#women are only interesting or valuable in the plot in so far as how much suffering they can provide

[black-queen-rising]

The people taking this dialogue as a legitimate “character flaw” or literally just at face value at all and not as a continuation of the blatant disrespect the writers have not just towards Rhaenyra as the heir of twenty years, but towards anything that could even vaguely be construed as “women’s work”, is the most perfect encapsulation of just how entrenched misogyny is into the very heart of our pop culture and how the popularization of fantasy has managed to worsen our societal view of soft power by painting it as not only weak, but frivolously feminine, unimportant, and a waste of time.

Since the beginning of the show the writers have almost exclusively portrayed Rhaenyra as disinterested if not opposed to her role as heir, as a politician, and a woman in power broadly all against the original canon and all glaringly, not to make her look worse or better or likable or incompetent (they do all those things, almost every episode, with however they need her to affect the plot in that given moment because they’re incapable of having the characters drive it organically) because it’s not truly about her at all. It’s simply because they cannot fathom a story where a woman is politically adept and as a result either 1. evil or 2. boring, and that is fundamentally because once again they are so biased and against portraying anything that could even vaguely be construed as women’s work or at all “feminine-coded” in an even neutral-but-interesting way they do for (stereotypically) masculine-coded activities like sword fighting, horse back riding, dragon riding, hunting, archery, not to mention just the concept of the political conversations that drive these stories, let alone an actually positive way.

They have taken a story that at its core was always an indictment of structural misogyny and how it will literally cause societies to tear themselves apart over nothing. But because they decided at the outset they wouldn’t and couldn’t portray the structural part of said misogyny without scaring away their intended audience, and decided instead to base this all around ultimately meaningless ~team discourse~ (because literally everyone meeting their downfall as a result of the consequences of systemic misogyny is the point) their alternate path has been to over-exaggerate and ultimately turn to spectacle every single woman involved’s individual suffering at the expense of everything else about their characters. It doesn’t matter if that was the intent or not the principle result of this adaptation has been the continual disempowerment and degradation of women and their agency combined with an almost impressively voyeuristic portrayal of their suffering.

The women in this show are not allowed to have interests or hobbies unless it’s to serve to make them seem “bad” in someway, whether that be the discomfort around Helaena’s bugs, the total lack of any positive representation of Alicent’s religiosity, or how the women dragon riders are broadly painted as aggressive, violent, and unnatural. I don’t even have specific examples to list from the other “team” because in order to be portrayed as “likable” to the general audience the women of Team Black are barely allowed to have personalities, let alone distinguishing interests or characterizing hobbies. The agency and autonomy they have been stripped of, collectively, from both historical precedent and actual ASoIaF, is almost entirely in their refusal to allow women’s work to be portrayed positively. There are no balls, no sewing circles, no garden parties, no trappings of power and contests of will in the jewels and gowns Rhaenyra must now loathe to be (their deeply narrow and biased view of) “likable”, there are no female mentorships, and no female friendships, and at every chance they have had to portray these things at both a societal and personal level they have chosen to veer away and instead reinforce their suffering. They have removed women’s avenues and halls of power from this story, while making it very clear there are no others that exist in this world, and they cannot participate in the men’s; if they could this story wouldn’t exist. So we are left with a group of people who are supposedly driving this story, who this story is supposedly about, but they are internally and externally isolated, largely removed from the public eye, angry or distressed to be there on the rare occasions they’re present, disempowered, stripped of personal agency and will, and we’re still told they have power. But if we search for it the only logical conclusion is that any power which does not center on how much suffering they have been through, or how much more they may be dealt, is not only gone, it was never there in the first place.

I don’t enjoy Rhaenyra’s quasi domestic abuse any more than Alicent’s visceral sexual shame and I don’t enjoy the infantilization of Helaena’s character any more than the erasure of Rhaena’s and it is deeply concerning how many people look at these decisions, and nod their heads and say “yes, this is realistic, and not only is it realistic it’s, GOOD, because without horrific psychological and physical abuse and ultimately a complete reduction to every female character as peace loving victims of powerful men’s cruel machinations we could never even SEE how misogyny is so damaging.” And the mindset that drives people to claim that those of us who call out how this is, the definition of benevolent misogyny and say we’re crazy, that we can’t see the complexity, that actually we’re the ones somehow falling back into sexist tropes, or asking for a black and white story when instead the black and white has simply become an insultingly reductive view of evil men versus helpless women and when all else fails, accusing us of wanting a boring story because it’s either not focused on gratuitous individual female suffering, or is focused on the kind of political power every single featured female character on both sides of this conflict wielded in the original book instead of evil man conversations and eviler man dragon-battles, is at its heart why we have come to a place in pop culture where one of its most marquee properties displays and embodies these problems so glaringly in the fucking first place.

[goyurim]

all the hate towards soo hyun is unwarranted. and i'm not saying you're supposed to like her or anything, you can choose to like/dislike any character you want. i'm saying all the hate is being projected to the wrong place. based on all the reasoning for the hate i've seen so far (boring, underdeveloped character, arc revolves around ga on etc.) the hatred should be directed towards the writer.

the writer has done an excellent job with the gender role-reversals i have to admit, with ga on playing the role that’s usually written about women, thawing down the ice in yo han’s heart by acknowledging his anger and pain, teaching him to love, cooking for him etc., and sun ah being practically the female version of yo han, same intellect same ideals same charm; they’re two sides of the same coin. but when you really think about it, sun ah’s character essentially revolves around yo han too, just like soo hyun’s around ga on. soo hyun’s the female version of ga on, law-abiding, morally upright and all. she’s also stubborn with her beliefs. both women are in love with their counterparts. just like sun ah mirrors yo han’s complexity, soo hyun mirrors ga on’s simplicity. 

but it’s not just them, chief justice’s character is also pretty flat, he has pretty much no other role except for being a parental figure for ga on. he’s only relevant when ga on’s in trouble. k’s character does nothing but tag along yo han, he becomes irrelevant as soon as cha kyung hee’s plot ends, in fact he says it himself that he feels futile and the writer makes sure that’s true by disposing of him right after (at least that’s what we know of so far). but there’s so much love for k on here? why is that exactly? we love him so much that we even looked up his name even though it’s not important enough to ever be mentioned on the show?

cha kyung hee’s death probably bothered me the most. also because i think death for shock value is lazy writing in general but that discussion is for another day. i understand that her death was supposed to be poetic justice and all with her never wanting to resort to weakness and running away yet that’s exactly how she ends up but really? after all her character went through? she becomes a throwaway plot piece? yo han’s failed chess move? to break apart yo han and ga on’s rapport? (disclaimer: i’m not saying suicide makes you weak. but that's exactly how the writer played it out)

in fact all the supposedly ‘strong’ women in this drama are reduced to their stereotypes in one way or another. we have the first lady, who i really thought played a bigger role in all of this (speaking of which, i love this theory and i hope the writer delivers and i’m terribly wrong about what i’m about to say) but the ‘big plan’ heo joong se has against cha kyung hee’s threats is the fact that he knows her son does drugs. but he doesn’t reveal this himself, he specifically calls the first lady to play mother (to a son, correct me if i’m wrong, but we haven’t seen or even heard of throughout the drama so far) and patronise cha kyung hee, another mother. (disclaimer again: being a mother is a very valuable role. that doesn’t negate the fact that it’s an overplayed stereotype, reducing a woman’s value in a life if she doesn’t have children/doesn’t raise her children right)

there's is so much internal misogyny in this writing and tbh i don't entirely blame the writer because i can see he tried. he did make an effort to make most of his characters interesting. but we as an audience shouldn’t be playing into this misogyny so easily, it doesn’t matter if it’s so common that we’ve become accustomed to it. you can’t blame a fictional character for living by the rules of their unjust and unchangeable world.

all i’m saying is that if we can learn to appreciate and love and cry over characters like k, we can do the same for soo hyun.

[mindibindi]

They are destroying Rebecca’s character this season and this Sam bullshit is the final nail in the coffin for her. What the f*** are they doing to their female lead ??

Well, I suppose this is the danger of offering resolution early in the piece and why so few television writers do it, particularly when it comes to romantic relationships. Because then there is the looming question of What Happens Next. So many writers prove that, while they may have the imaginative juice to create, they don't have what it takes to re-invent.

Whether you understand her as the protagonist or the antagonist of the first season of Ted Lasso, Rebecca's big revenge plot drove s1, gave it a clear narrative arc. This inaugural season likewise gave her character a clear and compelling arc. You could posit that, while Rebecca's pain drove season 1, Ted's pain is meant to be driving season 2...? But whatever Ted is going through does not have as clear-cut an objective so it is not giving the same sense of cohesion or direction. Within her s1 arc, we got to see Rebecca feel angry, frustrated, victorious, smug, thwarted, conflicted, heart-broken and vulnerable. Last season gave Hannah Waddingham so many opportunities to show the range of her skills as an actor and I still hope she wins an Emmy for this performance. But I doubt she will be winning any awards for her performance this season.

Most situation comedies stick to the same situation, snapping their characters back to where they were at the beginning of each episode. Certainly, this formula can become repetitive and dull after years. Ted Lasso received a great deal of praise when it broke this formula by offering resolution at the end of its first season no less. It broke the no-hugging-no-learning mantra of so many sitcoms when it allowed Rebecca to learn from her trauma, come clean and literally embrace Ted as a valuable part of her life. Since her character went on the biggest journey of the season, the question of What Happens Next was always going to be more significant for her than it was for any other character on the show.

Season 1 of Ted Lasso made me fall in love with Hannah Waddingham and the character of Rebecca Welton. But as much as it pains me to say it, in s2 she is nothing like the problematic powerhouse we met in s1. Her friendships with Keeley and Higgins continue on nicely enough. She's had some good moments with characters she had little interaction with in s1, like Roy and Nate. And it was great to meet her mother and god-daughter. But this fleshing out of the character is mostly work around her rather than work that propels her forward in any meaningful way. I understand that some people may be content just to watch Rebecca living her best life after the intensity of last season. But, for me, the pursuit of heterosexual romantic love by a woman to the exclusion of all else is a problematic aim since women have been told for centuries that securing a man is the single most important thing they can achieve in their lives.

Rebecca wants love and doesn't want to be alone. She's stated that, that's canon and that's fine. But romance seems to be Rebecca's ONLY aim, her single focus. We haven't seen her do anything in her role as club owner except make a phone call and look sharp, which I admit she does well. The woman looks INCREDIBLE. But if you are in your right mind (at least in my opinion), you are not expecting this amazing woman to end up with a pretentious windbag, a hot booty call or a wildly inappropriate youngster. So it all seems a bit aimless, purposeless. All of this dithering about with wrong dudes is just a waste of time when we have limited time with these beloved characters. We know we are only getting three short seasons of this show and I don't want to spend a full season watching a previously complex female character stare at her phone, only ever prompted into (questionable) action by her cute best friend. And I DEFINITELY don't want to watch...whatever the fuck they think this thing is with Sam.

Frankly, I am still flabbergasted that they have chosen this path. They genuinely seem to think that their audience will enjoy this as some hot romantic adventure...? And hey, a small but vocal minority are. Some diehard fans are trying to hold onto their faith with white knuckles. And the rest of us are just over here in compete and utter shock at the suddenness of the decline in this show's quality and ethics. The latest justification some fans are rather desperately grasping at seems to be that Rebecca's actions stem from her trauma. Now...okay. Trauma can be responsible for many things. But not this. Trauma can make you act in v strange ways but I don't see the connection here. I can clearly see how Rebecca's trauma from her first marriage dictated her actions towards Ted in s1. That is a very clear line to draw. I can see how, after her disastrous marriage, her judgement may be off and she may go for someone like John Wingsnight: someone safe, solid and appropriate. Again, a clear line to draw. I can also see why she would indulge in fun, shallow sexual relationships with the waiter in Liverpool and her booty call from bantr. All normal, understandable behaviour for a woman in her situation. And a v clear narrative line for the writers to draw. No problems there. Her actions in each of these cases can be traced back to Rupert and his abuse. But I cannot for the life of me draw a line between Rupert and Sam. As a traumatic reaction, that does not make a shred of sense to me.

It's true that sometimes those who have been abused become abusers, not that I'm saying Rebecca is abusing Sam in this scenario. What I am saying is that most trauma survivors will go out of their way to avoid becoming anything like their abusers. Most survivors try their damnedest to break the cycle of abuse, not perpetuate it. Most victim-survivors will act, sometimes even to their own detriment, to spare others from being impacted by their pain and trauma. Trauma and abuse does not break your moral compass. If anything, it makes it stronger. Trauma and abuse heightens your sensitivity to what is right, just and honest. Having seen Rebecca ultimately unable to follow through in her trauma-inspired revenge plot on Ted, it does not make sense to me that she is blindly (without any of the nuanced inner conflict of s1 Rebecca) allowing her trauma and abuse to lead her into a situation that not only emulates her ex-husband's hurtful, unethical behaviour, but endangers what is now supposed to be so valuable to her.

All the press for s2 as spruiked Rebecca as a dating disaster but enthusiastically committed to her club. There is a huge difference, however, between charmingly, comedically 'messy' and inept to the point of self-destructive stupidity. I just don't buy her as this dumb. Yet here she is, after all her dealings with the savage British press last season, endangering the reputation of herself, her club and one of its most vulnerable players. Oddly enough, the Rebecca we saw in s1, with her many layers and nuances, seems to me to be a far more moral (not to mention interesting) rendering of this character. This Rebecca was motivated by injustice, she had an acute understanding of what was and wasn't right. It's why she conceived of her revenge plot and also why she ultimately dropped it. It is one thing for writers to propose that there are multiple steps on the way to healing. It is one thing for them to lead a character into a dark forest full of conflict and complication. But, from what I can tell, some people don't know the difference between a dark forest and straight-up bad writing. And it really fucking shows.

[epicspheal]

( this is gonna be long super sorry!!!) I have some Thoughts™ about Lusamine cause I'm conflicted. I love Lusamine as a character. And by that i mean I love to hate her. Rich white woman that's probably from Kalos( France) abuses her children, constantly gaslight them to make her the victim, and etc. It doesn't matter if she gone crazy, she's still an abuser.

The reason USUM boils my blood at times is because it goes the route of " oh yeah I wanted to save everyone" route which completely glosses over the fact that she abused and controlled her children for so long to the point of them both running away. And this one is purely headcanon in my part, cause I doubt Nintendo intended this, but she is, again, a rich white woman in comparison to the majority poc Alola. Is it infuriating how they welcomed her( well, at least on the front) after everything she's done? Yes. Is it a sad reality? Also yes. But it I'm still gonna complain. It also seems that Lillie and Gladion forgave her so easily? Of course, they have their own right to feel however they feel about their mother( especially if there was genuine good memories prior everything that happened), but like???? Idk it rubs me the wrong way.

But here's where I'm conflicted. Pokemon masters have shown a redeemed Lusamine. I understand masters is it's own thing, but also it's really interesting cause when you think about it, out of the Bad Parents Club, she's kinda the most likely to get that???( Other than Rose). Like by the end of SM, she finally acknowledge Lillie, and maybe going to Kanto will also mean getting therapy, which could lead to the Redeemed Lusamine we see in Masters( and what USUM were trying to sell). I personally feel like the other two, Giovanni and Ghetsis, are too far gone. So, like, Lusamine has a chance. But I hate her. I made an oc with the goal of at one point throwing hands with Lusamine for a REASON( other than parallels with her own life but that's different). Also when you take into account what lead her to this point, you kinda understand ( NOT JUSTIFY) her decent into madness. I guess what I'm trying to say is that they really should have portrayed her "redemption" better( putting quotations in redemption cause we don't know if she fully learned her lesson or not).

Okay that's all. Super sorry this got very long, I just have many Thoughts ™.

Hi there @ihopethisendswell! Oh boy Gen 7's story is not my favorite for multiple reasons and the shift between SM and USUM's handling of Lusamine was a big one. Like honestly if they truly wanted to redeem Lusamine USUM should've been a sequel rather than retelling because that way a few years would've passed, Lillie and Gladion could've healed on their own and Lusamine could've gotten some time to get herself together and maybe earn a redemption. But honestly I didn't want Lusamine to be redeemed. Let her rot in the "crappy parents" brigade with Giovanni and Ghetsis. I've said this before in a previous ask that I already didn't care for the Aether Family Plot to begin with but I at least enjoyed finally having the main villain be a woman and her being just absolutely a piece of crap too. I I don't like that they tried to redeem they chose her, and in such a haphazard way. Let the women be irredeemly evil. We need to see more of that in fiction. Unrestrained cruelty knows no gender.

But then again Lusamine's writing flops just fall in line with other issues Gamefreak has with writing female characters. Right in step with "Let's make Lillie, the one female child character whose been cursed with a crappy parent be the only helpless, passive one to the point of pretty much being the load while Silver, N and her own brother Gladion who also have shitty parents get to have more agency and fight to them. Because girls are the only ones who can be damsels and boys have to be tough."

Oh and I can't forget "Let's make Professor Burnet mostly irrelevant to the plots of SM despite her field of research being the most valuable concerning the whole research plot. Can't have a female researcher be useful" As you can see I have a lot of gripes with the gen 7 plot.

But your point about how Lusamine was handled in the majority POC region of Alola is probably my biggest issue with the Aether family. Because I really didn't care for the fact that the blonde family took up so much presence and importance in the story at the expense of the POC characters who were actually born and raised in the region. Like there was two whole plotlines of the Hau trying to live with the burden of being a Kahuna's grandson and Kukui trying to show pride in his home region by creating league while also not stepping on the traditions that make Alola's island challenge so sacred and special but we don't get to see it because it's the Aether Family show. Gamefreak has had a rather prevalent issue in writing when it comes to balancing story plotlines in general, but Gen 7's botched handling really stood out to me. The Alolans had really interesting stories that I wish had of gotten more prominence rather than being shoved off to the side like they were in canon. I hope whenever we get gen 7 remakes they add more depth to Hau, Kukui, Guzma, Acerola, and Hapu's stories because their stories as natives deserve as much attention as Lillie being able to find her confidence. Finally there should've definitely been a "press x to punch Lusamine's lights out" option in game. Like you I made alolan champion OC specifically just straight up give Lusamine a black eye. Yeah it meant aging her up to around 17 instead of the canon protags age of 11. so she could have more force behind that punch but it was worth it :D

[redvoid-40]

A Game for a Kiss

Don’t ask me where this came from. I’ve watched BSD a couple months ago and of course I got the hots for the feral rat-man. -.-

Anyway, slowly I came up with a little plot for an arc with some OCs (weird calling them OCs, when they’re all named after past writers but oh well) and even thought about developing it, but since I’m not in the mood to write a whole multi-chaptered fic, I decided to just write this interaction between Fyodor and my main OC for the BSD-universe, Mary Shelley. You know, as a treat. >.<

I know the fandom is super small, but I thought someone might enjoy this, so here it is! :)

Also, Fyodor might be OOC (it’s hard to get a full understanding of his character) but I see him as creepy-pretty, with no qualms in manipulating women in ways that border on dub-con. So... TW: some making out; Fyodor’s thoughts making it clear his morals are more twisted than a pretzel. 

Anyway, enjoy! :)

Part 1 / Part 2 (NSFW) / Part 3 (NSFW)

“How about a game?” Fyodor proposed, smiling from ear to ear as he moved a chessboard from the side table to the coffee table in front of them. It was small, with tiny and expensive crystal pieces that had a purely decorative role, but he had never minded playing with valuable and irreplaceable things before, so why start now? Much worse to die of boredom than to shatter a hundred-dollar pawn. “I heard you had quite the reputation at the Chess Club in Oxford.”

“It’s been a few years since I last played,” Mary admitted as placed her glass of anise-infused gin on the coffee table and reached out to touch the white king, as if she was caressing a long-lost lover. “Not sure I’ll be a worthy opponent to you, Mr Dostoevsky.”

“How about I give you some impetus then?” Fyodor asked, raising a sole eyebrow as Mary’s eyes shone with interest. “If you win, I’ll give you something. Something I know you want from me.”

Mary quickly pulled back, like a child caught with her hand in the cookie-jar. “You’re already doing so, and I’m eternally grateful for it. Helping me retrieve Adam and right my wrong is all I could ever hope for and more, Mr Dostoevsky. There’s nothing el-”

“A kiss.”

Fyodor’s smile widened and his eyes darkened as a pink dusted over Mary’s cheeks. Her dark eyes made it hard to discern her emotions, but if he were to guess, Fyodor would bet her pupils had doubled in size at his indiscretion.

“I can feel your gaze on me, Doctor Shelley. Every time I walk in a room, your eyes peruse my figure like I’m an appetising treat,” Fyodor spoke, feet planted on the floor as he projected his body forwards, elbows on spread knees and the fingers of his hands intertwined. “Correct me if I’m wrong, but I think you are interested in me in a way that’s not entirely professional or proper.”

Mary reached for her lowball glass and quickly brought it to her lips, downing the rest of her gin in a way that also wasn’t professional or proper. Fyodor watched her throat move, amused and admitedly a bit impressed at the pace at which she was draining her gin, wondering if maybe he should have proposed a drinking game instead. Who would fare better, her with her gin infusions or him with his chilled vodka?

“... and if I lose?”

Fyodor blinked, lazily trailing his eyes up her chin, passing by her pouting lips, blushing cheeks and up to dark eyes that stared at him so attentively. Lips curled at the corners, he raised a single eyebrow, urging Mary to continue.

“If I lose the game, what would you demand as compensation?” She clarified, and Fyodor exhaled at how she pressed her thighs together beneath her knee-length, black skirt.

“I’m not sure,” Fyodor said. “Why don’t you let me decide later? If I win the game, that is.”

Mary’s eyes turned away from his, moving down to gaze at the empty glass in her hands as some luster in her eyes darkened into distrust. “I think I’ll pass on your offer, Mr Dostoevsky. A kiss for an IOU? Your proposition doesn’t sound fair to me.”

Fyodor retreated, letting his spine fall comfortably against the back of the sofa as an airy laugh left his lips. The woman wasn’t as foolish as he had expected, at least; despite admitting in all but words she was enamoured with him, her shackles remained raised, certain she couldn’t trust him as far as she could throw him.

Must be a woman’s intuition, Fyodor thought, remembering the looks he so often received from the fairer sex throughout his late adolescence and adult life. So many inviting smiles were thrown his way, only to morph into barely veiled jitters when he got close enough to touch. For all his years of manipulating the brightest of the brightest to have his way, Fyodor still hadn’t figured out how to lull women into unravelling themselves for him without promises of money - or some other stimulant - as reward.

“If I win I vow not to abuse my freedom, and will only ask for something of equivalent value to what I offer,” Fyodor proposed, lips relaxing in a smile he hoped Mary deemed trustworthy. “And if you feel I ask too much, you can deny me and I’ll give up my reward altogether. Does that sound fair, Doctor Shelley?”

Mary looked at him through lowered lashes and he could almost hear the gears turning in her head, lust and reason rotating in opposing directions in a struggle to decide.

“Fair enough,” Mary spoke at last, and placed her glass back on the coffee table. Her hand then moved to the chessboard and spun it around so the white pieces were close to her. “But I play white.”

Fyodor almost protested, but the smile Mary threw his way demanded enough endearment that he’d allow her this little bit of despotism just this once. 

He found he rather liked it.

---

To Fyodor’s surprise and satisfaction, Mary proved herself to be a worthy opponent. For the first time in years, Fyodor stood over a chessboard with furrowed eyebrows as he macerated the pad of his thumb between his teeth to the point he could taste iron on his tongue.

“Don’t do that. You’re hurting yourself.” 

Fyodor had just moved his knight when a hand seemed to appear out of nowhere and gently wrapped around his wrist to guide his thumb out of his mouth. Purple eyes narrowed, shooting up from the board to Mary, but his scowl melted into something almost benign at finding the woman hunched over the board, positively pouting. Her hand released his wrist, leaving an imprint of heat on his flesh despite not touching skin, and floated back to her, fingers twitching as they hovered over her pieces, debating their next move.

There was a brief knock on the doors before they opened and in walked Ivan, pulling Fyodor’s attention just in time to see the narrowing of his silver eyes as they fell on the back of Mary’s head. The glare disappeared as soon as it came, so when Mary turned around to greet the newcomer with a polite smile, he responded with an enormous grin and flamboyant mannerisms.

“I’ve come to check upon you, see if everything was alright,” Ivan announced as he stood behind Mary, silver eyes fixed on Fyodor with adoration. “It’s almost midnight.”

Mary’s eyes widened in surprise as she reached for the phone she had forgotten on the cushion by her side. “Oh my, there are twenty calls from Jane. I really should take this thing off silent mode.”

Fyodor’s jaw tightened as Mary’s focus shifted from their match to her phone. “Ivan,” he called with a firm voice that demanded to be the centre of attention again. “Please, let Doctor Shelley’s companions know she is safe and sound with me, and that we’re both occupied at the moment. Also, would you be so kind to have someone bring us something to eat? Something sugary would be best. I will have a drink as well. Vodka, chilled but no ice,” then he lowered his eyes back to the woman in front of him and smiled as he motioned to her empty glass. “Doctor Shelley, would you care for another?”

“Ah, I-”

“A gin for the lady, Ivan. Thank you.”

Ivan’s smile didn’t falter as he bowed his head. “Of course, I’ll have someone bring your drinks. As for sweets, I believe there are a few strawberry shortcakes in the fridge. Would that be to your liking?”

This time, Fyodor remained silent as he stared at Mary, giving her the illusion she had a say in this whole matter, that she could choose her treat in the way she couldn’t choose to refuse a drink. 

Mary’s eyes were glued to his and once again he noticed how her thighs rubbed together at his attention, leaving her phone forgotten by her side. Blushing, she craned her neck to glance at Ivan and nodded. “That would be lovely, thank you.”

“Very well. Someone will bring everything here briefly,” Ivan said, moving his eyes back to Fyodor. “If you need me-”

“We will be fine,” Fyodor dismissed, purple eyes fixed on Mary as he gave her a smile that showed too many teeth. “I believe it’s your turn, Doctor Shelley?”

Mary nodded, turning her gaze to the chessboard. Her hand hovered while her brain readjusted to their match, reviewing the last rounds as it calculated the best moves she could make. It took her only a couple of seconds to review their entire game and make her move.

“Good,” Fyodor said, right hand rising to his lips out of habit, only to stop midway as he felt an intense stare on him. When he looked up, Mary was giving him a look that quickly morphed into a smile when he aborted the movement. He snorted and smiled back. “Worried about my delicate fingers?”

“You’re the one who said you have an anemic constitution,” Mary replied, eyes dropping back to the board. “You shouldn’t hurt yourself; it might take longer than usual to heal.”

“I’ll keep that in mind,” Fyodor said, letting his eyes move up and narrow slightly at finding Ivan remained still behind Mary, staring at him with a doll-like smile on his face and wide eyes. “Ivan, our drinks?”

“Oh, of course! My apologies,” the man said before bowing theatrically. “I’ll leave you to your match. Good night!”

Fyodor nodded as Mary turned back to Ivan, throwing a polite “Good night, Mr Goncharov”, before once more focusing her attention on their game, waiting for Fyodor to take his turn. He grinned, purple eyes fixed on her as he made his move, enjoying the way Mary’s lips pouted as she concentrated.

He really was having fun playing with her.

---

The game came to its inevitable conclusion hours later, just as the sun was peeking over the horizon and the birds chirped outside the window. After a couple slices of strawberry shortcake and a few refills of vodka and gin, Fyodor let his body fall back on the sofa, smiling from ear to ear as he stared at the pouting woman in front of him.

“Check-mate, Doctor,” Fyodor purred, purple eyes darkening in satisfaction. 

Mary stared at the board for a couple more seconds, as if a solution to her defeat would present itself to her. But when none did, she sighed in acceptance as her forefinger gently laid down her king.

“Don’t beat yourself, Doctor. It was a splendid game; the best I had in years,” Fyodor commented.

“Thank you, Mr Dostoevsky. But your words don’t make defeat taste any less bitter.”

“I guess not,” Fyodor said. “Especially since I have to claim the spoils of my victory from you.”

Fyodor didn’t miss the glance Mary threw his way, clearly torn between enticed curiosity and rational diligence, clearly still wary that he hadn’t made his wants known before their game despite his guarantees. Those intelligent eyes clouded with lust made him lick his lips, and her breath hitched in response.

“I want… a kiss.”

Mary’s eyebrows shoot up. “What?”

“I promised to ask for something reasonable, didn’t I?” Fyodor mused. “What’s more fair than to ask for the very thing I offered?”

“But then… why did we play?” Mary asked, head dropped to the side.

“Well, I don’t feel like moving at the moment,” Fyodor said, letting his knees fall open as his eyes ran over the woman in front of him. “So, since you’re the one owing me a kiss, you come here and give it to me.”

Fyodor had never seen someone’s skin change colour so rapidly before, and he couldn’t help but chuckle at the bright red that bloomed all over the pale skin on Mary’s cheeks and neck. Without thinking, he brought his left thumb to his mouth, nibbling gently on the soft flesh as he regarded the woman with his own sort of unprofessional and improper interest.

“Don’t hurt yourself,” she said, eyeing the contour of his lips around his digit.

“Come and stop me,” he replied.

Mary swallowed his words with the same relish she swallowed her gin as she stood from the sofa, taking a moment to straighten the fabric of her pleated skirt, before walking towards him with soft, elegant steps. She came around the coffee table, sparing a glance at her toppled king before her eyes fell on his widespread knees and ran up his body until they reached his face. And while Fyodor was used to such appreciative looks, he didn’t expect the soft smile she gave him when their gazes crossed; it was usually at this moment that women stepped back from him, frightened by the intensity in his eyes.

Mary sat down by his left, so warm against the side of his body, and reached up with both hands to pull his thumb away from the abuse of his teeth. She brought his hand down to her chest to examine the damage, pouting when she saw the pad of his thumb was red and swollen, with a small laceration that had just barely crusted over and still threatened to bleed.

Fyodor watched her through half-lidded eyes, exhaling deeply when she glanced up at him. From such close-quarters he could make out the limits between the black of her pupils and the brown of her irises; just like he imagined, her pupils were dilated to extremes, wary of and eager for him. The red on her cheeks subsided, leaving a light pink colour in its place that enticed him to run his lips over the skin.

With a small quirk of her lips, Mary glanced back at his hand and shook her head at the damage on his thumb, before bringing it to her mouth to kiss the wound. The touch was soft as a rose’s petal but still knocked the breath out of Fyodor’s lungs. His warm breath gusted over the top of her head, then hitched as a soft, warm hand laid on his cheek.

“That was not what I had in mind when I asked for a kiss,” Fyodor spoke, smiling down at the woman. 

A chuckle escaped Mary and once again she gave him that soft look he was unfamiliar with. Before he could taunt her further, Mary tilted her head and guided his face down, letting her lips ghost over a corner of his mouth before moving to the other, soft and sweet. Hypnotised, Fyodor’s eyelids fluttered shut as he relaxed into these teasing touches that, despite being feather-light in their delicacy, made heat rush in his veins like molten metal, erupting out of his heart to his cock and leaving a trail of feverish desire in his veins that demanded more. More contact, more kisses, more pressure.

Fyodor pushed forwards, folding his body over Mary as his hand reached out to grab the back of her neck, only to freeze mid-air as her cold air took the place of her warm flesh. Somewhere he heard an unholy sound, and only after he opened his dark purple yes to find startled brown staring back at him he noticed he was the source of it. He was growling.

In a fraction of a second, Fyodor wondered about the stage he had set for them. Had he misjudged her interest? Hadn’t he offered her enough drinks? How much did she need his help? How much did he need her and her companions? How far could he push? Was everyone in the house still asleep? If she screamed, would anyone come to help?

Brown eyes narrowed slightly and Fyodor swore he saw a glimpse of himself in them; of something aware, astute, and artful. It was there for a moment so short he wasn’t sure he had projected the connection, so before he could let his brain process it, he was once more being subjugated to that look. That nauseatingly soft look no one had ever given him before, and that he did not know what to do with.

Without words, Mary bent the rules of their game and took his turn from him, cancelled aggression with tenderness as she pushed him back against the sofa gently before swinging her leg over his lap to settle herself on his thighs, pulling a pleased hum from deep inside his chest. 

“May I?” Mary asked, hand playing with the flap of his ushanka hat.

Smiling, Fyodor nodded, and Mary pulled the hat off his head. The motion left his hair messy, drawing a giggle from her lips as she combed the knots away so gently he couldn’t help but shut his eyes and relax against the caresses. 

“Your hair is so soft,” Mary murmured, letting Fyodor smell the gin and strawberries on her breath. He felt her fingers dance on his face, collecting his long fringe to push it back and away from his features. “And you’re so beautiful.”

Fyodor’s eyes opened slightly, just enough so he could stare at the rosy lips hovering so close to his. His hands twitched by his sides, unsure where to go or how to touch. He was used to grabbing, pulling, bruising and scratching; not to soft lips or delicate touches dancing over his skin like her hands ghosted over the chess-pieces only minutes before.

Mary’s lips let out a delicious, trembling breath before moving towards him, avoiding his own mouth altogether to give a kiss on his cheek before moving to whisper into his ear: “You feel so tense. Relax.”

Easier said than done, Fyodor thought, turning his head to bury his nose in Mary’s long, black hair and breath in the scent of her shampoo - something citrusy and common that made him light-headed in a way he only felt when his anaemia got the best of him, causing him to black out and wake up stretched on a hospital bed, with an IV bag of O- blood connected to his arm. 

Still, he couldn’t possibly lose consciousness now, not with Mary’s warm body grounding him so sweetly, not with her breasts pressed against his chest and the heat between her legs trapping him against the sofa’s cushions in the best possible way. Gently, like everything she did, Mary finally laid her mouth over his, allowing a whimper to escape the back of her throat when he pressed against her, not as much as he would have liked, but enough to hold back the most violent aspects of his desires, for now.

At the contact, Fyodor’s passive hands took action, sneaking up Mary’s thighs and hips, before slipping under her blouse to rack his short nails over her naked back as he used his hold over her to press her heat harder against his cock. He half-expected her to pull back again, startled at his boldness, but Mary surprised him by letting out a delighted gasp as she tightened her grip on his hair and arched her back, pushing her breasts even more against his chest.

Fyodor took the opportunity and shoved his tongue inside her mouth, groaning as the taste of her invaded his senses. One of his hands danced over Mary’s skin, causing her to shudder as it tickled by her ribs before moving up to her-

“Oh, Dos! Are you in there? Why is the door locked?”

Nikolai’s happy-go-lucky voice breached the door’s barrier, causing Mary to pull back from their kiss, panting. Fyodor’s nails tensed over her skin before his hands relaxed again, dropping to her waist as he sighed and dropped his forehead against her collarbone.

“I guess your debt is paid, Doctor,” Fyodor spoke against her skin. “There’s work to be done.”

“Of course. I have my mission in a couple of hours as well,” Mary agreed as she pulled away to stand up on shaky legs. “It would be best if I got a couple some sleep before it.”

Fyodor glanced down at himself, at the wet spot on the crotch of his pants, and looked up at her through half-lidded eyes with a devil’s smirk. “Think you need a shower too?”

Mary blushed as she straightened her clothes in a modicum of decency. “I guess.”

Fyodor chuckled, but before he could tease her further, Nikolai’s loud voice invaded the room once more, making his eyes roll upwards in exasperation.

“Quiz time! How long until I force the door open? Two minutes? Two seconds?”

“I will leave you two alone,” Mary said. “Excuse me, Mr Dostoevsky.”

Fyodor nodded dismissively, but the look in his eyes was anything but uninterested. “I will see you later… Mary.”

The woman’s breath hitched at having her first name spoken with such heavy desire before she quickly made her escape, almost slamming against Nikolai when she unlocked the door.

“Good morning, Mr Gogol,” she said with a polite smile.

“Good morning, Mary!” He replied enthusiastically, pulling one of her hands to his lips. “What a treat to see your charming figure so early in the day! Don’t tell me Dos has summoned you at such ungodly hours to talk business?”

“Oh no, we were just having a match,” Mary said, pointing to the chessboard on the coffee table. “He wiped the floor with me.”

Nikolai took a few moments to examine the board and what he saw made him raise an eyebrow, clearly unconvinced. “Really? Looks like a tight match to me,” he said, before turning to Mary. “Next time you should invite me so I can cheer you on! Gods, what I wouldn’t give to watch Dos lose a game…”

Mary chuckled and opened her mouth, but Fyodor beat her to the punch. “You wanted to talk, Nikolai?” He called, smiling tightly at the other Russian. “Come in and close the door behind you.”

“Hmm, grumpy,” Nikolai whispered, sharing a conspiratory smile with Mary as he once again kissed the back of her hand. “Lovely to see you, my dear.”

“You too, Mr Gogol. Have a good one,” Mary said before walking away, throwing one last smile in Fyodor’s direction.

Nikolai waved at Mary’s back as she walked away, closing the door once she turned a corner.

“You know,” Nikolai began in Russian, spinning on his heels to face Fyodor. Both men smiled, but the emotions they showed were something dark, almost cruel. “I believe this is the first time I see a woman in a room alone with you leave without tears in her eyes.”

Feet planted on the floor and knees spread, unashamed of his hard-on or the wet spot on the fabric of his pants, Fyodor hummed a little song as he reached for his hat and adjusted it back on his head. Satisfied, he reached forward and grabbed Mary’s fallen king from the board.

“Honestly, my friend,” he said, bringing the piece to his smiling lips. “I do not know what you’re talking about.”

[morwensteelsheen]

3 4 5 and/or 6 for the writing meme? :^)

woohoo, thank you!!! these ones are the most fun imo lmao

also going to do these out of order so i can drop the scene beneath the cut:

4. Share a sentence or paragraph from your writing that you’re really proud of (explain why)

He thought he saw her smile as she gazed up at the starry sky. Around her, the perfectly manicured garden with its artfully planted flower beds and ancient sculptures seemed the very picture of Gondorrim beauty: mathematically balanced, rich in symbolism, an homage to thousands of years of history. She was nothing like the garden. Her hair, unbound despite the common fashions, frizzed in the humidity. One eyebrow was always slightly more arched than the other, even when she was at peace, the other had a scar through it where hair no longer grew. Another scar, dashing across the perimeter of her mouth, made her lips seem lopsided. She was not perfect, but she was the most beautiful thing he’d ever seen.

I think this, from AFTA, represents the first time I feel like I really got it right re: Faramir's thoughts on Éowyn. I really struggled to balance the hyper-critical undercurrent we get in TTT with the starry-eyed romanticism we get in ROTK, because I found it hard to believe that he would swing between those two poles instead of occupying the centre ground. I actually kind of got it when I was reading (and yeah, roast me for being pretentious as fuck lmao) Shelley's To The Moon, and I was like, oh my god, this is it. This is The Take. Like there's the point of the poem, which is Shelley being like 'moon sad bc no bf 🥺👉👈', but there's also the strangeness of him describing something as ethereal and beautiful as the moon as 'weary' and mayhaps looking a little less than perfect. Like, it gets that kind of critical pessimism but also the ultimate hotwife simpery too. Anyways yeah I'm not comparing that paragraph to Shelley by any means but that graf is definitely where everything started clicking for me a bit more, so I quite dig it.

5. What character that you’re writing do you most identify with?

Amrothos as I write him is my self-insert because 1) uncomfortable 2) not sure what the fuck is going on. Beyond that, I actually identify more with Faramir than with Éowyn, even though I find him by far and away more difficult to write. Classic. For the SW stuff I write it is unfortunately, sigh, Cassian. Though I haven't written for R1 in a long while.

6. What character do you have the most fun writing?

I like writing Imrahil the most when he’s not the POV because he walks this line between being a loose cannon and being the most conniving person in the room, which I think is fun to make the other characters negotiate. But I actually like writing Denethor’s POV the best (even though I haven’t published any of that stuff) because he provides a really unique opportunity to make ruthless assessments of the other characters and plot points. Like it's nice to get to duck out of LOTR's standard optimism and into the mindset of a dude who realises how profoundly fucked up so much of it is. And I think it’s really interesting as a writer to look at other characters from the POV of someone who can see their biggest flaws very clearly but still has to find a way to either make them usable or keep them from causing any problems. It’s a fun exercise.

3. What is that one scene that you’ve always wanted to write but can’t be arsed to write all of the set-up and context it would need? (consider this permission to write it and/or share it anyway)

lmao this one has been sitting in my phone notes app for ages because i can't decide whether i want to work it into a WIP or just post it as a ficlet. classic. also valuable insight into my slightly deranged brain I think:

The babies were asleep, not in prams in a different room as the healers and midwives had advised, but in each of their parents’ arms — the Prince and Lady of Ithilien had always had a unique relationship to rules and authority.

The lady of the house, her curls hanging limp around her face and her face pale with exhaustion, had never looked more radiant. Beside her, the man who was there neither prince nor steward, but husband and, for the very first time, father, looked at his youngest child with rapt adoration.

It was a difficult birth by all conceivable measures, sixteen hours of labour, with an entire hour between the first and second baby, but it was not the physical act of labour that had been the hardest part of the process.

The women of the war generation had disproportionately borne daughters as their first children. In the White City, the King and Queen of the Reunited Kingdom had welcomed a daughter before the heir to the throne was born, while the King and Queen of the Riddermark had welcomed a bouncing baby girl just months before the Lady of Ithilien had begun her confinement.

She would have loved the child no matter its sex, had loved the two babies that had come and gone before they could know if they would have been sons or daughters. Her love was never in question, but Lady Éowyn was a woman for whom the constraints of her sex had been a sharp punishment, and she could not bear the thought of having to one day explain to her daughter why the laws and customs of their country dictated that she could not inherit the lands and titles that were rightfully hers.

When the first pangs of labour had begun, Éowyn had simply ignored them, continuing on with what duties she could manage (around a distinctly large belly) until even her well-honed skills could no longer hide her pain. Then, it was not until she had fought every healer, midwife, and servant in Emyn Arnen that she would be taken into the room designated her birthing chamber, and even then only after earning the concession that her husband would be allowed to stay in the room.

For sixteen long hours she had fought and struggled to bring her child into the world (then expecting but one), alternating between brutalising screams of pain and unnerving silence. When the stubborn child had finally acquiesced and begun to arrive in earnest, her screams and silence alike stopped, giving way to soft, mournful sobs and choked out prayers.

The boy, born with a shock of golden hair, had cooed before he’d cried, and Éowyn had collapsed in on herself, delirious and overcome with joy and pain and unending devotion to her child, her son, a child who would know no limits to his life, would never be told no.

And then the midwife had announced that there was another child still, and desperate, anguished tears were replaced by the look and sounds of determination, as the Lady of the Shieldarm brought her daughter into the world. Her daughter who would not be deprived of land and titles for her gender, but for being a miraculous hour younger than her brother.

Hours later, after the healers had vacated the room and before eager family members were granted entry, Éowyn cried a final time, warm tears spilling over her dazzling smile as she thanked the stars and the earth and all the Valar that they had been so blessed to have neither an overlooked daughter nor a second son. Their children, she swore, would never know the suffering that had scared their parents’ lives, and that, she knew, was a sign of the happier days she had been promised all those years ago.

[padawanlost]

Hey Padawanlost I haven't ever asked but could the Jedi win the war without the clones? Because I don't think the Jedi had any other option. I am not saying they are right but could you tell me how can the Jedi win the war without the clones?

Hey anon! There’s a planet called Earth that has its people have been killing each other and waging war since day one rather successfully and, as far as I know, no clone army has ever been used. Of course, you might argue that it’s different because it’s citizens dying but I’d counter argue that clone lives are as valuable as any other life in the world and the fact they were robbed of their citizenship doesn’t justify them being dehumanized and killed in someone else’s place. 

As for the ‘lack of option’ excuse, that’s all it is: an excuse. And it’s one that has been used for years to justify all sort of crime, injustice and persecution including slavery. The slave owners had no choice, what were they supposed to do? Hire people? That’s unheard of! What was the Republic supposed to do? Draft people? that’s impossible! 

Seriously now, the ‘they had no choice’ is only a valid justification for a crime – make no mistake, slavery is a crime in both our world and in the GFFA – when the person is under duress and even then their responsibility is still debatable and open for interpretation. And even it was simple legal justification (and not also a moral one), it’d not be one the Jedi Order would fall under. They were never under duress and they had not been stripped of their agency.  The were offered a choice between two terrible options, but a choice nevertheless. They could’ve walked away or refused to play generals as many jedi did. 

Following the Battle of Geonosis, many Jedi chose to leave the Order rather than serve as generals in the Republic army. Others, such as the Jedi Master Sora Bulq, chose to ally with Count Dooku and fight against the Republic. By the end of the Clone Wars, it seems that the Lost Twenty had been reduced to a footnote in history. [Star Wars: Jedi vs Sith: The Essential Guide to the Force by Ryder Windham]

Each time civilization threatened to topple into ruin, the Jedi faced a momentous decision: Did the Republic’s survival require the Order to intervene directly in its affairs? At various points in galactic history, the Jedi reluctantly decided such intervention was necessary. They stepped in to prevent the young Republic from annihilating the Tionese, plotted in secret to overthrow the Pius Dea chancellory, and served as chancellors while directly ruling large swaths of Republic territory in the chaotic centuries before Ruusan. Each time, the Order surrendered the powers it had assumed, returning to its guardian role. But as the Republic decayed and the Separatists gained strength, the Jedi began to once again debate whether a more activist role was required. By 22 BBY matters had reached a crisis point. This time it was the Supreme Chancellor himself who asked the Jedi to assume a new role: A powerful army awaited Republic command, but the Judicial Forces were ill prepared to lead them. Mindful that the Separatists were led by the Jedi apostate Count Dooku, the Jedi agreed to lead the Grand Army to Geonosis in an attempt to short-circuit the Separatist threat. [The new essential guide to warfare by jason fry]

This wartime bargain caused a rift in the Jedi Order. Some Jedi welcomed the chance to take action, but others saw leading troops as a betrayal of key Jedi precepts. Even Jedi who accepted their new responsibilities were badly strained. They grappled with the morality of leading clones who had been bred for war, and watched Padawans and younger Jedi Knights succumb to impatience and anger, burning for revenge on the Separatists and their leaders. “In this war, a danger there is of losing who we are,” Yoda admitted in one of his darker moments. But the Jedi Grand Master had no idea just how much truth his words held.” [The new essential guide to warfare by jason fry]

They didn’t even have to leave, all they had to say was no. They were not under any kind of legal obligation to lead the army. They did to avoid a political problem and because they were convinced they were better suited for the job. They wanted to protect the Republic because they believed it was their duty. I would hardly classify that as a ‘lack of option’.

To make matters worse, they actually lied about the clone army origin. So they put themselves into a situation where they didn’t have all the answers. They could’ve avoided the whole thing by simply saying ‘we have no idea where this army came from and this should be further investigated.

The Jedi Master rubbed a hand over his forehead and looked to Yoda, who sat with his eyes closed. Probably contemplating the same riddles as he was, Mace knew. And equally troubled, if not more so. “Blind we are, if the development of this clone army we could not see,” Yoda remarked. “I think it is time to inform the Senate that our ability to use the Force has diminished.” “Only the Dark Lords of the Sith know of our weakness,” Yoda replied. “If informed the Senate is, multiply our adversaries will.” For the two Jedi Masters, this surprising development was troubling on several different levels. [R.A. Salvatore. Attack of the Clones]

Anyway, what could have they done other them leaving, refusing or telling the truth? They could’ve done what the governments always do: send their citizens to war. Palpatine wanted the war to be between droids and clones for this version, to avoid the massive citizen outcry. As long as they weren’t the ones dying the public would be much easier to manipulate. As clones as it was only clones dying Palpatine could keep the war going without damaging his popularity. 

Corellian senator Shyla Merricope speaks about this during the events leading up the war

The decision comes after a week of closed-door meetings between Bel Iblis and Corellian Diktat Shyla Merricope. When the Military Creation Act vote was announced, Corellia was one of its most outspoken critics, both in the Senate and the planetary government offices in Corellia's capital city of Coronet. "CorSec's men and women will not be drafted into Republic service, to die on a distant world outside of Corellia's borders. Nor will armed forces from other worlds be billeted in our homes." Merricope said in caucus, the day following the vote announcement. She later told the sector's leading newsnet, Corellia Sector Newsfeed, that she would do "whatever possible to preserve the integrity of Corellia for Corellians." Corellia Closes Borders [x]

The war was not the Jedi order’s sole responsibility. It was never up to them alone to fight for the Republic. They were part of the Judicial department, a department that hosted the Judicial Forces the Republic’s main (semi)militarized force. The idea it was the Jedi or nothing is not supported by evidence.

So, no, if they had refused the Republic wouldn’t have been helpless. In fact, many lives would’ve been saved (including Jedi lives) because Palpatine’s ban on peace talks would’ve been unsustainable without an large army to protect the Senate’s interests.

Another option would’ve been droids, a option the Republic refused because clones were cheaper.

So, how could the Jedi win the war without the clones?

By refusing to fight they would've ruined Palpatine’s plans, that’s always a win;

They could’ve demanded peace negotiations, since that was their main job;

They could’ve requested drafting or volunteers.

They could’ve requested droids;

They could’ve let the Judicial Forces take charge;

The Clone Wars were the perfect Jedi trap. By fighting at all, the Jedi lost [Matthew Stover. Revenge of the Sith]

Again, how could the Jedi win the war without the clones? They would’ve never won the war with the clones because the clones were there to kill them. So the best way for them to actually win the war was to refuse to accept the clone army.

But, really, the best solution possible that I can think of, is for the Jedi Council to accept the clone army but ONLY if they are made free. They could easily say it’s a against the Jedi believe to accept a slave army so the Republic would be pushed into giving them rights and actully ask them if they want to fight. So, instead of an army of slaves they would be leading a army of volunteered soldiers. Those who refused to fight could be offered jobs in the outer/mid rim planets to help the local economy and trained protection in case of a separatist invasion. 

Let’s not mistake the Republic need to fight with the CIS and the Order’s desire to help with the need for a SLAVE ARMY.

How do you win without a slave army? You don’t use the slave army. Look man, the real question you have to ask yourself is if slavery is ever justified. Because that’s what you are asking me, and my answer will always be NEVER. There’s no situation where using slave labor is a righteous choice. If you think the Jedi had it bad, try looking at the situation from a clone perspective. Ask yourself when it’s okay to breed someone, buy and sell them, shorten their lives, rob them of their childhood, deny them their rights and send them to die for a life they will never, ever be allowed to live.

The only characters who truly didn’t have any choice in this entire story were the clones.

I love the Jedi, I truly do, but I don’t need them to perfect for me to love them and I certainly won’t make excuses for slavery and cruelty just so they can be seem as perfect or righteous. There’s no valid moral justification for slavery and to be honest it saddens me to know some people still think there is.

[rwdestuffs]

The show as a whole, and this blog moving forward.

Nothing is perfect.

Literally nothing. Take your favorite series. A comic book, a video game, a movie, television show, a manga series, or a book series, and you’ll eventually find someone who says that there was a problem with it.

Nothing is total garbage either. Take your least favorite series, and you’ll eventually come across someone who took valuable and good lessons from it.

Take TeamFourStar for example. On multiple occasions, they have made fun of Dragonball and have criticized decisions made by Akira Toriyama. This is despite them being huge fans of the franchise as a whole. They acknowledge that what they like isn’t perfect, and they’re not afraid to point out the flaws in it.

Or take anyone who covers a franchise. They’ll find flaws and behind the scenes things that, to the average viewer, they wouldn’t have realized was a thing.

Now, the inner workings and behind the scenes issues at RoosterTeeth is another topic for someone far more qualified than me, but there are many problems within the company that affect the show, RWBY, as a whole. For example, their rather blatant frat-like environment and professionalism makes for a bad understanding of major topics like abuse, trauma, and discrimination. Not counting their many associations with predators, these guys have had a bad track record with their hires.

But a major problem with the show, and by extension, the company, is an unwillingness to acknowledge their past mistakes and lack of attempts to make up for them to ensure that they wouldn’t happen again.

Take the racism issue within the show. Miles openly claims that the reason is sucks so bad is because he’s a white guy. But then his fans defend him by saying that he’s half Mexican. Add to the fact that we have no real proof that Miles is actually talking to minorities about how discrimination works, and that they kinda dropped the whole racism arc after Blake and Yang killed Adam, the show… has no reason for that whole thing anymore.

Now, I get it. They had a few reasons to add racism to their show despite them being awful at portraying it, and the negativity it brings. One was that they just wanted to say “don’t be a dick to people who look different from you.” and the other is basically to have an issue that wasn’t tied to the grimm (I hope. If it turns out that Salem is responsible for the racism, the show is basically irredeemable at that point in regards to that particular subplot, and nobody is allowed to invalidate any Person of Color’s feelings on the subject). The issue was that they didn’t want to get uncomfortable with the whole thing. They didn’t want to deal with the heavy subjects. So, instead of actually showing the racism, they merely talked about it.

Slave labor, cave-ins, a lack of respect- none of that was shown. All we got was generic bullying, which ultimately made the White Fang look as if they were dishing out retribution for minor offenses. This wasn’t a good look.

Other media have done racism better, even fantasy racism was better portrayed by the X-Men. So to see that RWBY, a show made by nerds botched it that badly?- It hurts. It hurts a lot.

Now, yes. There are also other media that have been absolute garbage when it came to racism, even the fantasy kind. I’m not aware of any off the top of my head, but I think one that did it pretty poorly would be Star Wars. Mostly in regards to their droids. We don’t really see any major repercussions about how they’re treated on Tatooine, and it’s kinda dropped. Luke even tries to trade R2 and C3PO to Jabba, and doesn’t do it in person. Anakin treated his droids better. The emotionally unstable guy who ultimately became the emperor’s attack dog was the least racist person, at least in regards to droids, in the galaxy by the time the OT came by.

So is that it? A really big, famous, and successful franchise did racism worse?

No. That’s not it. Because like I said, take your favorite movie, and you’ll find someone who has an issue with it.

The same applies to RWBY. This show had so much going for it. For starters, nobody else has been as successful with something like this. A fully animated series with a major overarching plot that is produced completely by an internet company.

So, expectations were high. And when the show failed to deliver, it hurt.

We had characters that were great, but who had interesting character traits dropped for unknown reasons. Ruby’s obsession with weapons was unceremoniously dropped for no real reason. Like HBomb said in his overall review of the show, if there was an arc where Ruby and Jaune were to develop a new weapon together, and that in the future, we’d see it in action and that it would include all the fancy tech of the other weapons while still staying true to the weapon it was, that would have been really great and awesome to see.

But instead… We get… Jaune having to cover for his cheating his way into Beacon. We get Jaune constantly harassing Weiss to go to the dance. We get Pyrrha thirsting after Jaune for… Reasons.

So many things in earlier seasons were dropped for reasons that don’t make sense.

At least with Weiss, they dropped her racism because “it doesn’t sell well.” And yes. That is what I’m assuming they dropped it for. They saw that Weiss sales weren’t as big as the other girls, so they dropped the racism altogether, and decided to say that she was against her father’s racism the whole time and wanted to better the company.

They could’ve had her say “It was easier to blame the Faunus instead of my father for what happened.” and that probably would have made everything feel more natural. Instead of acknowledging this mistake, the writers decided to drop it altogether and pretend that it never happened.

These guys have also portrayed major real life problems and showed them as jokes, or not as bad.

Take what Sun did for example. Because he decided to stow away on a boat and steal from a fruit stand for funsies, Weiss is actually justified in her rhetoric towards him. He did multiple illegal things in succession right in front of them! Sun didn’t steal because they wouldn’t serve him and it was the only way for him to get food, he didn’t stow away because the ticket guy assumed that he stole a legitimately purchased ticket, he did it for fun. Then he decided to stalk Blake after she had a breakdown and was in a lot of emotional turmoil. And… It’s apparently okay, because he cares about her.

For a character that they decided to say was the victim of abuse, they really didn’t seem to want to portray that as a problem until her abuser did it.

Yang thrashing the nightclub in her trailer?- Apparently not a good look for her to seem violent. So it gets dropped instead of being used as proof that she would attack Mercury unprovoked in volume 3. What’s the count on me pointing out how awesome that would have been again?

And instead of actually understanding the problem, they decided to have Tai make unfair comparisons to Raven, call her soul a “temper tantrum”, essentially say that it was a bad thing for her to rush in against Adam for because she wanted to save Blake (And then the show decides to reward Jaune for similar, albeit more selfish behavior), they decided to try and justify Tai’s comments after she was taught to “not be so hotheaded” and make her a hothead again, probably because a lot of people pointed out that Yang wasn’t really a hothead who never thought in earlier volumes. These guys decided to retroactively justify Tai’s comments, after said comments were supposed to fix the problem. Tai wasn’t even being a father in those scenes, he was being Miles’ mouthpiece.

And then there’s Oz.

Retroactively, I think I get what they’re trying to do. If everyone had known that going into the hunter business meant throwing your body at an immortal opponent, they probably wouldn’t apply to begin with. Nobody is prepared for that, and I think it’s important for people to understand that nobody is prepared for that, so that maybe we shouldn’t be so harsh in jumping at these characters’ throats for pointing that out. Yes, this is vaguing to someone in particular, but that’s not the point. The WoR on aura was narrated by Salem. Who should logically know by this point why Oz keeps coming back, as opposed to the WoR that sorta suggested that maybe reincarnation was his semblance.

In all honesty, it probably would’ve been cooler if it was, as opposed to some god saying “Hey, fix this problem that’s not really being a problem for me. I’m bored and I want to see a good soap opera.”

And really?- Naming your big bad villain after a time when women were falsely prosecuted? What?- Is the show trying to say that women that are abused will become villains and that they have to work through it on their own without a real support system or they’ll become villains that men have to be tasked with stopping? Sounds to me that the writers’ Texas education is seeping into the writing.

Instead of using the lore or characterization that was already established, the writers decided to just keep adding on instead of building on what they already had. Yang being a mother figure to Ruby?- Gone. Jaune wanting to prove that he could be a hero despite his lack of training and his bumbling attitude?- Also gone. Blake being a strong advocate for equality?- Gone. The many hints that Oz’s semblance is what allowed him to reincarnate?- See ya. The hints that Blake was missing one of, if not both of her parents?- Adios.

The writers didn’t really think through character dialogue. And that’s because they’re more used to using pre-established characters. Their last work was RvB’s Chorus Arc, where they had characters that were already characters. They didn’t need to build anything except for a few new ones that would bounce off of the old ones. Say what you want about RvB:Zero, but it actually made use of the new characters it established while only having them bounce off of one already established… And that season is basically just an excuse to make a bunch of cool fight scenes. Seriously. After each fight, I expect Wiz and Boomstick to show up and explain to the audience how and why the fight went the way it did. Then again, that might have to do with their most famous animator animating and being part of the directing process of the current season, but I digress.

The writers aren’t professional. They’ve established this. They’ve also unceremoniously ditched the people closest to Monty. You’d think that after his death, they would’ve reached out to Sheena and said something like “Hey, I know we’re all going through a rough time, but do you want to work with us on this? You were close to Monty, and we think that he would’ve loved for you to be on board with the process.”

But no. She gets shut out, as does Shane. As does a lot of other people close to him.

And then more shit gets piled up, and more problems become more noticeable.

This didn’t feel like a passion project anymore, it felt more like another IP for them to make a profit off of. Hence why we didn’t get any major sexuality reveals until recently (as of me writing this). These guys want to profit as much as they can, and while I understand that they need to have money to put food on the table, dragging out things isn’t the way to go. Neither is rushing past things. The pacing feels off. Nothing feels like it’s going at appropriate speeds anymore, and more and more questionable decisions keep popping up.

Like… Why is Penny’s father a person of color when she’s white?- There’s so many implications behind that that it hurts. Could’ve made them both white.

Why is Ironwood’s semblance basically a neurodivergent aspect of the brain that is effectively the reason why he’s going full dictator? (Personally, if they had kept Ruby’s weapons obsession, that could have worked as a positive representation of what I’m assuming is ADHD as opposed to Ironwood’s very blatant negative portrayal).

Why wasn’t Yang’s lack of faith in Ruby better built up?- It feels like it came out of nowhere, and while I am glad that at least someone is questioning Ruby, and that I’m also kinda glad that it’s someone close to her so that Ruby does have to reflect on it, it… Kinda came up out of nowhere. This could’ve been something she discussed with Blake, but I guess that wasn’t important enough.

The writers don’t really think ahead on a lot of things. It feels like they only focus on the volume in front of them. Which wouldn’t be a bad thing if they also didn’t actively ignore what happened in prior volumes. Like I said: Yang wasn’t really that much of a hothead prior to Tai’s advice. If you want to take a singular instance of her being one as proof that that’s all she is, then I guess Obi-Wan is one too, since he sliced off somene’s arm in A New Hope, and that apparently, nobody wanted to mess with the guy wielding a lightsaber, so nobody tried to confront him outside of Imperial soldiers.

The writers don’t look back on the past, and they don’t look towards the future. They only see the present that’s in front of him. To be honest, it feels like they took the wrong message from Master Oogway’s famous “Yesterday is history, tomorrow is a mystery, but today is a gift… That is why we call it ‘the present,’“ That quote isn’t to say that one should disregard the past and ignore the future. It means to realize what happened in the past is in the past and that you can learn from it, realize that you can’t control the future because it hasn’t happened yet, and that you can do your best right now to improve the future.

The biggest reason why the rwde tag dwells constantly on past moments is because the writers refuse to learn from them. The writers make the same mistakes, and it’s only when fan outcry is loud enough that they realize it’s a mistake. But they won’t take the time to understand why it was a mistake, they’ll only say “Oh hey, this was a mistake.”

Take Jaune’s screentime for example. Evidently, there was enough outcry about it that Miles no longer likes writing him anymore, but the writers themselves failed to realize why Jaune’s screentime was a mistake.

Jaune’s screentime and development came at the expense of other characters. Other characters that could have also developed alongside him if the writers were smart. Take the whole “Jaune cheated his way in” thing for example. Ruby only got in because of nepotism, if she had found out, then they could both bond and grow from the shared belief that they didn’t deserve to be there on their own merits. It would still be a problem that Jaune got to cheat his way in without repercussions but it would develop the first letter in the title, and Jaune at the same time (and again, my idea that his hero ancestors got him in via nepotism is still there. The writers still have time to retcon it by saying that the parents bribed Jaune’s way in, and that Jaune basically cheated his way in for nothing).

Or take Jaune unlocking his semblance as another example. Aside from fact that this moment is the scene that will forever taint Volume 5 in my eyes as the worst volume ever (Jaune charging Cinder and getting to unlock his semblance because Weiss got impaled because Jaune couldn’t control his revenge boner while Yang charging Adam ends with her being belittled and losing an arm because she wanted to save Blake), that scene could have gone way better. Instead of Weiss, have it be Ren, Nora, or Ruby. Ren had finished up an arc last volume, and given the precedent set by Pyrrha, once a member of team JNPR finishes an arc, they die, Ren being impaled would have put viewers on the edge of their seats. Weiss being impaled doesn’t do that, as she still has many more arcs to go through, and is a title character. Nora is hardly a character, and was certainly a viable target, especially since she was a hard counter to what Hazel was doing. Taking her out would have also made sense because then the main team loses one of their major advantages over the evil team. And finally, Ruby being impaled would have made sense from a character perspective. Considering that Cinder was all “I want revenge on Ruby” the whole volume and the one before it, her targeting Ruby would have made sense. In fact, the whole fight could have been Cinder being largely dismissive towards Jaune and treating him as more of an obstacle to her target for revenge than her just toying with him because she has to have sadist tendencies™.

The writers got that Jaune’s screentime and moments of character development were a problem, but they neglected to understand why it was a problem.

And instead of acknowledging this mistake, they instead decided to bury it, and not acknowledge it at all.

Acknowledging a mistake is better than pretending that the mistake didn’t happen in the first place.

The rabid defenders need to realize that this series isn’t perfect. There are flaws in it. Undoubtedly, if there was another series that had similar, or the same issues as RWBY did, those defenders would call it out, not realizing that the show they defend so fervently, has the same or similar ones.

And the haters need to realize that this show isn’t as flawed as it is. A similar situation as the above would probably take place. Another series has similar, or the same good moments as RWBY does, and they’d probably praise it, despite those same moments being in the show that they hate so much.

So what does this mean for this blog?

It means that this blog isn’t going to be dedicated to simply hating on the show, or blindly praising it. When credit is due, it will be given. When criticism is due, it will be given. This blog is still being run by one guy, and it’s probably going to stay that way.

Nobody’s perfect, not me. Not you. Not the writers.

And similarly, nobody is the physical incarnation of failure. Not me. Not you. Not the writers.

No matter how it feels, we’re all still human. And we all deserve to grow as critics, as writers, as artists, as friends, as family members, as community members, and as people.

Even if it feels like the crew have been given every opportunity to grow as writers, they still deserve all the other opportunities.

Would it be nice if they acknowledged their past fuck-ups and apologized for them?- Yes of course.

Would it be nice to actually see growth from them rather than them just trying to claim that they did?- Duh.

But we’re all human beings.

And in all honesty, I’m tired of hating on the things I can’t control. Hate is one part off of the path to the Dark Side.

Maybe I should do a Star Wars post soon, what with how I referenced it so often here… Who knows?- Maybe this can be more than just a RWBY criticism blog.

[volkswagonblues]

for @elilim​, because we were talking about gold standard fanfics

Romance of the Age, nimmieamee (Harry Potter):

“Snape did his best to comfort her. He did not want to do this in the usual and boring way, which was sure to leave her limp and un-excited. He saw an opportunity to enflame and arouse her. So, instead of assuring her that her parents had not suffered and were probably in a better place, he ended up delivering a passionate and truly stirring oratory on the insignificance of Muggle transportation and the worthless, banal horror of hospital authorities who hungered for identification. It involved a great deal of sneering. This was not what Lily really wanted. She was rather desperately hoping for some assurance that her parents were in a better place.“

this is by nimmieamee, whom i ADORE. I don’t think she’s ever super famous in any fandom because none of her fics become huge fandom “blockbusters”, which is just proof that talent never gets the recognition it deserves and readers are morons. (I’m not normally this mean, but I do get like this when it comes to writers I really admire). I think she is basically the gold standard plot+style+characterization. Her prose is so fucking musical and clever; reading this after reading a lot of, idk, “normal” fanfic is like chugging Veuve Clicquot after sipping on toilet bowl water for a week.

Romance of the Age is just...everything that a fic should be and shouldn’t be. For one thing it’s HARD to read. The author uses a very neat stylistic device where characters’ names are intentionally withheld to be revealed later at the right moments, and it’s so incredibly smart on a plot and a thematic level. It’s a social satire about rich, bored people that uses your knowledge of HP canon as part of its arsenal to make a satire about rich, bored people. I read it about three times before I understood who all these people were, but everytime I come across a new turn of phrase, a new clever insight, a new way of thinking about an old thing. This is like the opposite of emotional candy. It’s dense and difficult and intellectually nourishing. 

I think the best way to read it, if you’re not up with all the details of HP canon, is to skim through the wiki articles for characters like Narcissa Malfoy, Lucius Malfoy, Regulus Black, and Walburga Black. Yes, it’s fic that has homework attached to it. I KNOW.

The Mountain King, mldavies (Tinker Tailor Soldier Spy):

There was a secret second story in the Circus, as there is most places men work, or live, or do business: you might even call it a second society. The women of the Circus walked through the same door that the men did every morning, and came out the same door every night; they sat under the same ghostly lights and trod over the same grey floors. And yet when the shopkeepers and postmen and vagrants watched them coming in and out of the brick building they usually took no notice: “Secretaries,” they said, if they said anything. If they were feeling particularly lurid they imagined what might happen if someone captured one of those secretaries and tried to extract secret information from her, but they were really only interested in the especially beautiful girls, and there weren’t many of them passing through the Circus doors. When they did, the men watching perked up, and started spinning theories about spies, and double agents, and imagining, depending on their particular proclivities, Lauren Bacall or Rita Hayworth or Ingrid Bergman in a sleek dress and some kind of fur garment—they were men; they didn’t bother with these kinds of details—stealing state secrets and then doing unspeakable things, for reasons that didn’t really require explaining, as these narratives were only the morning or evening fantasies of middle-aged men with rather dull home lives.

So TTSS was a John Le Carrre book turned into a 2011 movie with Gary Oldman and John Hurt and also Tom Hardy. The chances are...slim that you’ve read this book or seen the film, but this is basically a novella that I constantly think about. I follow mldavies on twitter: she hosts a podcast and she’s basically a Real Novelist, and my god the difference is real. You can tell the second that you open up this fic that it was written as “lit fic” and not “fanfic”, and not to say that fic isn’t valuable, but there are tangible differences that have nothing to do with quality. Literally the length of the paragraphs and the way line breaks are set up tells you that the author was thinking about writing for the page and not the screen. 

Again, it’s everything that a fic should be and shouldn’t be. It expands the world of the film and the book by exploring the lives of the silent background characters, it uses your knowledge of canon as part of its DNA to tell a richer story that builds off a story that you know already. The prose is just...again, chugging Veuve Clicquot, you feel? 

(she also has a few HP and Marvel and Teen Wolf fics, if you want to read her style in a fandom you’re more familiar in. https://archiveofourown.org/works/23189122) 

Prince of Apple Towns, kvkindi (Marvel Cinematic Universe)

In California, it doesn't matter so much. California is like someone sanded the earth down, just came along with a neat hard edge and wiped out everything out, and started from scratch. A fresh clean world. The sunlight hits the ground at strange angles. The trees smell like trees from the Paleozoic. The sea isn't old like the sea off Long Island. There's no history to it. He saw a campus exhibit on Polynesian navigation. There were maps made out of twigs, maps that look like geometric figures. Wooden maps of ocean swells, from the Marshall Islands. Howard didn't know how to read them. He doesn't like this idea, that some knowledge is secret.

Okay, so I know you’re not a MCU fan, but again, this is an actual novel that has worked some strange feat of alchemy to far surpass the base metals that it was forged from. I don’t know if you need to even know anything about MCU or Howard Stark or the Iron Man movies to appreciate this novel about WW2 and the invention of the atomic bomb and the way that science has eclipsed man’s ability to control it. I don’t know what to say. I think I left a hysterical comment on it back in 2016 that was basically just me having a breakdown 

...i just checked. I left THREE (3) SUPER hysterical comments. Let me quote from one of them:

“I'm incapable of speech. The world is empty. Our future is only a gun's recoil of the past. I'm walking into the Atlantic and the only thing I'm leaving behind is a shadow on a wall and the scent of burning. From now on I will cease speaking. I will only communicate via notes written on bar napkins. These notes will only be mathematical equations of special relativity. My sole caloric intake will come from coffee and lemons.My hair smells like sea salt. I think I just broke my hand punching through a wall. I'm a broken husk of a woman. I'm going to conquer the world. Holy fuck, this fic.”

Yeah, basically. also, this fic only has 225 kudos and very little fandom footprint, which again - TALENT IS NEVER RECOGNISED. I”M MAD.

[ineffablebuddies]

Thoughts on how the Star Trek remakes should approach the characters , in a way that I think would be realistic for 2021 and our current climate:

Romantic relationships:

Sulu/Chekhov - We know they spend a lot of time together on a one to one basis, especially in the films, and they are very endeared to each other. It also wouldn’t change their dynamic or the dynamic on the bridge, and could slip into any future films or shows without change to character. (unlike Spock and Uhura, which I don’t hate, but required adjusting Spock’s character in order to enable a pre-existing relationship.) Like, all you’d need is one throwaway line to make it canon and you could keep the rest exactly the same. And there is obvious value in representing an interracial same sex relationship.

Uhura/Scotty - this would work as a slow burn, because Scotty is a bit of a hopeless romantic whilst he is younger, and is easily misled by his heart and can be a bit overprotective in a very 60s style which is a character flaw integral to his character (and is the plot of a few episodes). Which is why a slow burn is nice for him, because he needs to learn to come from a place of genuine respect and deep affection. And whilst I do like that Uhura stays relatively unattached as one of the few prominent female characters in tos, I do think that as a black woman it is important to allow her to have a romantic relationship due to current representation issues. Which is why I think the slow burn is also nice for her, because you can’t change her character, or make her the object of affection, but showing a deep love and affection developing on the job is nice. We also only start getting the scotty/Uhura romantic dynamic coming in the films when they’re much older. And again I think this is one you can show without having to change anything integral to them. Same with checkov/sulu that it shouldn’t be a plot point, but a character thing that happens without needing to be focused on. Neither of them seek it, but it happens naturally.

Amanda/Sarek - obviously this is already canon, but I think it should be explored in a little more detail. I also think we can do away with the whole “Vulcan is incredibly sexist and treat women as property” thing, which doesn’t actually make sense considering the female Vulcans we do meet, so doesn’t really add to the world building anyway.

Ambiguous Relationships:

Kirk/Spock/Bones - now I know this is controversial, but I don’t think they should necessarily make them canon in the remakes, except possibly at the very end of the shows/last film. To focus on the romantic relationship between Kirk/Spock too early on will potentially reduce the time for Bones to be included as a very necessary part of the main three, and the fact of the matter, the three of them are presented as having a deep bond, not just Kirk/Spock. And there’s a certain level of yearning and unspoken love that really defines their relationships. They should always end up together in some manner, with no other romantic attachments. Part of me would love to make it a ployamarous relationship, but I don’t think it’s likely to happen anytime soon.

I do think however that they should make Spock gay, and I think they should keep the relationship with the Romulan commander but make it a man, because that was actually very well written and acted, but the fact that Spock is able to use that romantic affection to his advantage against a woman is a little sexist considering it’s like the only time we see a female romulan commander, but as a man we wouldn’t have those same issues. And I think that’s the only other relationship we should see Spock have outside of Kirk/bones, because it’s marked by the fact that he can’t act on it the way he would like to, and none of the other relationships in tos really work IMO because it just seems ooc for him. But I think it’s important to allow him to be confirmed as gay considering he is queercoded.

I don’t think it’ll be as easy to confirm a queer identity for Kirk, but I think that for the women he has flings with, he should never be the one to initiate it, but have the same flaw of scotty as being a bit of a hopeless romantic who can be misled by his heart, and again that would give more value to the slow burn he has with Spock. I think you can very much allow him to refer to Spock with love, and I think you can confirm a relationship with Spock at the very end, but I think it should be non-sexual. Vulcan kisses are the way to go, and should allow you to give confirmation of romantic love whilst also having plausible deniability for the people who would riot against it.

I think it’d be fucking amazing if we could cast a trans guy as Kirk. I don’t think you’d get away with saying the character is trans, but having a trans actor and just never mentioning it in show may just be enough to get away with it. Especially if this is a relatively unknown actor who passes completely so casual watchers can’t even get fussed about it (I know this wording has some issues, but I’m thinking more about getting around execs and producers, than on what would be best for rep.)

I’m torn on how far you could get away with including Bones in their relationship. The bones/Spock dynamic is interesting because it is like enemies to lovers, they definitely develop that care for each other, whilst Kirk/bones are old friends. I think Bones shouldn’t have romantic relationships on screen, and should maybe be quite unromantic as a result of his divorce. I don’t think we should ever meet his daughter, though I’m also quite interested in the idea of his ex wife having remarried for a number of years and then having a brief affair with Bones, before breaking it off, but then gives birth to his child but it remains a secret. Because it’s definitely part of his character that he has no attachments to his home, and it makes more sense of his attachment - his love for a daughter that never knew him - if it’s one he can’t do anything about. And would understandably make him more bitter towards his ex, which can make him more unromantic. But I don’t think it needs to be a major plot point.

Like I said, Spock/bones/Kirk should always end up together in some way. And I think it’s in their character to never define why they end up together, but to acknowledge that they can’t live without each other. And I think you could get away with including that as ambiguous to how far their love for each other goes. There’ll be too much backlash to make it completely canon for it, but you could get away with the Good Omens approach. Perhaps you could include Bones in a Vulcan kiss subtly enough to get away with it.

Characters who should be important:

Christine Chapel - she should definitely be in it and made a more significant character, because otherwise Uhura is really the only woman in the show. But it’d be very nice to have a woman who doesn’t need to have a relationship, and there’s no need for her romantic desire for Spock to exist in any remakes. It would also be nice to just make her a doctor from the get-go. Her friendship with Uhura was present in tos, but can now be focused on more, as well as her supportive role to Bones throughout. She wouldn’t be part of the main group, but she should be a big part of their lives.

Doctor m’benga - he was an interesting character, and it’d be nice to have a fixed medical team that work closely together. There’s also a potential for an interesting concept of him being an expert on Vulcans, Bones being an expert on Humans, and thus they’ve both been hired on the ship to work together for the sake of Spock. Also, having another established doctor on board could give an actual explanation for why it’s okay that their only doctor keeps beaming down to dangerous missions and going up to the bridge for no reason lol. Plus there is a lot to be said for casting a dark skinned black man in the role of knowledgable caregiver, especially if they can make him more of a scientist of alien biology too. There may be value if it naturally develops of him having a relationship with chapel, because whilst I like allowing women to exist without relationships, it might be balanced out with the positive representation of an interracial relationship.

Lieutenant Rahda - remember her? She was like In one episode but was great, and she should definitely be introduced as part of the bridge team again. Though her exact culture or religion is not disclosed, she is seen to wear a bindi, and i think it’s always a great time to add more diversity. It makes sense to have more people in the bridge crew too, even if they aren’t part of the main team dynamic. Considering the current political climate, it’d also be a great idea to add another bridge crew team who is visibly a Muslim woman who wears a headscarf, seeing as various countries are still trying to ban that.

Walking Bear - he was only in the TAS for one episode, but again I think he would prove a valuable addition, especially considering star trek’s representation of native people has never been the best, so it’s time they started to make up for that a bit. In most episodes there’s always usually others in the bridge that are helping the main team, and it’d make sense to have a fixed cast of who these people are and flesh them out a bit more.

Saavik - she shouldn’t be in it until much later, at least not as part of the enterprise crew, but there is something very interesting about her character and the dynamic with Spock (which is why I think they should meet later on, because he takes on a role of mentor which is a dynamic shift, and thus should probably happen later. Multiple Vulcans on board is also a dynamic shift that I think should be addressed more.) I do wonder whether it might be nice to move her to being a scientist rather than bridge crew, as that would afford her more interaction with Bones as well, who I think we should get to see interact with other Vulcans more, to establish that he is not xenophobic despite his conflict on Vulcan philosophy with Spock. (Or at least if he does start xenophobic, to start showing his development away from this.) She also should not have a relationship, especially not with Spock oh my god. I think a nice way for her to be introduced would be if she was staffed on a Vulcan only ship that the enterprise for whatever reason has to work alongside, because I think we need to see Spock interact more with other Vulcans and see that Vulcans, despite claims to the contrary, can have the same xenophobic failings as humans. I think her being one who is sympathetic to the enterprise and to Spock is a nice set up to them then meeting later and working together (and also why she might change careers and move away from the Vulcan only ships, as we do get the sense it is unusual for Vulcans to serve on board a starship.) Whilst I do think that a romulan/Vulcan offspring could provide an interesting story, I think she should be fully Vulcan in order to make her acceptance of Spock more poignant.

Kevin Riley - I just think he’s neat. Also maybe we can return to the Tarsus 5 colony story point?!?!?!?

I’d also think it’d be cool to establish some engineers that work beneath Scotty, and a mix of genders of course.

But yeah, I think there’s a lot of ways that any remakes could stay true to the original, whilst still pushing for progressiveness in the same spirit as tos, whilst managing to manoeuvre around execs and producers and negative media. Star Trek should always be progressive for its day, and it’s a new day now, so we need to keep moving onwards.

[mediaeval-muse]

Book Review

The Wolf in the Whale. By Jordanna Max Brodsky. New York: Redhook, 2019.

Rating: 3.5/5 stars

Genre: historical fiction, magical realism

Part of a Series? No

Summary: A sweeping tale of clashing cultures, warring gods, and forbidden love: In 1000 AD, a young Inuit shaman and a Viking warrior become unwilling allies as war breaks out between their peoples and their gods-one that will determine the fate of them all. "There is a very old story, rarely told, of a wolf that runs into the ocean and becomes a whale." Born with the soul of a hunter and the spirit of the Wolf, Omat is destined to follow in her grandfather's footsteps-invoking the spirits of the land, sea, and sky to protect her people. But the gods have stopped listening and Omat's family is starving. Alone at the edge of the world, hope is all they have left. Desperate to save them, Omat journeys across the icy wastes, fighting for survival with every step. When she meets a Viking warrior and his strange new gods, they set in motion a conflict that could shatter her world...or save it.

***Full review under the cut.***

***Mild spoilers in the plot section.***

Content/Trigger Warnings: rape, sexual assault, racism, misogyny, blood, violence, infanticide, slavery

Overview: I’m not an expert on Inuit culture, so if there are any Inuit, Indigenous, or scholarly reviewers out there who can speak more about the representation in this book, I highly recommend listening to them over me. (I am, however, a medievalist, so I can speak to the Norse elements in this book, if desired.)

The Wolf in the Whale is the kind of book that I have wanted for years; one that pushes back against the colonial gaze and gives us a perspective on Vikings from a non-European point of view. Unfortunately, I’m not entirely sure if this book did that for me. Brodsky (from her own research note) is not Inuit herself, though she does detail her research process and seems knowledgeable about some aspects of Inuit culture. Combined with some storytelling elements that she included in her tale (such as rape and misogyny), I feel somewhat conflicted about how to rate this book, even as I appreciate what it was trying to do. I think for me, personally, The Wolf in the Whale didn’t do as much interrogation into gender identity as it could have, nor do I think making Inuit spirituality/religion fit into Norse mythology entirely rejects a colonial point of view. I did, however, appreciate the premise and the writing, so I’m giving this book a 3.5 star rating.

Writing: Brodsky’s prose is very literary in tone, and I thought that Brodsky wrote with an easy balance between telling and showing. She uses neither flowery language nor sparse descriptions, and it was easy to visualize what was going on without feeling like everything was being spoon-fed to me. I also think the sentences flowed well and the pace was generally appropriate, and I found it easy to keep reading, even though this book was around 500 pages long.

This book is, however, written in first person, which I personally don’t care for because first person can make some descriptions seem awkward. Brodsky manages to sidestep a lot of awkwardness by using a more literary style, reigning in some emotion to make it feel as if the POV character is retelling their story from a future, detached kind of mental state. So props to her for that.

Plot: The Wolf in the Whale follows Omat, an Inuit girl who is raised as a boy, as they struggle to ensure their family’s survival. Over the course of the novel, Omat encounters food shortages, divine conflicts, and strangers (including other Inuit, Indigenous peoples, and Norsemen), and the majority of the latter half of the book is spent following Omat as they search for their cousin, Kiasik, who has been kidnapped by Norsemen.

In general, I think the structure of the plot worked well. Brodsky divides her book into sections that reflect different conflicts in Omat’s life, and I think the events unfolded in a logical way. I also really enjoyed the valuation of stories (especially when Omat and Brandr, a Viking, bond over storytelling) and the magical realism that gave Omat a connection to the spirit world. I furthermore appreciated that Omat’s story was one of Inuit contact with Vikings; as a medievalist, I’ve studied sagas that this book is loosely based on, and I appreciate the fact that Brodsky represented the Vikings not as heroic explorers, but colonizers and slavers.

I did not, however, enjoy the fact that so much of this book seemed to revolve around misogyny, and I got a weird sense that even though Omat is our POV character, Norse mythology seemed to take center stage when the Vikings showed up. First, the misogyny: I can’t speak to the accuracy of the Inuit stories about their gods and goddesses, nor can I say for certain if Inuit peoples have strict prohibitions against women doing men’s work and vice versa; thus, I can’t say whether the numerous stories about rape or the taboos that Omat is punished for violating are accurate or exaggerated. However, I think I can say that Omat needed to have a much more defined personal journey that didn’t revolve around her disdaining women’s work or being sexually assaulted. As a girl raised as a boy, Omat is incredibly anxious about being perceived as a hunter and a man - to the point where they express a lot of disgust or shame at being seen wearing women’s clothes or doing women’s work. I think there’s a way to explore Omat’s gender anxiety without denigrating the role women play in Inuit culture, as without women’s work, everyone would die. To be fair, Omat does learn to appreciate women’s roles over time, but I think that process needed to be more gradual and punctuated with plot points where a woman’s skill or knowledge proved to be valuable.

I also do not think there needed to be so much sexual assault (or threat of sexual assault). While I do think Brodsky showed Omat to be affected by her rape, and there’s a nice moment towards the end where Omat addresses all the rape that their goddesses have endured in their stories, I also think the constant threat of sexual assault was a little much. Again, I can’t speak to whether Inuit culture expects women to essentially be sexually available for their husbands at all times and able to be “loaned out” to other men, but I think I can say that as a female reader, I was tired of Omat being threatened to be raped all the time, by Inuit and Viking alike. I would have preferred that Omat come to view their stories in a new light after their assault, and that Omat form bonds with other women who straddle the line between male and female (such as Freydis and Loki, despite their antagonism) in order to grow as a person without a concrete binary gender identity.

Now for the Norse mythology stuff.

***HERE BE SPOILERS.***

While I did like the magical realism that made Omat’s spirituality feel real, I think actually speaking to Norse gods themselves pushed this book from historical fiction to fantasy for me in a way that felt jarring. Also, I think that Brodsky put a little too much value on Norse mythology to the point where it became validated over Inuit spirituality towards the end. To explain: Omat learns in the book that Inuit gods are actually the Frost Giants from Norse culture, and while I get that Brodsky was trying to make all religions fit into one cosmic system, it felt like she wasn’t so much rejecting colonialism as much as she was imposing it. I didn’t like the fact that Inuit gods being Frost Giants meant that Norse myths are real and Inuits have to fit into Norse cosmology, not the other way around. Moreover, Omat is responsible for bringing about Ragnarok, which means that the big mythological battle is between Inuit and Norse gods. While all the gods are reborn, so to speak, after the battle, only the Norse ones speak to Omat, which felt a little unfair.

Characters: Omat, our POV protagonist, is a compelling character in that they have interesting strengths, flaws, and personal challenges. As a girl raised as a boy, Omat struggles to find an accepted identity within their culture, while also getting in trouble for pride (especially when they try to “prove” that they are a man). I liked that Omat was so interested in stories and connected so strongly with the spirit world, and I found their courage to be admirable. I did have some problems with Omat’s utter shame at all things feminine; as mentioned above, I think the acceptance of women’s work and a female body could have been a good character arc, but I think everything was too mired in misogyny to be powerful.

Brandr, a Viking and Omat’s ally-turned-lover, was admirable in that he rejected a lot of the violence of Norse culture and learned to see Omat as a capable, formidable leader. It was a little strange to me, however, that Brandr seemed to offer Omat what their people could not: acceptance of their gender-fluidity. It seemed like almost a critique of Inuit society, though to be fair, Norse people also expressed a lot of misogyny and homophobia in this book. I hated the fact that Brandr was revealed to have raped 3 women prior to meeting Omat, and while it’s good that Brandr realizes how wrong he was to do that (even though his culture told him that it was expected of a Viking), I think he got off far too easy.

Supporting characters were interesting in that they were heavily flawed. Kiasik, Omat’s cousin, struggles with his affection for Omat and his envy of them, leading him to make some decisions that open a rift between the two. Freydis, the legendary leader of the Viking expedition, is determined and harsh, which is fine since she is a major antagonist, but I would have preferred more commentary on gender roles when Omat saw her inhabiting male and female roles. Various Inuit characters were also interesting, such as Omat’s grandfather and adoptive mother, who support Omat in their personal journey. Issuk and his family were hard to like, since Issuk is a braggart and a rapist and his band does little to stick up for Omat.

TL;DR: The Wolf in the Whale has an exciting premise and does well with its magical realism. Moreover, it is well written and clearly has good intentions; however, misogyny and Euro-centric/colonial biases still creep up and detract from the valuation of the main character’s Inuit culture.

[myaekingheart]

You’ve Got Kudos

Written for Day 1 of the Kakashi Lounge Discord Server's September Event. Prompts: Fanfic Writer!Kakashi | Social Disaster | Modern AU | Roommates/Neighbors 

[Read on AO3] Pairing: Kakashi x Rei (OC)  Rating: Teen and Up @the-kakashi-lounge-blog

Kakashi has a dirty little secret and it's in the form of an AO3 account. No one is allowed to know that he writes Icha Icha fanfiction--especially not his library tech neighbor Rei. (Standalone companion piece to The Scarecrow and the Bell, Modern/College AU)

               Kakashi kicked off his shoes at the front door and slumped into his favorite chair. Tutoring wasn’t necessarily his favorite thing in the world but it looked good on resumes and put a little extra cash in his pockets, so he supposed he could tolerate it for a little while longer. If only his students hadn’t been quite so insufferable, that is.

               If anything, tutoring reminded Kakashi how much he hated underclassmen. His three protegees were all naïve freshman whose energy stores had yet to drain. Naruto was enthusiastic but slow on the uptake and it was hard to get him to properly focus. Sakura had potential but she was far too engrossed in her Instagram rivalry with fellow student Ino Yamanaka to make any real progress. And Sasuke was constantly brooding, there not by choice but rather because his professor threatened to flunk him if he didn’t seek outside help.

               Perhaps it would’ve been smarter to book them each separate appointments but with the way everyone’s schedules worked out, it was easier to just create one big study group. It was more efficient that way, anyway. Kakashi much preferred to kill three birds with one stone than chip away at his sanity little by little. And so every Tuesday and Thursday afternoon, Kakashi trudged to the library to pore over used textbooks and incomprehensible scribbles in an attempt to explain simple concepts to brains that could not understand. This was fine. He didn’t need a social life anyway.

               Kakashi rubbed his tired eyes and checked the time. It was 5:30pm. He had no idea what he was going to do for dinner, nor did he really care. Sighing, he reached for his laptop and went straight to his email. At the very top of his inbox was a notification from Archive of Our Own: Comment on Icha Icha Bloodline. Kakashi’s heart jolted. In the solace of his apartment, this was his one saving grace: fanfiction.

               He admittedly felt a little ridiculous about the whole thing. What college guy not only wrote fanfiction, but for romance novels at that? He knew exactly how his taste in literature appeared. So few people truly understood the nuance and artistry of the Icha Icha books, writing it off as just cheap porn. Those books, however, gave Kakashi exactly the reprieve he needed. Within their pages, he could disappear from the stress of everyday life to instead revel in the throes of a dramatic fictional romance. His love for this series knew no bounds. His heart ached to share it with someone but if college had taught Kakahsi anything, it was that people never really change and are more than willing to judge you the minute you express any personal interests. High School: The Sequel, if you will. And so Kakashi had come to learn that there were only ever two places where he was safe to unapologetically indulge in his favorite series: within the comfort of his own home and on the internet.

               Fanfiction was never his original intention. Rather, it was the end result of a long string of unfortunate circumstances. The latest book had ended with the heroine caught between two very tempting suitors, a cliffhanger of epic proportions which left Kakashi itching for a resolution. A few months after publication, the author, Jiraiya, passed away, taking his secrets for the series’ finale with him.

               Kakashi had tried so hard not to think about it but the lack of closure ate away at him. He needed a valuable outlet through which to ramble, a way to confide in someone as invested in the series as he was. For a moment, he had considered joining a book club but all of his attempts failed. The only clubs that ever focused on books like these were run by sexually frustrated middle-aged women who sneered at the mere thought of letting a man into their circle. On recommendation from a friend, he turned to the campus library community for help but was met with nothing short of disaster, which thus introduced the second point of contention: Rei.

               The library check-in desk was notoriously run by volunteers, most of which were majoring in library science themselves. One such volunteer was Rei Natsuki, a junior with fiery hair and a chronic resting bitch face. It wasn’t that Kakashi didn’t like her, necessarily. Actually, every time he saw her he got this horrifying fuzzy feeling in the pit of his stomach that insisted he was about to throw up. He felt as if her eyes were on him constantly, studying his every move. This fact only furthered his gratitude for lumping together all of his tutoring appointments. The less time he spent in the library, the less often he would have to see her.

               Not that she was necessarily easy to avoid. Just his luck, she lived three doors down from him in the same off-campus apartment complex. At least if he timed things just right, he could avoid running into her in the hallway. Their mutual existence was like a very carefully choreographed dance on perilous terrain. They were constantly at risk of colliding with one another, a harrowing and horrifying fate.

               Their first encounter was in the fall of his freshman year when he snuck into the erotic fiction section searching for the Icha Icha books. As he skimmed the titles, he felt a pair of mossy eyes burning holes into his back like a cryptid whose domain has been intruded upon. When Kakashi turned around, he caught her peering around the edge of the bookshelf. Her expression was one of harsh focus and concern. “Looking for something?” she asked. For someone so small—she was roughly a foot shorter than he was—she was certainly terrifying.

               Kakashi’s face turned beet red, rubbing the back of his neck nervously. “No, not particularly!” he exclaimed. “Just looking around!”

               “Hrmph” Rei huffed, unconvinced. “Well, if you need anything, I’ll be right over there” she pointed to the help desk at the front of the library. An older woman, one of the librarians, winked at her across the room and Rei’s face turned bright red. Without another word, she scurried off back to her station, grumbling under her breath. Once gone, Kakashi sighed and leaned back against the shelf. All of the books directly behind him tumbled to the ground with a loud thud. Rei immediately whipped around to glare at him but by then, he had already dove into the nearest study room. Frustrated, Rei stomped over to assess the damage and begin reorganizing the shelves. Kakashi apologized to the group he interrupted before booking it out of the building. It was in that moment that he officially decided: from that point onward, Icha Icha would remain his dirty little secret. Literally.  

               And thus came along the internet. At least there, hiding behind his computer screen, he could retain some sense of anonymity. He could disguise himself with a pen name much like wearing a mask. No one needed to know who he was. He pored over various forums, reading but never interacting. As refreshing as it was to find a sense of community amid other Icha Icha fans, his joy quickly faded when he realized one fatal flaw: no one knew what they were talking about. They all misinterpreted the characters, the relationships, the actions the heroine took to get to this point. Perhaps Jiraiya’s novels were too nuanced. Perhaps there was no hope for him after all. It was then, deep into a Reddit thread, that it dawned on him: the horrifying promise of writing fanfiction.

               At first, Kakashi refused. He would not stoop so low. The harder he resisted, however, the more appealing the idea slowly became. At least in this way, he could help people to better understand these stories in a way that he was familiar with. Not that he was an avid writer himself but he hoped he was familiar enough with the conventions of fiction to understand how it was done. As if running on autopilot, he ventured to Archive of Our Own and created an account under the pseud “CopyNin.”

               His fanfiction, Icha Icha Bloodline, introduced dramatic new themes and conflicts to the story he loved, expanding on the love triangle with a depth and sincerity that he hoped would make Jiraiya proud. It hadn’t gotten many hits yet, but that just made every kudos and comment feel that much heavier. As his cursor hovered over his inbox now, he almost questioned whether he even wanted to know. Every shared thought had the capacity to make or break his motivation. But if he didn’t look, he wouldn’t be able to contain himself. He needed to know. He pulled up the latest comment and his heart leapt into his throat. It was from LittleBell.

               LittleBell was, for lack of a better word, iconic amid the Icha Icha fandom. They were one of the first writers Kakashi had encountered when he first considered fanfiction as a possibility. Their name appeared in dozens of forum posts, attached to both praise and criticism alike. By the time Kakashi looked into them himself, they had already written 100,000 words worth of fic with the longest piece nearing 100 chapters. It was clear why they were so popular. The cadence of their sentences, their detailed characterization, and their dynamic plot points all made Kakashi’s heart sing. He could only hope to one day be as great a writer as they were.

               Kakashi had lurked through fifteen chapters before, in a fit of sleep-drunken gumption, he had decided to leave LittleBell a comment. It was short and sweet and afterward, Kakashi groaned into his pillow second-guessing every sentence, but he awoke to an encouraging response that firmly cemented the allure of writing a fic himself. And now here he was, faced with a comment from them on his own work. How could he ever prepare himself for something so huge? He instinctually expected scathing criticism. Your characterization sucks. You’re writing them all too flat. Her suitors would never say XYZ or do ABC. Have you even read the books? This is trash. Kakashi’s hands shook as he tried to shove those negative thoughts out of his mind. LittleBell had been so kind before so, realistically, why would their response be any different? Kakashi scratched the back of his head, knowing that the longer he waited, the more maddening this was going to become. Without another moment’s hesitation, he forced himself to view the comment.

               This was so great! I love the way you write these characters—I can tell you have a really deep understanding of the heroine, especially. It’s so refreshing to read a fic that not only retains the romance of the originals but also emphasizes it in a way that’s super meaningful rather than cheesy. My favorite part was the scene where she’s fixing his watch. “It’s really an exquisite watch. Such a shame that it’s stopped working.” “I guess that just means that we’ll have to stay in this moment forever” “What will everyone else say? They’ll get tired of waiting.” “Let them wait. I’m always late to everything anyway. What’s another eternity?” My heart! You can really tell just how much he loves her, and it makes that love triangle all the more tense and heartbreaking! You’re really just doing an incredible job with this and I can’t wait to read more!”

               Kakashi’s cheeks burned as he buried his face in his hands. It was all he could do to hide the grin on his face. Not that anyone was there to tease him for it. Pakkun was fast asleep on the couch and likely wouldn’t have cared anyway. Alone in his apartment, Kakashi was exploding. To think that someone so talented and renowned within the fandom not only noticed his work but enjoyed it was mind-blowing. This was a high he would surely be riding for the rest of the week, if not the rest of the semester. Nothing could be better than this.

               Once the debilitating excitement wore down a bit, Kakashi was then stuck with the battle of writing a response. He knew there were some in the community who considered responding a controversial topic—something about trying to increase your comment count—but Kakashi enjoyed replying to every single person who took the time to say something nice. And this was certainly something very nice. How could he possibly put into words his overwhelming gratitude? He had no clue. Kakashi stewed over the prospect for a solid ten minutes before his growling stomach urged him to hurry up. He had completely forgotten he was hungry but now his body was not going to let him forget. He considered stepping away and replying later, after he had time to chew it over, but then quickly shoved away the thought. He couldn’t afford to put this on the backburner at the risk of forgetting about it entirely. No, he needed to do this now.

               Kakashi typed, paused, considered, then backspaced and typed again. When he was finally at least mildly pleased with his response, he sucked in a deep breath and pressed Comment.

               Huffing in relief, Kakashi stretched out and leaned his head back against his chair. All that was left to do now was wait. Would they even respond back? He didn’t know. Sometimes a comment began a whole conversation, other times it was a singular instance like a comet in the night sky.

               But for now, he was going to try not to dwell on it. He received LittleBell’s praise, and if they were to respond back then so be it. It was all up to fate now. Kakashi slipped on his shoes, shoved his phone, wallet, and keys into his pocket, and headed out. As he locked his apartment, he heard without listening as a door down the hall creaked open. The sound reached his ears but his brain did not register what it was until it was too late. Turning around, he abruptly bumped into her.

               A gasp fell from Rei’s lips as she collided with Kakashi’s chest. Her half-open backpack swung on her shoulder, spilling its contents onto the floor. “S-sorry about that!” he croaked, clearing his throat. Kakashi’s hands shook as he leaned down to help gather her belongings, all the while fearing her wrath. Among the used textbooks and stuffed notebooks was a green paperback with a big prohibition sign on the cover. The little bell charm attached to Rei’s keychain jingled and automatically Kakashi was punched in the gut with a realization of Pavlovian proportions. Little Bell.

               “I-I’m sorry…what was that…?” Rei stammered and suddenly Kakashi realized he had, in fact, spoken aloud. Her voice, in response, was so much quieter than he had ever thought she was capable of—filled with the striking fear of being vulnerably and intrinsically known. Unmasked.

               Kakashi’s eyes widened as he shuffled to gather as many of her books as he could manage. “I-I didn’t know you liked the Icha Icha books” he murmured. He could hardly make eye contact as he handed her back her things.

               “Yeah…” she said, slowly accepting them, “They’re, uh…they’re my favorite.”

               Rubbing the back of his neck, Kakashi chuckled nervously and replied, “Mine, too.”

               She wasn’t sure what it was about him but in that moment, a sickening feeling filled her chest, a nauseating suspicion that she couldn’t shake. There was really only way to confirm whether or not those suspicions were correct. At the risk of looking like an idiot, she cleared her throat then and said, “You know, that’s a really exquisite watch.” Kakashi froze, his eyes gently skating down to his wrist. He wasn’t wearing a watch. His heart pounded in his chest. Rei bit her lip, dropped her eyes to the floor. “It’s, uh, it’s a shame it’s stopped working.”

               Kakashi’s mind was reeling. None of this felt real. Suddenly Rei was a completely different person to him now. He saw her not as the terrifying, impatient, and indirect girl from the library but the extremely talented, encouraging, yet perhaps unfortunately shy writer that he had spent so much time idolizing. If only he had known of the bond they secretly shared over the past few months. He could hardly fight the grin on his face as he murmured back, “Then I guess we’ll just have to stay in this moment forever.”

               Rei’s cheeks burned as she hugged her books to her chest. She could feel the laughter rising up in the back of her throat—this was so ridiculous, and yet at the same time this was everything she had ever wanted. If only Kakashi had truly known how much she had suppressed over the years, since they first met in the library. The way the old librarian encouraged her to speak to him when she caught him perusing her favorite books. The way she’d hide out in her apartment whenever he left for class, watching from the window too scared to approach. The way she channeled all of her unrequited love and inner turmoil into the very story she now knew he idolized. She felt so strange and vulnerable but also for the first time truly seen. It was the most bizarre and lovely sensation.

               She had no idea how long they actually stood there in the hallway like that, reveling in this newfound connection, but all too soon reality suddenly hit her. “D-do you have somewhere you’re supposed to be? I don’t want you to be late!” she exclaimed.

               Kakashi, however, still entranced, shook his head and replied, “Let them wait. I’m always late to everything anyway.” Rei brushed the long bangs back out of her face, completely incapable of stifling her laughter. Kakashi joined her—the breadth of his smile, the bravado of his voice, the way his eyes squinted when he laughed, all were enough to make her weak in the knees. “Are you hungry?” he then asked. “I was just about to get something to eat. You should come with me.”

               Sliding her books back into her backpack, Rei smiled and replied, “I would love that.” Swinging her bag back over her shoulder, she walked alongside him down the hallway. Their fingers itched to interlock, their hearts pounding out of their chests. He opened the door for her and together they stepped out into the autumn air. Nothing else mattered. In that moment, all that existed was them: CopyNin and LittleBell.

[aion-rsa]

The Real History Behind Bridgerton

https://ift.tt/2WPSOdx

This Bridgerton feature contains spoilers for the series.

Although Netflix’s Bridgerton has actively resisted the label of historical accuracy in favor of a fantasy approach to the era, it is still worth uncovering which scenes, events, and references represent a more creative interpretation to history and which are references to real events. 

Dr. Hannah Greig, the historical advisor to the series, describes Bridgerton as “a combination of a historical truth – which is to say that the past is more diverse than we tend to see on screen, and we tend to accept in our popular imagination. But it’s also a fictionalising, asking what history might look like under certain different circumstances.” This approach is in keeping with the novel series the show is based on which blends the Regency Era with modern romantic fantasies. Here’s a list of some of the plots where alternate history may or may not be a factor.

How Did Simon and Lady Danbury Acquire Their Wealth?

Viewers throughout the episodes see several flashbacks to Simon’s father (Richard Pepple) wearing opulent clothes and overseeing what was likely a huge business empire. Lady Danbury (Adjoa Andoh) is clearly closely connected to Queen Charlotte (Golda Rosheuve) and may have obtained additional wealth via marriage. Simon (Regé-Jean Page) in Episodes 5 and 6 is seen managing a large estate with tenant farmers. 

The series evades the question of how this wealth came to be and for a good reason. During the Regency era, most of the real-life Ton acquired their wealth through direct or indirect involvement in slavery or colonialism. Although the British officially banned the international slave trade in 1807, this ban did not result in immediate divestment from the economic activity that was powered by slave or colonial labor. British landowners still exported cotton, sugar, coffee, wood, and metals from their overseas properties or were involved in firms manufacturing consumer goods out of those raw materials. Anyone involved in the shipping trade pre-1807 still made money off of transporting slaves from Africa to the Caribbean and America. 

For those who believe there is no precedent in pop culture to discussing these issues, the novel Mansfield Park includes some discussion about Regency-era wealth generated from slavery but some of the adaptations cut or heavily downplay it. Ned Despard opposing expanded exploitation by the Honduran mahogany plantation owners is covered extensively in Poldark Season 5. 

Based on the lack of discussion, the audience can assume any number of things about where their wealth comes from. Simon and Lady Danbury could own property in Africa and the Caribbean and produce valuable raw materials by salaried laborers. This is not unheard of in the era because American laws designed to keep Black and mixed race people from owning property did not exist in these UK colonies. An argument can be made that Simon’s wealth is purely from collecting rent from his tenants and selling the agricultural products produced. It’s also possible long term investments in various industries are paying per annum. The possibilities are endless in this fantasy world. 

Prince Friedrich

So much of the discourse around the series has revolved around Queen Charlotte’s African ancestry, but there hasn’t been as much discussion around Prince Friedrich. Prince Fredrich is introduced in Episode 3 as the Queen’s nephew searching for a princess among the Ton. There was a Prince Frederich Wilhelm Ludwig of Prussia, but in real life, he was the son of her niece Princess Fredericka of Mecklenburg-Strelitz. 

In a series already skewed towards showing the marriage market for the elite families of Regency society, it makes sense for the especially politically ambitious Dukes and Duchesses to desire to be connected by marriage to the Queen. Daphne (Phoebe Dyvenor) potentially blocking the path of the social climbers makes for good drama and gossip from Lady Whistledown even if it didn’t quite happen that way in history. 

Regency Smoking Habits & What is Snuff?

The miniseries featured tobacco use in a way not typically seen in other early 19th Century period dramas. Lady Danbury and other women were seen smoking.  Quite a few fans were confused about Queen Charlotte’s penchant for sniffing something up her nose while cuddling her slightly smaller than at the time pomeranian. She was using snuff, dried tobacco, and not cocaine as some folks mistakenly posted on Twitter. During the Regency Era, clay pipes and cigars fell out of fashion for public consumption due to the unpleasant smell. Snuff was extremely popular among the real Ton as there was no traceable odor to other people. Smoking adds a dramatic effect to any situation where a character feels stressed out but pipes and cigars, in reality, maybe likely only to be used where others can’t see. 

Simon and Daphne’s Visit to the Gardens

The Vauxhall Pleasure Gardens actually existed in Regency London. They were open to everyone who could afford the entrance fee, but quickly became a gathering place for the well to do or anyone interested in social climbing. The location still exists today as a public park in London but the entertainment function ended in 1859. There are references to Vauxhall in the novel and screen adaptations of Vanity Fair and Poldark Season 4 but Bridgerton’s recreation is far more elaborate. The light display show is a fictionalized example of what Regency visitors would have encountered. Singers, musicians, circus acts, and more regularly appeared to entertain guests in the gardens. Traces of those elements remain today in public fairs and amusement parks today.

Read more

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By Kayti Burt

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From Bridgerton to Hamilton: A History of Color-Conscious Casting in Period Drama

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Regency-Era Gambling

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Bridgerton has two plotlines involving gambling. Lady Danbury’s married women’s party featured whist which was indeed a popular Regency Era card game and one where the Ton was likely to lose some of their precious financial stability. Lord Featherington’s (Ben Miller) gambling on Will Mondrich’s (Martins Imhangbe) fights was a little bit more based on an alternate reality. There’s little evidence that Bill Richmond, the real-life boxer the character is inspired by was involved in fixing fights as the racism of the time already made him prone to false allegations of cheating. This isn’t to say Regency era boxers didn’t attempt to win or lose unethically as the sport didn’t gain a regulatory body until 1838, but the big match in Episode 8 is more about exposing the bad decisions of Lord Featherington in an epic fashion than any real commentary about the era. History buffs who are recoiling from Bridgerton taking so many historical liberties should take heart. Fans of the books as well as new viewers are actively researching more about the Regency Era as a result. They’re well aware the show is not attempting to be the authority on history.

The post The Real History Behind Bridgerton appeared first on Den of Geek.

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[thedisorganizationofelliot]

podcasts

This past year I’ve gotten really into podcasts as a way to help manage my adhd, so i’ve gone through quite a few of them and i thought about making my own rec post. obviously i have adhd and was putting it off lol but my friend expressed interest so here’s the list of podcasts that i’ve gotten through at least a full season of and loved.

The Bridge

10/10 erie atmosphere

"A podcast about the fictional Transcontinental Bridge, the people who live there, and the stories they leave behind. Oh, and monsters."

The Magnus Archives

holy crap this is so well done. it’s horror so i can’t listen to it to help me sleep but if you want fear and true spookiness this is great. the main character is a department head for an institute that deals in the paranormal. his job is to record ppl’s statements of the weird unexplainable things that happen to them. but he’s more on the skeptic side of things which creates just enough humor to get me through a horror podcast. queerness does happen in the background. 

The Adventure Zone

i feel like if you’re looking for fiction podcasts you’ve already heard of the adventure zone. three brothers and their dad play tabletop rpg. it’s hilarious and made me cry. when they accidently do something like say kill the first lesbian couple on the show, they actually do make up for it and apologize for not realizing. their solution was to keep giving us so many lgbt characters that i didn’t even notice that the first were playing into the bury your gays trope until i went back and listen to their the the adventure zone zone eps. 

Victoriocity

 do you want quirky crime solving steampunk adventure? bc this show will give you just that. It’s full steampunk victorian london shenanigans. reminds me of patrick carmen’s writing a bit if you read his books as a kid i’d highly recommend this. 

Inn Between

okay this is a show that’ll give you a toothache. it’s all found family adorableness. it takes place in the inn that the group goes to in between dnd adventuring. it’s very heartwarming and i adore all the characters. 

The Penumbra Podcast

if i only had the choice of listening to one podcast ever again, this would probably be the one i choose. its so goddamn good and so goddamn queer. they’ve given me my dream sci-fi world and fantasy. there’s a canon poly relationship that i love soooo much.

The Amelia Project

what does one do when they want to disappear? why call the amelia project of course! each episode starts with a phone call, involves hot coco, and crazy schemes to make ppl disappear. 

Girl in Space

i can’t say too much about this without giving things away. there’s a girl alone on a spaceship with a very important job and a copy of jurassic park. then suddenly she’s not alone and it turns out that her ship is full of something very valuable and isn’t technically hers.

if you want space adventures about friendship not romance this is one for you. seriously i love it so much.

The Strange Case of Starship Iris

this one is totally completed. it’s short. in my eyes it’s a better firefly. you’ve got your morally questionable main crew (and the pilot is an alien bc they’re not cowards) who take morally questionable jobs. they end up picking up the only survivor of starship iris and well there’s some fishy things that happened that everyone wants to figure out. 

We Fix Space Junk

do you fear corporations taking over the world and charging so much for things that you’ll be in debt for life? well this is your fears come true.  it’s lighthearted tone makes things even more unsettling at times. it’s main plot is between a women who’s been working off the debt of her ship for way too long and her new, previously an heiress, apprentice. 

Be the Serpent

three red headed fantasy authors talk about books and fanfiction and make dick jokes. i love them.

Death by Dying

i dont really know how to explain this one. it’s kinda got a pushing daisies style to it. the obituary writer goes around and sorta accidentally solves murders while he’s doing his research.

Eos 10

did you want a scrubs in space? bc this is scrubs with space pirates, a reluctant recovering alcoholic, a hypochondriac disposed alien prince who is now a dishwasher planning to a kitchen revolution, a nurse who’d could kill you but has, hopefully, decided to help you.  it’s pure shenanigans. they get into so much craziness. definitely has that found family vibe bc i know what i’m about.

King Falls AM

did you also listen to nightvale in highschool but gave up on it after 20 or so episodes bc it didn’t really have a plot? then this is perfect for you. two dudes run a late night talk show in a perfectly normal town. it’s completely normal to have ghosts that move road signs, a lake monster, a vampire???, alien abductions, and calling your favorite local radio station about all these totally normal happening and how you can’t believe they’re interfering with the fishing tournament. 

i’ll be honest this was annoyingly boy heavy for me at first. the only women at first seemed to be the perfect librarian, the soccer mom,  and gwendolen the racist witch. but then there’s a plot about punching himminsts and all these women getting fed up. so i think it's totally worth it. THEY GET FLESHED OUT EVENTUALLY 

The Bright Sessions

for a podcast about a therapist to ppl with superpowers this one stresses me out. which is good. i mean there’s a lot going on and a shady government agency

The Ordinary Epic

a group of fictional ppl play as fictional dnd characters. Season one left me on kinda a cliff hanger and idk how to feel about it. It entertained me, so like a 6/10 maybe a 7? so far. 

The Two Princes

gaaaaaaaaay if you want a fairytale romance this is the place to be. 

[threewaysdivided]

I appreciate the response. Yeah, among other adjustments, had the plot been handled a little differently, I feel like Sam’s relationship with her parents could have evolved into something like that of Danny and Jazz and their parents. And don’t get me wrong; I still like Sam, too.

(In reference to this post and follow-up ask.)

Good to hear from you again 😊

I think there were a lot of things across the board that could have been tweaked or edited to improve the integrity of the series.  If I had to boil down the problem with DP to a single point I’d probably say it’s that the most interesting parts of the show are the characters/world/implications but the writers (or some of them anyway - I suspect there might have been some conflict between Hartman, the lead writers and the execs’) wanted certain plots, aesops and gags, and chose to brute-force them in regardless of whether they actually worked with what was already there.  Basically, it lacks consistency and internal logic.

For Sam in particular I think there are a few things that could have been handled better:

First one’s more a general complaint at the show and might light a fire under my notes but heck lets go there anyway but the writing has kind of a sexist bent that really doesn’t fit the characters or need to be there. Considering how much Danny and Jack are shown to love and respect Maddie and Jazz there’s no way they’d call their involvement in Genius Magazine “the swimsuit edition”.  Paulina might be traditionally feminine but “She surrendered her individuality for a boy! I’m so proud of her!” is not a line that any human girl in the history of human girls would say unironically.  There’s also a few too many jokes that basically boil down to “male character is emasculated/ vulnerable/ likes feminine-coded things, hyuk hyuk hyuk”.

I’m bringing this up not just because they’re gross cheap gags but because for Sam specifically, this pervasive low-key contempt for women and femininity in the writing, especially the tendency to portray almost every non-sympathetic girl her age as one-note, brainless boy-crazy cliches that she can’t connect with, really does not help her character.  I would have loved to see more genuine interaction between Sam and the other girls, even if it most of it was Kim Possible-Bonnie Rockwaller style antagonistic rapport.  We could have seen her develop some kind of tenuous connection with one of the A-listers, or even just have a secondary-female-character to be cordial towards - kind of like Mikey is for Danny and Tucker.  Hold up, outside of Valerie, Star and Paulina are there any named secondary girls at Casper High?  Sam doesn’t seem to have a single female friend in the show and considering how vocally judgemental she is, it can almost read like she’s rejecting them outright for being girls, which really undercuts attempts to make her seem feminist. (I mentioned it in a past tag but this feels like an early-2000s-male-writer mistake of equating Female Empowerment™ with the ability to tear down other women and belittle traditional femininity - which isn’t so much Feminism as it is Internalised Misogyny.)  Even just mixing up the pairings to put her with Star instead of Kwan in Lucky in Love would have helped.

I’d have also liked to see more awareness of and consistency in the conflict between her activism and her wealth.  It kind of undercuts the significance of her activism when you realise that she’s wealthy enough to make these choices with little cost to herself; it’s much easier to go vegan or buy renewable/ recyclable /sustainable /fair-trade when price isn’t an issue, especially if you also have serving staff to offset the time cost.  Once you notice this it makes her activism feel more tokenistic, and also like she doesn’t really understand her own privilege when she tries to push her agendas onto the school/ her classmates without considering why they mightn’t be able to do so as easily.  It’s also weird because the source of her family’s wealth is a cellophane-toothpick-wrapper (i.e. something that basically produces litter) but she still seems very comfortable enjoying the material benefits despite her pro-eco anti-consumerism sentiments.  It’s bizarre that she’s more concerned with the social consequence of ‘fake friends’ than the ethics of capitalism.  It can come off a bit “do as I say, not as I do”. 

It would have been nice for the show to give more screen time to reinforcing that Sam is aware of that conflict and is making an active effort to hold to her principles even at the cost of personal comfort; maybe showing some unease at the source of her wealth, trying to live below her means and only spend up on ethical/ eco-friendly/ sustainable products, op-shopping or hand-making her goth accessories, going out of her way to re-use or re-purpose things even if buying a new one would be ‘better’, actually showing or referencing her doing substantial hands-on activities (e.g. going off-screen or taking the boys to do tree-planting, litter pickups, soup kitchens, animal-shelter work etc).  Just something to help make it clearer that she genuinely cares and isn’t just doing the low-mess lip-service activities because she enjoys indulging in the image of Wokeness™.

These things would have helped regardless of how her family was written but let’s hop back on topic and talk about them.  I don’t have any prescriptive preference but let’s spitball a few different options and how they could have played:

#1 Sam’s parents don’t respect her interests and want her to fit a mold

In this case I’d make it that they don’t really pay attention or show much caring for who Sam really is as a person; their image of and interactions with her are more of a fantasised version of the ‘perfect’ daughter they want, they make very little effort to encourage her actual interests and are perhaps restrictive about what they let her do in the few moments when they do bother paying close attention (you might compare to some versions of Tim Drake’s Parents from DC Comics).  Classist, overly image-conscious, snobby and superficial.  

This would be the most sympathetic portrayal of her character without changing it very far from how it is in DP canon - helping contextualise why Sam is so fiercely defensive of her autonomy, why she pushes so hard when trying to get her opinions across and why she’s so judgemental of rich people and disdainful towards classic femininity - even possibly explaining her more hypocritical/ manipulative/ entitled traits as learned behaviours.  It would also give her more legitimate reason to be less empathetic towards others - after all even if they have struggles and family troubles it’s still better than what she’s dealing with (Danny’s parents may not be attentive but hey, at least they love him for himself, right?)

For this version I’d probably put her arc around growing past the “suffering olympics” model of viewing other people’s pain, but also in her finding family in Danny/Tucker/her Grandmother’s circle of connections, learning how to have healthy power-balance and communication in her relationships with others (aka: getting over her hypocrisy and realising that assertiveness is about communicating that “I matter, and so do you”) and pulling away from her parents’ influence - maybe even living with Ida a lot of the time.

#2 Sam’s parents are well-intentioned but overbearing

For this one, Sam’s parents would genuinely want the best for her… only they have an overly old-fashioned and restrictive view of what “the best” is and are a bit set-in-their-ways.  They’d probably view “hippies” and “goth” stuff as “dangerously rebellious hooligan-activities” and likely to be somewhat patronising about Sam’s passion for it being “just a phase”.   They’d be worried about her hanging around “the Fenton Kid” and “the Foley Kid” both because Danny’s parents are kind of irresponsible screwballs about safety but also because they put a lot of value in image due to their belief in social connections being the way to get ahead.  Them pushing Sam towards classic femininity and specific activities would be less about disrespecting her identity and more about their overly narrow view of “success” and worrying that she’s going to end up losing valuable opportunities and “wasting her life” if she keeps on down her current path.

This would still give Sam more sympathetic context for her views on femininity and pushiness about self-expression. 

Personally I think the arc I’d like to see here is one themed around responsible/considerate assertiveness and valuing alternative perspectives.  Sam coming to realise her own hypocrisy - that she can’t push her views onto others while complaining about her parents doing the same - developing more sympathy for Danny as she realises that he’s in a similar position with Jack’s insistence that he’ll inherent Fentonworks and his parents’ narrow-mindedness about ghosts, interacting with other girls and seeing their perspective, learning how to assert her opinion while making allowances for others’ (maybe an alternative version where she connects with Star in Lucky in Love and, after Aragon’s defeat in Beauty Marked, Sam still says she personally thinks it’s dumb but then steps down and lets Star win because she understands that Star values it), and getting her Grandma’s help in convincing her parents to widen their perspective while still responding to their concerns.

(This one has the overall kindest message and I think I like it best).

#3 Sam’s parents are trying and Sam’s actually the problem 

This one is the one that’s the least sympathetic to Sam.  Her parents still don’t get the Goth/Activist thing and they have some concerns about safety but they understand that it makes her happy and they’re okay with it so long as she’s not getting into trouble or mixing up with anyone that could hurt her.  Them pushing her towards more feminine/optimistic things is less pushing and more trying to encourage some hobbies that offer a bit more common ground.  They might have reservations, and they might not always have time, but they would like to be part of their daughter’s life… except for the problem that Sam has wrapped herself up in a teen-drama persecution complex and got it into her head that they “won’t accept her” are “pushing her to be someone else” and “don’t understand” so there’s no point even trying to explain or connect.  In this one Ida isn’t taking sides on purpose but she ends up accidentally enabling Sam a little because Sam reminds her of her younger days and she likes spoiling her granddaughter (and doesn’t much care for her daughter-in-law).

In this case Sam’s flaws would be framed much more as flaws born of her making superficial snap judgements, thinking she knows better and being too proud to admit she’s wrong.  There would definitely be moments of her coming across as an entitled, privileged holier-than-thou brat who invents problems because she likes feeling sorry for herself, especially early in her arc.

This version of the story would go the hardest on Sam with the general lesson being “you need to respect that other people are people who have their own problems, feelings and needs that are as real and valid as yours”.  She’d still have good qualities and Danny and Tucker would still obviously like and value her but there’d also be times of strain where they don’t want to hurt her feelings but are clearly getting worn out with the nonsense.  At its worst, maybe a “you’re like mustard. Great in small quantities, but a lot of you is…a lot” type confrontation.

I’d also give the secondary cast the most fleshing out, agency and sympathetic-ness here, and have beats where Sam has to realise that they’re lot more complex than her 2D stereotyped view of them and are dealing with actual serious problems to which hers are largely non-issues by comparison.  I’d probably play Dash and Paulina similar to in the fic Alibi (go read it, it’s good) - Dash being gay and performing aggression because toxic masculinity, insecurity, and being terrified of anyone outside the A-listers finding out (still not okay that he’s a bully but at least more understandable), while Paulina is hiding high emotional perceptiveness behind her pretty face and deliberately bearding for him to keep bigoted parents/ teachers off his back.  I’d also probably have a subplot in an alternate Life Lessons where Sam follows Valerie around because jealous/possessive and, like Danny, ends up realising that she’s working two jobs to help her Dad with their financial problems.  Basically she’d be getting hit with the Reality Stick a lot.

There’d also be more instances of Sam getting directly called out by the other girls. Fleshing them out as people and showing that their dislike is less superficiality and more because she unfairly judges and antagonises them all the time.  Giving them more agency in Beauty Marked and have them be direct about “we know you’re just here to be smug about how much ‘Better’ you are but have you considered that we’re doing this for ourselves and actually enjoy it?”.  Having Paulina be less “tee hee I am indeed a Witch” in Parental Bonding and more “Ugh fine, fine, I don’t really like him that much but you were being so obviously Jealous and Judge-y and I figured if I played a little you might actually step up.  But fine, if you’re sure.  Here’s your necklace back, I’ll let your dorky ‘friend’ down tomorrow.  But pro-tip?  You like someone you gotta go for it - otherwise don’t complain when your boy-toy gets taken by someone who actually means it.”  (Still petty, but emotionally intelligent pettiness, which… not really much better, but at least more interesting.)  A lot more of Sam realising that she’s not a particularly good feminist and that she’s no more entitled to Danny’s affections than anyone else.

To be honest, while I could say the most about this version and there’s a lot of potential drama there it’s the one I like the least because it means canonising my least favourite proto-abusive bad-faith narcissistic reading of Sam, casting her as an almost-villain and essentially punishing her over and over until she character develops into a decent human being.  Sure it’s an important message about how you treat others but it’s not a very nice or kind story and while there might be the odd fic that makes it cathartic I can’t say I’m a huge fan.

Again, if I had to pick, I’d probably go with something like #2. 

But there we go.  Another thrilling instalment in the “overly long posts about Sam Manson” saga.  

Hope you enjoyed it and thanks for stopping by!

[saiilorstars]

Dare To Forget Me

// Story Masterlist // 

Pairings: Rafael Barba x Original female character

Warnings: Due to the nature of the series’ plots, I do have to rate this as ‘mature’ for constant mentions of rape.

Author’s Note: This story will follow SVU’s cases as well as arcs of my own creations. 

I only own the OC, Montserrat.

Montserrat’s face claim: Ellie Kemper

Summary: Detective Montserrat Novak originally planned to transfer to SVU but mysteriously withdrew her papers. Nine months later, Olivia Benson pulls her profile up when Montserrat becomes a material witness to an SVU case. From there on out, Montserrat is permanently interrelated with SVU whether she would want or not. Now she finds herself dealing with Detectives who strive to make justice for those in need and an ADA whom she seems to have a talent at pulling all his right strings.

~ 0 ~ 0 ~ 0 ~ 0 ~

Ch: 1: A Runaway.

Sirens blared in a cold New York street. Flashes of light from firefighters, ambulances and police cars joined together in the street, lighting the buildings on both sides of the street. Most of them were business buildings but the few that were apartments had their windows opened to see below.

Unfortunately, there was a victim being brought into an ambulance. The girl was unconscious but it wasn't too surprising due to the state she was in. Someone hurt her with passion.

"Ma'am? Just wait here, a paramedic will be with you shortly," a cop was telling a second woman, a ginger, on the scene. Said woman was holding a towel around her palm to slow down the blood of a cut. Her dark brown eyes flickered from the cops to the ambulances, scared of what would come next. She knew the process all too well but the moment wasn't the right one.

As soon as the cop turned her attention away, the ginger made a getaway. Due to the gravity of the situation, it was easy slipping away from the scene. The cops hadn't finished taping off the crime scene and by the time someone figured out she was missing, she was already in a cab.

~0~

Sergeant Olivia Benson and Detective Amanda Rollins reported to the crime scene only twenty minutes after the arrival of the others. By that time, the victim had already been taken to Bellevue hospital. Once the Sergeant got word of what happened in a brief minute, she went off on the attentive cop in question.

"You're telling me we had a witness who saw everything and you lost her?" Olivia Benson had been at the job for about fourteen years and yet somehow she was still stunned sometimes by the mistakes she saw in her line of work.

The cop stammered while he made an excuse for his lack of attention but Olivia knew it was pointless to even argue it. The mistake was done.

"You know what, just tell us you got a name from her."

"I didn't," the cop hated his situation at the moment. "It was a rush and -and it's my first night on the field."

"What did she look like?" Amanda tried another way to get some valuable information. The cop looked too green to hassle for the mistake.

"Uh, dark orange hair…" the cop thought hard for a moment, "Dark brown eyes. Baggy clothes. She was wearing a baggy green jacket. Um...she had a purse but she took that I guess. And she had wound on her palm." The last detail pulled both women's attention. The cop realized he should have started with that. "I-I guess the perp must have cut her or something. We gave her a cloth in the meantime."

"Great, and you still let her get away," Olivia mumbled to herself after jotting down the description. "Thanks."

As she and Amanda walked off, the blonde detective thought about something. "If she had a cut - a stab wound…"

"Then she had to have gone to a hospital," Olivia said for she had thought the same thing too.

While their victim underwent her treatment - remaining unconscious for the entire duration - the detectives and Sergeant put all their focus on getting as much evidence as they could from the scene. A decent amount of that time was also put into finding the missing witness who turned out to be the only witness.

"Our victim-" Detective Nick Amaro was pinning a photograph of their rape victim on their pinboard, "-Hayley Connors, is still under but we do have the obvious evidence of a violent attack. CSU found blood at the scene but so far it only matches that of Hayley's."

"Yeah, but it corroborates with the story of the knife used to cut our missing witness," Detective Fin Tutuola, or Fin, reminded them. "But let me guess, knife hasn't been recovered yet?"

Detective Sonny Carisi's languid hand gesture was enough to answer. "If only it were that easy, huh?"

"You should know that by now," Detective Munch added on with the same sarcasm.

Amanda scoffed from her seat at the table. Her attention was on her computer screen where a footage of a hospital ER room was streaming. "I may have a view on the witness, though.

"Hey, Liv?" Fin called their temporary Sergeant from her office. "Amanda may have the witness!"

Olivia came in a hurry to see the footage along with the others. Amanda replayed the specific time where a ginger in a green, baggy coat arrived at an ER reception desk. She was still holding the cloth the cop mentioned she'd been given at the scene.

"Definitely her," Amanda concluded once she checked over the description they had of the woman.

"She looks familiar," Olivia's admission came as a surprise to the detectives. She met their curious gazes with confused expression. "I don't know who she is but...the face…"

The footage didn't exactly show the woman all too well but it was enough to get the case moving. Still getting that brief familiar vibe, Olivia decided to go to the hospital herself, along with Nick, to see what they could figure out about the woman.

~ 0 ~

"Yes, I remember her," a nurse at the ER reception of the Lenox Hill Hospital nodded her head after Nick showed her the photograph of the ginger woman. "Poor thing came with a slashed palm."

"Great, did you get her name? Her address?"

The nurse gave a kind smile and shook her head. "Sorry Detectives, I'm not at liberty to give you that information."

"It's Sergeant, first of all," Olivia set her hands on her hips and sternly looked at the woman, "And second of all, this woman is a material witness for our rape case. Besides, she was hurt too and odds are it was by the same perp so she needs to speak with us."

The nurse looked around the room, clearly in a conflict. "I can't give you the address because she didn't put one down."

Nick and Olivia exchanged glances with each other. This mysterious woman was turning out to be more of a hassle than previously thought.

"She didn't put one down?" Olivia repeated. "And you didn't notice that?"

"We were a little more preoccupied with her state," the nurse said, about to elaborate when Nick cut in.

"Give us her name then. Now, please."

The nurse sighed but ultimately obliged. "She wrote down Montserrat Novak on the paperwork."

Olivia raised an eyebrow. "That was her name?" the nurse nodded her head, definitely looking sure of it. Behind her, both Nick and Amanda exchanged knowing glances. "Did she say anything else? Where she was coming from?"

"No, she was just here for the slash," the nurse replied.

"Okay…" Olivia gave her thank you and turned away, but even her walking pace had picked up in an unusual stride.

"Hey, Liv, you think what we're thinking?" Nick had to ask as they exited the building.

"I knew she looked familiar," Olivia said, though neither Nick nor Amanda wasn't sure if it had been the answer to his question or if she'd just been talking to herself.

~ 0 ~

"Detective Montserrat Novak from the Homicide division in Queens," Olivia pulled up the photograph of the familiar ginger woman for the rest of the squad to see. "She also happens to be a cousin of one of our previous ADAs: Casey Novak."

"Who's now Manhattan's Homicide ADA," Fin nodded.

"She was our witness?" Sonny raised an eyebrow. The mysterious detective seemed too put together to be such a mess for a witness.

"Yeah," Olivia took a seat at the edge of the table, arms crossed.

"And you know her how…?" Nick asked the winning question everyone was thinking about.

"I don't know her," Olivia clarified first. "I knew of her."

"Casey never mentioned she had a family member on the job," Munch leaned back against his chair, eyes examining the photo of Detective Novak. "They don't look alike."

"If you guys haven't met then...what?" Amanda shrugged. "Did Casey talk about her or something?"

"Almost nine months ago, Montserrat-" Olivia pointed at the screen, "-was set to be my replacement at SVU after I took the Sergeant's test."

"My partner?" Nick immediately took interest at that moment. Olivia gave another nod.

"Clearly she didn't make it or else I wouldn't be here," Sonny smirked. His transfer papers were put in faster after the spot before him opened up. Now he knew why.

"What a shame," Fin's joke was met a playful roll of eyes from the new detective.

"So where is she, then?" Munch asked. "Back at Homicide?"

"I have no idea," Olivia got up from the table, unfolding her arms to gently graze her fingers over the table. "She had all the paperwork to transfer - she looked like the right candidate - but then she just retracted. There was never an explanation."

"Should we start making calls to Homicide?" Amanda wondered as she closed her laptop.

"Why bother when we can go straight to the family. Let's just ask Casey," Finn wondered what the ADA would have to say about this once they informed her.

"At this point, it might just be easier," Munch agreed on the tactic. 

"It is," Olivia nodded and started heading out.

"Wait a minute," Sonny called to the woman, only stopping her for a second, "Shouldn't we call Barba then first?"

"Why? I'll get him there anyways," Olivia shrugged and continued on out.

"A Sergeant and a fellow ADA to deal with?" Finn turned to his co-workers, unable to keep his smile from showing. "I'd like to see what poor Casey does."

~ 0 ~

Olivia was set to find Casey and have a civilized conversation about the situation. She honestly didn't think they'd need to subpoena Montserrat, but if things got to that point then she wouldn't hesitate.

This was exactly what her conversation with SVU's ADA, Rafael Barba, sounded like. He was surprised to find their missing witness was related to a fellow co-worker.

"I think Casey will understand our situation and she'll get us in contact with Montserrat," Olivia said for the third time since she got to Rafael's office.

"It sounds like your assuring yourself," he noticed.

She stopped pacing in front of his desk to momentarily look at him. "I worked with Casey for years. She was our longest ADA so she knows exactly what our situation looks like."

"Right," Rafael agreed on that matter, but he then added, "However, I doubt any of her cases had her own family as a witness. If this Montserrat purposely ran from the scene it doesn't exactly give good credibility."

"We don't know what happened nor why she did," Olivia pointed him to stop. "But she's a Detective - and she wanted to transfer to SVU - so she should be willing to help."

"Exactly, she should be willing to help us. But she ran off," Rafael didn't think he needed to explain more than that. "Exactly what kind of Detective does that?"

"You start asking those questions, we lose the case even before we step into the courtroom," Olivia warned. She checked her phone for the time and saw it was past noon. "Casey's lunch hour ended, right?"

"Yeah," Rafael got up from his chair and levelled a look with the woman. "I have to warn you Olivia, Casey might just protect her cousin."

"I know Casey and she wouldn't. You know Casey and you know she wouldn't," Olivia started heading for the office doors. "Plus, if we tell her that her cousin is our only witness in this case, she'll be more than willing to help us."

"She better because as of now, Detective Novak would be the only one who could tell us what happened," Rafael bitterly said as he followed Olivia. It irked him this runaway Detective was the only person who could make or break his case. "Hayley doesn't remember-"

"-yeah, because she was drugged," Olivia reminded him.

"True and I'll be sure to mention that in court. But the point still stands that she can't talk much about the rape if she doesn't remember."

"I know," Olivia sighed, about to retort when they both heard an ongoing argument from the hallway.

"...you know the deal…"

"Of course I do, Casey! I have to appear but - would you stop walking so fast!?"

"I have a meeting with a Detective-"

"-listen to me Casey!"

"Could it be that easy?" Rafael whispered to Olivia as the two continued to listen.

"Let's find out," Olivia stepped out into the hallway. As soon as they did, they spotted the familiar figure of Homicide ADA Casey Novak striding down the hall with a smaller ginger haired woman following behind her.

"I know it was wrong but I was scared!" the ginger woman was still shouting despite the attention she was getting from other people passing by. "I'm not at my best!"

"You know exactly what you need to do, Montse. They're good people-"

"-but it doesn't change my situation!"

Casey whirled around and met the woman's gaze. "You know what you need to do. And if you don't, I'll bring you in myself." She left the woman with that and headed into her office.

Olivia was not going to give the woman a chance to flee again. "Scuse me?" she started for the woman in a hasty pace. "Detective Montserrat Novak? I'm Sergeant Olivia Benson and I need to…" but Olivia trailed off when Montserrat slowly turned around.

There was one detail no one had bothered to give the SVU squad.

Montserrat Novak was pregnant.