behind them, Nate and Dave inconspicuously but groovily swoop and grab all of the discarded jackets that didn’t make it backstage, both not meant to be noticed and yet seamlessly a part of the performance.

As the mash-up transitions into a more thoughtful ballad type -- though that infectious engine is still running underneath it all -- Riley takes the reins, bringing her usual level of enchantment as she moves along to the beat and weaves around her classmates, dancing with each of them.

When she makes it back to the front for the pseudo-bridge (“As you walk on by… will you call my name…”) and the A class moves into a new triangle formation behind her, she raises her gaze upward and towards the booth. Even though she can’t see him through the lights…

INT. SHOWDOWN FINALS VENUE - TECHNICIAN’S BOOTH - DAY

The intent behind the moment is clear. She’s looking to Lucas, a secret message shared between the two of them. A small smile blooms on his face, and he reaches for a slider…

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

And the spotlight on Riley brightens, just enough that she’d notice. Her smile widens, already dazzling in show business mode, and she launches into the choreography at the tail-end of her segment around about 1:40 with deeper enthusiasm than ever. Her classmates back her up, all of them moving in unison until they swap numbers again, Isadora taking over.

Then Chai jumps in, having a trio moment at the front with Darby and Sarah as they slide through their section of the mash-up. Then Jeff pipes up, doing an AMBITION first as he raps on the next bit with Yogi backing him up. Farkle theatrically pushes between both of them to take his solo (the Rebel Wilson one, though he sings it a lot less… oddly than she does), seemingly back in shape diva wise at least for this one slice of performance. He and Isadora pass the vocal runs back and forth, spinning around each other and half-dancing together, backing away from each other as the build to the final act comes to fruition.

Then Maya’s vocals pull out all the stops, up on the steps while Riley heads the front of the formation below. Dylan and Asher are right behind her as right and left hand -- until Dylan breaks rank to really bring the house down, running into a front flip across the stage. He pops upright, winks at the audience, then cartwheels and back handsprings the other way, before returning to his place for the last hurrah.

The audience is fully enthralled, on their feet and clapping along. Eric, Jack, and Harper can’t hold back their grins, pride shining in their eyes. Even Shawn seems genuinely impressed -- Angela wipes tears from her eyes. In the back, Charlie and Zay are basically dancing along as much as they can, cheering and clapping and both looking happier than they have in weeks.

And with that, there’s nothing to do but bring it on home. The A class delivers the final segment with everything they’ve got -- well-trained harmonies, dynamite energy, and their signature charm of lovable underdogs with nothing to lose.

With the last couple of lines they break formation and return back to the places they started at the very beginning of the setlist, stomping in unison and hitting their final marks. Then they spin and drop their heads down as the stage lights go out, back where they started. As if they could wind up and do it all over again, just as spectacularly, in a New York minute. Like it’s easy.

But it’s not. We know how hard it is -- we know how hard they worked. And they did it. Somehow, regardless of what happens next, they did it.

The curtain lowers, nearly the whole house on their feet to give them thunderous applause.

INT. SHOWDOWN FINALS VENUE - DRESSING ROOM - DAY

The A class is celebrating and destressing in the dressing room, all buzzing with post-performance hype and the rush of a great show. Farkle and Maya stand together and hug each other tight, the latter clinging to him like an emotional support beanpole.

Farkle: Doesn’t matter now, does it? All that matters is we did a good job and had fun, right? Or whatever people say.

Maya: Screw that. If we don’t win, I’m burning this motherfucker down.

Zay and Charlie poke their heads in, earning uproarious reactions from all of them. Haley and Clarissa immediately rush to tackle Charlie with hugs, while Zay is swarmed with cheers and praise for his choreography. It all turned out fantastic!

Yindra: Not that there was ever any doubt.

Charlie finds a moment to get a word in, stating that he needs to go congratulate Haverford and check in with them, but he wanted to be able to tell them all the same. They were spectacular, and it was so awesome to get to see it. They all thank him, and there's this clear sense in the air that he should’ve been there with him. He belonged up there with them.

But alas. Charlie makes his exit just as the techies return, and he gives them compliments as well as they pass. Jade is also quickly laden with praise -- her costumes were perfect and definitely stole the show. Nate and Dave ambush Dylan, Asher, and Jeff, pulling them into a giant glom hug and losing their shit about how epic they were. Like, Jeff! Your dancing! And Asher, your Spanish!

Nate: I didn’t even realize you were part Latino.

Asher: … wait, seriously?

Dave: [ shaking Dylan’s shoulders happily ] And when you did the flip! And the backward flip!

Isadora watches them fondly, shaking her head, only looking away when she’s tapped on the shoulder. Chai is there, offering her a timid congratulations. They did it! And she did an amazing job with her solos.

Well, with all the extra hours she put in for her dancing… in a sudden move, Isadora reaches out and pulls Chai into a hug. Brief, but more than she allows or gives most people. It’s interesting, actually, how Chai manages to get her to do most things without thinking. Like a brashness she just brings out in her, or something.

But Chai doesn’t seem at all opposed. She’s surprised only for a moment, then she lightly returns the embrace, trying not to push it too far. When they pull away, Isadora’s touch lingers a bit longer than usual, like she isn’t sure what to do with her hands all the sudden.

Isadora: I couldn’t have joined and caught up without you, so. If I contribute at all to a victory, then it’s your contribution too.

Chai: In that case, I think we can call it a draw. [ off her confused look ] Without your friendship I wouldn’t have adjusted to coming back very well, or probably even thought to consider telling the A class about… you know, before it was almost forced out of me. And who knows where I’d be if all that were the case… anyway, I’m grateful. Funny how the most unexpected people change your life, huh?

Isadora: Yeah… it actually is.

Chai smiles, Isadora tentatively mirroring it.

Speaking of people who unexpectedly change everything… Lucas makes his way over to Riley, the latter brightening instantly when she sees him. She gives him a tight hug, and he lifts her off her feet momentarily before they break apart.

Riley: We pulled it off.

Lucas: If we manage to cinch this, you realize it’s all because of you, right? That entire thing, that was all you.

Riley, touched: … it was a team effort. But I suppose it won’t really mean much until we know.

Which could be any minute now… Riley touches his arm, getting his attention again.

Riley: I just want you to know I’m proud of you. No matter what happens with showdown.

Lucas: Again, it didn’t have much to do with me --

Riley: I’m not just talking about today. I’m talking about how you ran for president in spite of the odds, your initiative to make real change, how dedicated you are to putting them in motion. At Adams, but on your own. I know how far-off college and stuff felt to you during the summer, and now you’ve got submitted applications and new goals and a whole new future ahead of you. Not even new, but -- you’re finally seeing it, that potential that has always been there. I know that’s not nothing. I know how hard that was. But you did it. And even though it’s all stuff I knew you were capable of, every day you continue to blow me away. [ a beat ] It’s so good to see you starting to believe it too.

Wow. A lot to process, a lot of warm sentiment he wants to really take in and commit to memory forever. It’s difficult enough to process it, there’s no words in the world for him to respond with, so he settles for a smile and taking her hand instead. Lacing their fingers together, bonding them regardless of what might happen next.

Them against the world. Riley beams, squeezing his hand in return.

Perfect timing, too, because the time has come. A stagehand pops in and informs them it’s time for the announcement of the winners, beckoning them all onto stage. Yindra insists to Zay that he come with them for this -- he deserves to be up there just as much as they do.

Silence hangs over us as they head out…

INT. SHOWDOWN FINALS VENUE - BACKSTAGE HALL - DAY

The intrusive quiet follows as the A class makes their way through the backstage area, arriving back at the wings. All the anticipation of this final result building on our shoulders…

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

The announcers are teeing up the big final reveal as the A class files out, Haverford populating the other side, but it’s all muffled and quiet around us. Brandon and Maya exchange a sharp glare. Yindra and Nigel each keep one of Zay’s arms around their shoulders, holding him steady as they take the stage. Lucas, Dave, Nate, and Jade hang back in the wings, Dave wrapping Jade in a hug from behind and propping his chin on her head.

Evelyn has joined us for the final reveal, the guest announcer who gets the distinct privilege as head of the school board to announce the victor. And what an honor it is! She gives a little speech about how it’s so clear both groups worked hard, put in the time and the effort, and have more than enough talent to spare. But alas, only one can win.

Evelyn: So let’s get to what you’re all waiting for -- the results. Without further ado, the winner of the 2020 Senior Showdown: Manhattan is…

It’s the most excruciating wait in the world. Zay clasps Riley’s shoulder from behind, squeezing tight. Haley links her arm tight with Clarissa’s and closes her eyes; Asher hides behind Dylan and tucks his head against his back, their hands clasped together. Maya reaches to take Farkle and Isadora’s hands, flanked on either side of her.

In the audience, Harper grips both Jack and Eric’s arms, all of them on the edge of their seats. Charlie is alone in the back but rapt with attention, hands clasped together in front of his mouth. He’s holding his breath, a prayer shining in his eyes -- but who he’s directing those wishes towards, it’s impossible to say…

And then in a moment, it’s done.

Evelyn: Congratulations to the talented seniors of Adams Academy for the Arts!

The chaos is instantaneous. The audience erupts into cheer as the A class breaks free from their paralysis, bursting into joyful hysteria. The Adams faculty leap out of their seats with equal elation, relieved and overwhelmed with pride. Now Angela isn’t the only one crying -- Eric and Harper have joined her with their own tears. Charlie applauds wildly, shouting out a cheer.

But nothing can compare to the mood within the class. It’s impossible to describe. Dylan picks up Asher and spins him around. Riley whips around and rams into Zay to hug him, shaking with excitement. Nigel runs off stage and pulls Jade out to join them, grasping her hand the entire time, and Dave and Nate eagerly follow. Darby, Chai, and Sarah jump in a hug together, and Yogi does a victory yodel.

Farkle pulls Isadora and Maya to him in a bone-crushing hug, before releasing the latter to go accept the trophy for Adams from the announcers. She faux graciously accepts the trophy and then turns to have a good, old-fashioned “good game” handshake with Brandon. They appear pleasant enough to the audience, but their grip on each other is vice tight.

Then the humility is over, the Haverford boys retreat, and Maya holds up the trophy for them all to see. VICTORY, BITCHES! They all swarm to center stage to meet her and it, dizzy with their change in fortune.

Except Riley. She heads in the opposite direction, marching into the wings straight for Lucas. She doesn’t hesitate the moment she reaches him, pulling him into a deep, enthusiastic kiss. Lucas returns it, too lost in the euphoria for a moment to be self-conscious, gripping her waist to keep her steady and pull her closer.

An undeniably beautiful moment -- save for the way Missy eyes it disdainfully from amidst the celebrating circle of her peers.

But even her potential jealousy can’t spoil the mood. They did it -- Adams Academy are the champions of senior showdown.

EXT. SHOWDOWN FINALS VENUE - NIGHT

Night has descended upon them over the course of the event, the driveway and streets around the venue bright with headlights as ride shares and drivers make their way home.

Charlie is standing in the cold evening air, hands stuffed in his pockets and breath creating steam in front of him. He perks up when he spots who he’s waiting for, Brandon emerging from the building and descending the steps. His expression is grim in the wake of Haverford’s loss, and it doesn’t bounce back to its usual crisp confidence quite so effortlessly when he finds Charlie at the bottom of the steps.

Brandon: Charles. Don’t see any reason for you to be hanging around this late -- considering you weren’t a participant.

Charlie: Yeah, I know. I just wanted… I was hoping to catch you before you left. You weren’t in the room when I caught up with the boys before the results, so…

So. Brandon grants him a moment, standing opposite him and raising his eyebrows. Go on. Charlie clears his throat.

Charlie: I wanted to say how great I thought you guys were. You killed the set. And “Sherry” was a great choice. I’m sorry I doubted it.

Brandon: Not good enough, apparently. But thank you.

Charlie: … it’s okay that you didn’t win. I hope you know that. Six years is a heavy burden to carry on your shoulders. At least now you’re free of it, right?

Brandon: I suppose that’s one way to look at ending a proud tradition every senior class before you has pulled off seamlessly. Though I can’t deny the A class gave an impressive showing. [ a beat ] Interesting, how they completely reset their entire performance. It was nothing like what I’d heard about it.

Oop. For just an instant, Charlie panics, but he recovers quickly.

Charlie: Yeah, well, Riley told me they just felt like they needed to switch things up. Get a fresh start, you know? Kind of like your thinking with “Sherry.” Safe doesn’t win showdown, right?

Brandon: [ not buying it ] Sure.

Either way, Charlie thinks they did well, and they have nothing to be ashamed of for not winning. He’ll do his best to try and bolster spirits on Monday. A charming offer, one which Brandon merely nods to acknowledge. For now, at least in the immediate aftermath of stinging failure, the new kid warmth he displayed towards Charlie is long gone.

Still, he can’t relinquish having the last word. After Charlie bids him goodnight and starts down the sidewalk, Brandon suddenly calls after him.

Brandon: Charles.

Charlie stops, turning to look at him again. Not sure what to expect -- a reprimand? The fabled dark side everyone keeps alluding to? Maybe a thank you for his kind words?

Brandon offers none of the above. He maintains his chilly demeanor but infuses it with his usual suave delivery, giving him another nod.

Brandon: Enjoy the rest of your weekend.

To Charlie, this simply seems nice. A good sign if nothing else. He smiles, then continues on his journey home. But when Brandon spins back to face the street, his expression is far from pleasant.

Perhaps he’s granting Charlie one last courtesy. He should enjoy this weekend as much as he can -- afterwards, perhaps enjoyment may not be so easy to find.

INT. AAA - ATRIUM - DAY

Sunday morning, bright and early, the school is more populated than usual. A small group is present to watch HARLEY KEINER unlock the trophy case and load their new one into it, placing it front and center with the utmost care. Jack is there to supervise, while Lucas, Dylan, and Asher came to witness the moment for themselves.

Dylan: Thanks for your service, sir.

Harley: Oh, no no, thank you. It’s been too many years since I got to update the display with this bad boy -- props to you folks for bringing him home.

And what a happy homecoming it is! Lucas steps forward to look for himself, the gleaming proof of his victory staring back at them. Representative of all the money about to come their way, to fund his initiative at least for a time.

He can’t help but grin, spinning back around to face the others. He loftily holds his arms out, sauntering forward and giving a cheeky bow. Then another, really milking the moment. Dylan and Asher break into theatrical applause, allowing him the silliness.

Lucas: Thank you, thank you very much.

They meet him in the middle and both throw their arms around his shoulders, and Lucas doesn’t shy away from the contact. Dylan starts playfully singing the chorus “We Are the Champions,” Asher quickly harmonizing, and even Lucas joins in as they amble towards the doors.

Lucas/Dylan/Asher: No time for losers, cause we are the champions!

Dylan: OF THE WOOOOOOORLD --

Jack watches them go, amused at their antics. Soaking in the moment of pride, of peace, in the school that despite its hell, he loves more than anything. He crosses his arms and meanders his way back to his office, humming the Queen song to himself as if it’s contagious.

INT. BABINEAUX HOME - ZAY’S BEDROOM - DAY

Despite it not being anywhere near the way he imagined it, Zay finally submits his application to Turner. And this time in facing it he’s not alone, Yindra and Nigel both plopped on the bed next to him and encouraging him to do it right up until the moment it’s official.

He thanks them for everything, acknowledging Nigel’s argument that he’s glad he didn’t miss showdown. Nigel agrees it’s definitely going to be something they remember for a long time, especially now with the sweet addition of victory.

Yindra: Um, yeah, and how am I ever gonna forget your big speech to Jade? Like hello?

Zay: It was pretty ballsy. We might have to tell him about the contingency plan.

Yindra: Ooh… are we sure? Do we think he’s ready?

Nigel: What plan?

Yindra: We need a Michelle, Zay. Do we think he has what it takes to be a Michelle?

Nigel: To be a whomst?

Yindra and Zay exchange a conspiratorial look. Yindra claims this is their big plan for success, if their own solo endeavors don’t pan out.

Zay: So. Destiny’s Child --

INT. THERAPIST’S OFFICE - NIGHT

Farkle is meeting with DR. MICHELLE HAN again after a week or so of avoiding her, in his usual spot on the couch. But this time he’s sitting upright, and he’s got company -- both STUART MINKUS and JENNIFER MINKUS are with him. Nervous but resolute, Farkle claims that he’s ready to discuss the bipolar diagnosis further, especially in figuring out where they go from here and what he can do to live with it.

Dr. Han is pleased, happy to oblige. She tells him she’s glad he came around to it on his own terms, then begins to discuss the nuances of the condition. Jennifer glances to Farkle next to her, placing her hand on his forearm and giving it a supportive squeeze.

INT. YINDRA’S CHURCH - NIGHT

Charlie enters a large church we recognize as Yindra’s, only much more empty on a weekday evening than Sunday morning. The lights are all on, and there are various people dotted around. The PASTOR, an elderly black man with a wise aura and mischievous gleam in his eyes, is talking pleasantly with two elderly ladies to the side.

They eye Charlie as he walks past them towards the rows of seats. He has a lightness about him that wasn’t there the last time we saw him in his own church, but there are still remnants of his usual anxious state.

He walks up to the stage that Yindra and the gospel choir performed on and stops in the forestage. There are three banners decorating the wall in front of him, in white, purple and blue, featuring the cross, ichthys, and a flame. A very different vibe from his usual Catholic church, but comforting all the same.

Once he’s free of the church ladies, the pastor approaches Charlie.

Pastor: Hello, young man. What brings you here at this time of night? 

Charlie: Hi. Sorry if I’m intruding at all. [ off his nod of reassurance ] I came here the other week with my friend Yindra -- Yindra Amino, in the choir?

Pastor: Ah, yes. I know the Aminos quite well. Yindra is a lovely girl.

Charlie: I’m Catholic, but it just seemed so happy and… cool here, so I… well, I have something I need to say to God, and I ended up here. I hope that’s okay. 

Pastor: Of course. We welcome everybody, always. [ with a warm smile ] I’ll leave you and the big guy to it.

He gives him a fatherly pat on the shoulder, then leaves him be. Charlie takes a moment to collect his thoughts, looking up at the banners, and then kneels down. He takes his silver cross necklace out from under his clothes and holds onto the cross with one hand. 

Charlie: God… [ with a sigh ] It’s been a long semester. And a long summer. Kind of a long life, to be honest. And lately I’ve been having to do a lot of self-reflection. I keep finding myself in these moments where I have to… make a tough call. Or get to the right decision. Do the right thing. And every time I think to myself maybe you’d just give me the answer, that these choices could be simple, but I get that they aren’t. They aren’t supposed to be. It shouldn’t be that easy to define who you are — you need a test, sometimes, to prove it. And while I feel like I’ve had my fair share of that, I get why you couldn’t just show me the way. I had to find it for myself. I have to get there on my own. I can’t expect you to give me guidance if I’m not ready for it. But I’m getting there, now, and… and part of that is...

Tell us who you are.

He takes a deep breath, and exhales.

Charlie: I’m gay. [ with a nervous chuckle ] But you already knew that, didn’t you? You’ve always known exactly who I am. It’s me who’s been playing catch up.

Charlie pauses, fiddling with the chain of his necklace. He’s not sure what he’s waiting for -- the lightning strike, maybe -- but nothing comes. Of course it doesn’t. He releases another breath, easier now, and continues.

Charlie: I’m starting to understand who I am. And who you are, too. I’m beginning to trust my own decisions, and put who and what I value most above my own comfort or ease. There’s still a lot to figure out, I know, and I’m a long way from the person I’m meant to be… but I feel like I’m on the right path. [ with more soft confidence ] I pray that you’ll be with me on that journey, and that you’ll continue to guide me. I’m sorry for blocking this part of me from you for so long. I’m going to try and be my authentic self as much as I can from now on — I’m starting to realize it’s not worth being anything else. [ quietly ] Amen.

He stands up and takes a moment, then heads back towards the church’s entrance. He can’t help the corners of his mouth turning up; a weight has been lifted off his shoulders, but he’s trying not to disturb the peaceful atmosphere of the building.

The pastor catches him before he leaves, asking if he managed to tell God what he needed to. 

Charlie: I did, thank you. 

Pastor, tactfully: Forgive me if it’s not my place to ask, but... is your church accepting of the LGBTQ+ community?

Charlie’s eyes go wide. 

Charlie: How did you…? 

Pastor: Call it a natural instinct… my husband tells me it’s called ‘gaydar?’

Charlie processes this new information. Both of them almost want to laugh -- it’s just a little bit funny, a unique kind of levity, spotting another religious gay in the wild -- then he shakes his head to his question. 

Charlie: I grew up in a pretty strict household and church. 

Pastor: Hm, I see. I’m aware of several Christian LGBTQ+ communities and churches in the city, if you’d be interested? 

Charlie: I don’t know if… actually, yeah. That’d be really nice, thank you. 

Pastor: I’ll put together a little list for you and tell Yindra to Snapchat it over to you. [ off his dubious expression ] Or whatever you kids are using now. Don’t look at me like that, I’m old.

Charlie thanks him with a laugh, at ease and genuinely happy. The pastor bids him farewell as he heads to the double doors with stained glass windows, through which the lights outside shine through, creating a pastel prism of color on the hardwood floor.

EXT. YINDRA’S CHURCH - NIGHT

Charlie steps back out into the night, closing his eyes and inhaling the frigid air. A light rain has started to fall, the whole world seeming to shine around him. It’s refreshing, invigorating -- or maybe that’s just the freedom of what he just did. It might all be in his head, it might not, but what it means to him is the realest thing there is.

He releases the breath he’s been holding for years, a light smile blooming on his face.

Song Cue ♫ ♪ “Party For One” as performed by Carly Rae Jepsen || Performed by Charlie Gardner

There was no way we were going to get through the entire midseason finale without Charlie performing. It wouldn’t be right. And he’s truly earned it this time, the uplifting percussion that kicks off the number almost heaven-sent.

He starts the vocals softly, breathing them out like his monumental exhale. Then he gets moving, hands still in his pockets, walking backwards along the sidewalk in step with the beat. His excitement builds through the verse and pre-chorus until he just can’t hold it in anymore. When the beat drops and the first chorus really hits, he breaks free, pulling his hands from his pockets and spinning into a dance.

He dances solo, unrestrained, continuing his journey as he goes. It’s energetic contemporary, skillful as always, and laced with that same frenetic melodrama that has defined his previous performances in his imagination. Only this time it’s joy -- pure, uninhibited joy -- that pumps that passion through his movements.

EXT. NEW YORK STREETS - NIGHT

Charlie carries on through the streets, loosening up as he goes. He unbuttons his coat, holds his arms out to soak in the rain. He runs his hands through his hair to brush the wetness from it, mussing it up in the process from the neatly combed way he’s been wearing it for weeks. Around him the city is a kaleidoscope, shimmering jewels in the night of reds, blues, purples, and gold.

EXT. CENTRAL PARK - NIGHT

By the second verse, he’s made it to Central Park, launching back into his fun and free choreography. He dances along benches, swings on lampposts like Singin’ in the Rain, and gets mud on his pants from slipping and sliding in the grass.

A little messy, but he doesn’t care. Why should he care when he’s free?

EXT. AAA - NIGHT

By the time he reaches the final minute, he’s arrived at the steps of Adams, closed and empty for the night but still brightly lit and welcoming. Inviting, like the feeling of standing on your doorstep after a long journey home.

And this is where Charlie truly lets loose, the gleaming structure of AAA acting as the backdrop to his final expression of liberation. The dancing is really impressive now, spins and kicks and a couple of splits sprinkled in, but what’s most compelling about it is how much feeling it conveys. It’s hard to recognize you haven’t seen someone be authentic until you actually do, and that’s how this performance feels. His coat abandoned on the steps, his hair wild and free, skin glowing with rainwater and finally back on his beat.

This is Charlie’s showcase moment. And finally, the only audience that matters is himself.

I’ll just dance for myself, back on my beat!

When he wraps the rendition he lowers himself down into a slippery recline on the steps, breathing heavy but so worth it. He leans back on his palms, tilting his head up to the rain, to the stars, to whatever lies beyond waiting for him. Then he smiles, easy and effortless, laughing a bit to himself as the weather soaks him clean.

INT. HART APARTMENT - NIGHT

Katy, Maya, and Isadora are sharing the remnants of a pizza at their new kitchen counter, taking a dinner break from unpacking and starting to arrange the space. Katy reminds her that she absolutely does not need to hang around and help, but Isadora claims she doesn’t mind. She likes it, actually, and it’s exciting to see what they do with the place. But she actually should get going tonight -- school day tomorrow, and Eric will be wondering where she is.

As she gathers her things to head out, Katy suggests they grab breakfast at the diner tomorrow morning before school to celebrate. Her treat, for old times sake. As flattered as Isadora is by that offer, she can’t. She has a meeting she can’t miss first thing in the morning, but rain check. She doesn’t want to pass that up.

Katy and Maya bid her farewell, then descend into excited giggles as they launch onto their couch. Katy comments on how wonderful the view is too from this new apartment -- miles above their old one, anyway. Maybe everything happens for a reason… but God, is it good to be back with her girl. Especially one who is now a champion.

Maya grins, hugging her again and cuddling close. She tells her she’s so glad she’s home, more than she could ever express.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Riley is on her bed, the room starting to look a bit different as Maya’s stuff disappears. She’s got her laptop open, application for Tisch NYU the last one she has left to submit. Only hours left to decide if she’s going to go for it or not, if pursuing the arts for real is something she even wants to try.

CORY MATTHEWS knocks on the door, making a witty comment about how now that Maya is gone, maybe it’s time to switch rooms back… Riley claims they may as well just wait until she goes to college, right? Not worth all that effort to do it now when she’ll just move again in six months… Cory gives her a look, but he can’t help but smile at the same time. Clever girl…

He makes a point of congratulating her again, making sure she knows how proud he is of her.

Cory: Every day, I’m impressed with what a strong, mature, and clear leader you’ve become. I can’t wait to see all the amazing things you’re going to do next.

Riley smiles, touched. She climbs off her bed and swiftly rushes across the room to give him a quick hug and kiss on the cheek, thanking him, then darts back to her space before he can respond. He gives her another playful head shake, wishing her goodnight.

Once alone, it’s just her and the application. She hesitates for a moment longer, thinking on it… what does she have to lose?

Decisively, she hits submit. Putting the potential out there for good. No turning back now.

Riley, pre-lap: I did it. I smashed that submit button. It’s out there now.

INT. CHUBBIES - NIGHT

Riley and Zay are meeting at Chubbies for late weekend celebratory fries, even more necessary now with her brand new update. Zay congratulates her and expresses confidence that she’s got as good a chance of getting into Tisch as any of them -- and yes, that includes Maya. He raises his water glass to cheers their future endeavors, Riley matching it enthusiastically.

The mood is somewhat disrupted when Charlie walks through the door, spotting them in their usual booth. This time, though, the sight doesn’t immediately make him think of retreat -- in fact, it seems like exactly what he was hoping for.

He quickly approaches their table, greeting both of them. Riley is surprised by his presence but not at all opposed… although his appearance is a bit questionable. Has he just been standing around in the rain? His hair is a windswept, slick mess, but there’s no mud on his clothes, so at least that part of his freedom dance wasn’t quite so literal.

Riley: Do you want to sit down? I know you like fries, so --

Charlie: [ still a bit out of breath ] Actually, I was hoping to catch a second with Zay. [ glancing at him ] If that’s okay?

Unexpected, certainly. Riley looks to Zay as well, gauging his reaction, trying to determine if she should stay or go. Zay eyes Charlie curiously, uncertain though far less apprehensive than in the recent past… then nods. He signals to Riley it’s okay, and she gets up to give them privacy without complaint. Charlie thanks her, touching her arm and congratulating her once again, before sliding into her vacated spot across from Zay.

For a moment, it’s hard to speak. No matter how much either of them want to, how often they think about it when they’re not around, the moment they’re in front of each other again it’s like everything stops. Like they’re frozen in time, still cold in the aftermath of a mistaken first time. A choked surrender in the costume loft. A blindsiding separation without a proper goodbye.

But time keeps going. They get older, they learn, they grow -- and there’s no doubt that both of them have done a painful amount of growing in the last few months. The only question now is if they can catch up to each other and find common ground; if they can find a new way forward as they are now, or if they even should.

And to do that, they have to speak. Zay clears his throat, eyeing his rain-soaked attire.

Zay: So, did you forget your umbrella, or were you just wandering around in the rain again --

Charlie: I don’t want to do this anymore.

Oh. Well, that can sure mean a lot of things, Charlie. Zay goes silent, watching him warily to see where this is going to go. He’s not even sure himself, really, what he wants to hear. Thankfully, Charlie didn’t seem intent on stopping it there, letting out a sigh and composing his thoughts before elaborating.

Charlie: I just mean… being a million miles apart. Existing like we’re in different worlds. Maybe when all this started we -- I -- needed that. To feel like I was doing what I set out to do, to become independent and figure all my stuff out on my own without bringing you down with me. Because that’s why I did it. I know you already know that, but it took me some time to stop convincing myself otherwise. [ a beat, looking down at his hands ] At first, I really thought I was doing the right thing. The thing that was best for everyone, that would allow me to fix everything. But I wasn’t really fixing anything. I think I was just doing what I always do. Running.

Zay listens patiently, not betraying anything. Letting Charlie have the time to work through it, to say what he needs to say. Charlie meets his eyes.

Charlie: And I know I screwed everything up, making those choices without you. [ shaky ] I know I hurt you, and… [ fiercely ] and I hate that I did. I hope you’ll believe that the last thing I ever, ever wanted to do was hurt you.

Zay’s calm demeanor cracks slightly, betraying that exact hurt flaring up again. But it doesn’t hurt the same way anymore. It’s healed over, a dull ache that with the right treatment and a little more time will recover.

Charlie dips his head down, doing his best to keep it together and not do something unhelpful like cry. He clears his throat, taking another deep breath and finding his resolve. He meets his eyes again, not letting himself run anymore.

Charlie: But I did. I did, and I’m sorry. Sincerely, from the bottom of my heart. I made some serious mistakes, and I know I’m going to have to live with them forever. You and I... we’re always going to carry that with us. We’re always going to have this history, the good and the bad. It’s never going to just go back to how it was before.

True enough. Zay nods, acknowledging it. Then, would they really want it to? Would they want to trade it all away for a fresh start, if it meant taking the good moments too?

Charlie: Even still… I wouldn’t change it. Because I can’t imagine what life would be like -- what I would be like -- if none of it ever happened. And no matter what’s changed since, the mistakes I’ve made… a million years ago, before all this started, I told you that I couldn’t lose you. That you were too important to lose. Now I know I was right. [ with a weak smile ] I don’t want to keep doing this, stumbling through life without you.

It’s getting harder and harder to remain neutral. Zay sniffs, swiping at his lips and trying to maintain his composure. Charlie isn’t looking away now, taking him in as much as he can while he makes his appeal.

Charlie: And maybe it’s selfish, which is exactly what caused all this in this first place, but I don’t care. If there’s one thing I’ll allow myself a little selfishness for, it’s this. That’s my new choice. You were one of my best friends, and you’re one of my favorite people. [ a beat ] And I totally get if this isn’t enough, or if it’s too much, and you’d just rather not. But is there any chance we can just… try? Try to find our rhythm again, be friends again? [ delicate ] Because I know the world needs you, but I really miss Zay Babineaux.

If Charlie uncharacteristically had a lot to say, then it only makes sense for Zay to have nothing. He’s speechless, absorbing everything Charlie said and trying to keep his emotions in check while grappling with that same question he’s been struggling with for weeks. If things aren’t completely broken, if they can be even remotely repaired, then is it worth the risk of letting him back in so they can fix it? Is that something he wants? Does it even feel possible, considering all their history and how frozen they’ve felt before?

But all of that was daunting when Charlie remained a question mark, when his feelings and opinions were kept behind that protective shell he works hard to maintain. Now, now that he’s said it and put himself out there, there’s no more guessing what Charlie wants. And when he knows where Charlie stands on it, on them, his decision is suddenly easy.

Zay: I could be down for trying. [ unable to hold back a small smile ] I’d really like that. Believe it or not, I missed Charlie Gardner.

The relieved smile that consumes Charlie’s features is instant, a laugh escaping him. Not because anything is funny, but because he can finally breathe again. The world has thawed around them, allowing time to resume and for both of them to move forward.

And what that means for them, well, only time will tell.

Riley slowly creeps her way back towards the booth, apologizing for interrupting but claiming she’s starving and absolutely needs to eat a fry or she’ll collapse. Charlie and Zay crack up, gesturing for her to rejoin them officially. She beams, feeding off their infectious energy that only freedom can conjure, and slides back into the booth next to Zay.

Charlie brings up an epic moment from their showdown performance and they quickly launch into excited chatter, the rapport between the three of them finally at ease. The way it was always meant to be -- hopefully, the way it will be forever more.

INT. AAA - JACK’S OFFICE - DAY

Isadora arrives at school bright and early, having come in with Eric rather than her classmates for a change. She knocks on Jack’s office door and enters as soon as she hears the beginnings of a response. Patience may not be her strong suit.

Jack is already busy with work, but sets his focus entirely on Isadora when she sits down across from him. Her face is set, that classic De La Cruz fierceness and determination clear. 

Jack: Eric mentioned you wanted to see me. How can I help you, Miss De La Cruz? 

Isadora: I’m here to discuss the possibility of setting up a scholarship fund in my mother’s name.

Jack’s eyebrows raise in surprise. Whatever he was expecting, it wasn’t that. Before he can respond to the proposition, Isadora continues.

Isadora: As you’re aware, I have inherited a large sum of money from my mother upon her passing. 

Jack, gently: Isadora, you don’t need to be so formal with me. This isn’t a business meeting.

Isadora sighs in relief, allowing her posture to relax. 

Isadora: I’ve been struggling with what to do with my mom’s money for a while now, and I realized when I was helping Katy and Maya move into their new apartment that I should use it in a way that Valerie would support. [ waiting for Jack to nod in acknowledgement before continuing ] My mom loved this school, how it fosters the next round of talent. She often dropped hints to me that she’d like to be a guest teacher more regularly -- 

Jack: [ caught off guard ] Did she? She never mentioned anything to me or Eric… 

Isadora, fondly: It was part of her plan for moving to New York. But my point is, a scholarship fund is exactly what Valerie would want her money to go towards. Helping bring up the round of superstars, particularly ones like Maya who can’t necessarily access it on their own. That’s how she started out too, you know, not coming from much. She made her own luck, but I don’t think she’d even blink if she had the chance to help someone else achieve those same dreams without half the struggle. It feels right. Plus, it’ll help keep Lucas and Maya’s new legislation intact without having to rely on winning showdown every single year. Haverford are… tough competition.

That’s one way to describe them. Jack nods as he thinks it over, keen on the idea. He can’t see any reason why it can’t happen. 

Jack: Sounds like an excellent idea to me. I’m sure Lucas and Maya will be pleased too. [ a beat ] Well done for coming to such a wise decision on your own. Valerie would be proud of you, I’m sure. And so am I.

Isadora is touched by the sentiments, and gets up from her chair to hurry around to his side of the desk. She gives him a quick hug, taking him by surprise. 

Isadora: Thank you. For always being there for me. You and Eric mean a lot to me. [ a beat ] Well, um… bye. I guess.

She offers him an awkward wave as she walks back around his desk and towards the door. Jack is still frozen in surprise from Isadora’s hug and gratitude, knowing full well how much that means. He smiles at her, happy that she seems to trust him.

Jack’s uplifted mood doesn’t last long though. Yancy appears in the doorway just as Isadora is leaving, the two of them nearly bumping into each other. He shoots a subtle glare at her, but she doesn’t back down easily, so she glares right back at him until she passes.

Yancy: Quite the attitude on that one. Seems that might be a trend here at Adams.

Jack: Looks can be deceiving. Isadora just helped arrange for a fund to support the new scholarships in full, for many, many years. [ pointedly ] If humanity has any hope, I believe it’s in the youth. They certainly demonstrate much greater compassion than I’ve observed lately.

Yancy: Oh, then I suppose we both have good news, then.

Yancy clasps his hands together, looking all too pleased to be delivering this news. Jack braces himself for the worst.

Yancy: I submitted my report last week, and the board has reached their verdict. Effective January 1st, the role of principal will officially be open to apply for at Adams Academy for the Arts. I myself am planning to submit for consideration -- I think I could do more here than the school board at this point, considering the disastrous status of the school at present.

Jack’s heart sinks. He’s not being fired, but it’s al\most worse this way, dangling it in front of his face and making him do tricks like a show pony to prove he deserves to keep the position. He’s out of words, clenching his jaw and choosing not to give Yancy the satisfaction of a response. But he hardly needs one -- Yancy’s smugness is detectable from a mile away.

Yancy: You are, of course, welcome to reapply to keep your position, Jackson. In fact, I encourage it -- the board deserves the opportunity to reject you outright. [ a beat ] Until then, I suggest you start considering alternatives. You may very well be saying goodbye to Adams with your precious senior A class by the time this school year concludes.

With that, there’s nothing left to say. Yancy spins and leaves Jack to grapple with this info bomb on his own, at least giving him the dignity of reacting on his own.

Jack gets to his feet, closing the door behind Yancy. Then he finds himself slowly leaning against it, like all the energy has been zapped right out of him. His jaw twitches, eyes glossing over, like everything he’s been balancing and building up barricades against for years is about to break through and totally overrun him…

But he takes a deep breath, steels himself, and releases it with a sigh. Right now, there’s work to be done. Things to see through. And when the time comes to face the prospects, well, he’ll deal with it then.

Straightening up and clearing his throat, Jack moves back to his desk and settles in his chair. Back to work, doing what needs to be done as principal.

INT. AAA - AUDITORIUM - DAY

The A class is gathered for their first class since the weekend, all still chatty and buzzy with excitement from their victory. They’re up on the stage, chatting in small clusters about their performance and complimenting one another on their finest moments. Dylan and Asher in particular are huddled with Jade, gossiping about what happened with Nigel and what she thinks their first date is going to be.

But they snap back to attention when Harper and Shawn enter, the former enthusiastically taking the stage and greeting them as the Manhattan Showdown champs. This earns a loud cheer, Harper offering her own applause and letting them soak up the pride. Then she goes on to explain just how proud of them she is, how inspired she is by what they pulled off, and how remarkably moving it was to watch them come together to create something irrefutably them.

Harper: As you all surely remember, I was a bit out of my element when I came here last year. I thought I knew Triple A, but you all were another brand entirely. And you didn’t make easy on me -- or yourselves -- so I always wondered how you’d manage to pull this off. Now I realize it was silly of me to doubt. You, the senior A class, are full of unexpected surprises -- and I think that might just be your greatest strength.

Hear, hear! As for assignments this week, it’s the last week before winter break, so Harper admits she doesn’t really know what they should do either. After such a crazy few weeks, she feels like they’ve been tested enough.

As it turns out, maybe no reason is exactly the thing they need to perform right now. Riley says as much, sharing her thinking that while the rush of the last few weeks have been exciting, it’s been a minute since any of them just got to sing for the joy of it. Which is a shame, a travesty, considering that’s why all of them are at this school, in this place, together. Love of the art.

So that’s what they do. For the first time in months, the A class breaks into song because they want to. Because they can. Because it unites all of them, even when there’s no pressure or thing to fight for.

Song Cue ♫ ♪ “To Noise Making (Sing)” as performed by Hozier || Performed by AAA Seniors

Riley kicks us off, singing happily to her classmates as she stands at the center of the stage. She makes her way around and shares a little moment with all of them, gradually pulling all of them into the harmonies, until she’s got the collective singing along. From there, her classmates step up to share focus, Zay, Maya, Isadora, Chai, and Yindra just a few of the notable ones to take a solo for a couple lines. Farkle takes the bridge, accepting an affectionate side hug from Riley as he does.

Harper and Shawn watch from the back of the front center section, swaying and grooving along. Eric has come to join them, but he can tell something is missing. He glances over his shoulder towards the doors, looking for Jack, but he’s nowhere to be found.

Then the A class comes together, all making their way into a closer formation at center stage. Nigel takes Jade’s hand and pulls her gently into the group, twirling her under his arm. Riley makes sure Lucas gets included in the throng, though this time he hardly seems reluctant, throwing his arm around her shoulders. He’s not singing, mind you, but here’s there in the moment with the rest of them.

And that’s where we leave them as we close out this half-season. The united A class, exhausted but still going strong, vindicated victors, brimming with unbelievable potential for the future.

Can’t wait to see what happens next.

END OF EPISODE.

[grigori77]

2020 in Movies - My Top 30 Fave Movies (Part 2)

20.  ONWARD – Disney and Pixar’s best digitally animated family feature of 2020 (beating the admittedly impressive Soul to the punch) clearly has a love of fantasy roleplay games like Dungeons & Dragons, its quirky modern-day AU take populated by fantastical races and creatures seemingly tailor-made for the geek crowd … needless to say, me and many of my friends absolutely loved it.  That doesn’t mean that the classic Disney ideals of love, family and believing in yourself have been side-lined in favour of fan-service – this is as heartfelt, affecting and tearful as their previous standouts, albeit with plenty of literal magic added to the metaphorical kind.  The central premise is a clever one – once upon a time, magic was commonplace, but over the years technology came along to make life easier, so that in the present day the various races (elves, centaurs, fauns, pixies, goblins and trolls among others) get along fine without it. Then timid elf Ian Lightfoot (Tom Holland) receives a wizard’s staff for his sixteenth birthday, a bequeathed gift from his father, who died before he was born, with instructions for a spell that could bring him back to life for one whole day.  Encouraged by his brash, over-confident wannabe adventurer elder brother Barley (Chris Pratt), Ian tries it out, only for the spell to backfire, leaving them with the animated bottom half of their father and just 24 hours to find a means to restore the rest of him before time runs out.  Cue an “epic quest” … needless to say, this is another top-notch offering from the original masters of the craft, a fun, affecting and thoroughly infectious family-friendly romp with a winning sense of humour and inspired, flawless world-building.  Holland and Pratt are both fantastic, their instantly believable, ill-at-ease little/big brother chemistry effortlessly driving the story through its ingenious paces, and the ensuing emotional fireworks are hilarious and heart-breaking in equal measure, while there’s typically excellent support from Julia Louis-Dreyfus (Elaine from Seinfeld) as Ian and Barley’s put-upon but supportive mum, Laurel, Octavia Spencer as once-mighty adventurer-turned-restaurateur “Corey” the Manticore and Mel Rodriguez (Getting On, The Last Man On Earth) as overbearing centaur cop (and Laurel’s new boyfriend) Colt Bronco.  The film marks the sophomore feature gig for Dan Scanlon, who debuted with 2013’s sequel Monsters University, and while that was enjoyable enough I ultimately found it non-essential – no such verdict can be levelled against THIS film, the writer-director delivering magnificently in all categories, while the animation team have outdone themselves in every scene, from the exquisite environments and character/creature designs to some fantastic (and frequently delightfully bonkers) set-pieces, while there’s a veritable riot of brilliant RPG in-jokes to delight geekier viewers (gelatinous cube! XD).  Massive, unadulterated fun, frequently hilarious and absolutely BURSTING with Disney’s trademark heart, this was ALMOST my animated feature of the year.  More on that later …

19.  THE GENTLEMEN – Guy Ritchie’s been having a rough time with his last few movies (The Man From UNCLE didn’t do too bad but it wasn’t exactly a hit and was largely overlooked or simply ignored, while intended franchise-starter King Arthur: Legend of the Sword was largely derided and suffered badly on release, dying a quick death financially – it’s a shame on both counts, because I really liked them), so it’s nice to see him having some proper success with his latest, even if he has basically reverted to type to do it.  Still, when his newest London gangster flick is THIS GOOD it seems churlish to quibble – this really is what he does best, bringing together a collection of colourful geezers and shaking up their status quo, then standing back and letting us enjoy the bloody, expletive-riddled results. This particularly motley crew is another winning selection, led by Matthew McConaughey as ruthlessly successful cannabis baron Mickey Pearson, who’s looking to retire from the game by selling off his massive and highly lucrative enterprise for a most tidy sum (some $400,000,000 to be precise) to up-and-coming fellow American ex-pat Matthew Berger (Succession’s Jeremy Strong, oozing sleazy charm), only for local Chinese triad Dry Eye (Crazy Rich Asians’ Henry Golding, chewing the scenery with enthusiasm) to start throwing spanners into the works with the intention of nabbing the deal for himself for a significant discount.  Needless to say Mickey’s not about to let that happen … McConaughey is ON FIRE here, the best he’s been since Dallas Buyers Club in my opinion, clearly having great fun sinking his teeth into this rich character and Ritchie’s typically sparkling, razor-witted dialogue, and he’s ably supported by a quality ensemble cast, particularly co-star Charlie Hunnam as Mickey’s ice-cold, steel-nerved right-hand-man Raymond Smith, Downton Abbey’s Michelle Dockery as his classy, strong-willed wife Rosalind, Colin Farrell as a wise-cracking, quietly exasperated MMA trainer and small-time hood simply known as the Coach (who gets many of the film’s best lines), and, most notably, Hugh Grant as the film’s nominal narrator, thoroughly morally bankrupt private investigator Fletcher, who consistently steals the film.  This is Guy Ritchie at his very best – a twisty rug-puller of a plot that constantly leaves you guessing, brilliantly observed and richly drawn characters you can’t help loving in spite of the fact there’s not a single hero among them, a deliciously unapologetic, politically incorrect sense of humour and a killer soundtrack.  Getting the cinematic year off to a phenomenal start, it’s EASILY Ritchie’s best film since Sherlock Holmes, and a strong call-back to the heady days of Snatch (STILL my favourite) and Lock, Stock & Two Smoking Barrels.  Here’s hoping he’s on a roll again, eh?

18.  SPONTANEOUS – one of the year’s biggest under-the-radar surprise hits for me was one which I actually might not have caught if things had been a little more normal and ordered.  Thankfully with all the lockdown and cinematic shutdown bollocks going on, this fantastically subversive and deeply satirical indie teen comedy horror came along at the perfect time, and I completely flipped out over it.  Now those who know me know I don’t tend to gravitate towards teen cinema, but like all those other exceptions I’ve loved over the years, this one had a brilliantly compulsive hook I just couldn’t turn down – small-town high-schooler Mara (Knives Out and Netflix’ Cursed’s Katherine Langford) is your typical cool outsider kid, smart, snarky and just putting up with the scene until she can graduate and get as far away as possible … until one day in her senior year one of her classmates just inexplicably explodes. Like her peers, she’s shocked and she mourns, then starts to move on … until it happens again.  As the death toll among the senior class begins to mount, it becomes clear something weird is going on, but Mara has other things on her mind because the crisis has, for her, had an unexpected benefit – without it she wouldn’t have fallen in love with like-minded oddball new kid Dylan (Lean On Pete and Words On Bathroom Walls’ Charlie Plummer). The future’s looking bright, but only if they can both live to see it … this is a wickedly intelligent film, powered by a skilfully executed script and a wonderfully likeable young cast who consistently steer their characters around the potential cliched pitfalls of this kind of cinema, while debuting writer-director Brian Duffield (already a rising star thanks to scripts for Underwater, The Babysitter and blacklist darling Jane Got a Gun among others) show he’s got as much talent and flair for crafting truly inspired cinema as he has for thinking it up in the first place, delivering some impressively offbeat set-pieces and several neat twists you frequently don’t see coming ahead of time.  Langford and Plummer as a sassy, spicy pair who are easy to root for without ever getting cloying or sweet, while there’s glowing support from the likes of Hayley Law (Rioverdale, Altered Carbon, The New Romantic) as Mara’s best friend Tess, Piper Perabo and Transparent’s Rob Huebel as her increasingly concerned parents, and Insecure’s Yvonne Orji as Agent Rosetti, the beleaguered government employee sent to spearhead the investigation into exactly what’s happening to these kids.  Quirky, offbeat and endlessly inventive, this is one of those interesting instances where I’m glad they pushed the horror elements into the background so we could concentrate on the comedy, but more importantly these wonderfully well-realised and vital characters – there are some skilfully executed shocks, but far more deep belly laughs, and there’s bucketloads of heart to eclipse the gore.  Another winning debut from a talent I intend to watch with great interest in the future.

17.  HAMILTON – arriving just as Black Lives Matter reached fever-pitch levels, this feature presentation of the runaway Broadway musical smash-hit could not have been better timed. Shot over three nights during the show’s 2016 run with the original cast and cut together with specially created “setup shots”, it’s an immersive experience that at once puts you right in amongst the audience (at times almost a character themselves, never seen but DEFINITELY heard) but also lets you experience the action up close.  And what action – it’s an incredible show, a thoroughly fascinating piece of work that reads like something very staid and proper on paper (an all-encompassing biographical account of the life and times of American Founding Father Alexander Hamilton) but, in execution, becomes something very different and EXTREMELY vital.  The execution certainly couldn’t be further from the usual period biopic fare this kind of historical subject matter usually gets (although in the face of recent high quality revisionist takes like Marie Antoinette, The Great and Tesla it’s not SO surprising), while the cast is not at all what you’d expect – with very few notable exceptions the cast is almost entirely people of colour, despite the fact that the real life individuals they’re playing were all very white indeed.  Every single one of them is also an absolute revelation – the show’s writer-composer Lin-Manuel Miranda (already riding high on the success of In the Heights) carries the central role of Hamilton with effortless charm and raw star power, Leslie Odom Jr. (Smash, Murder On the Orient Express) is duplicitously complex as his constant nemesis Aaron Burr, Christopher Jackson (In the Heights, Moana, Bull) oozes integrity and nobility as his mentor and friend George Washington, Phillipa Soo is sweet and classy as his wife Eliza while Renée Elise Goldsberry (The Immortal Life of Henrietta Jacks, Altered Carbon) is fiery and statuesque as her sister Angelica Schuyler (the one who got away), and Jonathan Groff (Mindhunter) consistently steals every scene he’s in as fiendish yet childish fan favourite King George III, but the show (and the film) ultimately belongs to veritable powerhouse Daveed Diggs (Blindspotting, The Good Lord Bird) in a spectacular duel role, starting subtly but gaining scene-stealing momentum as French Revolutionary Gilbert du Motier, the Marquis de Lafayette, before EXPLODING onto the stage in the second half as indomitable third American President Thomas Jefferson.  Not having seen the stage show, I was taken completely by surprise by this, revelling in its revisionist genius and offbeat, quirky hip-hop charm, spellbound by the skilful ease with which is takes the sometimes quite dull historical fact and skews it into something consistently entertaining and absorbing, transported by the catchy earworm musical numbers and thoroughly tickled by the delightfully cheeky sense of humour strung throughout (at least when I wasn’t having my heart broken by moments of raw dramatic power). Altogether it’s a pretty unique cinematic experience I wish I could have actually gotten to see on the big screen, and one I’ve consistently recommended to all my friends, even the ones who don’t usually like musicals.  As far as I’m concerned it doesn’t need a proper Les Misérables style screen adaptation – this is about as perfect a presentation as the show could possibly hope for.

16.  SPUTNIK – summer’s horror highlight (despite SERIOUSLY tough competition) was a guaranteed sleeper hit that I almost missed entirely, stumbling across the trailer one day on YouTube and getting bowled over by its potential, prompting me to hunt it down by any means necessary.  The feature debut of Russian director Egor Abramenko, this first contact sci-fi chiller is about as far from E.T. as it’s possible to get, sharing some of the same DNA as Carpenter’s The Thing but proudly carving its own path with consummate skill and definitely signalling great things to come from its brand new helmer and relative unknown screenwriters Oleg Malovichko and Andrei Zolotarev.  Oksana Akinshina (probably best known in the West for her powerful climactic cameo in The Bourne Supremacy) is the beating heart of the film as neurophysiologist Tatyana Yuryevna Klimova, brought in to aid in the investigation in the Russian wilderness circa 1983 after an orbital research mission goes horribly wrong.  One of the cosmonauts dies horribly, while the other, Konstantin (The Duelist’s Pyotr Fyodorov) seems unharmed, but it quickly becomes clear that he’s now the host for something decidedly extraterrestrial and potentially terrifying, and as Tatyana becomes more deeply embroiled in her assignment she comes to realise that her superiors, particularly mysterious Red Army project leader Colonel Semiradov (The PyraMMMid’s Fyodor Bondarchuk), have far more insidious plans for Konstantin and his new “friend” than she could ever imagine. This is about as dark, intense and nightmarish as this particular sub-genre gets, a magnificently icky body horror that slowly builds its tension as we’re gradually exposed to the various truths and the awful gravity of the situation slowly reveals itself, punctuated by skilfully executed shocks and some particularly horrifying moments when the evils inflicted by the humans in charge prove far worse than anything the alien can do, while the ridiculously talented writers have a field day pulling the rug out from under us again and again, never going for the obvious twist and keeping us guessing right to the devastating ending, while the beautifully crafted digital creature effects are nothing short of astonishing and thoroughly creepy.  Akinshina dominates the film with her unbridled grace, vulnerability and integrity, the relationship that develops between Tatyana and Konstantin (Fyodorov delivering a beautifully understated turn belying deep inner turmoil) feeling realistically earned as it goes from tentatively wary to tragically bittersweet, while Bondarchuk invests the Colonel with a nuanced air of tarnished authority and restrained brutality that made him one of my top screen villains for the year.  One of 2020’s great sleeper hits, I can’t speak of this film highly enough – it’s a genuine revelation, an instant classic for whom I’ll sing its praises for years to come, and I wish enormous future success to all the creative talents involved.

15.  THE INVISIBLE MAN – looks like third time’s a charm for Leigh Whannell, writer-director of my ALMOST horror movie of the year (more on that later) – while he’s had immense success as a horror writer over the years (co-creator of both the Saw and Insidious franchises), as a director his first two features haven’t exactly set the world alight, with debut Insidious: Chapter III garnering similar takes to the rest of the series but ultimately turning out to be a bit of a damp squib quality-wise, while his second feature Upgrade was a stone-cold masterpiece that was (rightly) EXTREMELY well received critically, but ultimately snuck in under the radar and has remained a stubbornly hidden gem since. No such problems with his third feature, though – his latest collaboration with producer Jason Blum and the insanely lucrative Blumhouse Pictures has proven a massive hit both financially AND with reviewers, and deservedly so.  Having given up on trying to create a shared cinematic universe inhabited by their classic monsters, Universal resolved to concentrate on standalones to showcase their elite properties, and their first try is a rousing success, Whannell bringing HG Wells’ dark and devious human monster smack into the 21st Century as only he can.  The result is a surprisingly subtle piece of work, much more a lethally precise exercise in cinematic sleight of hand and extraordinary acting than flashy visual effects, strictly adhering to the Blumhouse credo of maximum returns for minimum bucks as the story is stripped down to its bare essentials and allowed to play out without any unnecessary weight.  The Handmaid’s Tale’s Elizabeth Moss once again confirms what a masterful actress she is as she brings all her performing weapons to bear in the role of Cecelia “Cee” Kass, the cloistered wife of affluent but monstrously abusive optics pioneer Aidan Griffin (Netflix’ The Haunting of Hill House’s Oliver Jackson-Cohen), who escapes his clutches in the furiously tense opening sequence and goes to ground with the help of her closest childhood friend, San Francisco cop James Lanier (Leverage’s Aldis Hodge) and his teenage daughter Sydney (A Wrinkle in Time’s Storm Reid).  Two weeks later, Aidan commits suicide, leaving Cee with a fortune to start her life over (with the proviso that she’s never ruled mentally incompetent), but as she tries to find her way in the world again little things start going wrong for her, and she begins to question if there might be something insidious going on.  As her nerves start to unravel, she begins to suspect that Aidan is still alive, still very much in her life, fiendishly toying with her and her friends, but no-one can see him.  Whannell plays her paranoia up for all it’s worth, skilfully teasing out the scares so that, just like her friends, we begin to wonder if it might all be in her head after all, before a spectacular mid-movie reveal throws the switch into high gear and the true threat becomes clear.  The lion’s share of the film’s immense success must of course go to Moss – her performance is BEYOND a revelation, a blistering career best that totally powers the whole enterprise, and it goes without saying that she’s the best thing in this.  Even so, she has sterling support from Hodge and Reid, as well as Love Child’s Harriet Dyer as Cee’s estranged big sister Emily and Wonderland’s Michael Dorman as Adrian’s slimy, spineless lawyer brother Tom, and, while he doesn’t have much actual (ahem) “screen time”, Jackson-Cohen delivers a fantastically icy, subtly malevolent turn which casts a large “shadow” over the film.  This is one of my very favourite Blumhouse films, a pitch-perfect psychological chiller that keeps the tension cranked up unbearably tight and never lets go, Whannell once again displaying uncanny skill with expert jump-scares, knuckle-whitening chills and a truly astounding standout set-piece that easily goes down as one of the top action sequences of 2020. Undoubtedly the best version of Wells’ story to date, this goes a long way in repairing the damage of Universal’s abortive “Dark Universe” efforts, as well as showcasing a filmmaking master at the very height of his talents.

14.  EXTRACTION – the Coronavirus certainly has threw a massive spanner in the works of the year’s cinematic calendar – among many other casualties to the blockbuster shunt, the latest (and most long-awaited) MCU movie, Black Widow, should have opened to further record-breaking box office success at the end of spring, but instead the theatres were all closed and virtually all the heavyweights were pushed back or shelved indefinitely.  Thank God, then, for the streaming services, particularly Hulu, Amazon and Netflix, the latter of which provided a perfect movie for us to see through the key transition into the summer blockbuster season, an explosively flashy big budget action thriller ushered in by MCU alumni the Russo Brothers (who produced and co-wrote this adaptation of Ciudad, a graphic novel that Joe Russo co-created with Ande Parks and Fernando Leon Gonzalez) and barely able to contain the sheer star-power wattage of its lead, Thor himself.  Chris Hemsworth plays Tyler Rake, a former Australian SAS operative who hires out his services to an extraction operation under the command of mercenary Nik Khan (The Patience Stone’s Golshifteh Farahani), brought in to liberate Ovi Mahajan (Rudhraksh Jaiswal in his first major role), the pre-teen son of incarcerated Indian crime lord Ovi Sr. (Pankaj Tripathi), who has been abducted by Bangladeshi rival Amir Asif (Priyanshu Painyuli).  The rescue itself goes perfectly, but when the time comes for the hand-off the team is double-crossed and Tyler is left stranded in the middle of Dhaka with no choice but to keep Ovi alive as every corrupt cop and street gang in the city closes in around them.  This is the feature debut of Sam Hargrave, the latest stuntman to try his hand at directing, so he certainly knows his way around an action set-piece, and the result is a thoroughly breathless adrenaline rush of a film, bursting at the seams with spectacular fights, gun battles and car chases, dominated by a stunning sustained sequence that plays out in one long shot, guaranteed to leave jaws lying on the floor.  Not that there should be any surprise – Hargrave cut his teeth as a stunt coordinator for the Russos on Captain America: Civil War and their Avengers films.  That said, he displays strong talent for the quieter disciplines of filmmaking too, delivering quality character development and drawing out consistently noteworthy performances from his cast.  Of course, Hemsworth can do the action stuff in his sleep, but there’s a lot more to Tyler than just his muscle, the MCU veteran investing him with real wounded vulnerability and a tragic fatalism which colours every scene, while Jaiswal is exceptional throughout, showing plenty of promise for the future, and there’s strong support from Farahani and Painyuli, as well as Stranger Things’ David Harbour as world-weary retired merc Gaspard, and a particularly impressive, muscular turn from Randeep Hooda (Once Upon a Time in Mumbai) as Saju, a former Para and Ovi’s bodyguard, who’s determined to take possession of the boy himself, even if he has to go through Tyler to get him.  This is action cinema that really deserves to be seen on the big screen – I watched it twice in a week and would happily have paid for two trips to the cinema for it if I could have.  As we looked down the barrel of a summer season largely devoid of blockbuster fare, I couldn’t recommend this enough.  Thank the gods for Netflix …

13.  THE TRIAL OF THE CHICAGO 7 – although it’s definitely a film that really benefitted enormously from releasing on Netflix during the various lockdowns, this was one of the blessed few I actually got to see during one of the UK’s frustratingly rare lulls when cinemas were actually OPEN.  Rather perversely it therefore became one of my favourite cinematic experiences of 2020, but then I’m just as much a fan of well-made cerebral films as I am of the big, immersive blockbuster EXPERIENCES, so this probably still would have been a standout in a normal year. Certainly if this was a purely CRITICAL list for the year this probably would have placed high in the Top Ten … Aaron Sorkin is a writer whose work I have ardently admired ever since he went from esteemed playwright to in-demand talent for both the big screen AND the small with A Few Good Men, and TTOTC7 is just another in a long line of consistently impressive, flawlessly written works rife with addictive quickfire dialogue, beautifully observed characters and rewardingly propulsive narrative storytelling (therefore resting comfortably amongst the well-respected likes of The West Wing, Charlie Wilson’s War, Moneyball and The Social Network).  It also marks his second feature as a director (after fascinating and incendiary debut Molly’s Game), and once again he’s gone for true story over fiction, tackling the still controversial subject of the infamous 1968 trial of the “ringleaders” of the infamous riots which marred Chicago’s Diplomatic National Convention five months earlier, in which thousands of hippies and college students protesting the Vietnam War clashed with police.  Spurred on by the newly-instated Presidential Administration of Richard Nixon to make some examples, hungry up-and-coming prosecutor Richard Schultz (Joseph Gordon-Levitt) is confident in his case, while the Seven – who include respected and astute student activist Tom Hayden (Eddie Redmayne) and confrontational counterculture firebrands Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Succession’s Jeremy Strong) – are the clear underdogs.  They’re a divided bunch (particularly Hayden and Hoffman, who never mince their words about what little regard they hold for each other), and they’re up against the combined might of the U.S. Government, while all they have on their side is pro-bono lawyer and civil rights activist William Kunstler (Mark Rylance), who’s sharp, driven and thoroughly committed to the cause but clearly massively outmatched … not to mention the fact that the judge presiding over the case is Julius Hoffman (Frank Langella), a fierce and uncompromising conservative who’s clearly 100% on the Administration’s side, and who might in fact be stark raving mad (he also frequently goes to great lengths to make it clear to all concerned that he is NOT related to Abbie).  Much as we’ve come to expect from Sorkin, this is cinema of grand ideals and strong characters, not big spectacle and hard action, and all the better for it – he’s proved time and again that he’s one of the very best creative minds in Hollywood when it comes to intelligent, thought-provoking and engrossing thinking-man’s entertainment, and this is pure par for the course, keeping us glued to the screen from the skilfully-executed whirlwind introductory montage to the powerfully cathartic climax, and every varied and brilliant scene in-between.  This is heady stuff, focusing on what’s still an extremely thorny issue made all the more urgently relevant and timely given what was (and still is) going on in American politics at the time, and everyone involved here was clearly fully committed to making the film as palpable, powerful and resonant as possible for the viewer, no matter their nationality or political inclination.  Also typical for a Sorkin film, the cast are exceptional, everyone clearly having the wildest time getting their teeth into their finely-drawn characters and that magnificent dialogue – Redmayne and Baron Cohen are compellingly complimentary intellectual antagonists given their radically different approaches and their roles’ polar opposite energies, while Rylance delivers another pitch-perfect, simply ASTOUNDING performance that once again marks him as one of the very best actors of his generation, and there are particularly meaty turns from Strong, Langella, Aquaman’s Yahya Abdul-Mateen II (as besieged Black Panther Bobby Seale) and a potent late appearance from Michael Keaton that sear themselves into the memory long after viewing. Altogether then, this is a phenomenal film which deserves to be seen no matter the format, a thought-provoking and undeniably IMPORTANT masterwork from a master cinematic storyteller that says as much about the world we live in now as the decidedly turbulent times it portrays …

12.  GREYHOUND – when the cinemas closed back in March, the fate of many of the major summer blockbusters we’d been looking forward to was thrown into terrible doubt. Some were pushed back to more amenable dates in the autumn or winter (which even then ultimately proved frustratingly ambitious), others knocked back a whole year to fill summer slots for 2021, but more than a few simply dropped off the radar entirely with the terrible words “postponed until further notice” stamped on them, and I lamented them all, this one in particular.  It hung in there longer than some, stubbornly holding onto its June release slot for as long as possible, but eventually it gave up the ghost too … but thanks to Apple TV+, not for long, ultimately releasing less than a month later than intended.  Thankfully the film itself was worth the fuss, a taut World War II suspense thriller that’s all killer, no filler – set during the infamous Battle of the Atlantic, it portrays the constant life-or-death struggle faced by the Allied warships assigned to escort the transport convoys as they crossed the ocean, defending their charges from German U-boats.  Adapted from C.S. Forester’s famous 1955 novel The Good Shepherd by Tom Hanks and directed by Aaron Schneider (Get Low), the narrative focuses on the crew of the escort leader, American destroyer USS Fletcher, codenamed “Greyhound”, and in particular its captain, Commander Ernest Krause (Hanks), a career sailor serving his first command.  As they cross “the Pit”, the most dangerous middle stretch of the journey where they spend days without air-cover, they find themselves shadowed by “the Wolf Pack”, a particularly cunning group of German submarines that begin to pick away at the convoy’s stragglers.  Faced with daunting odds, a dwindling supply of vital depth-charges and a ruthless, persistent enemy, Krause must make hard choices to bring his ships home safe … jumping into the thick of the action within the first ten minutes and maintaining its tension for the remainder of the trim 90-minute run, this is screen suspense par excellence, a sleek textbook example of how to craft a compelling big screen knuckle-whitener with zero fat and maximum reward, delivering a series of desperate naval scraps packed with hide-and-seek intensity, heart-in-mouth near-misses and fist-in-air cathartic payoffs by the bucket-load.  Hanks is subtly magnificent, the calm centre of the narrative storm as a supposed newcomer to this battle arena who could have been BORN for it, bringing to mind his similarly unflappable in Captain Phillips and certainly not suffering by comparison; by and large he’s the focus point, but other crew members make strong (if sometimes quite brief) impressions, particularly Stephen Graham as Krause’s reliably seasoned XO, Lt. Commander Charlie Cole, The Magnificent Seven’s Manuel Garcia-Rulfo and Just Mercy’s Rob Morgan, while Elisabeth Shue does a lot with a very small part in brief flashbacks as Krause’s fiancée Evelyn. Relentless, exhilarating and thoroughly unforgettable, this was one of the true action highlights of the summer, and one hell of a war flick.  I’m so glad it made the cut for the summer …

11.  PROJECT POWER – with Marvel and DC pushing their tent-pole titles back in the face of COVID, the usual superhero antics we’ve come to expect for the summer were pretty thin on the ground in 2020, leading us to find our geeky fan thrills elsewhere. Unfortunately, pickings were frustratingly slim – Korean comic book actioner Gundala was entertaining but workmanlike, while Thor AU Mortal was underwhelming despite strong direction from Troll Hunter’s André Øvredal, and The New Mutants just got shat on by the studio and its distributors and no mistake – thank the Gods, then, for Netflix, once again riding to the rescue with this enjoyably offbeat super-thriller, which takes an intriguing central premise and really runs with it.  New designer drug Power has hit the streets of New Orleans, able to give anyone who takes it a superpower for five minutes … the only problem is, until you try it, you don’t know what your own unique talent is – for some, it could mean five minutes of invisibility, or insane levels of super-strength, but other powers can be potentially lethal, the really unlucky buggers just blowing up on the spot.  Robin (The Hate U Give’s Dominique Fishback) is a teenage Power-pusher with dreams of becoming a rap star, dealing the pills so she can help her diabetic mum; Frank Shaver (Joseph Gordon-Levitt) is one of her customers, a police detective who uses his power of near invulnerability to even the playing field when supercharged crims cause a disturbance.  Their lives are turned upside down when Art (Jamie Foxx) arrives in town – he’s a seriously badass ex-soldier determined to hunt down the source of Power by any means necessary, and he’s not above tearing the Big Easy apart to do it. This is a fun, gleefully infectious rollercoaster that doesn’t take itself too seriously, revelling in the anarchic potential of its premise and crafting some suitably OTT effects-driven chaos brought to pleasingly visceral fruition by its skilfully inventive director, Ariel Schulman (Catfish, Nerve, Viral), while Mattson Tomlin (the screenwriter of the DCEU’s oft-delayed, incendiary headline act The Batman) takes the story in some very interesting directions and poses fascinating questions about what Power’s TRULY capable of.  Gordon-Levitt and Fishback are both brilliant, the latter particularly impressing in what’s sure to be a major breakthrough role for her, and the friendship their characters share is pretty adorable, while Foxx really is a force to be reckoned with, pretty chill even when he’s in deep shit but fully capable of turning into a bona fide killing machine at the flip of a switch, and there’s strong support from Westworld’s Rodrigo Santoro as Biggie, Power’s delightfully oily kingpin, Courtney B. Vance as Frank’s by-the-book superior, Captain Crane, Amy Landecker as Gardner, the morally bankrupt CIA spook responsible for the drug’s production, and Machine Gun Kelly as Newt, a Power dealer whose pyrotechnic “gift” really isn’t all it’s cracked up to be.  Exciting, inventive, frequently amusing and infectiously likeable, this was some of the most uncomplicated cinematic fun I had all summer.  Not bad for something which I’m sure was originally destined to become one of the season’s B-list features …