#which is still quite a generous take

[eqt-95]

day 1 | leaves / race against the clock

supercorptober / whumptober

Time had always been on Kara’s side. The nightly chime of midnight, the seasonal shift of colors, the churn of years; they all passed thoughtlessly with predictable continuation.

There was no light, just the tunnel.

And, like the most unappreciated, the passing of time suited her just fine. Until it didn’t. 

Until the ticking mortality of those around her ebbed closer to a light she wasn’t privileged to see.

Until it became her personal boogeyman - looming and clouding the present with fears of no future.

Until time made her reckless.

With time, skittishness feigned ‘heroism’; as the corners of eyes wrinkled with laugh lines; as light hit differently against grey-flecked jet-black hair; as curves softened and stamina faded.

“I had it,” Lena huffed.

“What’s the point of being married to a superhero if I can’t carry the heavy stuff?”

“They’re just groceries, darling.”

“In those heels?”

Skittishness grew to paranoia. Kara didn’t call it that. She called it vigilance. Every second saved was a second back. 

“He had a gun.”

“A squirt gun,” Lena countered.

“It could have been real,” Kara offered with a shrug. “Can’t be too careful.”

It intensified. She calculated away the selfishness. Interrupting fate became defensible.

“You’re ok,” she whispered into soft curls. She inhaled: the familiar lilac stained with smoke. “You’re safe-”

Frantic palms cradled resistant arms until Lena broke free. “Kara, the others-”

“There wasn’t time,” she reasoned.

“What? What do you mean-?” Lena begged. Her cheeks were dirtied with ash. A crumpled tower engulfed in flames reflected in her darkened eyes. “The volunteers, the technicians, the-?”

“There wasn’t time,” Kara repeated, shielding herself behind a flimsy wall of heroic justification. Her fingers stretched, reaching, hungry to feel the tangible pulse echoing in her ears. “If I hadn’t-”

“No,” Lena interrupted, voice shaking; broken. A tear trailed its way down Lena’s ashen cheek. Overhead helicopters whirled uselessly. Around them firefighters lingered aimlessly. Reality struck Lena’s defiant gaze and landed heavily onto her shoulders.

“I had no choice-”

Lena tore away from desperate hands. “Yes you did.”

It escalated - this fear of time, of what an end could mean. It morphed and warped and gave life to Kara’s irrational actions. It fed a fear she couldn’t stop. 

It was bittersweet then that the end still came. It came all the same. She just didn't expect it to happen

“Lena? Lena, wait.”

with empty hangers,

“Please just-”

a barren night table,

“Babe, please.”

and a growing rift.

"Don't go,” Kara wept. “Please don’t leave.”

- - - - day 2 | courage / trust issues

[humanmorph]

fatt pin-up week 2: intimacy

a room & a bed

version from before i started messing with the bg & overlay colors (<- what a pain!!!). i like this one too.

[literaryvein-reblogs]

Do you use AI generators to compile or scrape this information?

no

[maeamian]

Becoming deeply radicalized against the idea of crewed Mars missions, y'know how the Rovers keep sending back better and better data what if instead of that we made an even bigger one and devoted nearly 90% of its capacity to holding a guy in a bubble on top of it instead of sending back useful data, but wait! They'll eliminate like a half hour of latency and also almost certainly contaminate the landing site and possibly the entire planet, so it's not all downside.

[hephaestuscrew]

"Minkowski's been talking about Sondheim again…": Minkowski's love of musical theatre and what it reveals about her characterisation and her relationships

TL;DR: Renée Minkowski's love of musicals, while it might seem just like a mundane character detail, is used to give depth to her character because it contrasts with expectations of her from both the listening audience and the other characters. Her willingness or unwillingness to share this interest in different circumstances reveals her relationships with other characters at various points. Since this is a long one, if you'd rather read it as a document, you can view it here: Google Doc version.

"She actually really cares about these talent shows": Episode 8 (Box 953)

In the early episodes of Season 1, Minkowski is presented (largely through Eiffel's unreliable perspective) purely as a strict no-nonsense authority figure without much emotional depth, the kind of person who only likes things that are useful, purposeful, or mandated by Command. In contrast, musical theatre is a creative pursuit that has nothing to do with the mission of the Hephaestus and is viewed by many people as fairly frivolous or silly. The gradual exploration of Minkowski's passion for musicals is one of the many ways that the show expands and challenges our understanding of her as a character. 

The first indication that we get of her interest in musicals is through her entry into the infamous talent show, something that is required as part of the mission. Minkowski really cares about 'crew morale' activities in general, even when they actually have a negative effect on morale and even before she's friends with any of her crew (for example, the Christmas and Thanksgiving dinners in the earlier stage of the mission), perhaps partly because doing things in the "right way" is important to her. 

But Eiffel senses that the talent shows aren't just about rules for her: "it’s bad enough when she makes us do something just because it’s military protocol, but I think that she actually really cares about these talent shows". This might be the first indication that we get of Minkowski caring deeply about anything that isn't inherently part of her role as a Commander. Moments like this are part of the gradual process of giving us insight into her character beyond the Commander archetype that she tries to embody. And yet, she only indulges her theatrical passion because something mandatory gives her permission, or an excuse, to let another part of herself out.

Of course, to satisfy the needs of a talent show, she'd only need to provide a performance of a few minutes. But Eiffel mentions "the second act of the play" - which along with Hera's comment that "Isabel isn't the biggest role in the play" - implies that Minkowski was intending to put on the whole of Pirates of Penzance as her talent show act, rather than a few of the songs or some kind of medley. (I suppose that Eiffel could be exaggerating or Minkowski might have been planning to do extracts from different parts of the play, but I prefer the interpretation in which Minkowski gets to be more ridiculous.) 

Even though no one else would be willing to be in her production of Pirates of Penzance, Minkowski casts Hera as Isabel, a role with two lines and no solo singing. I found some audition notes for this play which said "The traditional staging gives [Isabel] more prominence than the solo opportunities of the part suggest, so she must be a good actress" which does make me sad in relation to Hera's inability to have a more significant role by being physically present on stage. 

It’s sweet that Hera still wants to take part though. She tells Eiffel "Pirates of Penzance is a classic of 19th century comic opera", so either she’s absorbed what Minkowski has told her about the show, or she’s done her own research and formed her own opinions. I enjoy the fact that Hera is the one Hephaestus crew member who shows potential to share Minkowski's musical theatre appreciation; I like to think that this is something they could explore together post-canon.

Anyway, I'm obsessed with the idea that Minkowski was planning to play every character except one in Pirates of Penzance, a show which is designed to have 10 principal characters and a chorus of 14 men. It seems that her contribution to the talent show was supposed to be an entire two-hour two-act musical, with costumes and props, in which she would play almost all of the parts. This is very funny to me as the perhaps predictable consequence of giving an ambitious and frustrated grown-up theatre kid a position of authority and asking them to arrange a talent show. Minkowski knows that the audience will be made up of her subordinates who are theoretically obliged by the chain of command to watch and listen, so she absolutely tries to make the most of that opportunity. There's probably also a degree to which she limits other people's involvement in her musical because - as with her other endeavors - she wants the outcome to be almost entirely within her control (something that is usually pretty much impossible in as collaborative a medium as musical theatre).

Of course, Minkowski's behaviour in most of the talent show episode is affected by her being drugged by Hilbert. This creates an exaggerated situation which is the first real opportunity for Minkowski to be something other than the strict sensible authoritarian Commander and the foil to Eiffel's jokey laid-back attitude. I don't agree with ideas that being intoxicated brings out anyone's true self (especially in the absence of consent for the intoxication), but it seems pretty clear that being under the influence of whatever was in Hilbert's concoction caused Minkowski to fully commit to a level of manic enthusiasm for her musical production that might have otherwise been obscured by her professionalism. It's a particular kind of person who belts showtunes when drunk, and Minkowski is that kind of person, even if that's not how she wants to present herself. (As a sidenote, I seem to remember that they took Emma Sherr-Ziarko's script off her to help her sound more drunk. It's an excellent performance.)

Minkowski wants interval ice cream. She wants "pirate costumes" (and she'll threaten to shoot a man to get them). She wants "swashes and buckles". She wants whatever props she can get her hands on (including a real cannon). This show is important to her, even though only three other people will witness it and two of them actively don't want to be there. It’s important to her for its own sake.

Eiffel says Minkowski wants "a second pair of eyes to tell her if the prop sabre for her Major-General costume was a bit much…"  While I certainly wouldn't put it past Goddard Futuristics to have a prop sabre on the station for no apparent reason, it feels more likely that she might have made it or adapted some existing item. Which suggests that maybe she was that passionate about the props even before Hilbert drugged her. 

Even so, it does feel significant that Minkowski's love of musicals is only revealed in the episode in which she is drugged, exhibiting lowered inhibitions, exaggerated behaviour, and an "impaired euphoric effect". Her love of musical theatre is initially revealed through a professional structure that provides permission, and then further emphasised by a forced intoxication that exaggerates some impulses that perhaps she already had.

"Some hobbies other than making trains run on time": Episode 17 (Bach to the Future)

After Eiffel tells to find Minkowski to find something else to do while her work duties have quietened down, they have the following exchange:

EIFFEL: You must have some hobbies other than making trains run on time. Something to do with friends? Boyfriends? MINKOWSKI: Of course I do, but, well, there aren't really a lot of opportunities for rock climbing or trail hiking in the immediate vicinity. 

Even though this quote doesn't mention musicals, I've included it here for two reasons. Firstly, it's very funny to me that, even after the talent show debacle, Eiffel acts like he's never had any evidence of Minkowski's hobbies. She tried to perform a whole play almost single-handedly and it didn't occur to him that this might indicate an interest of hers outside of work. I think this reflects the fairly two-dimensional view that Eiffel has previously had of Minkowski, which her interest in musical theatre didn't fit into. 

Secondly, it feels notable that Minkowski doesn't mention musical theatre here. She wants to show that she has non-work interests, but without undermining her own authoritative image. Her interest in rock climbing and trail hiking - while it may be genuine - fits with how she wants to be seen as a Commander. These are hobbies which portray her as physically capable, with a high degree of stamina and a willingness to adapt to perhaps less hospitable surroundings. Of course, Minkowski does have these traits and they serve her well on the Hephaestus. But there's not really anything particularly surprising about her expressing these interests. The surprise in this scene comes from the reveal that she has a husband, a character detail which - like her love of musicals - isn't something we'd necessarily expect from the archetype-based view of her we are initially presented with. 

Her interest in rock climbing and trail hiking never come up again, because these details don't really deepen her characterisation (or at least, they aren't really used to deepen her characterisation beyond proving that she isn't entirely all-work-and-no-play). In contrast, Minkowski's love of musicals is brought up over and over because it shows another side of her that she struggles to reveal on the Hephaestus, and that allows more interesting things to be done with her characterisation.

"You wanted to write showtunes": Episode 35 (Need to Know)

Alongside the more high stakes discoveries prompted by the leak from Kepler's files, we also learn that Minkowski applied to - and was rejected from - the Tisch Graduate Musical Theater Writing Program.

Up until this point, we've only had evidence that Minkowski enjoys performing in musicals. But here we learn that Minkowski doesn't just love watching or performing in musicals - she wanted to write them too. This suggests a creative side to her that we never see her fully express.

The course

The Tisch Graduate Musical Theatre Writing Program claims to be the only course of its kind in the world and it accepts just 30 students each year. The current application process requires applicants to: upload play scripts or recordings of songs they've written; answer a large number of extended response questions about their creative process and views on musical theatre; write a 'statement of purpose' which has to talk about why they are applying and include 3 original ideas for musicals; provide a professional resume and a digital portfolio; complete an exercise of writing in response to a prompt; and undergo an interview. The process might have changed somewhat since Minkowski would have been applying (which, if it was soon after she finished college, might have been around the early 2000s) or it might be different in Wolf 359's alternate universe, but I think we can safely assume that applying to this course was a serious undertaking that required an intense amount of commitment and work. 

Applying to a course like that isn't something you do half-heartedly or on a whim. You couldn't apply to this course if you hadn't done a fair amount of musical theatre writing already. (The course requires applicants to choose to apply as bookwriters, lyricists, or composers, but I'm not going to make a guess here as to which of these Minkowski went for.) The fact that Minkowski wanted to study this course suggests that she was seriously considering trying to make a career out of musical theatre writing. In Once In A Lifetime, she tells Cutter that commanding a space station has always been her dream job, but we've got evidence here that it wasn't her only dream job. There's something kind of funny and kind of sad about the idea that writing musicals was her back-up / fall-back career path. She does not like to make life easy for herself.

The revelation 

This information is revealed against Minkowski's will. It's not something she wanted people to find out, and she isn't happy about them knowing:

JACOBI: "Dear Renée, thank you for your interest in the Tisch Graduate Musical Theater Writing Program..." MINKOWSKI: Oh, come on!  JACOBI: (pressing on) "We are sorry to say, we will not be able to offer you a spot in this year's blah blah blah." Oh this is too good. You wanted to write showtunes?  MINKOWSKI: Number one? Shut up. Number two, why are my personal records on there?! [...] How is it in any way relevant?! JACOBI: Oh, I think it's very relevant. I mean, if you're sending someone to pilot ships in deep space, you want to make sure that they can, you know... paint with all the colors of the wind.  Jacobi CRACKS UP - and, although to a lesser degree, so does Lovelace. Minkowski looks at her: really?  LOVELACE: Sorry, Minkowski. It's... it's a little funny.  MINKOWKSI: No, it isn't!

Minkowski seems defensive and embarrassed here. She obviously doesn't trust everyone there with this revelation (Jacobi, Maxwell, Lovelace, and Hera are all present). She considers this information to be "personal" and irrelevant and not even "a little funny". She's used to reactions like Jacobi's (and to a lesser extent Lovelace's); in Ep41 Memoria, she says "most people think it's hilarious that I like musicals" (see below for more thoughts about this quote). But the fact that these mocking reactions are expected doesn't mean that they don't bother her. She wants so badly to be taken seriously and, in this scene, her interest in musical theatre seems to be incompatible with that. Jacobi reacts the way that he does because of the idea that I've already expressed, that a passion for musical theatre does not fit with the serious authoritative image that Minkowski has often presented. It's not the typical hobby of a soldier, especially not a Commander.

To me, the way Lovelace laughs suggests that she might not have previously known about Minkowski's love of musicals, or at least perhaps not the full extent of it. At any rate, it's definitely news to Jacobi. And Minkowski clearly hasn't talked about it enough for it not to feel like a big reveal for her.

The rejection 

It's notable that this reveal is not just that she wanted to write for the stage, but also that she failed to get into a course that might have helped her work towards that goal. This of course compounds Minkowski's discomfort at having this information revealed. Not only did she want to write showtunes, but she encountered rejection in her attempts to do so. This detail implies that perhaps it wasn't just the appeal of her spacefaring dream that stopped her going down a theatrical career path. 

I'm about to move more into headcanon territory rather than just straightforward analysis, but I personally believe that, while Minkowski auditioned for a lot of musicals (particularly as a child / young person), she was never cast as the main role. She seems embarrassed about her interest in musical theatre in a way that (at least judging by people I've encountered) people who were always the lead in their school / college productions don't tend to be. 

We don't have much evidence about her actual level of singing/acting ability, given that she is inebriated during the only time we hear her sing in the podcast. However, it resonates with other aspects of her characterisation to imagine that Minkowski was generally good enough to get an ensemble part but never quite good enough to be cast as a main part. I think she might see only ever being cast as part of the ensemble, and failing to get into the Tisch Musical Theatre Writing programme, as slightly more down-to-earth examples of the same pattern as her repeated rejections from NASA. She is desperate to prove herself. She is "someone who very much wants to matter. To do something important." When she casts herself as almost every part in Pirates of Penzance, she is finally taking the opportunity to be a main character, an opportunity which I imagine had been denied to her over and over in both a literal and metaphorical sense.

"It's just from a play I saw once": Episode 41 (Memoria)

The next scene I want to talk about is from a memory of Hera's, which took place on Day 57 of the Hephaestus mission and in which Minkowski appears to be talking about the Stephen Sondheim musical Sunday in the Park with George:

MINKOWSKI: Oh, it's just from a play I saw once. It doesn't matter. (BEAT) The guy who sings it is this famous French painter. And his entire life is kinda falling apart. But he can always turn what's happening around him into these beautiful paintings.  HERA: And? MINKOWSKI: And... That's, I don't know. Reassuring, maybe? (BEAT) I don't know why I'm going on about this. You don't care.  HERA: I think it's interesting.  MINKOWSKI: Yeah? Most people think it's hilarious that I like musicals.  HERA: I don't see what's funny about it.  MINKOWSKI: Well, thank you Hera, but you're not exactly... you know.  HERA: I'm not... what? 

There's a couple of different things I want to pick out from this exchange. Firstly, the line "Most people think it's hilarious that I like musicals" makes me sad. I don't think she's talking about people on the Hephaestus there. Judging by the quote I talked about from Bach to the Future, Eiffel definitely wouldn't have registered Minkowski's love of musicals at this stage, and I doubt Hilbert cares at all about the hobbies of his fellow crew members. So Minkowski is talking about experiences that she's had on Earth, of people mocking her interest in musicals and thinking it doesn't fit with who she is. You can hear the impact of those experiences in Minkowski's reluctance to elaborate, in the way she says that something she obviously cares about doesn't matter, in her assumption that Hera doesn't care.

Secondly, this scene is a complicated one for Minkowski and Hera's relationship. On the one hand, Minkowski freely talks to Hera about something she's passionate about, and Hera listens and expresses interest. Hera validates Minkowski's interest in musical theatre without making a thing of it being weird and Minkowski thanks her. Again, it’s shown as an interest they could could potentially share.

But on the other hand, it seems like part of the reason Minkowski feels able to open up to Hera is because at this point Minkowski doesn't see opening up to Hera as fully equivalent to opening up to a fellow human. She doesn't just accept Hera not making fun of her interest; instead it seems Minkowski is about to imply that this lack of judgment indicates Hera's difference from humans (although she does have the decency not to say it outright). Minkowski's expectation of judgment from others contributes to her saying something very hurtful to Hera here. (This kind of potential consequence of negative self-attitude is explored a lot with Eiffel, so it's interesting that Minkowski can sometimes have a similar issue.)

Minkowski and Hera's conversation is interrupted when:

The DOOR OPENS.  EIFFEL: Hey, Minkowski, we've - What are you guys talking about?  MINKOWSKI: We were just discussing how I'm going to take away your hot water privileges if you don't reset the long-range scan.

Eiffel can obviously tell that he's walked in on a conversation that is about something other than work, or he wouldn't have asked. But Minkowski actively chooses not to tell him that she was talking to Hera about musicals. Perhaps she doesn't know how to open up to a human subordinate about it. Perhaps she doesn't trust him not to make fun of her. Perhaps she just doesn't have any impulse to talk about her interests with him. Either way, if Minkowski's love of musicals is something which reflects a side of her personality outside of her Commander role, this is a moment where she chooses not to take an opportunity to share that side of herself with Eiffel. This reflects the emotional distance between them three months into the mission, which forms a nice contrast with the next couple of quotes I'm going to talk about.

"Composition. Balance. Harmony.": Episode 54 (The Watchtower)

When Eiffel comes directly face to face with alien life, he discovers that music is the human invention that fascinates the Dear Listeners:

EIFFEL: You haven't figured out music?  BOB: ORDER. DESIGN. TENSION. COMPOSITION. BALANCE. HARMONY.  EIFFEL: (low, to himself) Minkowski's been talking about Sondheim again…

I only learned in the course of writing this post that in this moment the Dear Listeners are almost exactly quoting a repeated phrase used throughout Sunday in the Park with George. The titular protagonist lists various combinations of these qualities in multiple songs in reference to his art. In the closing song, the lyrics are "Order. Design. Tension. Composition. Balance. Light. [...] Harmony." It's not only Eiffel's references that the Dear Listeners are incorporating into their speech - they've picked this one up from Minkowski. This also suggests that some element of her appreciation for musicals and the way she talks about them has fed into the Dear Listeners' understanding of the human phenomenon of music. The Dear Listeners aren't just parroting - they understood the quote enough that they left out the word "light", arguably the only quality in that phrase which isn't a big part of music as well as visual art. Eiffel likes music too, but I don't think that this is how he'd talk about his favourite songs.

This is a refrain about finding order and beauty out of the chaos and uncertainty of life, which was also the aspect of Sunday in the Park with George that Minkowski focused on when talking about it in Memoria. It suggests that art/music could be something governed by rules and principles, which is potentially something that appeals both to Minkowski and to the Dear Listeners.

Eiffel's response to this reference is one of those little hints that reminds us that Eiffel and Minkowski have spent a lot of time together and that not all of that time has involved them being at each others' throats or actively in a life-or-death situation. Some of it has just been Minkowski going on about a musical she loves and Eiffel (willingly or not) paying enough attention that he recognises this phrase as a Sondheim quote that Minkowski has talked about. I suppose that this quote might have been in Eiffel's pop-culture-brain anyway, but judging from Eiffel's general tastes and the fact that I don't think Sunday in the Park with George is one of the more commonly known Sondheim musicals among non-musical fans, it seems more likely that this quote is something he only knows because Minkowski has talked about it. 

Eiffel sounds exasperated at the mention, like he's heard Minkowski talk about Sondheim far too much. But I'd argue that this still says something positive about their relationship, when we contrast it with a couple of other moments I've already mentioned. Firstly, when her previous musical theatre ambitions are revealed to Jacobi, Maxwell, and Lovelace in Need to Know, Minkowski seems embarrassed and defensive. Secondly, in the memory from Memoria, she avoids telling Eiffel that she was talking about this same musical. Yet, by the time The Watchtower takes place, Eiffel is sick of hearing Minkowski talk about Sondheim. She doesn't have the same barriers up in sharing her interests with him, even though he doesn't have the same interests. I think this is a demonstration of how comfortable she feels with him. It's a hint at the kind of easy downtime that they've sometimes shared.

"One day more": Episode 61 (Brave New World)

Eiffel recognises another musical reference of Minkowski’s in the finale. As the crew are preparing for their final confrontation with Cutter and co., Minkowski quotes Les Misérables, mostly to herself - but Eiffel recognises the lyrics and joins in:

EIFFEL: Hey - chin up, soldier. We're almost through. Just one more day, and then we're done.  MINKOWSKI: Yeah, one more day. (more to herself) The time is now, the place is here - one day more.  EIFFEL: - one day more.  They both stop, dead in their tracks. MINKOWSKI: Did you just - ?  EIFFEL: Was that what I - ?  They look at each other: No way. And BURST INTO LAUGHTER.  EIFFEL: Man... this is really it, huh? The end of everything. 

It feels really important that Minkowski and Eiffel share this moment of togetherness before she tries to send him back to Earth and before the rest of the action goes down. I think there’s some nice symbolism about them finding a way to communicate that they both understand. Making references is Eiffel's thing, and musicals are Minkowski's thing, so this is a synthesis of their two approaches. Again, there's a contrast with Minkowski's previous unwillingness to share her musical theatre passions with Eiffel (at least without the mitigating circumstances of a mandatory talent show and some kind of intoxicating substance).

I talked about the significance of the fact that they reference this particular musical in this post from ages ago. I don't think it's too much of a spoiler for Les Misérables to say that the revolution that the song One Day More is building up to does not end well for the revolutionaries. When Eiffel says "Just one more day, and then we're done", it encompasses both the possibility that the crew will escape to travel back to Earth and the possibility that they will all die. Minkowski's reference to a famously tragic musical suggests that it's the latter possibility that's at the forefront of her mind (right before she tries to send Eiffel away from the danger). But Les Misérables is also a story about people standing together in solidarity against powerful oppressive forces, which gives particular resonance to the way that this reference brings Eiffel and Minkowski together in a moment of being completely on the same wavelength as they prepare to fight Cutter and Pryce's plan.

When they laugh here, it's not about the 'hilariousness' of Minkowski's interest in musicals, it's about their unexpected unison - Eiffel's recognition of Minkowski's reference and Minkowski's surprise at the fact he joined in. It's a laugh of togetherness, of shared understanding, of friendship. It's a moment of lightness in dark times. And that moment is provided by Minkowski's pop culture interests, not Eiffel's. In spite of all they've been through, she's not lost that part of herself, and in fact, she's more open about it, at least to Eiffel.

I'll finish by highlighting what Eiffel says when he's trying to get into character to impersonate Minkowski so he can turn the Sol around:

EIFFEL: Umm... yes, this is Lieutenant Commander Renée Minkowski. I'm... uh... well I sure love schedules, and, uh, musicals. And that man, who I married…

I just think this is a nice example of Eiffel not defining Minkowski solely by her professional Commander role. Sure, she likes schedules (probably in a personal as well a professional capacity to be fair), but she also loves musicals, and her husband. It is a fairly reductive overview of her as a person, but it feels reductive in a fond way, like these things are part of Minkowski's brand to Eiffel in a way that he might affectionately tease her about. (Credit to @commsroom for this thought.) His view of Minkowski has come a long way from "our resident Statsi agent" or even just "you must have some hobbies other than making trains run on time." He doesn't see any contradiction or inherent humour in Lieutenant Commander Renée Minkowski's appreciation of musicals.

Conclusion

Minkowski's love of musical theatre is used to deepen her characterisation and is one of the ways in which we gradually begin to see her complexity beyond the strict Commander archetype. The degree to which she is prepared to share this interest at various points is used to illustrate the nature of her relationships with other characters: a general unwillingness to show a less serious side of herself; a complicated potential shared interest with Hera; and the growing understanding between her and Eiffel.

If you read this whole thing, well done / thank you 😄 It wasn't meant to be this long - it just happened… Feel free to share your thoughts!

[dungeons-and-dragon-age]

varric's death is actually great for the rook!addie agenda

[fatehbaz]

.

[guinevereslancelot]

decided to leave my job and i'm gonna fr gonna cryyyyy

[theultimatekamehamehavoc]

Random Togami Headcanon 13

TL;DR - Byakuya's bettered himself but he still has a long road of healing. Also, heads up. This one's not happy like most of the others. Gets a bit hopeful at the end but there's still a lot of sad topics here. Viewer discretion is advised. Now that he feels more empathy for others and possesses some capability for putting himself in another's shoes, thoughts he used to have about the lower class make him feel... off. Perhaps guilt or discomfort with himself. It doesn't help though looking at his classmates every school day and being reminded of the mindset he was raised with. It especially doesn't help when he looks at Makoto who helped him. Makoto being the commoner of all commoner's also hurts. He appreciates what Makoto's done to help him but it unintentionally stabs him hard within his chest that he needed someone's help to get to this point and the someone being a commoner he once wrote off. Next, with this empathy, the heir feels better with his life and happiness but fundamentally worse. It's as if he deteriorated though, logically, he knows it's not the case. He knows that the illogical side of his brain covers itself in the hides of reason and rationale. Essentially, Byakuya ends up having a grueling struggle with dealing with these emotions that, for the majority of his life, he buried and repressed. Emotions that both make him feel more fulfilled in life but that tear him apart inside. Bouts where he feels either extremely content with how he's turned out or that dread and despair that he's slipping back into his old ways. In fact, at times, it becomes overwhelming for him to handle which he especially hates. Being overwhelmed is yet another thing he once viewed as a weakness and, to some extent, he still does. Sometimes, to cope, jokes to himself on whether existing itself is something he feels is a weakness. However, though he has a lot of emotions and thoughts that upset him now as a bettered person, one big thing that pains him is that he has the capability and the intelligence to notice all of this. It's the acknowledgment that stings. The heir notices that he has a problem, that he probably needs help, maybe even therapy, but then he spirals more because of that realization. Why should HE need HELP for these problems of his?! He's an independent person! He should logically be able to handle this himself. He's always handled his problems on his own! Why should he now need someone or just a support system of people to aid in his path of healing? He feels gross for that support system being the classmates who he once adamantly despised with such vitriol. With the added empathy, he also feels shame as he doesn't want to hurt any more people in his life now. He has the hindsight to know this now. He questions himself. Is the situation he's in even that big of a deal and should he keep searching for answers on the "why" and "how"? Is it worth it? Comparisons to the peasants he used to once adamantly demonize also do not escape him. He feels worse because, while he's breaking at the seams, countless of other commoners have similar thoughts too. He's not unique and a bit of that stings his lingering superiority. Then, there is the fact that Byakuya feels even worse about this BECAUSE commoners can handle stuff like this and yet, he keeps saying that he can't due to his mental spirals. Either that or the older thoughts of hating commoners bites back by making him feel like he's "acting like one". He knows by this point that he's actively tearing himself down and that he needs to escape this cycle of mental abuse. He feels shame in himself though. He feels humiliated. Pathetic. Overly emotional in ways he's never felt before. He still has that hope though. The hope that he can get through his. The heir's already delt with so much whether canon, non-despair, or an au of some kind. He's continued on despite it all. And, though long ago, he would have pushed some of this hope off for it being too optimistic, he's grown to care less about that sort of thought anymore. Byakuya can do this.

[mad-hunts]

tw: cannibalism, (slightly) graphic depictions of violence and HEAVY elements of horror will be ahead, so i'm going to put this under a 'read-more' if you'd rather skip out on this one.

so they looked around for a bit, and that's when they found it. this blood trail going down the floor of the hallway, which was already kind of scary, though it was nothing compared to the sound of someone's ringtone suddenly resounding from one of the rooms in the back (think one of those love songs with sort of creepy vibes to them like ' unchained melody. ') so, once your muse gathered enough courage, they decided to proceed down it even though something inside of them was screaming that something seemed wrong. and it seemed like they were right because once they reached the back, they found a dead body just... pressed up against the wall with blood spattered behind them. and there were other spots of the wall spattered with blood as well.

i feel like, for a character that's supposed to be pretty horror-oriented, that this account has been kind of lacking in content related to that lately, SO imagine this scenario, y'all. your muse is friends with or just cares about barton in some way. and thus, whenever they find out that he's attracted the ire of someone dangerous + that he's been missing for WEEKS, they assume the worst and try to find out his location. which leads them to this already creepy, dilapidated, and abandoned mortuary. and they honestly didn't know what they were expecting once they entered it, but it certainly wasn't this deafening silence, and there seeming to be... no one around?

so, you try to circle around to find out what the hell is going on, but then you see the thing that barton is hunched over is a body and a third one on the autopsy table in the room. and your muse can't help but blanche + feel like they've just stumbled into the lions den, because barton is not only SO beat up, but he's eating the person below him. and it's absolutely horrific because whenever they gasp at the sight is when barton finally looks up at them.

it was ALL over this corpses' face, though, as it appeared like they died from some sort of brutal blunt force trauma. but there's also another blood trail that is smeared across the floor up and under one of the doors in the back, which they are REALLY questioning whether they want to open now. they choose to do so with their eyes closed after remembering that barton would do the same for them (and by that, i mean he would want to save them JSJSJ), and all they can see when they open them is the back of barton hunched over something, or someone as you discover while getting closer to him. and it's like he is either ignoring you or hasn't heard you enter the room because he's still focused on whatever he was doing.

and there is just NOTHING behind those eyes even though he's got a copious amount of blood dripping down from his lips and dripping down his chin + neck. like JSJSJ i don't know about you guys, but i would be sooo scared because not only is this NOT normal behavior for him at all, it's god damn terrifying to see someone cannibalize you someone else. and so if he were real, along with me being in this situation, i probably wouldn't talk to him for a while because i wouldn't even know where to begin AHHH

[longagoitwastuesday]

I actually like the last chapter. I think the ideas are very good. I have my qualms on how some things were managed, as I always do, but I think shonen authors get tangled in the expectations of a shonen to the point it jeopardises their writing, often even when they're not lacking in skills

[hecksupremechips]

Really into the episode of Ouran where this girl confesses her love to Mori but he doesn’t feel the same because he’s into Honey and the girl’s reaction is just like YIPPEE I LOVE YAOI THATS SO COOL FOR YOU YAY 🥰

[hiraunia]

(Im just ranting, ignore me)

My coworker is pissing me off soo badly. I have only been working at this job for two and a half months and within the last two weeks I have had FOUR people come talk to me about how I treat her, TWO of which were managers. Telling me how she feels like I'm bossy and rude and THREE of them were like "Remember, she has senority over you so you need to be nicer to her" but like, I AM NICE TO HER. I have been no ruder to her than any other coworker and yet she is the ONLY one who has had a problem with me.

The fourth person who told me about this, same thing happened to her! Same thing happened to this other guy who quit! This happens with all the time apparently with her and yet no one in management has thought to themselves, "Hey, maybe she's the problem and nit anyone one else?" NOPE! Apparently not since she's the fucking darling of our section and no one ever thinks she's done anything wrong!

Oh, what makes it even better, part of my job is to ask the cook to bring food up front and my job to to wait on customers,l so she knows I'm going to have to ask her to do stuff because ITS LITERALLY IN THE JOB DESCRIPTION! Apparently I'm just so rude and demanding about it though (Even though no one else has had this problem)

And it does not surprise me that this is happening now. I'm damn near certain its happening because a week or two ago we were having a sale of a VERY popular item that she failed to keep stock of and we ran out during the dinner rush which lead to several people complaining about it to management because we are not supposed to out of that during dinner.

And I cannot stress how popular this item is, at least once a day somebody tells me that it the best of its kind that they've ever had(It is pretty good but I wouldn't say its the best) and I'm pretty sure that its the only reason any of us have a job because even on slow days when no one is buying anything we are GUARANTEED to be selling a bunch of this stuff.

So during these sale weeks its pretty damn well known that the cook needs to be making it basically back to back, you need to have extra stock of it if you go on break, and if other items run out but we're only low on said item you neglect the other stuff and make another batch.

So when I, as her partner that day, was asked what happened, I told them exactly what happened. She barley made any thing because she was prepping something else, only started making stuff when we were basically out(Which I am supposed to tell her to do because I'm supposed to tell the cook what we need) and during the dinner rush she left suddenly without telling me and I waited for five minutes for her to get back while trying to explain to customers what was happening and when I go find her she's crying on the phone and I had to put the next batch in(WHICH IS NOT MY JOBS BECAUSE I WASN'T THE COOK THAT DAY)

And now she's telling our managers and anyone else who will listen how rude and mean and bossy I am to her.

And the final cherry on top of this shitshow, she is considered to be one of the two worst people to work with in our area. The fourth person who told me about this, my third week here she saw they were scheduled to work together for closing and freaked out and asked me to switch shifts. The second bad worker doesn't like working with her either!

(I asked her if she liked working with him and she said "Yah I don't care as long as he doesn't talk shit behind my back." Which- Omg that made me SO fucking mad! We all gossip about eachother, obviously, like that just happens when you work with people and there's nothing to do sometimes but like! The fucking audacity to complain about someone talking shit behind you back, and then talk complain to management about me when your Apparently SO FUCKING SENSITIVE ABOUT IT! I wanted to say something so bad and I regret not doing because at the time, I thought it was over, three of the people had already told me about what she was say so that day and the day before that I was being extra nice to her. NOPE, im only so angry about this because the fourth person told me about this TODAY which means she hasn't stopped talking about it!)

[freebooter4ever]

The rain'll let up, they said. It'll be gone by noon, they said.

[impossible-rat-babies]

rotating Halone in my brain case tonight fellas

[orcelito]

Ykno the suckiest thing about being broken up with for someone else is that like. Well I'm doing generally fine, all things considered, but I Am kinda sad thinking about the things I've lost and all the casual affection that I can't have now.

But she's out there having all the affection she wants from her coworker, and it's just like. Damn this feels so skewed and SO unfair.