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joelscruff · 2 years ago

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one thing i'm missing (joel miller/reader) PART ONE

hi there ! i'm new to the tlou fandom but not new to fic, and watching the show over the past few months inspired me to return to fic writing. the idea for this has been milling around in my head for a good chunk of time now and i finally felt ready to put pen to paper and get this thing started. i've already posted this to ao3 if you prefer that medium, but i'll also be posting it here now. let me know what you think!

summary: you and joel accidentally end up falling asleep together, and what follows is the beginning of a quiet and tender relationship neither of you saw coming. rating: 18+ explicit (this part is not explicit but this fic will be) warnings: (for future parts) smut, age difference (reader is in her mid 20s and joel in his mid 50s), praise kink - will add more as fic progresses word count: about 2.6k

You don't, under absolutely any circumstances, talk about it.

It started about a month ago, after all the shit that happened with that monster, David. After Ellie had decided she wanted to start sleeping alone.

It hadn't really been a conscious decision on her part, but you'd noticed that first night how she'd distanced herself from you and Joel when it was time to sleep. She'd curled up against the far wall of the basement with barely a word, shutting herself off entirely while you'd tended to Joel's injury. Prior to this – ever since Joel was stabbed – Ellie had started sleeping at his side, head on his chest, listening to his heart and hoping against all hope that it kept beating. You'd slept a few feet away, hoping desperately for the same thing.

After David, she avoided physical contact entirely. You and Joel wordlessly understood, though you could tell it alarmed and concerned him. Though he'd been in and out of consciousness for the past few weeks you know he'd become accustomed to having her at his side, curled into him with that familiar daughterly affection he'd been missing for twenty years. Seeing her ultimately decide that she no longer wanted that closeness, probably feared it, distressed him greatly.

“Fuckin' bastard,” Joel had murmured to himself that first night as you cleaned his wound – you'd learned what to do from watching Ellie, “I'll fucking kill him.”

“Shhh,” you'd hushed him, keeping your voice low in case Ellie was still awake, “He's dead and gone, she took care of it.”

“Shouldn't have had to,” he'd hissed, “Fuckin' bastard.”

He'd slept poorly. You knew because every so often you'd hear him mutter something else to himself about David between short fits of sleep. You didn't sleep much either, partly because in the wake of Ellie's sudden distance it was now your job to monitor Joel's wound, but also because you felt the same way Joel did. The thought of that monster... what he'd done to Ellie and what he'd tried to do... you'd never felt so much disdain and hatred for one person in your life. Every time you closed your eyes all you could see was the look on her blood-spattered face when you'd both found her, the way she'd barely been able to speak... you could only imagine how much worse the images behind Ellie's eyelids were.

So she slept alone now, which meant Joel slept alone.

For a little while, that is.

After a few days of short spurts of travel and staying in more abandoned houses (Joel wasn't well enough to walk much, though he tried to deny it, much to the frustration of you and Ellie) you'd set up camp on the outskirts of a small community. Ellie hadn't talked much and Joel hadn't been fully in his right mind since you left that first house, so the decision-making had fallen to you for the time being. Truthfully, you were done with the mouldy mattresses and hard concrete of those suburban basements, the smell of rotting food and being bothered by mice and cockroaches while you tried – and failed – to fall asleep. Neither Joel nor Ellie argued when you suggested setting up a campsite in the woods for a change of scenery.

The snow had melted quite a bit and there hadn't been anything fresh in almost a week, the temperature rising rapidly the further you walked. The idea of sleeping underneath the stars again with fresh air in your lungs and the sound of the wind blowing through the trees was enough to keep you going that day. That night, you'd watched as Joel made a fire with the materials you'd collected, Ellie already bundled up inside her sleeping bag a few meters away.

“Hey, you sure you're not gonna be cold over there?” you'd called to her gently, already knowing the answer.

“I'm good,” she'd replied, sounding earnest enough, “If I get cold I'll move.”

You'd sighed quietly, turning back toward the fire. Joel was blowing lightly on some kindling, eyebrows furrowed in thought. You used this rare moment of him being distracted to analyze his face; the dark circles beneath his eyes had been growing more prominent over the past few days, and he'd gotten into the unconscious habit of blinking very slowly, like he was always just a few seconds from sleep. You'd never seen him look this exhausted.

“You need to sleep,” you'd murmured, and his eyes had snapped up to meet yours instantly, “I'm serious, Joel, you look...”

“I'm fine.”

“You don't look fine,” you shifted your eyesight to the fire, lifting your hands to warm your palms, “You look like you haven't slept in days, which you literally haven't, by the way.”

“I've slept,” he'd grunted, turning his attention back to the fire as well.

“Yeah, for maybe twenty minutes at a time.”

“Well, maybe if I wasn't bein' woken up every twenty minutes by you checking if I'm still breathin',” his voice was hard and cold, but you were used to it.

“Don't be dramatic,” you'd snapped back, “I check you maybe twice a night now, if even that. Sorry for wanting to make sure you're okay.” The last few words had come out shakier than you'd intended.

He'd inhaled deeply, and you could see him looking at you again in your peripheral vision, “You're right, I'm sorry. I'm being an asshole. As usual.”

“You're not an asshole,” you'd muttered, “you're tired. And so am I.”

You'd sat together in silence for a few moments before Joel had reached behind him for his pack, digging out the blanket he'd started using in lieu of his old sleeping bag. He'd decided to leave that behind; it was what you and Ellie had used to get him back to that first house, the one Callus had dragged across the icy terrain with a bloodied and near-death Joel as its only occupant. He'd pissed himself in it, which he'd attributed as the main reason for leaving it. But you knew the truth: he'd spent too long wrapped up inside of it during that period of time to ever get a good night's sleep from it again. It needed to be put out of its misery.

Both you and Ellie had offered to give him your own but he refused every time, repeatedly stating that the blanket Ellie had found was warm enough, if not even warmer than the sleeping bag had been. You honestly didn't know if he was telling the truth, but he gave you no choice but to believe him.

“You take first watch, then.” he said quietly, “We're out in the open again, gonna have to stay alert.”

“Got it,” you were a bit embarrassed by your brief moment of vulnerability, but you'd quickly busied yourself with picking up the rifle to hold it in your lap.

You'd watched as he spread out the blanket on the ground, carefully kneeling down and wincing at the pull of his stitches. He laid down on the edge of it, then reached over and pulled the other side over his body like a makeshift sleeping bag. Sighing contentedly, he'd closed his eyes.

Despite how much older than you he was, the word adorable couldn't help but cross your mind.

“Goodnight,” he mumbled quietly to you, and you'd forced yourself to look down at the rifle so he wouldn't catch you staring.

“Night, Joel.”

You'd quickly learned that Joel's new blanket was in fact not warmer than his sleeping bag. After a few hours of keeping watch, you decided to check on both Ellie and Joel to make sure they were doing alright. Ellie was fast asleep and didn't look to be shivering or experiencing a bad night's sleep; she actually looked more peaceful than you'd seen her for a long time. You'd smiled fondly, fighting back the urge to push her hair out of her eyes; she'd made things very clear and you weren't going to overstep.

You wandered over to Joel and the contrast between he and Ellie was staggering; there was no peace here. He was wide awake, shivering ferociously and hunched in on himself with his hands cupped around his mouth as he blew on them for warmth.

“Jesus Christ, Joel,” you'd immediately dropped the rifle and leaned down to him, “why the fuck didn't you tell me you were freezing?”

It actually wasn't a very cold night, but the combination of Joel's thin blanket, his injury, and the fact that he was overwhelmingly exhausted were just making everything ten times worse. He also hadn't slept outside for weeks. You immediately began to regret the decision to camp tonight.

“Hold on,” you'd said quickly, scrambling back up to grab your own sleeping bag. You unzipped it so it was wide, then draped it over Joel's shivering form, “I'm gonna give you some body heat, okay? Don't make it weird.” You'd only said the last part because you knew he would protest.

You'd crawled underneath both layers of material and without any hesitation wrapped your arms around Joel, ignoring his shaky mutterings of “I'm okay” and “you don't need to”. He'd surrendered very quickly, relaxing into your embrace as you ran your hands up and down his arms at the fastest pace you could muster. You alternated between his arms and hands, taking them in yours and rubbing your palms against them like you were trying to start a fire, huffing hot breath against his skin. Beneath the blanket, you entwined your legs with his, pulling his socked feet against your ankles and trapping them there to warm them up.

It only took a few moments for the heavy shakes to stop and for Joel's breath to even out again. Despite this, you stayed where you were and kept doing what you could to keep his temperature stable. As he warmed up, he began to feel more like himself; he was no longer a cold statue but the warm and solid man you'd come to recognize, and you were hyper-aware of the fact that despite spending so much time with each other you'd never actually been this close to him. His arms, strong and steady beneath his coat, the same arms that carried around that heavy pack all day, the arms that cradled the rifle, they now laid loose and tender under your touch. His hands, calloused and rough around the edges but soft at the palms, the same hands that set the fire still burning a few feet away, the hands that once held his daughter and had learned to hold Ellie's – and now yours, feeling like in some way they belonged there.

You'd known you felt something for Joel, but you'd never realized how strong and real that something was until it was literally in your embrace.

Without speaking you'd laid your head on his chest, closing your eyes and doing your damnedest to fight back the sudden tears that were threatening to well up. Holy shit, was all you could think, a warmth you'd never felt in your entire life radiating in your chest and somehow extending toward him. Holy fucking shit. It was like time had stopped and all you could feel was him.

You'd looked up at his face, needing to see if he felt it too, felt you the way you felt him, but your eyes widened slightly when you saw that his were closed, mouth slightly agape. There it was, that peace you'd seen on Ellie's face, now transferred to Joel's. For a brief second you felt panic, but it was immediately interrupted by the light snore that emitted from his open mouth. He'd fallen asleep.

And a few moments later, so had you.

That was the first night you'd slept solid without waking up even once. Not just since Joel had been stabbed, but since the pandemic had started to begin with. You can't recall ever having such a peaceful, dreamless, absolutely soul-refreshing sleep. And neither had Joel; when you woke the next morning he was still fast asleep in your embrace, that peaceful expression still sculpted on his face like he was a living Michelangelo. In the night you'd only gotten closer to him, legs still entwined and head still on his chest. The only difference was that your arms had obviously stopped their rapid movements to keep him warm, and they'd ended up snaked around his torso, the palm of your left hand laying flat against the hot skin of his waist, just above where his stitches were.

Maybe you should have pulled away when you realized, gotten up and pretended it didn't happen. The thought did cross your mind, but then Joel had shuffled a bit in his sleep and you'd become aware of the fact that his arms were around you, hand pressed flush against your bare back underneath your jacket and shirt, holding you to him. And that was enough to make you stay.

About fifteen minutes later, he'd woken up.

He didn't flinch or yank himself away when he realized the position you were in. He'd blinked slowly at you, and you'd peered up at him just as quietly. His lips had parted and then closed again, as if he was going to say something but then thought better of it. Instead, he just kept staring at you, and you started to feel his hand on your back slowly and tenderly stroke the skin there. In return, you gently brushed your thumb against the bare skin of his waist. It was a moment that felt like it went on forever, both of you touching those small intimate parts of each other without saying so much as one word.

You felt butterflies in your belly when the hint of a smile twitched at his mouth, and you smiled back, sleepy and soft. You never wanted to leave this small piece of existence. You just wanted him to keep looking at you like that, his gaze holding yours with an expression you could only describe as contentedness. You'd never seen him look so relaxed; the dark circles had faded and even the lines on his face had receded into his skin. He looked younger, healthier, like all the bad things that had happened to him had vanished in one good sleep.

“Uggghhhh,” Ellie moaned a few meters away, and both your heads snapped in her direction. She was sitting up in her sleeping bag, back facing you. You could see her arms stretching above her head as she began her typical morning wake-up routine: stretch, groan, flop, repeat.

Without saying anything you'd both untangled yourselves simultaneously before she could see the sleeping arrangement you'd found yourselves in. The loss of warmth and familiarity was palpable as you quickly stood up and grabbed the rifle, walking over to the now completely burnt out fire. Joel silently folded up his blanket and your sleeping bag behind you, then muttered something about needing to look for more shit to burn.

That's how it started.

And you don't, under absolutely any circumstances, talk about it.

#joel miller x reader #joel miller x you #joel miller #joel miller fic #tlou fic #*#fic: one thing i'm missing

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mostlysignssomeportents · 3 months ago

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Corporate Bullshit

I'm coming to BURNING MAN! On TUESDAY (Aug 27) at 1PM, I'm giving a talk called "DISENSHITTIFY OR DIE!" at PALENQUE NORTE (7&E). On WEDNESDAY (Aug 28) at NOON, I'm doing a "Talking Caterpillar" Q&A at LIMINAL LABS (830&C).

Corporate Bullshit: Exposing the Lies and Half-Truths That Protect Profit, Power, and Wealth in America is Nick Hanauer, Joan Walsh and Donald Cohen's 2023 book on the history of corporate apologetics; it's great:

https://thenewpress.com/books/corporate-bullsht

I found out about this book last fall when David Dayen reviewed it for the The American Prospect; Dayen did a great job of breaking down its thesis, and I picked it up for my newsletter, which prompted Hanauer to send me a copy, which I finally got around to reading yesterday (I have gigantic backlog of reading):

https://pluralistic.net/2023/10/27/six-sells/#youre-holding-it-wrong

The authors' thesis is that the business world has a well-worn playbook that they roll out whenever anything that might cause industry to behave even slightly less destructively is proposed. What's more, we keep falling for it. Every time we try to have nice things, our bosses – and their well-paid Renfields – dust off their talking points from the last go-round, do a little madlibs-style search and replace, and bust it out again.

It's a four-stage plan:

I. First, insist that there is no problem.

Enslaved people are actually happy. Smoking doesn't cause cancer. Higher CO2 levels are imaginary and they're caused by sunspots and they're good for crop yields. The hole in the ozone layer is only a problem if you foolishly decide to hang around outside (this is real!).

II. OK, there's a problem, but it's your fault.

An epidemic of on-the-job maimings is actually an epidemic of sloppy workers. A gigantic housing crash is really a gigantic cohort of greedy, feckless borrowers. Rampant price gouging is actually a problem of too much "spending power" (that is, "money") in the hands of working people.

III. Any attempt to fix this will make it worse.

Equal wages for equal work will cause bosses to fire women and people of color. Protecting people with disabilities will cause bosses to fire disable people. Minimum wages will cause bosses to buy machines and fire "unskilled" workers. Gun control will only increase underground gun sales. Banning carcinogenic pesticides will end agriculture as we know and we'll all starve to death.

IV. This is socialism.

Income tax is socialism. Estate tax is socialism. Medicare and Medicaid are socialism. Food stamps are socialism. Child labor laws are socialism. Public education is socialism. The National Labor Relations Act is socialism. Unions are socialism. Social security is socialism. The Fair Labor Standards Act is socialism. Obamacare is socialism. The Civil Rights Act is socialism. The Occupational Health and Safety Act is socialism. The Family Medical Leave Act is socialism. FDR is a socialist. JFK is a socialist. Lyndon Johnson is a socialist. Carter is a socialist. Clinton is a socialist. Obama is a socialist. Biden is a socialist (Biden: "I beat the socialist. That's how I got the nomination").

Though this playbook has been in existence since the nation's founding, the authors point out that from the New Deal until the Reagan era, it didn't get much traction. But starting in the Reagan years, the well-funded network of billionaire-backed think-tanks, endowed economics chairs, and latter-day propaganda vehicles like Prageru breathed new life into these tactics.

We can see this playing out right now as the corporate world scrambles for a response to the Harris campaign's proposal to address price-gouging. Reading Matt Stoller's dissection of this response, we can see the whole playbook on display:

https://www.thebignewsletter.com/p/monopoly-round-up-price-gouging-vs

First, corporate apologists insisted that greedflation didn't exist, despite the fact that CEOs kept getting on earnings calls and boasting to their investors about how they were using the excuse of inflation to jack up prices:

https://pluralistic.net/2023/03/11/price-over-volume/#pepsi-pricing-power

Or the oil CEOs who boasted that the Russian invasion of Ukraine gave them cover to just screw us at the pump:

https://pluralistic.net/2022/03/15/sanctions-financing/#soak-the-rich

There are all these out-in-the-open commercial entities whose sole purpose is to "advise" large corporations about their prices, which is just a barely disguised euphemism for price-fixing, from meat-packing:

https://pluralistic.net/2023/10/04/dont-let-your-meat-loaf/#meaty-beaty-big-and-bouncy

To rents:

https://pluralistic.net/2024/07/24/gouging-the-all-seeing-eye/#i-spy

That's stage one: "there's no problem." Stage two is "it's your fault." That's Larry Summers and co insisting that a couple of stimulus checks a couple years ago are responsible for inflation, because it gave you too much "buying power," and so the only possible fix is to jack up interest rates and trigger mass layoffs and sharp wage decreases across the economy:

https://pluralistic.net/2022/12/14/medieval-bloodletters/#its-the-stupid-economy

Stage three is "any attempt to fix this will make it worse." When Isabella Weber pointed out that there was a long history of price-controls being used to fight price-gouging, corporate apologists lost their minds and brigaded her, calling her all kinds of nasty names and insisting that her prescription didn't even warrant serious discussion, because any attempt to control prices would destroy the economy:

https://www.theglobeandmail.com/podcasts/lately/article-the-millennial-economist-who-took-on-the-world/

You may recognize this as cousin to the response to rent control proposals, which inevitably trigger a barrage of economists screaming that this will not work and will actually reduce the housing supply and drive up prices, which is true, provided that you ignore all evidence and history:

https://pluralistic.net/2023/05/16/mortgages-are-rent-control/#housing-is-a-human-right-not-an-asset

And stage four is "this is socialism." Look, I am a literal card-carrying member of the Democratic Socialists of America and I can assure you, Kamala Harris is not a socialist (and more's the pity). But that didn't stop the most eminently guillotineable members of the investor class from hair-on-fire, ALL-CAPS denunciations of the Harris proposal as SOCIALISM and Harris herself as a COMMUNIST:

https://twitter.com/Jason/status/1824580470052725055

The author's thesis is that by naming the playbook and giving examples of it – for example, showing how the "proof" that minimum wage increases will destroy jobs was also offered as "proof" not to abolish slavery, ban child labor, add fireproofing to textile factories, and pay women and Black people the same as white guys – we can vaccinate ourselves against it.

Certainly, we've reached a moment where the public is increasingly skeptical of claims that we can't fix anything because the economists say that this is the best of all possible worlds, and if that means that we're all going to boil to death in our own skin, so be it:

https://pluralistic.net/2022/10/27/economism/#what-would-i-do-if-i-were-a-horse

In other words, after 40 years of subordinating politics to economics, there's a resurgence of belief in politics – that is, doing stuff – rather than hunkering down and waiting for the technocrats to fix everything:

https://www.programmablemutter.com/p/seeing-like-a-matt

Corporate Bullshit is a brisk and bracing read – I got through it in about an hour in my hammock yesterday – and, in laying out the bullshit playbook's long history of nonsensical predictions and pronouncements, it does make a very good case that we should stop listening to people who quote from it.

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

https://pluralistic.net/2024/08/19/apologetics-spotters-guide/#narratives

#pluralistic #narratives #lakoff #joan walsh #david cohen #nick hanauer #apologetics #bullshit #history #books #reviews #gift guide

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dalliancekay · 5 months ago

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I'm just gonna write out what I think cos if someone sends me this again for the 113th time, I'm gonna snap. Look. Interviews (months!) before a premiere of something are tricky. You gotta be careful and VAGUE with what you say and what you want people to expect. Mostly creators focus on the themes in the first, maybe second episodes or so too trying not to give away much. Just the bare bones, what is already expected anyway. After all, they want you to watch it and go: "Ahhhh...." It was the same in S2 as well. (David describing in interviews how unmoored Crowley was in S2, how kind of disappointed etc and Michael how Az is also a bit disconcerted by not having a job, something big to belong to). But that's a description of - how we find the Ineffables in ep1, rather than describing the whole of Season 2. And there was a book first before the series and you must admit Aziraphale and Crowley are a bit different in the series than they are in the book. So caution was needed. PLUS their story has evolved again. It doesn't now end in the Ritz (I know it never really did for Neil and Terry who clearly wanted them to deal with the whole system somehow). The husbands have more trouble ahead. More details were added. We got more of their story, their journeys. Crowley doesn't change and is just waiting for Aziraphale to catch up with him is not much of a story, don't you think? Aziraphale is a naïve goody two shoes angel who has to realise Heaven is bad - is just so simple I'd be angry if I was Neil and read that. Well, okay, I AM angry.

And I'm sorry but Aziraphale has not lived a guarded life. He has lived a life of fear and anxiety with bosses who underestimate, belittle and laugh at him and think he's soft and rather pointless. Does anyone know what the question was Neil answers?

Yeah, Aziraphale changes a lot in S1 (esp first 2 eps, he's kind of forced to think about the stuff that was always kinda there but swept under a rug a bit in is mind). Crowley throws out - we should do something. This whole Armageddon thing, I don't like it. He is so much a questioner of everything, isn't he. Why does it have to be tis way. Makes no sense, what if... And generally, he doesn't have much to lose. If Hell wins, well, he knows what it's like. If Heaven wins, well, it'd be marginally better? Just about? If he survives to see it? Still sucks balls tho. So yes, David is right that Crowley NEEDS Aziraphale to see things his way and quickly. Cos EARTH.

Aziraphale knows the Earth came with a manual and an expiry date. He even told this to Angel!Crowley aeons ago.

So Aziraphale's journey (is not stopping believing Heaven is good and truth and light) is believing that he has choices. That the Plan might be Ineffable but it doesn't have to follow what he was told it must follow.

Crowley says, look, let's try, what do we have to lose. You like Earth as much as I do. And he gets Aziraphale to agree, they hatch a plan.

We watch Crowley come to love and trust Aziraphale through the ages after all he has been through. We watch Aziraphale to guard their little existence and carefully push at boundaries of what he thinks he can get away with. He wonders at what things are really like. What do they mean.

Their journey, is towards each other.

I don't know how they will smash the System before they fall into a tight embrace and never let go, but I know they will. Even if they have no idea yet that that is even possible. How could they.

And if I see one more post about how Aziraphale was backsliding and choosing his ‘faith’ over Crowley in the Final 15, I will set the internet on fire.

I can never decide if Heaven and Hell are more like mafia or like a dictatorship. Maybe a mix of both. Just cos they couldn't be killed, they were left alone for a bit. Didn't last long though, did it. They needed to be separated so they don't stop another go at destroying the little Universe project God started. I guess the Archangels are quite fed up with it.

Remember. Aziraphale and Crowley have nowhere to go. They never had. The best they could do was keep their little places on Earth. For themselves. For each other. Until they couldn't.

If you thought Aziraphale won't take the chance to have a tiny glimmer of an opportunity to destroy the fucking system in whatever way he can come up with (instead of what, being downmoted, having his memory erased too?), than you don't get him at all. Did he want to stay? You heard him say it. Was he allowed to? (No, really Metatron, nice chat but do fuck off for real now, I have a date with my demon). If you think Metatron wouldn't be back with a punishment for helping Gabriel than I don't know what to tell you.

Remember this?

And then they threatened the demon he loves.

ALSO Why do people keep bringing this back to justify their vague (or not so vague) dislike of Az (but but Neil said "I think Aziraphale needs to learn") cos they think Az betrayed Crowley by leaving or something. The angel is just so stubborn. And he just won't listen to Crowley... right? /s And they ignore all the other wonderful things Neil says about Aziraphale. Especially pointing out again and again and again how smart Aziraphale is. And you can see this. In canon. On screen. In the words and scenes of what Neil wrote. You can see Aziraphale's struggles - he is a part of something he disagrees with and has no way out (Hell is not a way out btw) and tries to live in his existence in the little bubble with Crowley while being extremely careful not to have it burst. Until it inevitably does. Just as he always knew it would. But okay, if you want to have Good Omens be about a demon who figured everything out and is now waiting for his fluffy little angel to catch up and apologise to him (a million times) for being stupid so they can finally ride into the sunset, have at it. TL;DR - Heaven is good and Heaven should/could be good are two different things - Aziraphale is not an idiot; whether he still believes God is good/neutral/whatever and just the management bad or not is up in the air, we can't know unless we ask him, but it's definitely not so simple as he needs to see it's bad, like Crowley did, end of story - The Ineffables HAVE NOWHERE TO GO. There isn't a secret third option where they can leave for and be happy if only Aziraphale opened his eyes - it's what the story is about - Crowley left Heaven for an even worse place. It would make zero sense for Aziraphale to follow his journey. Crowley is not free and doesn't have all the answers - I bet it has never occurred to either of them the whole System can be ever changed (we don't even know if it can be. The System is bigger than the UNIVERSE) - But I think that's what they'll do in S3

#good omens #aziraphale #crowley #ineffable husbands #aziracrow #good omens 2 #aziraphale my beloved #good omens thoughts #neil gaiman #kaypost

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fuckyeahgoodomens · 1 year ago

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David Tennant and Michael Sheen on The One Show 10.7.2023 ❤ :)

(also there Zoe Saldana and Nicole Kidman, and Alex Jones and Jermaine Jenas as interviewers :))

Int1: Well, this is lovely for Wednesday, isn't it?

David: It's a lovely way to spend a Monday night, innit?

Zoe: I was excited to see you both.Likewise.

Int1: Now, Good Omens. I mean, people love the first series. It's back for a second. If there's anybody watching who didn't see the first one, they don't know what we're talking about. Go on, Michael. Fill them in.

Michael: I play an angel on Earth to do angel things.

David: I play a demon. I'm Hell's emissary on Earth.

Michael: And we decide that it's a lot easier if we team up because it saves on shoe leather. So we come to an arrangement, and then we realize that we actually quite like it on Earth, and we don't really want to deal with our respective head offices. And in season one, we save the world from the apocalypse. Season two...

David: And get excommunicated by our respective...

Michael: Yes. Exactly. So season two picks up. We're now...

David: We're at liberty.

Michael: Yeah. I'm in my bookshop, having lovely meals and watching lovely shows and hanging out with my best buddy here.

David: I'm living in my car, unfortunately, becausemy apartment came with a job.

Michael: And then John Ham turns up naked at mybookshop in Soho one day with no memory. And so the mystery begins. Int2: The plot twist. We know we've got a clip.

Nicole: I don't understand why he's [Jon Hamm] not on the couch.

Michael: Well, exactly. Nor me. I think everyone's asking the same thing.

David: Apparently it's a BBC rule you have to be clothed, so he was having none of it.

Int1: Yeah, that would push Monday over the edge. Let's see the clip.

Int2: Let's see the clip.

[familiar trailer plays, nothing new there]

Michael: When I said that line in the scene [I think I may have just started a war.], I knew it would be in the trailer. Do you know when you sometimes go, yeah, this is a trailer, and I got really nervous .I couldn't do it. Doing it over and over again.

Nicole: Well, I'm looking for something to watch. I'm watching that.

Zoe: Yes.

Int2: I like how you were like, yeah, that's the one.

Michael: On 28th.

Zoe: Okay, you watch ours and we watch yours.

Michael: Deal. We're in. We're in.

David: Yes, very good, very good.

Int1: Beautiful. This is the thing, at the heart of Good Omens is this unlikely friendship between you two, but in real life so you filmed it, you didn't know each other, and then they clicked. Look at them. They joined at the hip. They do everything...

Michael: It's true.

Int1: You even had babies at the same time.

Michael: We did.

Int1 [to David]: Your wife posted this picture of you two leaving the hospital.

David: Look how in tune we are with each other.

Michael: And now those two little babies are nearly four, and they send each other little video messages. Yeah.

David: Well, they're babies of the pandemic, so that's how they think everyone communicates.

Michael: Exactly.

Int1: Is then when you went on to do Staged together?

Michael: Yeah.

Int1 [to Zoe and Nicole]: Have you seen that?

Zoe: No.Wait a minute. What are you guys doing on stage right now? Like a tour or something?

David: No, no it's a show .

Michael: It was a TV series called Staged that we did over Zoom. So we could work from our own houses.

David: Yeah.

Michael: We've done three series.

Nicole: They're extremely clever.

Zoe: That's insane. I have to watch it.

Int2: Now, Michael, apparently you turned down the opportunity to play David's character. Arguably got a better wardrobe. Is it something that you're regretting right now?

Michael: He gets all the best clothes. No. Neil Gaiman, who wrote the book that it's based on with Terry Pratchett. I've been friends with Neil for years, and so when we first started talking about the project yeah. We sort of both kind of, for some reason, assumed that I would play this one character, and then as he started writing the scripts, I was like, that's not the character. I'm not going to play that. So I felt kind of bad about saying that to Neil, and Neil was sort of feeling, because he was thinking thesame thing, feeling bad about saying it to me. So it all came out and then eventually it made way for the Tennant to emerge.

Int1: And he came in his lovely outfit.

Michael: Yeah. And his slinky hips.

...

Int2: David.You're returning to Doctor Who. We had Catherine Tate on a couple of weeks ago.

David: Oh, yes.

Int2: o we spoke to her about it all. Now, she said it was like slipping back into a comfy pair of slippers. Was it the same for you?

David: Yeah. I mean, 15 years is quite a long time. And you do worry you won't be able to runf ast enough anymore, but...

Int1: Is it 15 years ago?

David: 15 years.

Int1: It's not, David, it can't be.

David: You're a lot older than you think you are.

Michael: I was only five when... I remember the David Tennant. I was just a little nipper.

Int2: On the Doctor Who subject. Watching... that's what inspired yo uas a child, wasn't it? Watching Doctor Who.

David: Yeah.

...

Int2: Good Omens Series Two on the 28 July on Prime Video and you can catch all three series of stage on IPlayer.

...

Int1: Let's say Nadoli Llawen.

Nicole: Yeah. [Tries]

Int1: Nadoli Llawen. Merry Christmas in Welsh.

Michael: Very good.

Int1: Michael, you can verify this. I mean, even the both of us are from South Wales, and even within 20 minutes car Journey, there'll be different dialects...

Michael: Within streets! Streets! Yeah, you can tell where someone comes from, which end of town people come from. [to Int1] I know which end of town you come from.

Int1: Say no more.

Michael: It's always been very clear, Alex.

Int1: Always very clear.

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jesslovesboats · 1 year ago

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BECAUSE YOU DEMANDED IT, I'm back with more Sad Boat Books for Sad Boat People! But first, some words.

I never dreamed that a silly little graphic I made for some friends would generate this much response on twitter and here, but I'm overjoyed that it resonated with so many of you! I read every single comment and tag, and by far my favorites are all of the people who say some variation of "I thought I was the only one who loved these books." We are NOT alone, there are literally thousands of people who reblogged or retweeted this list-- people of all ages and backgrounds and gender identities. Sad Boat isn't just for old white men! I was also delighted to hear from other librarians who are using this in displays and for reader's advisory. PLEASE go forth and do so with my blessing, nothing would make me happier! I was recently laid off from my librarian job as part of a restructuring under new management (don't worry about me, it sucks right now but I'm gonna be fine), so I would love to think that I'm still contributing to the library ecosystem while I'm out of commission. I would also love to keep making these lists (including one that deals with Sad Boat fiction and one with recommendations for other types of media), and I've never had more time to do it, so if you have suggestions, please drop them in my inbox!

Anyway, enough of that-- here are more books! I've either read all of these, or the recommendation came from someone I trust, so read with confidence!

First Hand Accounts

The Quiet Land: The Antarctic Diaries of Frank Debenham edited by June Debenham Back

The Voyage of the Discovery by Robert Falcon Scott

Farthest North by Fridtjof Nansen

Endurance by F.A. Worsley

Boats boats boats!

Franklin's Lost Ship: The Historic Discovery of HMS Erebus by Alanna Mitchell and John Geiger

The Voyages of the Discovery: The Illustrated History of Scott's Ship by Ann Savours

HMS Terror: The Design, Fitting, and Voyages of a Polar Discovery Ship by Matthew Betts

The SS Terra Nova (1884-1943): Whaler, Sealer, and Polar Exploration Ship by Michael C. Tarver

You'll learn about the Ross Sea Party and you'll like it

Shackleton's Heroes by Wilson McOrist

Shackleton’s Forgotten Men: The Untold Tragedy of the Endurance Epic by Lennard Bickel

The Ross Sea Shore Party 1914-1917 by R.W. Richards

The Lost Men by Kelly Tyler-Lewis*

Polar Castaways by Richard McElrea and David Harrowfield*

*These were on my other list, but this is my graphic and I'll do what I want

Sad Airships and Planes

From Pole to Pole: Roald Amundsen's Journey in Flight by Garth James Cameron

N-4 Down: The Hunt for the Arctic Airship Italia by Mark Piesing

Antarctica's Lost Aviator by Jeff Maynard

Disaster at the Pole: The Tragedy of the Airship Italia and the 1928 Nobile Expedition to the North Pole by Wilbur Cross

More Shackleton Content

Shackleton: A Life in Poetry by Jim Mayer

Shackleton's Last Voyage by Frank Wild

The Quest Chronicle: The Story of the Shackleton-Rowett Expedition by Jan Chojecki

Shackleton's Forgotten Expedition: The Voyage of the Nimrod by Beau Riffenburgh

Polar Partners

Snow Widows by Katherine MacInnes

Polar Wives: The Remarkable Women Behind the World's Most Daring Explorers by Kari Herbert

Widows of the Ice by Anne Fletcher

Sad Boat Graphic Novels

Shackleton: Antarctic Odyssey by Nick Bertozzi

The Worst Journey in the World- The Graphic Novel Volume 1: Making Our Easting Down adapted by Sarah Airriess from the book by Apsley Cherry-Garrard*

How To Survive in the North by Luke Healy

*This was also on my other list, but this is my graphic and I'll do what I want

Biographies

Scott of the Antarctic by David Crane

Ice Captain: The Life of J.R. Stenhouse by Stephen Haddelsey

Cherry: A Life of Apsley Cherry-Garrard by Sara Wheeler

Birdie Bowers: Captain Scott's Marvel by Anne Strathie

Roald Amundsen by Tor Bomann-Larsen

Miscellaneous sad boat books that are well worth your time

I May Be Some Time: Ice and the English Imagination by Francis Spufford

Fatal North: Adventure and Survival Aboard USS Polaris, The First US Expedition to the North Pole by Bruce Henderson

Barrow's Boys: A Stirring Story of Daring, Fortitude, and Outright Lunacy by Fergus Fleming

Pilgrims on the Ice by T.H. Baughman

The Coldest Crucible: Arctic Exploration and American Culture by Michael F. Robinson

Ghosts of Cape Sabine by Leonard F. Guttridge

Icebound: Shipwrecked at the Edge of the World by Andrea Pitzer

If you read and enjoy any of these, please let me know!

EDITED TO ADD: OG Sad Boat Books post here!

#reader's advisory #sad boat #sad boat books #polar exploration #nautical history #read this #sad boat 2: electric boogaloo

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nipuni · 5 months ago

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Hello! Time for another blog post! I think my last one was two months ago and a lot has happened since 😊

We have been attending a ton of historical recreation events so I still have many photos to share, hope you don't hate those! It's been really fun! We are exhausted and all out of social battery however so we are taking it easy this month. Another thing that's been happening a lot is that even when we are not dressed in historical clothing we keep getting stopped by strangers on the street because of our everyday outfits, it's been like that for a couple of years now so we are no longer startled or nervous about it but it's happening more and more often now and it's so nice! we always end up chatting about the events we go to and our jobs and hobbies and exchanging contacts or they ask for photos and stuff! people are really kind and excited about it and I still find it so surprising in the best way. We grew up in a very hostile city and environment and that makes you paranoid and cynical so these interactions and response has been healing really. I know their words will stick with us for years to come 😭 Sadly the unbearable heat is starting though so that means our outings for the next three months will be limited to the crack of dawn and after sunset 😞 but at least the summer brings a lot of fruit with it so we can sit at home and eat pineapples and strawberries while we wait for autumn.

My family came to visit a few months ago too and we made them watch most of Doctor Who's season one to four and some of our favourite episodes from all the other seasons lmao. And much to our delight they really enjoyed it!! They both loved Ten the most and my step dad is now in love with Martha 🥰

We have also been watching the current season and it's been so fun keeping up with fandom theories in real time and talking about it and speculating with friends in person, it's the first time we get a chance to do it since we got into the series and we are enjoying it a lot!

We also watched season one of Jessica Jones and we loved David's performance as Kilgrave!! He stole the show for real. Kilgrave is such an incredible villain, one of the best I've seen and DT does such an amazing job portraying every aspect of him. He's detestable and volatile and frighteningly powerful and has such an intimidating terrifying presence in the narrative while also being pathetic and vulnerable and ridiculous and childish and so human with all it's worrying implications. It was just so gripping and I wish he had stayed for the rest of the show honestly!! Now we have to pick our next David Tennant series to watch! 😊

Also!! Dragon Age is back!! AHHH I wanted to thank everyone that commented on my last DA pieces, it has made my month to read the comments, I didn't expect so many people to remember my art or my character after so many years and it's so touching and flattering you have no idea 😭💘 I look forward to making more and sharing them with you all, I'm truly grateful for the kindness you've shown me both back then and now I hope you know.

I feel so spoiled lately with all these franchises that I love releasing new content!! I've never been in these many fandoms at once!! I have so many ideas to draw and keep jumping back and forth between drawings from different shows and games AAAAA it's a good and welcome change honestly, keeps me busy and inspired!

Anyway that's all for now I think! I hope you are doing well and this summer/winter is kind to you all ❤️

#nips blogs #DW report #or did I change that to DT report I can't remember #personal

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lostbetweenvampiresandmusic · 2 months ago

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4 & 19 with poly lost boys, please 🥰

BTW, love your writing!

4. I'm freezing.

19. Did you walk here?

Thank you so much love! I hope you like this!

---------------------

The bell above the dinerdoor rang as I slowly pushed the door open. I sighed deeply, my head feeling heavier than before, and my vision feeling somewhat clouded. I tried to focus on getting to an empty seat as I stumbled forward. I hadn't felt good this morning, and I knew it would have been better if I had just stayed at home. I should have gone to bed, and slept it off, and hopefully wake up feeling better tomorrow morning.

But I didn't. I didn't want to go to sleep, I didn't want to stay at home. Today would be the first day in a week that I could hang out with my boyfriends. I had been so busy, so overloaded with work, that the thought of going out only brought me more stress. So, I had to go. I didn't want to miss them any longer.

"Babe, we're over here." I looked up, smiling tiredly as I spotted Marko walking towards me. He gave me a warm smile as he looked me over, worried glint forming in his eyes. "You look terrible. Are you feeling alright?"

I shook my head as I leant into him, breathing in his familiar scent. His arm rested on my shoulder as he led me towards the booth he and the others had been sitting at. I moved to sit first, sliding in next to Dwayne, Marko sitting beside me on the other side. Across from me were David and Paul, both giving me a concerned look.

"Did you walk here?" David asked, noticing how hot and out of breath I looked. I nodded, not really looking at him. He had told me before that they would always pick me up if needed, but I had always waved them off. Maybe, I thought quietly as Paul ordered some drinks for all of us, maybe I shouldn't have been so insistent on being independent. I shook my head slightly. It wasn't a good idea to get stuck thinking about what ifs. The fact was that I walked here, and I was feeling worse than I did this morning.

"We're picking you up next time. I don't care what you say."

I nodded, closing my eyes for a moment as Dwayne pulled me closer. He brushed his hand through my hair, his hand resting on my forehead for a moment.

"You're burning up," he told me softly. "If you weren't feeling well, we would've come to you."

"I didn't want to miss you guys again..."

"If you turn and quit your job then you-"

"Not now, Paul," Marko interrupted him, "you need to get some sleep, I don't want you to get even more sick."

"Marko is right, sweetheart," David subtly motioned for the boys to get up. "Are you alright to hold on while I drive?"

"I think so," I nodded, slowly moving out of the seat, glad to feel David's hand enter mine as I felt how unsteady my legs were.

"Good," he led me outside, following the boys. Their bikes were parked nearby, and it didn't take long before we reached them. "If you feel like you can't hold on anymore, just tell me, alright? I'll hear you over the engine."

I nodded.

"And really tell me. I don't want you falling off."

"I won't," I said, but we both noticed how uncertain I sounded. It didn't matter, David helped me on the back of his bike, making sure I held on tightly as he drove off. He and the others drove slower than usual, both Paul and Dwayne driving beside us and Marko behind, to make sure I wouldn't fall off unnoticed.

When we arrived at the cave thirty minutes later, I felt ice cold. I was shivering, my fingers having turned white.

"Let's get you inside," Marko lifted me up, flying me down the stairs and into the cave. Dwayne had already lit the barrels, and Paul had emptied a space on the couch. I smiled gratefully as I was put down on the ground right in front of the couch, quickly wrapping a blanket around myself as I went to sit down.

"Are you alright?" Dwayne asked as he sat down next to me. I shrugged, unable to hide the shivering.

"I'm freezing."

"We can fix that!" Paul walked back into the room with two thick and heavy blankets in his arms. "David is grabbing you some tea, so he'll be back soon."

I couldn't help but smile as I snuggled into the layers of blankets, leaning against Dwayne, Paul, and Marko, both claiming their own space on the couch, limbs entangled but seated nonetheless.

"You're fucking perfect," I mumbled with a satisfied smile. I slowly began to feel a bit better, as if being surrounded by my boyfriends was medicine enough.

When David returned with a large Styrofoam cup filled with tea, he saw his four partners lying on the couch, all of them asleep. He smiled, not wanting to wake them up. He grabbed a blanket from the bed that once belonged to Star and draped it over them. He then went to sit on the one empty space left, letting out a soundless chuckle as Paul immediately leant into him. As he sat there, his mates sleeping peacefully, his human mate slowly seeming healthier than earlier that night, he couldn't help but fall asleep as well.

#the lost boys #tlb #marko #david #paul #dwayne #the lost boys 1987 #tlb 1987 #star #the lost boys x reader

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captainsparklefingers · 1 year ago

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One of the things I'm taking away from the second go round of Dracula Daily (and particularly from David Ault's excellent performance in Re: Dracula) is how much I like Lord Arthur Godalming.

Like. On the surface and the first time round he stands out the least of Lucy's suitors, and given how much time we hear from Jack, he can come off the most developed. Quincy, of course, gives us a heck of a lot of personality with relatively little (again, compared to how much we get from Jack). Arthur, though, doesn't have the same volume of words to develop, nor the instantly clear personality. He's just Lucy's fiancee, Jack and Quincy's friend, the heroes of light's wealthy benefactor.

But God, this poor man. He's suffered several immense losses in a very short period, been forced to see the woman he loved as a monster, and then had to put her down so she could rest in peace. Beyond the emotional burdens of such losses, he has to deal with the legal matters and the settling of affairs for three different people, probably doing whatever one needs to do to take his father's place in the House of Lords (something I know absolutely nothing about but I assume there's things to do there), AND the earth shattering revelation the supernatural is real, monsters do exist, and the one who killed Lucy is still out there.

And all of that while having to abide by the Victorian standards of manhood. Stalwart, strong, showing no emotions that could make him seem weak.

I think the scene in September 30th, where Mina comforts him and finally he has the chance to let go of all of these burdens he's felt he must carry alone, all of the grief and sorrow he's been forced to carry, he can for at least a moment put aside the mask of manliness society insist he wear and just let himself be a man who has lost his father and his fiancee within days of each other, who is dealing with situations beyond belief.

Obviously we've seen him cry and grieve before but it always felt like he was stifling it to a degree because, well. He only has his male friends to lean on now and the stupid proprieties of society mean he can only lean so much. But now he's had a chance to finally let go, made a connection with Lucy's dearest friend and a new sister of choice. He has his friends, he's finally been allowed to mourn in the way he's truly feeling...and now he's ready to help in whatever way possible to avenge Lucy.

Arthur comes off to me as a very strong character, a man driven by great love, who's emotions, as constrained as they may be, are one of his greatest strengths (and, of course, every good monster hunting group needs a financial benefactor). He's not a flat character at all, he's not forgettable character. Lucy loved him for a reason and, I think, in the moment his grief finally breaks, we get a glimpse at that.

I think that one of the good things of Dracula Daily has been making people realize how good of a character Jonathan Harker is, how pop culture has done damage to the true character of Lucy and Mina…I think we should add that its done a good job of making one care for a character as Arthur, who at first glance seems flat and boring.

Or at least it's made me appreciate him more. And I still want to know how he and Jack and Quincy became friends and what sort of shenanigans they got up to before the events of the book.

#dracula #dracula daily #dracula daily 2: vampire boogaloo #dracula spoilers #dracula daily spoilers #arthur godalming #re: dracula #seriously David Ault has done such a good job with him

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hansslut · 7 months ago

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smoking weed with nat for the first time 🍃҂𑁯࣭࣭

summary ❚ you go to your best friend's trailer to ask for the notes she took for you in class, but you get carried away and soon, she offers you to take a drag from her blunt.

warnings ❚ aged up!nat, gn!goody 2 shoes!reader, weed use, use of nicknames, reader is inexperienced, mentions of lottie, nat is flirty as hell, not proofread

sighing as you walked towards your best friend's trailer, you picked the skin off your nails while looking at the ground. you were mad at yourself for skipping school for a week straight because you were sick, and it was safe to say you were beyond stressed, dissapointed at yourself as you had never missed school before or any assignments.

as you reached nat's trailer, you went to knock at the door but you were greeted immediately by her lanky figure scrambling to open the door with a big, almost boyish grin playing on her lips.

“notes?” she asked while opening the door wider, and you nodded right after, stepping foot into her trailer and closing the door behind you as you sat down on her couch, your hands on your knees as you waited for her to return with your notes.

5 minutes had passed and she still hadn't come back yet, you raised an eyebrow and went to go look for her before she came in running and accidentally bumping on you. “woah— sorry” she chuckled before biting her lip and avoiding to meet your gaze, making you rub your temple with your fingers as you sighed again.

“forgot to take notes?” you asked and crossed your arms under your chest while tapping your foor impatiently. “listen— i may have forgotten, but heyhey! listen it's the thought that counts!” she said quickly as she saw you walking towards the door to leave, her hand grasping the door handle to prevent you from leaving.

“nat i don't have time for your games now, we have an exam tomorrow” you whined, on the verge of tears as you bit your lip anxiously, making nat frown, a comforting hand pulling you into a hug. “okay so listen, how about you relax a bit here and then we can call lottie so you can get the notes and ace the test?” she spoke softly in your ear while rubbing your back.

nodding to her question, a smile found it's way on her face again as she dragged you by the hand towards her room that you knew all too well, yet always fascinated you.

as you were busy looking at all the colourful posters of david bowie, nirvana, guns and roses, you felt her moving her hand in front of your face to wake you up from your thoughts. “yeah sorry” you sat down and looked at blunt between her plump lips while rolling her eyes.

“told you it's bad for you” you said while trying to snatch the blunt away from her and throw it out, but instead she just laughed, placing a hand on your hip and leaning her head back with the blunt still between her lips so you don't get it from her. “yeah, but you're not my parent, are you?” she smirked while saying that, knowing that it'd make you mad, and when you went to open your mouth, she spoke again.

“besides, why don't you try some? you're really stressed, hm? might help you” she rubbed your hip with her thumb while looking at you through the smoke, the joint hanging from her lips.

thinking about it, you shifted a bit and looked down before just nodding. “fine, whatever” nat laughed at your response and leaned over towards you, putting the blunt between your lips, looking at your reaction carefully.

not long after, you started coughing and nat chuckled, rubbing your back again. “easy there buddy” she teased “just take a small drag of it and relax, i'm right here babe, you're okay” she gave you the joint this time, showing you how to hold it properly, and when you took a drag successfully without coughing, nat smirked and twirled a strand of your hair around her finger. “good job doll” she laughed when you leaned your head back on the wall, the weed finally kicking in.

all thoughts of the exam and taking the notes from lottie were soon slipped out of your mind as you were at your highest with nat, laughing at every word she said, both of your eyes were red and hazy.

the next day when you saw lottie waving at you, you ignored her, mad at her for not giving you the notes. you saw her approaching you but turned the other way. “hey, did i do something? why aren't you talking to me?"

as soon as she said that, you looked at her while scoffing and pouting angrily. “yeah, you did do something! you didn't give me the notes yesterday when i called you to ask for them!” you replied annoyed, and saw lottie raise an eyebrow in confusion. “but... you never called?” she said confused, looking between you and nat, you had a defeated face while nat was trying not to laugh, biting her lip to hold back a laugh as she looked at you, the memories of you and nat in her trailer all coming back.

“oh...” you bit your lip too awkwardly before looking around. “w-well, i gotta go! see you at lunch” you smiled at lottie before grabbing nat's hand and running away. “that was so embarrassing oh my god” you whisper yelled into nat's ear, shoving her softly, erupting into laughter later on.

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thefandomenchantress · 3 months ago

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So everyone's talking about the new episode right now. Understandably so, since it had so much new evidence! In fact, I'm going to talk about it as well. However, instead of focusing on the bombshells David dropped or Levi's secret, I'm going to do what I do best: Focus on Ace and ignore literally everything else. /hj

(Spoilers for Chapter 2, Episode 12!)

All joking aside, I'm sure you're wondering what the hell I'm talking about. Ace literally said, like, five lines of dialogue this episode. And yeah, you're right. Actually, that sort of ties into what I'm talking about.

Okay, time to explain. The thing I want to talk about is this: Ace is weirdly...Not as confrontational as usual this episode? Let me show what I mean through examples.

What's so special about this moment? Well, strangely enough, it's what comes after it.

Now, when I first watched the episode I laughed and thought, "Oh, someone insulted Ace, now Ace is going to be angry" and then they never cut back to him being angry. They just said that (admittedly very funny) line and moved on.

And after it happened, I didn't think too much of it. I was far too consumed by the episode's greatness to care too much, and Ace's reaction wasn't necessary for the scene anyway.

These two lines aren't as strong for what I'm trying to say, so I'll lump them together.

But I thought it was worth mentioning that in the first photo, Ace joins in with Nico and Levi on saying Arturo should've been better at his job. But after Arturo scolds the three of them, as well as everyone else by extension, it only cuts back to Nico and Levi. Which is fine, it can be assumed that since Ace's comment was a late addition, shorter, and didn't have too much substance, him not getting a reaction makes sense (I mean he's not the one who got called a whore like Jesus Christ Arturo--).

In the second photo, Hu tells Ace to stop blaming Nico because they have an airtight alibi, and Ace...Just shuts up. Nico complains about being interrupted and they move on to other people's alibis (or more like the lack thereof). Which sorta makes sense, Ace can't really refute her point because he can't prove she didn't have breakfast with Nico. Then again, he could've made a point to say no one can prove they did have breakfast together, since they were in private, but still. Maybe Ace is too scared to seriously argue with Hu after that slap, haha.

It's this last example that actually made me notice that there may be anything resembling a pattern here:

During this part of the episode, I was immediately reminded of J's line about Ace being incapable of being quiet and expected Ace to refute her point. After all, it's basically the same as refuting her earlier point. He just has to say that he's not always spontaneously combusting every 5 seconds like she thinks again. He's not a grenade launcher in a glass house. More like a small batch of fireworks, thank you very much.

But Ace doesn't say anything. This is only made more obvious by Charles immediately cutting off the conversation there.

And this moment made me think something. Keep in mind I could be totally overthinking this an unnecessary amount, but that's what most of theories end up being anyway.

Since the conversation is immediately ended by Charles, DRDTdev could've ended J and Ace's interaction off with Ace trying to insult her back, maybe him going "Listen here, you--" before Charles cuts them off because they have a trial they need to finish. But DRDTdev decided to not make Ace have any reaction whatsoever to this insult, at least not one the audience can see. And based on how loud and opinionated Ace is, I'm guessing that if the comment did make him have an extreme reaction, we definitely would have heard him say as much. But we don't.

I think what makes all this so weird to me is that whenever someone is condescending to Ace, usually he's very upset and it shows. In trial 1, we see him be one of the few to cave pretty quick to the idea that they were wrong and that Teruko isn't the culprit. Yet when Whit says Charles isn't the culprit, Ace suddenly feels very strongly about it, because Whit actively talked down to him about it, (I think Whit said something like "use your big boy words" but I'm too lazy to rewatch the whole trial to find it) and now Ace doesn't want to agree with him (Or at least that was how I interpreted it, he's so petty I love him). So you'd think he'd be more resistant against those who kept making comments about his intelligence or demeanor, but so far, he hasn't.

That could mean two things. One, he's the culprit and is trying to at least vaguely avoid unnecessary confrontation and bringing attention to himself. But honestly, I doubt even that would stop Ace from impulsively insulting people back.

The second option is this:

My first thought and explanation in my head for this connects to Ace's overall arc. Let's recall Ace's secret quote:

"I don't know what to do with myself anymore"

This line gives off a sense of hopelessness. Like Ace has completely given up on everything.

And for some reason, a couple of the moments above made me feel, at least slightly, the same thing. If Charles says Ace is so stupid he's never seen anyone more stupid ever before in his life and didn't think it scientifically possible for anyone to be that stupid? Ace has no response. If J says another line about Ace's explosive demeanor? Ace has no response.

I don't know, something about Ace just not bothering to refute them makes me feel that something is off. He complains that everyone sees him as an idiot and how he hates it earlier in the chapter. He seems so distressed as he does it, it's a full-on break down.

And yet, when people do exactly what he was talking about here, he can no longer muster up a response. It's like he's given up on changing their minds. He knows they think he's stupid, and impulsive, and intolerable, and he thinks there's nothing he can do about it anymore. Blowing up at them will only make them think they're right. So he's given up on doing anything at all.

I suppose my line of reasoning is that maybe small details like this will pile up over time, as Ace, unnoticeably at first, loses some of his fire bit by bit, until inside he's just...Empty. He doesn't know what to do. He's so tired, and he doesn't know anything that can help or distract him from his situation. And seeing as the secret quotes seem to embody a character's mindset at death...That seems to be the place Ace might die at. Perhaps even at his own hands, who knows.

Is that an overreaction on my part? Possibly. Am I overanalyzing microscopic details? Yes. But that's my job.

So anyways I really enjoyed this episode and Ace was great too! Yippee for the return of DRDT, and my Eden culprit idea not being completely debunked yet!

#i can find meaning in anything ace says if i try hard enough haha #i haven't seen new ace content in a year so its not surprising i immediately had thoughts #even if he barely did anything this episode #not a complaint too much focus on him and i'll start worrying he's the culprit (plot twist: i already am)#danganronpa despair time #drdt #drdt spoilers #ace markey #tw sui implied #(just that one sentence but just in case)

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demodraws0606 · 2 months ago

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DRDT CHARACTER THEME PLAYLIST - My Personal Interpretation

Warning : This playlist was deleted by DRDTdev and thus this is mostly meant to be something fun, and also because people have posted a lot of interpretations that I don't agree with (and I've always wanted to make my own).

So a while back DRDTdev made a playlist that they've now deleted, however I've seen a lot of people making their own posts about who fits which song. However since I'm not "like the other girlsTM", i had mixed feelings on how certain songs were assigned.

Some songs will be exactly the same as some other posts, mainly because they make the most sense to me but I do have some interesting shifts here and there that I will try to explain.

However I want to get the obvious ones out of the way first

UNDEAD ENEMY : David Chiem

I think this one is the most obvious song in the playlist. The song talks about a person who has put on a mask and is miserable trying to addear to the expectations of that mask. There is a lot of pent up frustration and anger in those lyrics which also is very fitting for David.

There is also the hints of something more behind those feelings of hatred, despite how much he's learned to hate the world there's still a sliver of him that still wants genuine companionship.

YESMAN : Nico Hakobyan

This song already fits Nico purely from the introvert lines. I'm joking, that's not just why I considering Yesman to be Nico's song. This song fits really well with Nico's frustration with being a pushover (or you could say a Yesman) and just how society has always treated them poorly.

The song itself is about being forced to do something, like a boring job, and despite how much hatred you feel you still keep on trying to keep your head low and do what your told. I think all of that really fits Nico's arc and what we know of them so far. Someone who constantly is pushed down by other and has been taught that they need to accept it.

SHUNRAN : Arei Nageishi

This song could also fit Ace as another aggressive person who just wants companionship but I personally think this song fits Arei way better especially with the beginning line ("I won't pay attention to small fry" has a lot of Arei vibes).

This song fits Arei's desire to want love and the contradiction that comes with her aggressive personality. She feels that it's unfair how life punished her which fits a lot with the line "They say that praying to be loved is a sin" as she was constantly denied that love. The lines as well about your personality slipping and crying reminds me of Arei's breakdown.

Hi-Fi Evolution Theory : Veronika Grebenshchikova

This song is very vague but despite that it is 100 pourcent a Veronika song.

I don't fully know what the song means in itself but the lyrics really fit Veronika's issues with boredom and her enjoyement of the killing game. There's a lot of lines about laughing and wanting to be entertained which just goes with her really well with her character.

Cartoons : Rose Lacroix

Ok, I think I lied when I said Undead Enemy was the most obvious song, THIS is the most obvious song. I don't think there's much analysis to be done to convince anyone that this is would Rose's theme.

This song reflects well Rose's depression and pain surrounding her talent and just how her life turned out in general. It kinda has that dissociative numbness in the lyrics that just fits her really well.

Sing Along : Teruko Tawaki

This song really fits Teruko extremely well especially her abandonnement issues. The song itself sounds aggressive but it oozes of longing and sadness.

A lot of the lyrics fit her feelings of being betrayed by Xander and Min, people she's gotten close to in a short time but immediatly ended up betraying her. It also fits her feeling towards her brother who ended up leaving her as well.

Now let's take a break and tackle the Instrumental songs !! This is where things start to change from other posts so get ready.

Spitfire (05 Version) : J Rosales

This one just fits J's vibes quite well. It's aggressive but also isn't too serious or intimidating, it just sounds like something J would listen in the car.

It also just has this...manly energy (?) or punk-ish energy that J has, it fits her rejecting the traditional feminity her mom tried to force on her.

Main Theme, Diamond is Unbreakable : Xander Matthews

This song is literally Xander vibes and you can fight me on that, it has a very dramatic and grandiose sound (especially when the piano comes in) that just fits how Xander holds himself (as you can see with that pose).

It's the exact type of theme I would expect from someone being the Ultimate Rebel. There's also more actively aggressive parts that I think also fit Xander, as we see he's got a short tamper when his ideologies are challanged and he also just is surprisingly quick to resort to violence.

desk rotation by RQ laji-2: Charles Cuevas

You can fight me again because you cannot tell this Bill Nye intro ass track doesn't fit Charles. Again it's hard to argue considering assigning instrumental tracks is really just based on vibes however this song really has a huge science show feel to it.

I could imagine hearing it while Charles is doing chemistry stuff or theorizing during the class trial.

Now let's go back to the lyrical songs, and this is where things start to go a bit crazy and I might need to justify myself a bit more.

asymptotic : Min Jeung

I know Charles is considered the resident nerd guy but you cannot NOT give the song about math puns to Min.

I think this song works really well for Min's relationship with Teruko. It especially reminds me of what Teruko says to Min before she gets excecuted that they "should've never gotten attached to one another".

This song is about a romantic relationship that could never happen, which I think represents Min's own feelings towards Teruko. About how they could've been closer but now they'll always be drifting apart.

How Min in a way sacrificed her life for Teruko but again she'll always be "out of reach". A relationship that could never happen under the killing game's circumstances.

RUNAWAY : Levi Fontana

I think this song especially with what Levi revealed to us latest episode REALLY fits him.

A song about a person who is repeteadly failling to try and "become better". The lines about "searching" and "tripping" goes in line with Levi's behavior in chapter 2. He's awkwardly trying to reach an ideal of the person he's supposed to be. He wants to be a "good person" but from the day he was born he was completely denied that ideal (aka "Dreams of who i want to be I'm seeing every empty page")

But there is a silver lining to all of this, the lyrics work with the moral of Levi's character. He doesn't need to run away from who he truly is, that what he considers an obstruction to his goal is simply just a part of himself he should accept. He doesn't need to "run away".

tip toes : Hu Jing

This song already just screams Hu purely from the line "I'm reaching for something more than this feeling of being important". She's a person who wants to protect others, be someone who others can rely on but in part it's very much driven by her own ego.

The lyrics are slightly vague but the parts about her "future" I feel like really gives vibes about how she used to be someone who had givne up on her own life but now is determined to persue it no matter what.

I didn't put this lyric in but "Take this ghost of me with the tide to die" again really feels like it references Hu's past and how she's ashamed of it. The song's lyrics give me a lot of feelings of regret but also determination which I think encapsulate Hu's character well.

Polygonal : Ace Markey

I've never seen people consider this one for Ace which is really surprising but also not because this song is very vague. Despite that, I do think this song 100 pourcent fits Ace purely because of some lines that really fit neatly with Ace's character.

The repeated mentions of how anyone would want to be loved/have someone to laugh with, it reminds me a lot of how Ace reacted to Levi saying he didn't care if he died. Ace desperately someone to give a shit about him, he'd rather take pity than nothing at all but he's also a self sabotager who drives anyone who gets close away from him.

"Your increasing honesty, I hate that about you" Honestly really feels like it's Ace saying that to Levi ? I wouldn't know fully how to explain it but it just really gives that vibe.

The song also seems to go on about a person's suffering about how their life is "full of failures" which again goes unfortunatly with Ace who seems to just have lived a pretty miserable life. Having only one person he could call a friend, being forced into an Ultimate Talent that both ruined his body and mental health .

Drawing Pins : Arturo Giles

Ok this one is probably the most farfetched pick, i'd say ? Considering, however, how little we know about Arturo I feel like this song has a lot of room to fit his characters and certain lines already do in multiple ways.

The parts about not being able to fit in, both makes me think of how he's kind of just, openly mocked within the group. However it also really makes me think about Arturo's family, him wanting to distance himself from them and his apparent disdain from them as well.

"Tell me what you did it for" "Cause I can't figure it out" I honestly think those parts really fit well with Arturo's sister committing suicide. He doesn't know why she did it something like that and he refuses to see it as his fault, it haunts him, he can't figure out why she did it because he can't fathom the idea that in reality it truly was because of him.

The "what do i have to do to be loved by you" parts I think are where things get a bit weird. My thought process would be Arturo's feelings towards "pretty people", him becoming obsessed with J because of her mother really makes me think that he's looking out for some kind of validation in a way.

Good grief : Eden Tobisa

I'm sorry this song is not fucking Whit, it's Eden, y'all can suck it /lh

This song really just fits way to well for me with Eden's feelings about Arei (weither she's the culprit or not even if I don't think she is anymore). The entire of the trial of chapter 2, Eden is struggling with the fact that she lost Arei and what could have been. This song really makes me think about how she tells David that she "knows she's dead and that she's never coming back". The slight upbeat-ness of the song really fits as well with Eden's attempt to try and stay cheerful despite how sad she feels.

I think Arei's death will be a very big sticking point in Eden's character.

Also the time motif with "Every minute and every hour" just fits way too good for it to be ignored.

In terms of other lyrics, I agree some of them fit Whit a bit but there are certain things that click way too well with Eden (and also none of the other songs fit Eden at all). I mean Eden's secret quote literally is "You can't go back no matter how hard you try" so clearly her character is heavily tied with grief as well.

"If you want to be a party animal, you have to learn to live in the jungle...." Really feels to me like Eden having to learn to be stronger and stop blaming herself ? It really just sounds like advice that would be given to someone like Eden who wants to be upbeat and confident but just simply is too prone to be insecure.

"Get drunk, call me a fool. Put me in my place" Again those lyrics really just feel like they fit Arei and Eden's relationship. Arei calling Eden a "fool" and "putting her in her place", it just ends up really matching perfectly in my opinion.

Mistaken Belief of Love : Whit Young

AHAH ! You have fallen into my trap of this post actually being secretly propaganda about how "Mistaken Belief of Love" really fits what's hinted about Whit's character so far !!!

Yeah, no, this song really does not make sense with anyone else other than Whit ? Both the lyrics and vibes do not match with anyone. The song's whole thing is about "love" and Whit's a fucking matchmaker, thematically it just fits like a puzzle piece. Not only that but Whit's whole thing (that actually hasn't rlly appeared in the series itself all that often) is that he seems to not be able to find love himself and is doomed to be single. It reinforces this idea that, yeah Whit's song would be about love in some way or another (I talk about love in general, this song is not a love song despite what you'd think)

It also works really well with Whit's secret quote being "We often idolize the dead" meaning Whit probably saw his mother as someone she wasn't. Perhaps she was abusive or neglectful, or she hid something from him that truly shows that she may not have cared about him at all.

There are also lines that just fit Whit really well like the "deception, boasting, saying "I openly laughed at it"", just really gives giant Whit vibes for me ? Same with the mention of "peekaboo" since we know Whit kinda holds on to childish things like that (his socks, the fact he uses fruity shampoo for kids).

Anyways, this was mostly for fun and also because I desperatly to make my own list because I had some Hot Takes Tm.

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ladyluscinia · 1 year ago

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Ok, I think I might be exiting the "are you fucking kidding me?" period and ready to make a real argument, so lets talk about Three Act Structure!

Is OFMD S2 just the "Darkest Hour"?

A very common explanation I've been seeing for some of the... controversial... aspects of S2 is that it's meant to be that way. That the middle act is where the protagonists hit their lowest point. Where we get the big failure point. Where everything looks kind of shit.

S2 is supposedly just that point. It's The Empire Strikes Back. People have been making that comparison since before the first episodes even dropped, telling everyone to expect something that could be disappointing or unsatisfying - it's just a matter of needing to wait for S3 to pull it all together.

It's not a baseless framework to consider the show through - I'm pretty sure David Jenkins has mentioned it in interviews (or at least mentioned he planned for three acts / seasons) so it's certainly worth asking how he's doing at the 2/3rd mark.

So - quick summary of Three Act Structure:

Act 1 introduces our characters and world. It includes the inciting incident of the story and the first plot point, where a) the protagonist loses the ability to return to their normal life, and b) the story raises whatever dramatic question will drive the entire plot. Act 2 is rising action and usually most of the story. The protagonist tries to fix things and fucks them up worse, in the process learning new skills and character developing to overcome their flaws. Act 3 is the protagonist taking one more shot, but this time they are ready. We get the climax of the story, the dramatic question gets an answer, and then the story closes.

If you want examples, the Star Wars Original Trilogy is a very popular template. And, hell, he said it was a pirate story... the main Pirates of the Caribbean trilogy also does a solid job with their three acts.

Let's compare. (Spoiler: I'm not impressed 🤨)

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First thing I need to establish... Wait. Two things. First is that Three Act Structure is flexible, so we can't really analyze success or failure by pulling up a list of necessary plot beats that should have been hit in X order. Second is that if you tell me you are writing a romance with a Three Act Structure - where "the relationship is the story" - the first thing I'm going to do is ask you how you are adapting it. Because while there's not necessarily anything preventing you from applying this to a character driven plot, most people are familiar with it as plot structure for externally driven conflict.

Unless there's a reason the status of the main relationship is intrinsically tied up in the current status of the war against the evil empire, a standard Three Act Structure is going to entail either an antagonistic force that absolutely wants your main couple apart being the main relationship obstacle OR the romance aspect being a subplot to the protagonist's narrative adventure. None of those sound like how the show has been described.

So how is OFMD adapting it?

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Act 1

(Can't figure out how well Act 2 is doing if we don't start at setup.)

Right out the gate, OFMD breaks one of the main "rules" for a story where the Acts are delivered in three parts. Namely the one where the first Act is treated as an acceptable standalone story, with it's own satisfying yet open ended conclusion.

In Star Wars, A New Hope ends with the princess rescued, Luke finding the Force, Han finding his loyalty, and the Death Star destroyed. The Empire isn't defeated, the antagonists still live... the story is not over, but this one movie doesn't feel unfinished.

Similarly, Curse of the Black Pearl gives Jack his ship back, Elizabeth and Will get together, and Norrington has the English Navy let them all off the hook and give Jack and the pirates one day's head start.

OFMD's final beat of S1 being Kraken Arc starting is not that, even if Stede returning to sea is still a pretty hopeful note. Now... I don't necessarily think this was a bad call. At least, not if the story is the relationship. It's easy to close on a happy ending and then fuck it up next movie if the conflict is external and coming for them. Not so much if you're driving the story with your protagonists' flaws, in part because it should be really obvious at the end of setup that your main characters need development and can't run off together right now. I actually like that they were risk-takers and let S1 look at the situation clearly vs doing a fragile happy end, because it takes into account the difference between a character-driven and plot-driven narrative.

I think OFMD's Act 1 actually ends at maybe the Act of Grace? Well, there through the kiss on the beach, counting as our "first plot point" before everything goes wrong, basically.

At that point, they have setup the story and characters. We've been introduced to Edward and Stede's current issues. Signing the Act of Grace does make the intertwined arcs between them real - it's no longer a situation that either one of them could just walk away from like it was in 1x07 - and we narrow in on the (alleged) driving question of the show:

It's not about "Will Stede become a great pirate?" or "Will we develop a better kind of piracy for the crew?" - the show is the relationship and the big question is "What is Stede and Edward's happy ending?"

Act 1 ends on their first solution, being together and making each other happy and admitting it's more than just friendship. Act 2 starts, appropriately, by saying both of them are currently too flawed for that to go anywhere but crashing and burning.

Now... looking back, what does Act 1 do well vs poorly?

I think it's really strong on giving us the foundation for BlackBonnet's characters and flaws. We aren't surprised Stede goes home or Edward goes Kraken (or at least... we weren't supposed to be surprised. There are still a lot of holdouts blaming Izzy for interrupting Edward's "healing" despite how at this point in the story it doesn't make sense for Edward to have the skills to heal... but I digress). The relationship question is compelling at the end of S1, the cliffhanger hooks, and the fandom explosion of fics did not come from nowhere - the audience was invested.

I also think Act 1 does a great job of settling us in the universe. We understand the rules it abides by, from how gay pirates are just a fact of life to how there's no important organs on the left side of the body. Stede has a muppety force field. Rowboats have homing devices, and port is always as close as you want it to be. Scurvy is a joke. The overblown violence of pirate life is mostly a joke, but we are going to take the violence of childhood trauma seriously.

Lucius's fake-out death, while technically part of Act 2, works well because Act 1 did a good job of priming everyone to go "obviously this show wouldn't kill a crew member for shock value, and we're 100% supposed to suspend disbelief about how he could have survived getting flung into the sea in the middle of the night." And we do. And we get rewarded for it.

Regarding antagonists - a big focus of any setup - the show is deliberately weak. The one with the most screentime is Izzy, and he's purposefully ineffective at separating our main couple. Every antagonist is keyed to a particular character, and they function mostly to inform us of that character's flaws and development requirements. The Badmintons tell us about Stede's repression and feelings of inadequacy, and Izzy tells us about Edward's directionless discontent and tendency to avoid his problems. Effectively - the show is taking the stance this will be a character driven narrative where Stede and Edward's flaws are the source of problems and development the solution. No person or empire (or social homophobia) is separating them...

...which leads me to something not present - there nothing really about the struggle of piracy against the Empire. Looking at Curse of the Black Pearl... we see piracy is in danger. The Black Pearl itself is described as the last great pirate threat the British Navy needs to conquer. Hangings are omnipresent - Jack is sentenced to die by one almost as soon as he's introduced to the story, when his only act so far had been to wander around and save Elizabeth from drowning. OFMD tries to invoke this kind of struggle in 2x08, but there's no foundation. Our Navy antagonists are Stede's childhood bullies, and so focused on Stede the crew isn't even in danger when they get caught. The Republic of Pirates is getting jokes about being gentrified, not besieged.

Even the capture of Blackbeard by the Navy is treated as a feather in Wellington's cap but not a huge symbolic blow against piracy... because we just do not have that grand struggle woven into Act 1. You only know the "Golden Age of Piracy" is ending if you google it, or have watched a bunch of pirate shows.

Overall, a solid Act 1, well adapted to the kind of story they've said they were looking to tell - a romance in the (silly-fied) age of piracy, instead of a pirate adventure with a romantic subplot.

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Now, Sidebar - Where is the story going?

The thing about the dramatic question - in OFMD's case: "What is Stede and Edward's happy ending?" - is that a) there's normally more than one question bundled up in that one + sideplots, and b) while you aren't supposed to have the answer yet, you can usually guess what needs to happen to give you the answer.

Back to our examples... Luke's driving question is "Will the Empire be defeated?" Simple. Straightforward. Also: "Will Luke become a Jedi?" The eventual climax of our story from there is pretty obvious... the story is over when Luke wins the war for the Rebellion in a Jedi way. That's the goal that they are working toward.

Pirates of the Caribbean is a bit more complicated. We're juggling more characters and have a less defined heroic journey, but there are driving questions like "Is Jack Sparrow a good man?" and "Is Will Turner a pirate / what does that mean?" and even "Will the British Navy defeat piracy?" They get basic answers in Curse of the Black Pearl, and far more defined ones in At World's End. Still, this is another plot-driven narrative. They've laid the foundations for the Pirates vs Empire struggle, and when that final battle turns into the trilogy climax then you know what's happening.

OFMD is not doing a plot-driven narrative. To judge how they are doing at their goals, we have to ask what they think a happy ending entails in a character sense.

Clearly it's not the classic romantic sideplot, where the climax is the first kiss / acknowledgement of feelings. They've teased a wedding in Word of God comments a lot, so that's probably our better endpoint. Specifically, though, a wedding where both of our protagonists aren't ready to flee from the altar (big ask) and where they've both grown enough that their flaws / mutual tendencies to run away from life problems won't tank the relationship.

In Stede's case it's still massive feelings of inadequacy and being too repressed to talk about his problems. Also he ran away from his family to chase a lifelong dream of being a pirate - "Is Stede going to find fulfillment in being a pirate captain, or will the real answer be love?" Edward meanwhile expresses a desire to quit piracy and retire Blackbeard, but we also find out he's struggling with massive self-loathing and guilt from killing his father - "Is retiring what Edward wants to do, or is he just running away?"

If they are going to get to a satisfying wedding beat at the climax of their story, what character beats do we need to hit in advance?

Off the top of my head - both characters need to self-realize their flaws (a pretty necessary demand of anyone who runs away from problems). They are set up to balance each other well, but also to miscommunicate easily. They have to tell each other about or verbally acknowledge that self-realization so it can be resolved. Stede has to decide how much being a pirate means to him. Edward has to decide if he's retiring and what he wants to do. They both need to show something to do with getting past their childhood traumas given all the flashbacks. Through all this, they also need to hit the normal romance beats that convince the audience they are romantically attracted to each other and like... want to get married.

Oh, and this is more of a genre-specific sideplot, but once they demonstrate a behavior that hurts the people who work for them, they need to then demonstrate later how it won't happen again. Proof of growth, which is kind of important in a comedy where a lot of the humor is based in them being massively self-centered assholes. Stede doesn't earn his acceptance in the community until he kicks Calico Jack off the ship, making up for causing the situation with Nigel in the first episode. A workplace comedy can get a lot of material from the boss as the worker's antagonist, but if you want the bosses to stay sympathetic you have got to throw them some opportunities to earn it.

All that sounds like a lot, but like - the relationship is the story, right? If we spend so much time on establishing flaws big enough to drive a story, we also have to spend time on fixing them. Which is where the turning point hits.

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Act 2: How it Starts

This is where the full story reality-checks your protagonist. Glad you saved your boyfriend and embraced new love in Act 1, but his repressed guilt means he's about to completely ghost you, and your own abandonment issues and self-loathing are about to make his dick move into everyone else's problem.

Again, it's a non-conventional choice OFMD has this start at the very end of S1 rather than with a sudden dark turn in the S2 premiere, but it's still pretty clearly that point in the Three Act Structure.

In Star Wars, The Empire Strikes Back opens with a timeskip to our Rebellion getting absolutely crushed and hiding on a miserable frozen planet. The Empire finds them as the plot is kicking off and they have to desperately flee. They get separated. Han and Leia try to go to an ally for help and end up in Vader's clutches. It's a sharp turn from the victorious note that A New Hope ended on.

Pirates of the Caribbean's Act 2 starts dark. Dead Man's Chest opens with our happy couple Will and Elizabeth getting arrested on their wedding day for the "happy end" escape of the last movie. Jack has not been having success since reclaiming his ship, and we'll soon find out he's being hunted by dark forces. As for the general state of piracy, we get a horrifying prison where pirates are being eaten alive by crows, and a new Lord Beckett making the dying state of piracy even more textual. "Jack Sparrow is a dying breed... The world is shrinking."

The key here is making a point that our heroes aren't ready. This is the struggles part - things they try? Fail. The odds do not look to be in their favor.

Now, OFMD apparently decided to go all-in on flaw exploration, especially with Edward. The first 3 episodes of S2 are brutally efficient in outlining Edward's backslide. In S1 you could see he had issues with guilt and feeling like a bad person. S2 devolves that into a destructive, suicidal spiral where Edward forces his crew into three months of consecutive raids, repeats his shocking act of cruelty with Izzy's toe offscreen (more than once!), escalates it with his leg, and finally they state directly that Edward hates himself for killing his dad so much that he fears he's fundamentally unlovable and better off dead.

Stede's struggles are subtler, but most definitely still there. He's deliberately turning a blind eye to tales of Edward's rampage, half from simply being too self-centered to care about the harms Edward causes others, and half from being unable to face or fathom that he had the ability to hurt Edward that much. Upon reunion he wants to put the whole thing behind them, not addressing why he left in the first place. Very "love magically fixes everything" of him, except Stede is no golden merman.

Interestingly, here, BlackBonnet's relationship dysfunction has very clearly been having a negative impact on the surrounding characters we care about. Make sense, since it's the driving force of the story, but that also adds a lot more relationships we need to make right. Like... Edward is the villain to his crew. The show focuses on their trauma and poisoned relationships with him. And then draws our attention even more to Stede taking his side to overrule their objections to him.

For a story where the conflict and required resolutions are primarily character based, and the setup had already given the main couple a good amount to work with, dedicating a lot of S2 to adding more ground to cover was... a choice. Potentially very compelling on the character end, certainly challenging on the writing end... but not a complete break with the structure.

Bold, but not damning.

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Act 2: How it Ends

Now it is true that Act 2 tends to end on a loss. Luke is defeated by Vader and loses his hand, and Han has been sent away in carbonite. Jack Sparrow for all his efforts cannot escape his fate, and he and the Pearl are dragged to the locker.

But the loss is not the point. The loss is incidental to the point.

Act 2 is about struggles and failure, but it's also about lessons learned. There's a change that occurs, and our cast - defeated but not broken - enters the final act with the essential skills, motivation, knowledge, etc. that they lacked in the beginning.

Luke Skywalker could not have defeated the Empire in Return of the Jedi until he'd learned the truth about his father and resisted the Dark Side in The Empire Strikes Back. (Ok, confession, I'm using Star Wars as an example because literally everyone is doing so, but frankly it's a better example of formulaic Three Act Structure repeating within each movie because on a trilogy level - relevant to this comparison - it is a super basic hero's journey in a very recognized outfit and as such the Act 2 relevance is also... super basic "the hero tries to fight the antagonist too early" beat where he learns humility. Not really a lot going on. So, for the better example...)

Dead Man's Chest has a downer ending with the closing moment of the survivors regaining hope and a plan against an enemy now on the verge of total victory - a classic Act 2. But in that first loss against Davy Jones we get Will's personal motivation and oath to stab the heart, Jack finally overcoming not knowing what he wanted and returning to save them from the Kraken (being a good man), Elizabeth betraying Jack (being a pirate), Barbossa's return, and Norrington's choice to bargain for his prior life back. The mission to retrieve Jack from the World's End is the final movie's plot, but things are already on track to turn the tables back around as we enter the finale.

Now, relevant sidenote - one major difference between Three Act Structure within a single work vs across three parts is that Act 2 continues into Part 3, and only tips over into Act 3 about midway through. This is because obviously your final movie or season cannot just be the climax. That's why both movie examples start with a rescue mission. They have to still be missing something so they can get the plot of their third part accelerating while they go get whatever that something is.

But if you wait until the 3rd movie / season to get the development going at all - you're fucked.

Jack's decision in the climax of At World's End to make Elizabeth into the Pirate King goes back to the development we saw in the Pearl vs Kraken fight in Dead Man's Chest. So does Elizabeth's leadership arc. Will's whole arc about becoming Captain of the Dutchman gets built upon in the third movie, but it starts in the second. Not just as an idle thought - he's actively pursuing it. Already consciously weighing saving his father vs getting back to Elizabeth as soon as he makes the oath. Everyone is moving forward in Act 2. Their remaining development might stumble for drama, or they might be a bit reluctant, but I know that they know better than to let it stick, because they already faced their true crisis points.

I'm not sure we can say the same about OFMD.

S2 does a good job of adding problems, yeah, but there's not really any movement on fixing them. Our main couple stagnates in some ways, and regresses in others.

Stede opened Act 2 by running away in the middle of the night back to his wife without telling Edward anything. We know he did it because of feeling guilty and his core childhood trauma of his dad calling him a weak and inadequate failure. Now in S1 he actually speedruns a realization of his shitty behavior with Mary, but what about S2? Well...

He continues to not talk to Edward about... pretty much anything. My guy practiced love confessions galore but Edward only finds out about going back to his wife via Anne, and it gets brushed aside with a love confession. He seems to think Edward wants him to be a dashing pirate, or maybe he just thinks he should be a dashing pirate. Idk, it doesn't get examined. Regarding his captaincy, they give him an episode plot about Izzy teaching him to respect the crew's beliefs, but this is sideplot to a larger arc of him completely overruling their traumas and concerns (and shushing their objections) to keep his boyfriend on the ship so. That.

Stede kills a man for reasons related to his issues, shoves that down inside and has sex with Edward instead of acknowledging any bad feelings. At least this time Edward was there and knows it happened? Neither Chauncey's death nor his dad have been mentioned to anyone. He gets a day of piracy fame that goes to his head, gets dumped, and ends on a complete beat down by Zheng where he learns... idk. Being a boor is bad? He's still wildly callous to her in the finale, and spends the whole time seeking validation of his pirate skills. He reunites with Edward, kisses, and quotes Han Solo.

Where S1 ended on a great fuckery, his S2 naval uniform plan after they regroup is ill defined except to call it a suicide mission - and we don't get to see what it would have been because it devolves into a very straightforward fight and flee. And gets Izzy killed. Quick cut funeral (no acknowledgement of his S2 bonding with Izzy), quick cut to wedding (foreshadowing), quick cut to... innkeeper retirement? Unclear when or even if BlackBonnet discussed Stede's whole driving dream to be a pirate and live a life at sea, but I guess that got a big priority downgrade. Despite the fact he was literally looking to Zheng for pirate-based compliments in the post-funeral scene.

I guess he's borderline-delusionally dogged in his pursuit of love now - so unlikely to bolt again - but he's also got at least a decade of experience mentally checking out in a state of repression when he's unhappy. And he's stopped being as supportive and caring toward the crew in that dogged pursuit, while arguably demonstrating a loss in leadership skills, so, um, good thing someone else is in charge?

And if Stede is a mess, Edward's arc is so much worse.

As established, they devote the Kraken to making Edward worse. He literally wants to kill himself and destroy everyone around him in the process because Stede left, and this is fixed by... Stede coming back. That's it. The crew tries to murder him and then exiles him from the ship (and Izzy takes the lead on both, indicating exactly how isolated Edward has become), but it's resolved in half a day by Stede just forcing them to put up with his boyfriend again. Like they think he murdered Buttons and still have to move him back in???

The show consistently depicts Kraken Era as a transgression against the crew, but they also avoid showing Edward acting with genuine contrition. He admits he historically doesn't apologize for anything, and then mostly still doesn't. It's a joke that he's approaching probation as a performance (CEO apology), and then the only person he genuinely talks to is Fang - the one guy cool with him - and the only person who gets a basic "sorry" is Izzy - the guy he really needs to be talking to. Edward's primary trauma is guilt, but apparently he only feels it abstractly after all that? He's only concerned with fixing things with Stede, despite Stede being about the only person around who hurt him instead of the reverse.

Speaking of primary traumas, Edward hating himself doesn't really go anywhere after the beat of self-realization. Apparently Stede still loving him is enough of a bandaid to end the suicide chasing, but he doesn't like. Acknowledge that. Edward is maybe sorta trying to go slow so he doesn't hang all his self-worth on Stede again (you can speculate), but they a) absolutely fail to go slow, and b) he doesn't make any attempt to develop himself or another support structure. Just basically... "let's be friends a bit before hooking back up." And then we get the whiplash that is Blackbeard and/or retirement.

Kraken Era is Blackbeard but way worse, like no one who has known Blackbeard has ever seen him. In the Gravy Basket Edward claims he might like being an innkeeper, before destroying his own fantasy by having the spectre of Hornigold confront him over killing his dad. The BlackBonnet to Anne & Mary parallel says running away to China / retiring makes you want to kill each other - burn it all down and go back to piracy. Stede rightfully points out prior retirement plans were whims. Edward gets sick of the penance sack after a day and puts his leathers back on to go try "poison into positivity". But also claims to be an innkeeper (look - two whole mentions!) when trying not to send children to be pirates after teaching them important knife skills.

Killing Ned Low is a serious, bad thing that prompts ill-advised sex and then going hardcore into retirement mode - leathers overboard, talk about mermaid fantasy, get retirement blessings from Izzy, end up dumping Stede for a fishing job instead of talking about how he's enjoying piracy. The fishing job, however, is also a bad thing and a stupid decision because Edward is a lazy freeloader fantasizing about being a better person. We have an uncomfortable, extended scene of "Pop-Pop" weirdly echoing his abusive dad and then sending Edward to go do what he's good at - disassociate, brutally murder two guys, fish up the leathers, rise as the Kraken from the sea. He continues with comically efficient murder but also he's reading Stede's love letters and seeking to reunite with him so... wait, is this a good thing? Post makeout / mass slaughter he's trading compliments on his kills with Zheng so. Yeah. Looks like it. Murder is fine.

Wait, no, skip ahead and Izzy is dying and Edward suddenly cares a whole lot as Izzy makes his death scene about freeing Edward from Blackbeard. Now being a pirate was "encouraging the darkness" because Izzy - a guy who had little to no influence over Edward's behavior - just couldn't let Blackbeard go. Murder is bad again, and he is freed. Minus the little detail that the murder he explicitly hates himself over was not related to Blackbeard or piracy whatsoever, so presumably haunts "just Ed" still. Anyway he's retiring to run an inn with Stede now, as the "loving family" Izzy comforted him with in his dying moments sails away from the couple that can best be described as the antagonists of their S2 arc. Also Edward implicitly wants to get married. It's been 3 days since making out was "too fast". He's still wearing the leathers.

So most of the way through Act 2 and Edward's barely on speaking terms with anyone but Stede, who he has once again hung his entire life on really fast? Crushing guilt leads to self-hatred leads to mass murder and suicide, but only if he's upset so just avoid that. He's still regularly idealizing Stede as a non-fucked up golden mermaid person (that maybe he personally ruined a bit) because he barely knows the guy. His only progress on his future is "pirate" crossed out / rewritten / crossed out again a few times, "fisherman" crossed out, and "innkeeper ?"

Just.

Where is the forward movement?

It's not just that the inn will undoubtedly fall apart - it's that the inn will fall apart for the near-exact same reasons that China was going to at the beginning of Act 2, and I can't point to anything they've learned in the time since that will help them. I guess Stede realized he loved Edward enough to chase after him, but that was in S1! They should be further than this by now. You can't cram another crisis backslide, all the Act 2 development, and the full Act 3 climax into one season. Certainly not without it feeling like the characters magically fix themselves.

If they just fail and keep blindly stumbling into the same issues because they don't change their behavior, then Act 2 doesn't work. You're just repeating the turning point between Act 1 & Act 2 on a loop.

---

Where Did They Fuck Up?

Actually... lets start on what they did right.

The one consistent aspect of S2 that I praised and still think was done well in a vacuum (despite being mostly left out of the finale) was the crew's union-building arc.

With only 8 episodes and more to do in them than S1, side characters were going to get pinched even if the main plot was absolutely flawless. That was unavoidable. With budget cuts / scheduling issues, we regularly have crew members simply vanish offscreen outside of one scene, meaning cohesive arcs for your faves was not likely. Not to say they couldn't have done better - my benefit of the doubt for the TealOranges breakup and Oluwande x Zheng dried up about when I realized he was literally just her Stede stand-in for the parallel - but something like Jim's revenge plot from S1 was realistically not on the table without, like, turning half the crew into seagulls to afford it.

The union building works around this constraint really well. They turn "the crew" into the side arc, and then weave Izzy's beats in so that they aren't just about Izzy. The breakup boat crew working together to comfort each other and protect him turns them into a unit, and Stede's crew taking it upon themselves to address the trauma vibes while the captains aren't in the way solidifies it across all our side characters. The crew goes to war with Stede's cursed coat and wins, they Calypso their boss to throw a party, and they capitalize on a chance to make bank with an efficiency Stede could only dream of.

We don't get specific arcs, but Frenchie, Jim, and Oluwande are defaulted to as leaders in just about every situation, and Roach is constantly shown sharing his inventions with different characters. Individuals can dip in and out without feeling like the sideplots stutter. Any sense of community in S2 is coming from this arc - even if there are cracks at the points where it joins to other storylines (Stede and Edward, Zheng, etc.)

So why does it work? Well, because it's a workplace comedy, and you can tell they are familiar with working on those. They know where the beats are. They know where to find the humor. They know how to build off of S1 because they made sure the bones were already there - an eclectic group of individuals that start as just coworkers, but bond over time in the face of their struggle against an inept boss who they grow to care for and support while maintaining an increasingly friendly antagonism because, you know, inept boss.

OFMD does its best work in S2 when it's being true to its original concept... and its worst work when it seemingly loses confidence in its own premise.

"The show is the relationship," right? It's a romance set in a workplace comedy. The setup of Act 1 was all about creating a character-driven narrative. So given that... where the hell are we getting the dying of piracy and a war against the English Navy?

That's not a character-driven romcom backdrop, it's an action-adventure plot from Pirates of the Caribbean or Black Sails. It's plot-driven, creating an antagonistic force that results in your characters' problems. Once the story is about the fight against the Empire, the dramatic question becomes the same as those adventure stories - "Will the British Navy defeat piracy, and will our protagonists come out the other side of the battle?"

Forget the wedding. The wedding is no longer the climax of the story, its back to the happy ending flash our romantic subplot gets after winning this fight.

Except, of course, trying to pivot your story to a contradictory dramatic question near the end of Act 2 can be nothing short of a disaster, because either you were writing the wrong story until now, or you've completely lost the plot of the real one. I shouldn't even be trying to figure out if they are doing this, because it should be so obvious that they wouldn't.

And yet.

What do the Zheng and Ricky plots add to the story if not this? Neither of these characters have anything emotionally to contribute to Stede and Edward - they truly are plot elements. It's a hard break from the S1 antagonist model, but it also takes up a lot of valuable screentime. This was considered important, but still Zheng's personality and motivation only gets explored so far as it's an Edward-Stede-Izzy parallel with Oluwande and Auntie, and they only need the parallel for Izzy's genre-jumping death scene. Which follows a thematically out-of-left-field speech about how piracy is about belonging to something good (workable) and how Ricky could never destroy their spirits (um...?). And then David Jenkins is pointing to it and saying things about "the symbolic death of piracy" and speculating S3 might be about the crew getting "payback"??? An idea floated by Zheng right before our temporary retirement, btw.

Fuck, the final episode of S2 didn't have time for our main couple to talk to each other because it was so busy dealing with the mass explosion of Zheng's fleet and Ricky's victory gloat. We get lethal violence associated with traumatic flashbacks until they need to cut down enemy mooks like it's nothing, at which point we get jokes with Zheng. The Republic of Pirates is destroyed outright, and it feels like they only did it because they got insecure about their "pirate story" not having the right kind of stakes. Don't even get me started on killing a major character because "Piracy’s a dangerous occupation, and some characters should die," as if suspending disbelief on this aspect makes the story somehow lesser, instead of just being a fairly standard genre convention in comedy. Nobody complains about Kermit the Frog having an improbably good survival record.

Did someone tell them that the heroes have to lose a battle near the end of Act 2, so they scrambled to give them one?

Just... compare the wholly plot-driven struggle in 2x08 to Stede and Edward's character-focused storylines in 1x10 and tell me how 2x08 is providing anything nearly as valuable to the story. Because I can't fucking find it.

At best they wasted a bunch of time on a poorly integrated adventure plot as, like, Zheng's backstory or something, and just fucked it up horribly by trying to "step up" the kind of plot they did for Jim. In which case the whole thing will be awkwardly dropped but damage is done. Otherwise, they actually thought they could just casually add a subplot like this because they've done something wildly stupid like think "pirate" is a genre on the same level as "workplace comedy" and can just trample in-universe coherency while you draw on other media to shore up their unsupported beats.

Bringing us to the most infuriating bit...

---

"...end the second season in a kinder spot."

If this was the goal, the entire season was written to work actively against it in way that is baffling and incompetent.

The really ironic thing is that the reason that the Act 2 part typically gets a downer ending is because of the evil empire that OFMD did not have to deal with until they pointlessly added it. A plot-driven story has an antagonistic force - a villain - that the heroes need to defeat. Something external working against them. The story ends when they beat the thing, and it's not much of a climax if they do most of the defeating before you get there. Ergo, they have to be outmatched up to the climax. Ergo, the second part cannot end on them feeling pretty comfortable and confident going into the third.

The same rules do not apply in the same way to a character-driven arc.

We already established Edward and Stede declaring their love is not the end of the story. Nor, necessarily, is both of them confidently entering a relationship. Even once they've developed a bunch they will have to show that development by running into the kinds of problems that would have broken them up before and resolving them better.

David Jenkins keeps talking about this idea that S2 is getting a hopeful open ending and S3 will get into potential problems, and like... I don't see any reason why they couldn't have done that successfully. They didn't, but they could've.

If S2 grew them enough as characters and then had them agree to try again in the last minute of the finale, they absolutely could have had a kind and hopeful ending where you were confident they could do it. And then a potential S3 can show that. It's a bit rockier than they were counting on, but they have learned enough lessons to not break up. And then the overall plot can build to proposal (start of Act 3) and wedding (the romantic climax). It doesn't have to be a blow out fight to be emotionally cathartic.

(Hell, the main rockier bit that they overcome in the S3 Act 2 portions could be marriage baggage. I'm sure they both have some. It would work.)

In the same way focusing on our character's long term flaws and character-driven conflict makes an Act 1 "happy ending" more difficult, I suspect it makes an Act 2 "happy ending" easier.

Instead they wrote an Act 2 that failed to convincingly start development and got confused on its direction, and then presented a rushed finale ending in a copy of the predictable disaster from S1 as though it's a good thing. They yanked the story at least temporarily into an awkward place where a romcom is trying to sell me on a bunch of serious drama / adventure beats that it has not put the work into, and inviting comparisons to better versions of those same beats in other, more suited media that make it look worse. The need to portray everyone as reaching happy closure overrules sitting with a major character death and using it for any narrative significance, while still letting it overshadow those happy endings because a romcom just sloppily killed a major character with a wound they've literally looked into the camera and said was harmless.

If I'm being entirely honest, Dead Man's Chest ends effectively at Jack Sparrow's funeral and then cuts to the British Navy obtaining a weapon of mass destruction, and it still feels kinder and more hopeful just because I leave with more faith the characters are actively capable of and working toward solving their problems.

OFMD S2, in contrast, has half-convinced me our main couple would live in a mutually obsessed, miscommunication-ridden horror story until they die.

---

Additional Reading

Normally I link stuff like this in the post, but that requires more excitement than I'm feeling right now. Here's my alternative:

Where I thought they were going with Edward - really outlines the mountain of character development they still have unaddressed

Where I thought they were going with Izzy - touches on a lot of themes that might be dead in the water & also context that's still probably relevant to why Izzy got a lot of focus in S2

My scattershot 2x08 reactions

An ask where I sketched out the bones of this argument, and another where I was mostly venting about the fandom response

This one, this other one, and this last one (read the link in op's post too) about genre shifts and failure to pull them off

The trauma goes in the box but it never opens back up - the whole point of Act 2 is that they needed to start opening shit like that - and also they focus so much on needed character growth and so little on following through

They can't even carry through on character growth that we got last season???

Why Izzy's death feels like Bury Your Gays ran smack into shitty writing

EDIT: Oh and this post is REALLY good for outlining the lack of change in way less words than I did

#our flag means death #ofmd #ofmd s2 #ofmd s2 spoilers #ofmd meta #three act structure #character arcs #blackbonnet #genre #blackbeard ofmd #stede bonnet ofmd #my meta #ladyluscinia #ofmd critical

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umgeorge · 4 days ago

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george russell is interviewed during the press conference on media day, las vegas - november 20, 2024 (transcript under the cut)

Interviewer: "George, let's come to you now. Brazil last time out seemed like a missed opportunity for you and Mercedes. What lessons were learned?" George: "Yeah, it definitely felt like a missed opportunity. I think, having reviewed the race, you recognize how quickly things can change, and we made the pit stop, which with the perfect benefit of hindsight, that was incorrect. But had that virtual safety car stayed for ten seconds longer or fifteen seconds longer it would have been absolutely the right thing to do. So it just shows how quickly an external decision can change your race and how you need to be very quick to adapt to that, and we kind of were a little bit too focused on that pit stop and not actually seeing that a car that was beached on the road was being pushed off and the VSC was ending." Interviewer: "And how much encouragement do you take from the pace of the car in Brazil; the front row start? I mean, you've had a stack of points finishes since the summer break, but how close are you to having a race winning car again? George: "I mean, Brazil was definitely a bit of a one-off, I think. When it rains, it presents opportunities, and for ourself it was an opportunity. For everyone at Alpine it was a huge opportunity, which they capitalized. And I think we need to look back to the sprint qualifying and the sprint race for a bit of a fairer picture of where we are, and that was behind the front four teams. Interviewer: "George, final one: When you look at this season as a whole, look at the races you've won, but look at also the frustrations as well, how will you review the season?" George: "I think now we've done almost a full season, we totally understand why the car is so up and down. It has just such a narrow window, and when we can set the car up in a way that we exploit that window, we have a race winning car. But when you go to different circuits and you have to change where you position the set-up, we totally fall outside of our working window. So it's obviously frustrating when you know the car has that potential, but I think for everyone you have these fluctuations in performance. We've done a good job to capitalise on races that we did, had the pole positions when the car was capable of pole positions, and ultimately we just need to make a more consistent car over the course of 24 races." Interviewer: "Alright. Thanks to all three of you. Let's now open this to the floor, to the broadcasters first. David."

Journalist: "David Croft, Sky Sports F1. George, to you and with your GPDA hat on, please. In between the last race and this, the FIA have dispensed with the services of Niels Wittich, the Race Director. Is this something that the GPDA were aware of before it happened? Are you concerned that there are three races to go and we now have a new Race Director, especially coming in to a street race like Las Vegas, which we saw last year can have a whole load of unforeseen problems?" George: "Yeah, we definitely weren't aware. It was a bit of a surprise, I think, for everybody, and it's a hell of a lot of pressure now onto the new Race Director; just three races left. So I think for us… Often, as drivers, we probably feel like we're the last to find out this sort of information, and when it involves us kind of directly it would be nice to sort of be kept in the loop and just have an understanding of what decisions are being made. So yeah, time will tell. I'm sure the new guy will handle the position just fine, but definitely not an easy race for a new race director." Interviewer: "Okay. Thanks George. Yep, next one." Journalist: "Nelson Valkenburg, Viaplay. Also for George, but I'd love for you both to chime in, as well. Last week, a pointed statement from the GPDA towards the FIA and especially towards the President. The tone seemed stronger than I expected. Does that reflect the mood in the field of drivers, as well?" George: "I mean, talking as a fellow driver, as opposed to sort of my role with the GPDA, I think everybody felt, with certain things that have happened over the course of this year, that we wanted to sort of stand united. At the end of the day, we just want to be transparent with the FIA and have this dialogue that is happening, and I think the departure of Niels is also a prime example of not being a part of these conversations.

And, ultimately, we want to work with the FIA to make the best for the sport that we all love, so I think it's kind of us now putting the pressure back on them to work with us and work with everyone, including F1 as well, just to maximize this opportunity which Formula 1 is in at the moment, which is an amazing time to be a part of." [time jump] Journalist: "Diego Mejia, Fox Sports. Question to George: I think that the GPDA created an Instagram account to publish this letter. Is there going to be a different way of… Was there a need to make things more public now from the GPDA side when creating this more public forum?" George: "Yeah, well I think times are changing and the fans are a huge part of this sport, and I think if we're talking about openness and transparency and including everybody in this for the greater good, then having it on a social media platform makes perfect sense." Interviewer: "David?" Journalist: "David Croft, Sky Sports. Sorry, George, GPDA public forum, this one. Did you and the GPDA think that the Race Director needed replacing?" George: "I mean, I can only talk on behalf of myself here, as opposed to any of the other drivers, but… Yeah, I think there's no secret that some were not happy with what was going on, in terms of the decisions that were being made. But, at the end of the day, I think if you worked together with us, that we could have helped improve the matter, and I think sometimes just hiring and firing is not the solution. You kind of need to work together to improve the problem. So let's see what this new sort of era is going to bring, but every time there is a change, you have to take one step back before you make the two steps forwards."

#george russell #f1 #formula 1 #las vegas gp 2024 #fic ref #fic ref 2024 #las vegas #las vegas 2024 #las vegas 2024 wednesday #esteban ocon #kevin magnussen

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reidsc0nverse · 1 year ago

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A Rose by Any Other Name (Chapter One)

Summary: Reader has her first day at the BAU in training to take JJ's place on maternity leave. She gets comfortable around the office with the help of her father Davis Rossi and the other members of the team, especially one specific genius.

Warnings: None

AN: This is my first real try at this idea that's been collecting dust in my brain, so far this chapter doesn't have a whole lot and it's mainly intro to the character but yeah. Also reader doesn't have Rossi's last name fyi and she's taking Jordans place in season 4 but they're not the same I promise.

Series Masterlist

---------------------༺⚘༻---------------------

Well, I knew the time was coming, just not so out of the blue.

I was training under the Communications Liaison of the BAU today, Jennifer Jareau, due to the fact that she's leaving for maternity leave soon.

It was only a matter of time before my dad, him being THE David Rossi, pulled some strings to get me to that spot despite me barely finishing the academy. I mean, I rocked it, but they usually want someone of more...experience in a position as such.

But here I am, walking through the doors of the bullpen and Jennifer walking up to me with a friendly smile.

"Ah! Agent Y/L/N, glad to see you," she said cheerily, holding her hand out for me to shake it.

"You too" I say returning the gesture and trying to keep my composure and maintain the same cheeriness as her, but failing.

"Nervous?" She asks, seeing through me with ease but continuing to keep her friendliness and walking me to her office.

"No of course not" I say sarcastically with a playful smile on my face as we enter in the room filled with a vast amount of case files.

She motions for me to sit across from her at the desk and laughs softly, "Don't worry, after your first couple of cases it gets easier..ish."

"I just hate the part of the job that involves dealing with the press" I admit, with the stuff I've heard from my dad I can understand the stigma around journalists and outside sources.

"Tell me about it, but you'll get the hang of it, it's usually just repeating yourself after a while." She replies and we continue to discuss more about the details of the job and what I'm gonna have to do in the next weeks.

"Alright enough of this, everyone should be here by now. I'll introduce you to everyone." She says and we get up and out where three agents stand talking.

"Hey guys, I want to introduce you to someone. This is Agent Y/N Y/L/N. She'll be taking over for me while I'm on maternity leave." She says and I smile at the three that Jennifer has described to me.

I go to shake their hands, "You must be Agent Prentiss, Agent Morgan, and Dr. Reid." They all return smiles to me, "Agent Jareau has told me so much about you all."

"La mia bambina!" I hear a familiar voice say as I look over to see my dad, his arms stretched out and pulling me as he kisses my cheek.

"Hi dad." I say sheepishly, my face burning as the agents in front of me furrow their eyebrows.

"Dad?" Prentiss says and continues, "Does your last name come from wife number 2 or 3?" she jokes and Morgan laughs in response.

My dad waves them off and looks back to me, "Training start today?" I nod and he holds me with his arm over my shoulder. "Yeah if you can let me go I can finally start" I joke with him and he lifts his arm in response.

"Yeah Rossi, I'd like to get her started with that." Jennifer says playfully as I wave once again to the others when she brings me with her to look over a case before bringing it to the team.

"I may have forgotten to mention that part to them," She says, looking at the file in her hand. "Oh, what? That Rossi's my dad?" I ask, her nodding and I continue, "No worries, I don't think he's ever even brought up having a kid. One that he knows about at least. We haven't been that close in all honesty." I explain to her. It's really no big deal to me, he wasn't very present in my childhood but as I've gotten older, he's put in a lot of effort to be a part of my life even if it's a little late. Hence, my place at the BAU.

We spend the next hour going over cases and she guides me on how they decide where to go and whether or not the risk of more lives being lost is prominent. Once we settle on one she lets out a breath, "Alright let's take a break, I need to stop staring at all of this" she says motioning to the abundance of cases on the desk. I nod in agreement smiling and make my way to the break room for a cup of coffee.

"Agent Y/L/N, right?" I hear someone say as they walk in. I turn my head and see the tall stature of Dr. Reid.

"Yes, yeah. Hi." I say, waiting for the coffee machine to finish brewing. He walks over and waits next to me with his empty mug. "But I don't really care about formal titles, you can just call me Y/N."

"Okay, Y/N. You can call me whatever, Spencer, Reid, I don't mind." He says gently and continues, "Rossi never mentioned he had a daughter. Let alone one coming onto the team."

"Temporarily" I remind him, but it's more to myself, "but I don't know how often he really wants to talk his personal life." I say lightheartedly and the coffee finally fills up my cup and I move over to let him use the machine.

Spencer shrugs and begins to make his own, "How long have you been in the FBI?"

At this I get nervous to respond, you can be as young as 23 to get into the FBI, but the BAU needs prior experience. But of course, my dad rushed the process some. "Well, uh, I kind of just finished the academy. I'm only 24 so there hasn't been much room for familiarity."

He looks at me with a slight surprise in his face, "Really? I mean if it makes you feel any better I started here as soon as I could. So in reality, you don't need all that much prior experience in the FBI to work here."

"Aren't you like, a genius though?" I laugh, Jennifer did tell me that about him.

He laughs and nods, "Well..you know what I mean. They make exceptions."

"Yeah, I suppose"

"Are you interested in profiling?"

"I only just recently figured that out." I laugh and explain further, "Psychology has always intrigued me and that's what I majored in, so once my dad figured that out he kinda shoved me into this field." I say, doing an exaggerated push motion absentmindedly.

He smiles and nods, "I think you should go for it, after this whole liaison thing of course, I wish you luck." He says and waves as he walks out. In that moment I can feel my face flush slightly, it wasn't that big of a deal but I guess I just wasn't expecting that sort of kindness on my first day.

I shake my head slightly and walk back to where Jennifer and I previously were.

She was already back on her side of the desk and reading a file, looking up she points at my cup, "Good thinking" she smiles and I take my seat again.

"I'd hate to think about how much coffee is drank in this building." I joke.

"Probably enough to supply a small country." she laughs and goes on, "Alright so I think you're pretty much all done for now, I don't think you'll be able to join us on the case but you can just get yourself used to the team if you want."

I nod and the day goes by with loads of 'how to's' around the office and in the perks of Jennifer's job. Sooner than later I get to go home and I get my stuff packed up and walk in the elevator.

The doors start to close but before it shuts completely, I see Spencer rush towards the elevator and I hold them open for him.

"Sorry- sorry." He says awkwardly as he gets in next to me. "How was your first day?"

"It was new. That's for sure. Just a whole lot of information on what I need to do." I say, fidgeting with my hair slightly.

"I'm not sure how much I can do, but if you need anything I know anyone on the team will help" He reassures me, and i smile back. "Thanks, really. I appreciate it."

"Of course." He smiles and the elevator opens up leading to the parking lot. "I'll see you later." He says and I smile back walking to my car.

I can feel the pink in my cheeks when I sit in the front seat and drive home.

I think I'm gonna like my time here.

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okay chapter two will be out sometime between today and next week I hope y'all like it so far ik it's not a lot but give it some patience lols

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