#I also like being able to fully call it the second trilogy it's such a neat separation from original canon that recognizes the time that has

[constelationprize]

My main takeaway from TSC now being the second trilogy is that I'm gonna spend the next two books waiting for Stuart to do his routine of showing up out of nowhere, being an absolute cunt for no reason, and then leaving at least one more time. Do I think it will happen? No, I didn't even expect it the first time. But a girl can dream.

[zahri-melitor]

Blade Runner, The Matrix and Robins: if you want to run a conspiracy in your story you need to put in the work

One of the central conspiracies people like to speculate about in Blade Runner is the theory of whether Deckard is a Replicant. It's a high-context theory woven into the plot and cinematography of the film. (I'm aware various people, decades on, have 'confirmed' it's true; I don't think that's particularly relevant to this).

The reason why the theory is so compelling for audiences to discuss is that the film in itself poses the question 'what is a human' and sends the main character, Rick Deckard, on a hunt for those clues and mistakes that give away the Replicants he is looking for. Things like Deckard's evasion over whether he's ever taken a Voight-Kampff test, and moments that suggest implanted and shared memories make for a fun second level mystery for viewers to think about and solve. The unicorn dream sequence, with both the dream and silver foil unicorn, provides another pointer for audiences to consider the idea. Even the Replicant Red Eye moments are subtle clues that get called out via the broader focus on eyes.

What also helps the debate and hunt for this potential symbolism is Ridley Scott's reputation as a director who heavily goes for visual cinematography hints and altering stories by changing them in Director's Cuts.

Similarly, The Matrix has a conspiracy that the real world is another level within the Matrix. This one is easy to understand how it developed. The Matrix, as a film, invests a substantial amount of its runtime teaching its audience the clues used to distinguish the Matrix from the real world. We get explicit scenes like The Girl in the Red Dress and explanations of how déjà vu works to demonstrate alterations in the Matrix. We see how characters can alter the Matrix to their own ends, leading into moments in the trilogy where Neo appears to use those skills in the real world being able to be read as 'are we still in the Matrix?'

The thing is: neither movie fully commits to these readings. They're possibilities that audiences can read in, that feel like they've been woven into the plot for people to consider. The audience is drawn to ask the question via the way the hints/clues are found in things the audience is already directed to consider. At their worst, they're artefacts of the audience taking the themes of those films and extrapolating too far.

My feeling about Robins as a comic is that Tim Seeley and Baldemar Rivas want to suggest one of these conspiracy theory stories, but did not have the skill to convincingly pull it off.

One of my difficulties the entire way through the comic was that the story did not know when it was set, and indeed repeatedly suggested via both dialogue and art that it was set in very different periods.

Robins takes place at least partially in a generated overlay from information based on Bruce's notes on the five Robins and also on various criminals. It's trying to take the log entries from Gotham Knights #1-11 and extrapolate that concept out to 'what if having this went wrong for Bruce'. (And I shouldn't really be surprised that Seeley chose to do this: Seeley is very big fan of Devin Grayson's work in the Bat books and frequently chooses to reference it)

The markers used for this simulation are firstly the level reward bonuses, and secondly the singing robin (that apparently uses the wrong call).

In that light, you could argue that problems like characters wearing the wrong costumes, from non-matching eras, and holding views that don't really accord with those characters is supposed to be a series of hints about the resolution of the title, rather than a set of weird screw ups that involve suggestions that the team didn't both checking details.

My issue is that it doesn't feel earned. If Seeley and Rivas really did want to hint and direct their audiences into reading that the presentation, comments and impressions of each of the Robins in their story were wholly based on Bruce's conception of them, then I think those discontinuities should match each other more clearly within each character.

Take Tim for a moment: he wears his original 1990s Robin costume; is the opponent of Damian's 'gauntlet' (a period in which he was wearing his all red Robin costume); has his overlay stolen for a rant about how Tim things the Obeah Man and other villains should die in a way that explicitly references Red Robin #26 (his post-Crisis Red Robin period); and gets specifically removed from the story and trapped in a way that he has to direct others to find him and try to escape himself (suggestions of both the Ünternet and more specifically Mr Oz during Tynion's Tec run). These do not match. If we're supposed to think Bruce is hung up on a specific conception of Tim, and a particularly backward-looking one (which you would assume, given he's put in his earliest Robin costume), why don't the other elements match? Why not put him in his all-red Robin costume to hint that he's Damian's gauntlet? Why not put him in one of his Red Robin costumes if you're going to keep referring to him as Red Robin, and that Bruce's worries about him relate to specific events in that period? And why, if the early Robin costume is supposed to reference Tim's own 'gauntlet', then is he the only character wearing his original costume from the storyline?

And what does not help with this is that Seeley has several obvious screw ups. The most prominent one is he conflates Rite of Passage with Batman: Identity Crisis. The Obeah Man was the villain of Rite of Passage for Bruce, where he was hunting him down to save the Drakes. Tim's personal combatant during that story was tracking down Lonnie as Moneyspider. The storyline where Tim showed the skills and personal judgement that made Bruce decide that he was ready to be Robin was in Identity Crisis, which was a story rescuing Bruce and Vicky Vale from Scarecrow. While the stories are sequels to each other, they're not a contiguous whole: they take part in different titles, with a gap in time between them. Similarly, Seeley places Felipe Garzonas' death as Jason's first case as Robin, rather than his last case.

The whole concept of the 'gauntlets' is the underlying thread holding the story together, the aspect on which Bruce's analysis of each of the Robins and whether he wants to work with them is based, leading to the computer files, leading to the entire plot.

If you mess up like that, audiences are less likely to grant that you're trying to build hints in that something is wrong by having things be noticeably mismatching, because you've also screwed up the ground on which you're trying to construct the story. You cannot fairly claim that the incongruities you put in to hint at your plot are something that should be analysed as clues when you've already primed your audience to think that you're just a hack making blatant mistakes.

And this problem extends to all of the characters, not just Tim. Tim's just the easiest for me to pick apart because I know the references made so well (and Tim Seeley clearly doesn't actually care as much about Tim as several other characters, making the oopsies more obvious).

The issue with this story isn't simple single-panel moments like "And I need to hear it from you, Tim, because Jason and Damian lie through their teeth" or Tim saying he "demanded" to be Robin where people can dunk on it by showing another panel like the Teen Titans 2003 "I lie to Batman" panel or ALPOD. It's in the fact it tries to be clever but doesn't earn audiences' trust to do that analysis. And it doesn't earn that trust because you can't pick apart what's a deliberate incongruity as a hint from what's a general mistake from the team, and if you do pick at elements that look like outright mistakes, the whole thing comes tumbling down.

Blade Runner and The Matrix train their audiences from the very start of the story to look for these incongruities and hints and showcase what problems to look for openly in the plot, leading to people to heavily analyse background details for further suggestions of these hints. They earn the buy in that leads to the elaborate fan theories.

Tim Seeley forfeited his audience's buy in to the story he apparently was trying to tell by not being exact enough about the details in a story where he wanted them to pick at those details, and not showing early enough that the audience is expected to be picking at those details. And that's just poor writing and biting off more than you can chew.

[nkjemisin]

Hello, hope you're doing well. Love your work a lot :)

If you don't mind, I'd like to ask an open-ended question about the Great Cities Trilogy becoming the Great Cities Duology.

It's fantastic either way! I'm just curious about how things would be different, in different circumstances.

I appreciate your time. Wish you all the best ❤️

Spoilers for the Great Cities!

Thank you!

It's important to understand that when I start a new trilogy, I really only plan out the beginning and the end in detail. The rest is just general points I mean to hit in each book. So I can tell you some ideas I thought about putting into the books at the time, but I can't tell you exactly what I would've actually written if my initial plans hadn't gotten derailed -- I'm not that much of a planner, and I tend to change course midstream anytime I get a better idea for something. But here's what I wrote into the first outline.

Book 1: What you read

Book 2: Tentative title: "The City Hard Fought." America vs. New York. I'd been planning to have a demagogue president -- obvs inspired by Trump; I started working on developing this as a book in 2017 -- attack New York City to further his political ambitions. This would've taken the form of the president eventually threatening to bomb the city/all blue cities. At the time I came up with it, the idea seemed completely far-fetched and silly... Aaaaaaand then Trump started attacking New York City to further his political ambitions. I realized I really didn't want to speak some ideas into existence, and also that I couldn't make something like that funny when it was really happening and ruining people's lives. So I changed things up. The mayoral race would always have happened, but I originally intended to put the start of it in the background of the second book and have it culminate in Book 3. R'lyeh would've spent a chunk of this book being punished for her failures in Book 1, effectively taking the metaphysical stuff off the plot table for a while so human nonsense could move to the forefront. Aislyn and São Paulo would've ended up trapped in the Ur with her (hadn't fully worked out how), and that plot would've turned on Aislyn convincing R'lyeh to do a jailbreak. The end of the book would've been Manny's family calling him home.

Book 3: Tentative title: "The Last City" or "The City Unbowed." New York vs. everybody else. With the demagogue president dead (I was planning for him to get eaten by the Ur, painfully and slowly), things would've gotten metaphysical again, with multiple cities coming to life and causing chaos, effectively led by the newly-awakened Chicago. I'd intended the core of this book to be an escalating "cold war" between NYC and Chicago, with their star-crossed romance and Brooklyn's first 100 days as magical mayor (dealing with an ambitious senator attempting to use NYC to establish himself as the next big demagogue) echoing the politics of the living cities. Among other things, it would've turned out that the Ur was manipulating things to cause war between the living cities, via a traitor in Manny's family, in order to weaken the cities and cause the "falling to the bottom of the Tree" problem that you saw in TWWM. I always planned to end with the climactic "all the living cities march to war as ghostly giant robots" scene that happened in TWWM, but I'd planned for R'lyeh to fight alongside them, and they would've been fighting a manifestation of the Ur itself. Probably a Cthulhu-like monster -- but monsters aren't very interesting to me, so as with TWWM the real threat is the Ur's authoritarianism.

So, different but not that different. Not sure I would've been able to fit in everything I'd originally planned; when I first come up with a new series I tend to be big on ideas, but not all of them work when I start writing. As you can see, I retained most of the major plot elements I'd originally planned. I think the biggest loss was the character-specific subplots I had planned. Like, Veneza would've had a blowout with her racist father; Chennai's ancient avatar was going to try and seduce Padmini back home to take over from her (same subplot involving the risk to Padmini's visa status); Brooklyn would've been a badass mayor; Manny and Neek would've gone on some awkward dates and probably had at least one awkward morning after. I would've spent more time on R'lyeh as she basically starts to decolonize herself. We would've gotten a lot more of Evil Manny, and Neek would've had to talk him down/win him back at some point. Also, tentatively I'd originally planned that Neek's revealed name would be "Nueva." Glad I changed my mind about that one.

Sad that it won't happen, but there's always fanfic! (Don't show it to me tho. h/t @seananmcguire )

[franzizka]

okay so major credit to @mutxnts for always getting the best aa Thoughts (tm) out of me bc tonight we were talking about phoenix and how he gives. so much of himself. to other people. not just his clients (which he does!!!) but his friends. and obviously this is a major character trait of his... but also it’s pretty revolutionary considering what he went through wrt dahlia and iris.

like, we don’t get to see much of the fallout of the case that phoenix is in save for him deciding to become an attorney and asking mia for her advice. he just found out that the girl he was dating for 8 months was using him the entire time simply because he was a generous and nice person. that has to have been a major wake up call. should phoenix stop doing nice things for people, or should he stop trusting that people have such good intentions when they ask him for things?

i really think that for a long time phoenix probably had a really hard time believing in people. now this sounds kind of out of character at first, but there were a good two or three years in there where phoenix was training under mia, and up to his very first case she was reminding him to believe in his clients’ innocence. that would probably be pretty hard for him after everything that happened with dahlia.

and it works really well for him and becomes something he takes to heart -- but then again in the second game with the engarde case he gets used again. his client turns out to not only be guilty of murder but of taking advantage of phoenix and hurting the people closest to him. it’s honestly kind of a miracle that he didn’t lose faith again, although by then he had people in his life to help him keep those tenets alive -- maya, mia, miles, etc.

then bridge to the turnabout comes along like this great big cosmic test of everything, and just like it wraps up all of the storylines in the trilogy, it touches very heavily on this trust phoenix has too. it doesn’t ask him to forgive dahlia and iris -- i think that’s really important. it just asks him whether he’s going to trust iris’s innocence in this specific instance. and he has no reason to do that, but he decides to anyway, because by now he has fully committed to that trust, that belief in other people, and he sticks to it even when dahlia ridicules him to his face about it. and it ends up being his saving grace.

the concept of trust in your clients is something that can be a little weird in ace attorney especially when it implies that guilty people don’t also deserve a defense in court, and i’m not gonna argue that at all, but i also think that phoenix’s journey from being hurt in a really, really specific and targeted way to being able to heal and help the world even when it’s been cruel to him is an underrated part of the games.

[authorjoeypaul]

5 FACTS ABOUT MY CURRENT WIP: KEEP YOUR PROMISES

Last week I talked about my other wip, which you can find here. This week I wanted to give you five facts about Keep Your Promises which is the third, and possibly, final book in the Sara Song trilogy. If you're interested in the previous five facts for this series you can find them here and here.

So what's the book about? Sara Song is fifteen and a newly developed psychic. Normally psychics manifest when they're eleven, but Sara was thought to be a gulfer, someone who had psychic parents and yet never came into their abilities. I can't go into too much detail here because of spoilers, but Sara isn't just a dual psychic, she's so much more than that. The book itself is young adult paranormal/mystery, or perhaps just plain old urban fantasy, if you don't know me well, you know I usually reserve the right to change the genre right up to publication! This book is still in the very early stages so I've not narrowed things down just yet.

FACT #1: SARA HAS A MASSIVE MISSION AHEAD OF HER

Following on from the second book, Sara has made her decree and is now facing a massive mission that she's not sure she can pull off. She has her friend, Kyla with her, but between the two of them, they have to do the impossible. They have to stay hidden, confront the psychic service and somehow come out as the victors, and that's not going to be easy, though no one ever implied it would be.

FACT #2: SARA'S EYES HAVE BEEN FULLY OPENED TO THE TRUTH OF THE PSYCHIC WORLD

When Sara first manifested, she was excited about finally being able to join other psychics and be allowed to learn about her abilities and how they would work. She had a mindset that now looking back, she would call naive and immature. So much has happened to her since then that she's not sure how she could have missed it all before. While she'd been somewhat sheltered by her pro-service parents, she never realised just how deep the corruption, the control, went, and now she's seen it, she can't and won't walk away.

FACT #3: SARA'S FINALLY ADMITTING HER FEELINGS TO HERSELF

Sara's best friend, Avary, isn't with her any more. They were left back at Gatherweed and with the truth about their heritage hanging over them like a sharp blade, Sara wants nothing more than to go back, rescue them, and being them to a safe place. She can't do that and she also couldn't bring herself to admit that she has deeper feelings for Avary than anyone realised. Her goal is to keep them safe, to make sure that they don't pay for Sara's crimes, but she's at a loss as to how to do that.

FACT #4: HER LUNGS ARE GETTING WORSE

Sara has always had problems with using her abilities triggering her severe asthma. Now she's been thrown in the deep end, it's sink or swim time and her lungs are getting worse with every new hurdle put in her way. She's never been fit as such, but now she's expected to train, to fight for the cause, and her lungs did not get that memo. She's scared that she'll let the side down, that she'll be captured, that she'll be forced to service the very people she hates.

FACT #5: SHE WILL NEVER ADMIT IT, BUT SHE DOESN'T THINK THEY CAN PULL IT OFF

With every new hurdle put in her way, Sara is starting to doubt whether the people around her can actually do what they want. She doesn't even know if she and Kyla have the skills necessary to do what's been asked of them. Given her extreme lack of education until she went to Gatherweed, Sara isn't sure she's the right person for this job, and it doesn't feel like she has any choice but to do her best, while knowing it's likely that she will fail, she will let people down, she won't be able to stop the battle that's coming, and with everyone's eyes on her and Kyla, she doesn't think she'll ever forgive herself if she fails.

So there we go, those are the five facts for my current WIP! I'm really loving this series and hoping that this one will go as well as I hope and resolve everything nicely. We'll see if there will end up being a fourth book in the series, but if that's the case, I already have a title in mind, which is a good feeling!

Any questions? Lemme know in the comments!

Follow Joey here on her blog, or on Facebook or Tumblr to be kept up to date with the latest news regarding Joey and her books.

[gra-sonas]

ENTERTAINMENT WEEKLY: Was the year time jump because of the pandemic? To sidestep making that too central to the plot, or was that always the plan?

JEANINE MASON: That was always our intention and it was just sort of a saving grace in that way. We also don't acknowledge the pandemic in real-time on our show. There are no masks and that was just so wonderful just to get work in that way and have that time where it was a little more normal. Also, that's just our show — we want you to come to us the way you always do, which is for nineties nostalgia, sexy Cowboys, brilliant scientists, you know? CHRIS HOLLIER: So we wanted to drop our characters in a year later, let them stew in their individual decisions that were made last season. We want everyone to root for our poster couple but we want to honor what happens in real life, which is sometimes you step away from that person, even if you are entwined with them in a very particular way. So we wanted it to be a real enough time and distance so that they could live a little life on their own.

With showrunner Carina Adly MacKenzie departing at the end of season 2, has much changed? Or are you still working with ideas she had in place?'

HOLLIER: It's a little bit of both. There are things that Carina and I built that live all the way through and then once the story got up on its feet, discoveries were made with our new crop of people that we were like, "Oh, we're going to bend it this other way."

Jeanine, how is Liz doing in her new life in L.A. when we pick up this season?

MASON: Well, it's been a year and at this point, her life is actually pretty great. She just hasn't taken a second to acknowledge that. She's doing what she does best, which is just full head in her work and trying to figure out what she could use of her discoveries and her brilliance to save Maria. She has a great job, a really nice place, and an awesome partner at work who is a good time and a real match for her in terms of intellect and ambition. He begins to ask her to recognize that and to maybe give something a chance that she's been reluctant to because of how drawn she is to Roswell and to Max. It's a fun first episode. It's sexy. It's fun to find opportunities for her. She's our hero so she's got a lot on her shoulders and anytime where we can find levity for her is always a real treat for the writers and for me.

And no Crashdown waitress uniform must be nice?

MASON: Honestly, I miss it quite a lot right now. I have a note in my notes with Chris, I'm like, "I gotta tell him we gotta find him more opportunities for it."

Should Liz and Max shippers be worried about them finding their way back to one another after he destroyed her work and didn't follow her to L.A.? Should we resign ourselves to a season apart?

MASON: This season really is about these characters having themselves mirrored to each other. Max and Liz need some growing and ultimately they can't do anything but be orbiting each other. We found so many opportunities to have such a beautiful language around the cosmic element of their connection. They're asking, "Is this our decision, or are we just acting off of a decision that the cosmos made for us?" It was so fun to navigate that. I always have such a good time with Chris Hollier and with Nathan Dean, just finding the little tiny notches, a tiny bit of movement towards where they're going next. I really loved following them. It's my favorite Max and Liz season to date.

HOLLIER: It's not a season apart. I'll tease that they, in an unexpected way, end up in front of each other relatively soon. But it's really about when am I ready? And what does it mean to talk to my ex? When someone makes such a big influence in your life, when do you know it's over and when do you know you should fight again? We tried to give them real grown-up lives.

Steven Krueger (The Originals) also joined the cast as Heath this season. What can you tease about his character?

HOLLIER: He's just an awesome human being. I know him from The Originals and we were like, "If we're going to have to be stuck with people in the desert, who do we want?" You want to be stuck with a handsome and lovely and charming Steven Krueger. So really this was looking at, "Well, what did Liz want and what does it look like when you start to give Liz versions of what she wants?" Heath is somebody that is beyond being just a lovely person, he is smart and wants to advance science and that's appealing to Liz. It becomes, "What does it look like when the man that I hang around with all day is also into the same things that I am?" MASON: I love him. Heath is just such a fun, whip-smart, fantastic character. His humor was so fun. We've been having a good time with kicking the humor up really through season two and in season three, we just took it up another notch. There are some moments that are like, "Is this a drama or is it a sitcom?" Looking back on it, he was such a fun partner to spar with. They're both such intellectual characters and I love that there's a real meeting of the minds. It makes it competitive and sexy. I know a lot of fans are so excited because they know him from The Originals and he's going to be a great addition.

Technically, Mr. Jones is a new character too. Can you tell us anything at all about him?

HOLLIER: I'd say he's a new character — and a fully-fleshed interesting new character. Mr. Jones has an awesome beard. At some point, he might lose that beard. A lot of people are asking me, "Is Jones good or bad?" And what I would argue is that's a perspective based upon who you are in the conversation that you're having with him. He knows a lot about our heroes' story and he knows a lot about home. He'll be able to answer questions for them. This season our heroes will get to learn why they ended up here on earth. One of the things I think that people will love is that they're going to get to see that home planet this year. We asked ourselves a lot about this whole season, "What have we set up for the past two?" We look at these first three seasons almost like a trilogy so a lot of things are going to be paid off.

Has Nathan enjoyed pulling double duty this season? Or is he just exhausted?

MASON: He's exhausted, but he's such a champ. That really is the beginning of this mirroring thing that starts with Max and Jones with him actually getting to look at himself to a degree and those questions that come up. The self-analysis that it provokes in him is really the beginning of what is happening to all of our characters this year; everybody's being confronted with themselves. I loved that the Max/Jones of it was also a real sci-fi element.

Did he really grow that beard or was that not possible if he had to go between the two characters?

MASON: That was a prosthetic beard and our makeup team killed it. He was not accustomed to early mornings, which, of course, all of us babes are. It was a lot of extra time in the chair for him.

Can Jones dupe Liz into thinking he's actually Max since she doesn't know he exists?

MASON: You're totally on to something. It's a real and pressing threat. I mean, she's totally in the dark and he looks like her cosmic lover!

HOLLIER: What I will say is that, Liz — beyond her being number one on the call sheet — is integral to this story in a way that she and none of our characters are going to perceive when they start episode one. We're bringing [the characters] to a new crossroads moment in their lives and they're getting, through Jones, a mirror into their own lives to decide what they're going to become next.

How's Rosa (Amber Midthunder) doing this season?

MASON: By the end of season two, Rosa really makes the decision to start taking care of herself. She really becomes an incredible asset to the Scooby-Doo gang. It's something that Liz is in constant adjustment to. As much as she's the younger sister, she feels very protective of her sister and Liz has had to make adjustments in her trust and faith in Rosa. I loved it because it just felt like a real personal, authentic thing that sisters would go through, but also that Hispanic sisters would go through. I think we sometimes, culturally, have a tendency to baby our women — maybe that's the wrong word — but just to underestimate their physical ability and what they might take on, and sort of 'queen' our women in a way where we treat them tenderly. I hate that. I'm a tough bitch and so is Rosa. So Liz has to confront that and go, "I'm an idiot to underestimate you. You've done nothing but prove me wrong."

What about Maria and her visions?

HOLLIER: This year I think Maria has the most complete arc of any season, as she recognizes things about herself that cause more questions about who she is, who her family is, how she's linked to this story. We dive into it in the present-day and we dive deliciously back in time too.

In the exclusive clip above we see her have a vision of a funeral, can you tease anything about who potentially might be about to die?

HOLLIER: Maria is front and center in driving the first half of the mystery for us. She's burdened with trying to figure out whose death she is seeing. It takes a few episodes to unravel and we use it to ask, is this linked to our supernatural stories or real-world stories that are going on politically? Is it bad luck? Is it herself? There's a whole gambit at play. We joke that we solved a past murder, now we're going to try to stop one.

Can Malex (Michael and Alex) shippers have hope that this might finally be their time?

HOLLIER: What I would say is that I think that Malex fans are really going to dig this journey. We, as writers, put them at the same level of importance as Max and Liz. So we wanted to really honor the next step in what they may or may not be. How did they grow up and how did they have those hard conversations just like Liz and Max are going to have?

Is Isobel going to continue to date women this season?

HOLLIER: Isobel is going to go on a more personal journey. You got to love yourself before you can love someone else. We lean into those possibilities by the end of who she might love. It's not something that is dropped all season — it is something that you'll see. We play some romantic comedy stuff with her character this year and with Maria that I think fans are gonna dig. There's a lot going on in the world and wanted to pump some humor and hope into it.

Will see more of Liz fighting to challenge the perception of the Latinx community?

MASON: I think that just by nature of it being one of such few shows that are led by a Latin woman, it's always going to be, to an extent, a protest or an assertion of the space that I get to fill and that Liz Ortecho gets to fill on network TV. I was really excited to just have Chris as a collaborator. Over our hiatus, before the season started, I was doing a lot of reading. I chronicled the books that play into Liz every season on my Instagram. I was reading some Sonia Sotomayor. Her book is just incredible. I was texting him screenshots of pages of the book with things underlined. Ten episodes deep into season 3, he's like, "Remember that page you sent me?" He's a real dream collaborator. I loved him for that. A pressing struggle for people of color is going through the ranks in these big corporations and then sometimes coming to find out that those corporations are purporting to support marginalized groups but actually aren't following through. So how do you, as someone who's having your success, your dreams become reality, navigate supporting the company and giving so much of your intelligence and your work — that they often legally own, especially with science — to a company that isn't going to be for your people?

Roswell, New Mexico returns Monday at 8 p.m. on The CW.

[onlydylanobrien]

Dylan O'Brien - NME Magazine Interview

Dylan O’Brien: “I was in this transitional phase – close to a quarter-life crisis”

From YA heartthrob to legitimate leading man – how the 'Maze Runner' star hit his stride after a whirlwind decade

Definitely!” hoots Dylan O’Brien when NME asks if he still has to audition. “I’m not Tom fucking Hanks, bro.” He’s clearly amused by our question, but forgive us for thinking the 29-year-old actor gets cast on reputation alone. A decade into his career, and he’s making an impressive transition from teen TV star and YA franchise hero to charismatic leading man.

New York-born O’Brien cut his teeth on MTV’s hit Teen Wolf series, before landing the lead in the Maze Runner film trilogy based on James Dashner’s hugely popular novels. Leading a band of bright young things that included ex-Skins tearaway Kaya Scodelario, Game Of Thrones’ Thomas Brodie-Sangster and Will Poulter, he honed his craft while racking up nearly a billion dollars at the box office. “My career is a constant acting class,” says O’Brien. “To be able to do the Maze Runner movies simultaneously with Teen Wolf was amazing in terms of getting in reps and working my [acting] muscle.”

Now for the sometimes tricky bit. Many actors struggle with the post-breakout period, but O’Brien is making it look easy so far. This year’s Netflix hit Love and Monsters proved he can carry an old-school family adventure, and new film Flashback (out next week) reveals an appetite for weirder, more cerebral work. He stars as Fred Fitzell, a young man reluctant to buckle down to life as a nine-to-fiver with a boring corporate job and a long-term girlfriend (Mindhunter‘s Hannah Gross). When he runs into a freaky-looking acquaintance from his teenage years, Fred becomes obsessed with finding an old high-school friend he used to drop a mind-bending experimental drug called Mercury with. It’s difficult to say any more without entering spoiler territory, but Flashback is a wild ride underpinned by the idea that we can exist in several realities at once. Even if you follow every plot twist, you might not fully understand the end. “Oh, it’s definitely a headfuck,” O’Brien agrees. “There’s not totally an answer to figure out. There’s a lot of different things that people can take from it.”

Speaking over Zoom from his LA home, O’Brien is bright, thoughtful and really good fun to talk to, especially when he relaxes into the interview, but he clearly knows where his line between public and private lies. When he first read the Flashback script, written by the film’s director Christopher MacBride, his “mind was blown” by just how much he related to Fred. “I felt like I was in this transitional phase of my life that was, you know, sort of close to a quarter-life crisis type thing,” he says. “For whatever reason, it was like me and this script were meant to be. I remember reading it and thinking: ‘I am this guy right now.'”

“There were a lot of things in my personal life that were neglected for a while”

When we ask why O’Brien felt as though he had reached a “transitional phase”, he gives an answer that’s vague but not exactly evasive. For understandable reasons, he doesn’t mention the incredibly traumatic motorcycle accident he sustained while shooting the final Maze Runner film in March 2016. O’Brien suffered severe trauma to the brain and said in 2017 that he underwent extensive facial reconstructive surgery after the accident “broke most of the right side of my face”. Tellingly, he’s never really revealed what happened on set or how it affected him.

Today, O’Brien dances around the details of the accident and other issues he was dealing with at the time, but doesn’t shy away from discussing his inner conflict. “You know, it was a lot of personal things combined with at-a-point-in-my-career things,” he says after a brief pause. He says he’d have been going through some of this stuff anyway, simply because of his age, but it sounds as though success intensified it all. “It was like this whole fucking storm of shit,” he continues. “I was simultaneously so fulfilled and happy about these, like, otherworldly and surreal things that I had experienced in terms of where my career had brought me. I had all this confidence and fulfilment and beautiful people [in my life] – such amazing things to experience at a young age. But at the same time, there were a lot of things in my personal life that were unchecked and sort of neglected for a while.”

O’Brien says that in time, he realised he had to “stop for a second” and “re-explore how I wanted my life to look going forward”. In fairness, you can see why he needed a breather: his career took off while he was still a teenager. After his family moved from New Jersey to Los Angeles County when he was 12, O’Brien contemplated a career as a sports broadcaster – his Twitter bio still bills him as a “no longer suffering Mets fan” – then began posting YouTube videos as moviekidd826. A funny, slickly edited skit titled ‘How to Prepare for the SAT in 45 seconds’, shared when he was just 17, shows he was a born performer and storyteller. YouTube success led to him getting a manager, but his breakthrough role in Teen Wolf still came out of the blue. At the time, he was treading water at a local community college and taking auditions on the side.

Still, he has since taken a rather fatalistic view of this career-making moment. “It’s totally weird because, when I think about it now, I don’t see how it could have happened any other way. I can’t picture myself doing anything else now,” he told Collider in 2011. “It was really sudden and a little random, and not provoked by anything. It was just out of nowhere. It wasn’t my intentional doing.” Today, O’Brien summarises his skyscraper career trajectory succinctly. “I guess I just graduated high school and started acting,” he says. “And then I felt like I was just flying by the seat of my pants and never got a chance to stop.” Thankfully, straight-out-the-blocks Hollywood success hasn’t taken away his sense of perspective. When I say how easy social media makes it to compare yourself unfavourably to others, O’Brien jumps in: “Yeah, that’s very true. I was watching the Billie Eilish doc the other day, and I was like, I’ve done nothing. I’m not an artist at all!”

“No one thought ‘Love and Monsters’ was going to be good!”

O’Brien is also self-deprecating when he talks about being cast in Flashback, suggesting it happened because he had such an intense connection with Fred. “I was honestly like, ‘Who is watching me right now?’ That is the best way I can describe how I was feeling when I came across this script,” he says. “Chris [MacBride, director] and I had this conversation that went so well in terms of [my] understanding this script that I think he’d sent around a lot and [that] very commonly wasn’t understood. I think Chris has even said that the night before shooting, he suddenly had this thought, like, ‘Wait, do I even think he’s a good actor?'”

Though O’Brien has firmly ring-fenced elements of his private life, he’s actually pretty frank about his acting vehicles. He readily admits he was expecting a snobbish response to Love and Monsters, a CGI-heavy hybrid of post-apocalyptic action and romcom that dropped on Netflix in April and topped the streamer’s daily most-watched list. “It means so much that Love and Monsters has gotten the response that it’s gotten,” O’Brien says. “No one thought this movie was going to be good.” His blunt honesty makes me laugh out loud. “No one did though!” he says in response. “And so, fuck that. You know, most of the people who say something to me about the movie, they’re like: ‘I watched Love and Monsters, and it was… good?’ And honestly, that just cracks me up.” For obvious reasons, we hastily decide not to share our response to the film – namely, that it was a whole lot better than expected.

In Love and Monsters, O’Brien plays Joel, a survivor of a so-called “monsterpocalypse” that has bumped humans to the bottom of the food chain. Though he’s known in his colony as a bit of a coward, Joel sets off on a treacherous 80-mile journey to find his high school sweetheart Aimee (Iron Fist‘s Jessica Henwick), which means evading the hungry clutches of various supersize grizzlies including a giant monster-frog hiding in a suburban pond. It’s a simple but pretty out-there premise that wouldn’t work if O’Brien’s performance was even slightly condescending. Instead, his unselfconscious sincerity really sells a film that has as much in common with the family-oriented Robin Williams movie Night at the Museum as darker fare like The Walking Dead.

His obvious affection for the project really comes across during our interview today. “When I read the script, I just thought it was so sweet and funny and smart and unique, but at the same time reminiscent of all these movies that don’t really get made any more,” he says. That’s a fair point: Love and Monsters is neither a fail-safe superhero movie nor a slice of classy Oscar bait. “And when they were talking about how to market this movie, it was so funny hearing all these conversations like, ‘How do we actually get people to watch it?'” he adds. “But that’s a big part of the reason I wanted to do this movie: because it felt like something I missed seeing.”

“I’m lucky to be surrounded by people who want to make something out of love”

So in a way, Love and Monsters was a risk for an actor seeking to establish himself outside of a bankable movie franchise and a hit TV show. O’Brien has only made four films since his final Maze Runner outing in 2018, and insists he hasn’t been tactical with his choices. “I don’t have anyone saying, ‘We need to get you in an Oscar vehicle’, or any of that kind of shit,” he says. “I’m really lucky to be surrounded by people who think like me: that you should do what you’re drawn to, and make something out of love.”

He’s recently finished shooting a mysterious crime thriller called The Outfit in London with Mark Rylance. Directed and co-written by Graham Moore, who won an Oscar for his screenplay to Alan Turing biopic The Imitation Game, O’Brien calls it “quite possibly one of the most special pieces of writing I’ve ever experienced”. He first read the script on a plane and says he “actually stood up and clapped” when he got to the end. Considering O’Brien probably wasn’t flying Ryanair, this reaction presumably attracted a few baffled glances.

Anyway, it must be pretty intimidating walking onto set with Rylance, a multi-award-winning actor revered by his peers – Al Pacino once said he “speaks Shakespeare as if it was written for him the night before” – but it sounds as though O’Brien took it all in stride. He says he’s confident in his abilities, but admits to having a slight wobble whenever he begins a new project. “I’m always sort of re-questioning everything – like, ‘Can I even act?'” he says. “But I think there’s something very natural about that. I think even Rylance could relate to that feeling. Acting is like starting a new year at school every single time.”

At this point in his career, O’Brien has made peace with the fact that some people will have preconceptions about him based on what he’s known for: Maze Runner and Teen Wolf. “People will put you in a box no matter what,” he says. “There was definitely a time when that would get to me, especially when it felt like somebody had a perspective on me that in my soul, I just felt wasn’t accurate.” Still, there’s no doubt he wants to show us what’s really in his soul with more films like Flashback. “If anything,” he adds bullishly, “it just makes me think: ‘Right, I’m really gonna show them now’.”

‘Flashback’ is out on digital platforms from June 4

[stormyoceansmain]

[im very much NOT a writer - i cannot stress this enough - but i truly mean it when i say sambucky is making me go insane. i find no other explanation for ending up writing 3.8k words of sambucky, alpine, and movie night. thank you if you decide to read this, i hope it's not too terrible]

Sam shows up at Bucky’s place for movie night with a case full of beers and ten minutes to spare.

Sarah makes fun of him for this Friday tradition they’ve been carrying out for the past few months, says he should just muster the courage to ask Bucky out on a proper date already. It doesn't matter how many times Sam told her he is just helping Bucky catch up to the 21st century, she always ends up giving him that Look that says she's not believing any words coming out of his mouth, which is kind of unfair, if you ask Sam.

Well, fine, maybe Sarah is right. Maybe Sam does want to take Bucky out on an actual date and hold his hand and kiss him goodnight and do all those sickeningly romantic stuff he used to daydream about when he was 16. Turns out former assassins who are incredibly annoying but also surprisingly kind are very much Sam's type. Go figure.

Still, they worked hard to reach the kind of friendship they currently have, and Sam doesn't want to lose that. He's also not blind to the way Bucky flirts with Sarah, and despite her insistence that Bucky does it more to rile Sam up than for any real interest in her, he’s not about to risk it all on a whim.

This resolution almost crumbles into dust a moment later, when Bucky opens the door wearing sweatpants and a blue shirt that matches his eyes. He is barefoot and his hair is getting longer, losing the harsh edges of the cut and curling slightly behind his ears. He is still all chiseled jawline and defined muscles, but he looks softer, more comfortable in his own skin, and the easy way he smiles at Sam makes a heavy warmth pool around Sam’s stomach.

“Hey,” Bucky greets him, sliding his metal arm around Sam's shoulders to pull him into a brief hug.

This, too, is something of a novelty. There's always been a sort of intense physicality about Bucky, both in how he carries himself and in how he is always aware of the bodies moving around him, but the casual affection, the playful abandon with which he touches and lets others touch him these days, feels like a wonder. Sam would have never expected it, and he had come to love and hate it at the same time.

“Hey yourself,” Sam greets back, splaying his free hand across Bucky's back, allowing himself to hold him there and breathe him in for a second, a fresh lemony smell coming off his hair, before giving him a quick pat on the shoulder and putting a respectable amount of space between them.

He buries his hands deep into the pocket of his jacket and follows Bucky inside, trying to resist the urge to slide his fingers under the hem of Bucky's shirt and feel the warm skin underneath it.

It's the first time Sam steps into Bucky’s apartment since Bucky took home the stray kitten he found on the side of the road three weeks ago, and the changes around it are staggering. Sam was used to empty spaces and few, essential furniture, but now the space in front of the window is occupied by a giant cat tower, and lots of smaller scratching posts are scattered all over the living room, along with different kinds of cat beds and toys.

“I see you redecorated,” Sam says with a grin.

Bucky shrugs, opening two of the beer bottles with a quick twist of his metal hand. “Cats need stuff.”

“Don’t get me wrong, I'm glad.” Sam grabs one of the bottle and clinks it against Bucky's. “Pets are great company and the place looks much better like this. I wouldn't have pinned you down as the crazy cat lady type, but it's always better than Robocop.”

Bucky rolls his eyes, takes a sip of his beer. Sam catches the smile he is trying to hide anyway.

Sam knocks their shoulders together, asks, “So where is she?”

“Hiding, probably,” Bucky says, as if it’s the most normal thing in the world. “She doesn't like strangers.”

Sam stops with the beer halfway to his mouth. “Excuse you,” he exclaims, outraged. “I very clearly remember accompanying you to the vet the first time you brought her in. I also sacrificed two of my shirts for her and have scars on my forearms where she scratched me to death. I think I deserve more than being considered a stranger. We basically co-parented that cat for the first few days!”

“That's nice,” Bucky deadpans. “Why don't you go tell her that? I'm sure the speech will convince her to keep the claws to herself.”

Sam glares at him and Bucky pats him on the arm. “Just relax,” he adds, turning to open the fridge and taking foods out for dinner. “If we let her be, Alpine will come out eventually.”

Bucky is right, of course. Sam had a few experiences with strays growing up, cats and dogs alike looking for shelter from Louisiana's storms under their porch, and no amount of treats he and Sarah tried to give them had been able to lure them out from their hiding spot. The best course of action in these cases was to wait, letting them come out when they felt safe enough.

It still weirdly feels like a rejection of some sort, but he tries not to let it show.

Sam takes a swig from his beer and asks, “Alpine?”

Bucky turns on the stove and shrugs again. He remains silent for a moment, a distant look on his face that Sam has learned to associate to memories better buried and forgotten. He is about to start telling Bucky about the science fair at the boys' school to change the subject, when Bucky speaks again, low and careful.

“She reminds me of the snow on the Alps.”

He doesn't elaborate on that, but Sam nods anyway, like he understands. He doesn't, like Bucky will never be able to fully understand what it means for Sam to carry the shield, but it's okay. They have each other, and that's still something.

Sam taps his foot against Bucky's bare one, watches Bucky's entire being exhale and relax. “Couldn't you have named her Snowflakes or something like that?”

Bucky levels him with a stare that tells him he would rather jump off another plane rather than calling his cat ‘Snowflakes’, and Sam laughs.

The far off look in Bucky’s eyes melts away and they fall into an easy rhythm, Sam sitting at the kitchen table and talking about some renovations he and Sarah would like to do to the house, Bucky cutting the vegetables to sauté.

They have moved on to argue about the best way to season chicken breasts – you cannot leave cayenne pepper out of the spice blend – when Sam catches a flash of white out of the corner of his eyes, and interrupts himself mid-rant.

A second later, Alpine jumps on the kitchen counter, sniffing the air.

It's been only three weeks since Sam last saw her, but she's already grown a lot, and looks much better too: her fur is shiny and clean, her eyes bright, and the slight sprain that caused her to limp around seems to be completely healed.

Alpine lets out a soft chirping sound and headbutts Bucky's arm, rubbing her head against him.

The smile Bucky turns to her is blinding, and Sam has to look away before he ends up doing something stupid, like climb over the table and kiss him.

“I know you're here for the chicken,” Bucky tells her, scratching her behind the ears. “But you can't eat this one.”

He scoops her up with a single hand, ignoring the disapproving meow that follows, and deposits her on the table right next to Sam's arm. Sam freezes, unprepared for the sudden proximity and recalling how quickly she can turn around and scratch, but as soon as Bucky's hand retreats, she is moving away, giving Sam a wide berth. She doesn't go back into hiding, though, just settles on the corner farther away from him and stares him down in a way that reminds him so much of Bucky, Sam doesn't know if he wants to laugh or cry.

He is also struck by the sudden need to make Alpine like him.

“Is she gonna maul me if I try to give her a treat?” Sam asks.

Bucky tilts his head, considering, which does very little to reassure Sam about the safety of his fingers.

“I wouldn’t try hand-feeding her,” Bucky answers, fishing out a bag of treats from one of the cupboards. “But she likes to chase them.”

Alpine observes with quiet intensity as Bucky dumps a few treats into Sam's hands, and when Sam tosses one a few feet away she jumps down the table and runs after it, grabs it with a paw.

“Alright,” Sam declares, “that's pretty cute.”

Sam spends the next few minutes throwing treats at Alpine, inching them closer and closer to himself to test how willing she is to get near him with the proper incentive. The last one he places right in front of his feet, then he sits back and waits. Alpine hesitates, eyes flitting between him and the treat as to evaluate if it's safe enough, until finally she starts to move, slowly, slowly. She gets close enough to stretch her paw out, pull the treat towards herself and take it out of reach to eat somewhere else. Sam still takes it as a win.

Bucky clears his throat and announces that dinner is ready, so Sam leaves Alpine alone and helps him set the table.

Dinner is nice. Bucky makes a glazed chicken with honey and garlic that it's to die for, which Sam finds utterly unfair, considering he comes from a time where spices were believed to be a menace to the public.

He still goes back for seconds, and by the time they move to the living room to watch the movie, Sam feels full and content.

He finds Alpine curled up on one end of the couch, and while he believes they made some progress in their relationship, he doesn’t think either of them is ready to bring it to the next level, so he takes the seat on the other side, careful not to disturb her.

Bucky doesn’t say anything about it, just flops down between Sam and the cat with ease, his knee bumping into Sam’s.

This week they are watching the second movie in The Hobbit trilogy, if only for the horrified look in Bucky’s face when Sam told him that not only they made a movie out of the book, but that they actually managed to stretch it into three. Bucky, it turns out, is one of those people who notices every little changes from the original material, disapproves of them on principle, and is very vocal about his displeasure, exactly like the old man he actually is.

Sam had almost fell off the couch laughing during the first movie, and it had taken him a while to convince Bucky to give the other two a chance. Maybe it was a little assholey of him, knowing that it only gets worse, but just because he likes the guy it doesn’t mean Sam doesn’t want to subject him to some bad cinema for his own entertainment. After all, that’s what friends are for.

It doesn't take long for the comments to start up again. Bucky holds up for thirty minutes, rolling his eyes and grumbling under his breath from time to time, but then Legolas and Tauriel show up and Bucky turns his head to look at Sam, face completely blank, says, “Who the fuck are these people.”

Sam bursts out laughing, and it only gets worse when they reach the scene between Kili and Tauriel in the Woodland Realm: Bucky throws his hands up, exclaims, “Oh, come on,” and starts complaining about how they made the dwarf hot just to add a romance. It has Sam in stitches, and he has to grab onto Bucky's shoulder to stay upright and not end up falling into Bucky's lap.

The tirade ends with Bucky sulking and shaking his head, and Sam is glad for the temporary reprieve just so he can catch his breath. He feels flushed and warm, cheeks hurting from smiling, and the quiet is comfortable, familiar.

After a while, his eyes grow heavy, and he realizes he nodded off only when a light weight sets on his shoulder, jerking him awake.

The movie has ended, screen back on the Netflix title page, and Bucky fell asleep as well, head drooping until it had come to rest against Sam’s body.

The metal arm is glinting gold and blue in the light, and Sam stares down at it, then up at the lines of Bucky’s face, the soft waves of his hair. It always surprises him how vulnerable Bucky looks like this, how younger, and it’s so hard to remember there was a time Sam had actually been scared of him, of what he could do. Now, he would trust Bucky with anything. His life, his family, his home. His heart, too, if Bucky ever wanted it.

Sam knows he should wake him up, send him to bed so he can sleep comfortably there while Sam stretches out on the couch, but he also knows that Bucky still has trouble sleeping sometimes, and Sam doesn't have the heart to wake him up if it isn't really necessary. He’s well aware it's also a little bit selfish, because it's nice, having Bucky this close, warm and solid and smelling of lemon.

Sam takes a deep breath and rests his head on top of Bucky's. He thought he could handle this thing he has for Bucky, keep it under control, but he’s starting to realize he might have actually underestimated the size of his own feelings, which could become a serious problem in the future.

For now, though, Sam closes his eyes and lets himself have this.

The next time Sam wakes up, it's to something walking all over him. He blinks against the sudden light and when his vision clears, he finds Alpine sitting on his lap.

Sam stares at her, wondering for a moment if he is still asleep and dreaming all of this up, but his neck is sore, his arm heavy from Bucky resting against it in his sleep; there’s the beginning of a headache pulsing behind is eyes, and a pressure in his bladder telling him he should probably get up.

Alpine sniffs at his shirt and Sam tentatively raises his free hand, strokes a finger between her ears. She leans into the touch, head tilting up and guiding Sam's hand under her chin. Sam tries really hard not to shriek with delight.

“Oh, you're a sweetheart,” he says, a grin spreading out across his face. “Just like your owner. All tough and fierce on the outside, but adorable and charming on the inside.”

Alpine meows back at him, like she agrees with that statement, and Sam tenses up, glances at the steady rise and fall of Bucky's chest.

“We gotta be quiet,” he tells Alpine, petting her down her side. “We don't want to wake him up.”

“I'm already awake,” comes Bucky's voice next to him.

Sam's entire body jerks in surprise, and Alpine leaps off him, startled.

“Man, don't you do that ever again,” Sam says, a hand placed over his chest. “You almost gave me a heart attack.”

Bucky hums, sounding way more amused than he has any right to be, and sits up.

Blood rushes back into Sam's arm, and while Sam is glad to start feeling it again, he's already mourning the loss of contact between them. Except Bucky doesn't go far, just adjusts his position to angle his body towards Sam and rest his head on the back of the couch. It's easier to look at each other, like this, but they are now so close that Bucky's soft breaths are hitting the exposed line of skin above Sam's shirt, the hollow of his neck, making him shiver.

“So,” Bucky says, dragging the word out, lips tilting up at the corner. “I'm adorable and charming?”

Shit.

Of course Bucky would hear that, that's just Sam's luck. God, he is never going to speak again. He will take a vow of silence like in one of those monastic orders and move some place far and secluded where he won't be able to embarrass himself anymore.

He swallows, makes himself let out a laugh. It's meant to be mocking, but it sounds more nervous than anything else. “I think old age is making you hear things,” Sam still tries to deflect, “I clearly said annoying and self-centered.”

Bucky jabs him in the side with a metal finger. “Nice try, Samuel,” Bucky says, grinning widely. “But I've been told I'm a sweetheart.”

Sam's cheeks heat up. “I was talking about Alpine!”

He wonders if maybe T'Challa would let him hide in Wakanda for a while, just long enough for Sam to regain some kind of dignity. He hopes against all hopes that Bucky will have mercy of him and drop the subject, but of course Bucky doesn't. Sam wouldn't either, if their roles were switched.

“You said she is like her owner,” Bucky points pout, eyes bright and so very blue. He pokes Sam in the ribs again. “Which means, you think I’m a sweetheart, too.”

Sam bats his hand away. He may have embarrassed himself and he's lucky if he ends up this night without Bucky realizing Sam has feelings for him, but he is Captain frigging America. If he has to go down, he will go down fighting.

“What you are, it’s a nuisance,” Sam says. “And a creep. Who the hell pretends to be asleep when they are actually awake?”

“I wasn't pretending, you just assumed I was still sleeping.”

“Anyone would assume that, if you don't say anything.”

“I thought you were going to move as soon as you woke up, it's not my fault you didn't.”

“I was trapped between your heavy ass and your cat. What's your excuse for not moving?”

The argument comes to a halt, an awkward silence stretching between them as Bucky lowers his eyes, scratches the back of his neck. He clears his throat, shrugs.

“Your shoulder is nice,” he says in the end.

It's Bucky's turn to blush, a darker pink dusting his cheeks, and Sam feels like he missed something important.

“My shoulder?” Sam repeats.

Bucky doesn't answer him for a moment, then he straightens up on the couch, rolls back his shoulders like he is bracing himself. He looks up at Sam, and all Sam can see are his eyes.

“It’s comfortable,” Bucky whispers. “And I always sleep better when you’re around.”

Sam's mouth is suddenly very dry, and his heart is drumming against his chest in a way he has come to associate with diving down in midair, or dropping from a high place before his wings open up. This, too, feels a little like falling.

“Buck,” Sam says, because he thinks they are on the verge of something here, but he needs to be sure, doesn't want to mess this up and do something he's going to regret just because his head wants so desperately to see what's not actually there. “You gotta tell me if I'm reading this wro--”

Bucky kisses him.

It's a short kiss, just a soft press of Bucky's lips against his own and he's already gone, moving back to look at Sam with wide eyes, face open and vulnerable.

“Okay?” Bucky asks, and if he didn't sound so uncertain, like he's expecting Sam to push him away at any moment, Sam would laugh at how much of an idiot they both are.

Instead, he holds Bucky's chin between his fingers and pulls him back in. The kiss is deeper this time, turns into a wet slide of tongues and a harsh grate of stubble that makes Sam's insides feel tangled and hot. Bucky's arm slides around Sam's waist, and Sam moves his hand from Bucky's chin into his hair, grips it in a way that makes Bucky exhale sharply into his mouth. Sam wants to touch him everywhere, and he moves his free hand to do just that when a long, loud meow interrupts them.

They break apart just in time for Alpine to jump on the couch and sprawl in the space between them.

Bucky huffs out a small laugh, pets her from head to tail. He looks lovely, with his hair sticking up in odd places from Sam's fingers raking through it, his lips red from kissing, and Sam itches to go back for more, to lay him down and map every single part of Bucky's body with his mouth. He has, however, a horrible feeling about this.

“We will never be able to do anything with her around, won't we?” Sam asks, voicing his thoughts out loud.

Bucky sends him an amused smile. “Someone feels confident.”

Sam rolls his eyes, bumps their knees together. “Says the one who was about to climb on top of me.”

He's pretty sure he was the one grabbing and pulling Bucky closer, actually, but it doesn't seem like Bucky is going to call him out on it.

“It was a good kiss,” Bucky says, smile going soft at the edges, turning shyer.

“It really was,” Sam agrees, and because Sarah is always right, even if he'll never admit it in front of her, he adds, “Wanna go out on a proper dinner, see a movie? Maybe do the kissing part again?”

He's not expecting the way Bucky's lips drop down at those words, and Sam's heart sinks. Maybe he did read this wrong, after all. Maybe Bucky wanted to keep things casual, no string attached, and Sam just ruined everything. He tries to tell himself it was better to know that now, before things got too serious on his side, but it gives him very little comfort.

Bucky takes a deep breath, lets it out in a huff. “I don’t know, man,” he says. “If you make me watch another one of these godawful movies I’m afraid I'm gonna have to break up with you before this relationship even starts.”

Sam blinks at him, then bursts out laughing, sudden and loud. “God, you're an asshole,” he declares, but there's no heat behind it, and when he searches for Bucky's hand, Bucky intertwines their fingers together, places a kiss on the back of Sam's hand as an apology.

“I’m lucky you have terrible tastes, then,” Bucky says.

Sam really has questionable tastes, and if you had told him a few years ago that this was how his life was going to turn out, he would have probably laughed, or worse, tried to stop it from happening. But now, sitting there with Bucky grinning at him and Alpine purring between them, he feels lucky too.

[theoriginalcarnivorousmuffin]

ohh i saw your answer about the sequels of star wars. id love to read you tear through the whole trilogy

Well, I’ve avoided this ask long enough. Part of the reason is this is really a huge topic, far too much for one ask, so I’m going to have to do this at a very high level.

In short, the Star Wars Sequel Trilogy is what one gets when you slap together the goal of selling merchandise and making tons of money, being as risk averse as humanly possible, adding a handful of warring directors with incredibly different visions, and having virtually no imagination when it comes to the imagining and writing of characters.

And we get this beautiful, awful, franchise that for reasons beyond me people seem to actually like (though interestingly, no one seems to like all of it, they may actually like one or two of the films, but no one says all three are actually in any realm of good).

With that, let’s begin.

The Force Awakens

For me this is easily the most tolerable of the sequel trilogy: it’s not great, it’s not terrible. It’s thoroughly watchable, you can be taken along for the movie’s journey and not raise your eyebrows too much at the action and leave the theater feeling this maybe wasn’t a complete waste of your time.

There’s a good reason for that. That reason is called the most blatant form of plagiarism I have ever seen in cinema in my life.

“The Force Awakens” is just “A New Hope” wearing a mustache. Only, it’s one of those cheap mustaches you get from a party store that, if you stare at it too long, just looks like the most false and awful thing you’ve ever seen. The mustache actively makes it worse. “The Force Awakens” is “A New Hope”, but worse.

Seriously, every major character, every major plot point, every major scene I can go directly back to “A New Hope”.

Our story begins when the Resistance, at great cost to our valiant heroes including torture at the hands of the Emperor’s second in command, sends a file out into the wilderness to be received by his people. This file contains plans for the Death Star.

The film then focuses on Luke, er Rey, getting involved in the Resistance, boarding the Death Star, and successfully destroying at the same time even at the lost of a beloved mentor that she just met (trading in Obi-Wan for Han Solo). 

Our evil empire is run by an evil emperor who is so evil he sits in a chair, is served by very Moth Tarkin-esque human storm troopers, and has a second in command who revels in the Darth Vader get up (for no other reason that it makes him feel cool but we’ll get into this).

It’s “A New Hope”. Rey is Luke, Han Solo is Obi-Wan, Poe is a kind of Han Solo, Kylo Ren is Vader, Snoke is Palpatine, Hux is Tarkin, BB-8 is R2-D2, etc.

“But that’s not terrible,” you say, “I liked A New Hope?”

First, it is terrible, it gives a very bad sign of where the sequel trilogy is headed and is just lazy writing. It means that those who produced this franchise were so terrified of taking risks, of possibly ending up mocked as the prequels were, that they will deliver exactly what the original trilogy was. And what’s that? Uh, evil empires, scrappy desert kids, AND MORE DEATH STARS!

That brings us to point number two, the world of Star Wars after the events of the original trilogy shouldn’t support such things. And, if it does, my god what a bleak existence this place has turned into.

The First Order being able to rise easily from the Empire’s remains means that Luke accomplished nothing. Anakin sacrificed himself and had his moment of redemption for nothing. There was no happy ending to the Original Trilogy, our heroes failed miserably, and there is no indication that our new band of heroes can possibly succeed in their place. (More on this as the movies progress).

We now are in a galaxy where this new Republic is so pathetic that Leia doesn’t even give it the time of day and builds her own private army to battle the Empire. The First Order is able to not only rebuild a massive army by raiding villages on many different worlds and stealing children and do so successfully for at least ten years but is able to build a Death Star bigger than any we’ve ever seen before. 

And the movie tries to convince us these are completely new problems, that Luke Skywalker is a hero (remember this is TFA, not TLJ yet), and that somehow these things just sprung up out of nowhere. BUT YEAH, RESISTANCE, WOO!

As for Rey, she’s like... a worse version of Luke. Her only motivation through the entire series is her trauma at being abandoned by her parents. That’s it, there’s nothing else to her, nothing else she ever wants or feels conflicted by. She struggles with the dark side because... the dark side? Genetics? Unclear? She’s absurdly, ridiculously, powerful in a way that’s acknowledged but never that acknowledged (we’ll get into this) and the movies just fail to sell me on her in any way.

Honestly, an easy fix for me would have just been making Rey a much younger character. I could believe a fourteen-year-old having stayed in the desert, scrounging for scraps, believing her parents are coming back every day now. As a twenty-something year old... It starts getting hard to believe she never left. (Also, this gets the benefit of getting rid of Reylo, which is always a plus for me).

As for Kylo Ren, I legitimately walked out of TFA thinking he was supposed to be comic relief. He’s what happens when someone desperately wants a likable, redeemable, villain and we get... Well, as a reminder his opening scene is one of genocide: he pillages and destroys a town with no regret and brutally tortures a man for information. We’re told he’s like this “because evil evil Snoke” and that may well be but throughout the film (and the series) it becomes clear that Kylo Ren’s main motivation is he deseprately wants to be cool. He wants to be a badass like Vader, he dresses in Vader cosplay (either ignoring or not knowing that Vader only dressed like that because his body was completely destroyed), he has these huge temper tantrums and nobody respects him because he’s a toddler in a Vader suit. 

He murders his own father, his parents who (at least in the films themselves) show every willingness to take him back and forgive him what he’s done, so that he can fully embrace his own “evilness”. In other words, he commits patricide to feel cool about himself, then it doesn’t work. 

And the movie series really banks on me feeling conflicted about Kylo Ren or at least wanting him to be redeemed. Granted, the wider internet seems to love him, I just can’t.

Oh, before I forget, the other thing I love about Kylo Ren is that the movies insist he’s a) strong in the Force b) is equal to Rey. Rey consistently beats the shit out of him with 0 training. Kylo Ren has been training in the Force for years. Guys, they are not a Dyad, Rey is far far far stronger than he is and for whatever reason the films never want to admit it. Because I guess we like things coming in pairs now.

But yes, “The Force Awakens”, at a distance not great nor terrible, but a rip off of a movie we’ve already seen that left me going “Welp, the next one’s probably The Empire Strikes Back then I guess we’re getting Ewoks”. I was sort of right on that and sort of wrong.

The Last Jedi

So, JJ Abrams clearly had a vision of where he wanted this sequel trilogy to go. He set up these big questions such as what’s up with Finn, who are Rey’s parents and why was she left on this nowhere planet, will Kylo Ren be redeemed and how, who is Snoke, etc.

Now, I’m not saying these aren’t stupid questions. To be frank, they kind of are. Finn being Force Sensitive was the most inconsequential thing I’ve ever heard of, Rey’s parents should not have been used to drive the plot the way it was, as spoken above I’m clearly team gut Kylo Ren, and that Snoke was actually just Palpatine being the world’s largest cockroach is a beautiful but hilarious answer.

That said, what Johnson did was he decided, “You know what, I’m going to take every trope of Star Wars and completely flip it on its head and absolutely doom the sequel to this movie.”

And by god, he did.

We get a weirdly pointless movie in which Poe, SINGLEHANDEDLY, completely obliterates the Resistance. He first obliterates their bombers by failing to follow command, then goes and bitches about how he’s not put in command when he clearly shows no ability to understand how a military works, actively subverts orders which in turn obliterates the entire Resistance fleet until the only survivors can fit on the Millenium Falcon. They have no ships, no weapons, barely any people, and are ultimately doomed doomed doomed.

We have Finn’s weird subplot with a suddenly introduced character Rose in which the pair aid in Poe’s blowing up the resistance (they send sensitive information using the communication equipment of a guy they do not know, who fully admits to being shady and out for his own skin, and are flabergasted when he betrays them). 

Rose herself is this weirdly sweet person who seems forced into the plot to a) provide a love triangle for Finn and Rey b) provide this forced sunny outlook that I didn’t really need in the film.

We get Rey never really being trained, going into the Cave of Wonders for a few seconds, falling in love with Kylo Ren over weird Force Skype calls (where I did not need to see him shirtless, thank you film) and being horrifically betrayed when Kylo Ren turns out not to be a great guy. Never saw that coming, Rey. 

As for Kylo Ren, well... God, we get Emperor Kylo Ren. Kylo Ren, the Emperor. I’m not even that upset about the anticlimactic murder of Snoke (that was kind of funny, especially in the context of Palpatine going, “Bitch, please, you’re in my chair” immediately in the next film) but just Kylo Ren being emperor. And also that the Resistance only escapes at all because he’s so dumb he made their dumb plans seem smart (i.e. concentrates all his firepower on an illusion for ten minutes while Hux goes, “Emperor, sir, we could actually destroy the Resistance right now.”

Now, you’ll notice I didn’t complain about Luke. A lot of people are upset he became a grumpy, miserable, old hermit who sits around waiting for death. Frankly though, in this universe, that’s exactly where he is. He left “Return of the Jedi” thinking he’d saved the world, he’s resurrected the Jedi Order, and all is well. Only a decade later, his students are all murdered by his nephew, the Empire’s back, and he accomplished nothing. He’s an utter failure as a Jedi (though Luke never realizes he knew jack shit about the Jedi Order and was in way over his head but I guess that’s beyond him). Why shouldn’t he go sit on a rock and wait to die? 

Now, did he have to drink that blue dinosaur milk? Well, I guess it was funny, gross but funny so... Sure, I guess he did. But I do like that he gave Rey 0 training, they had one meditation session and then he whined about how Obi-Wan was such a stupid asshole. And then Rey ran off to be with her boyfriend, who then told her that her parents were gutter trash (which again, was funny, but I don’t think that was supposed to be funny).

Of the characters introduced in the movie, the only one I really liked was the hacker, and it was for the actor/the beautiful way in which he gracefully exited stage left with zero shame going, “You all knew I was going to betray you!” You beautiful man, you.

Rise of the Skywalker

First, when something is called “Rise of the Skywalker” you know you’re in for a rough time.

But anyways, TLJ was filled with a controversy Disney didn’t want (half their audience hated it, half loved it, but at least they sold those penguin dolls) so they desperately get Abrams back. Only, what he clearly wanted from his series has been shot to hell, and now he’s left with Emperor Kylo Ren, a completely obliterated Resistance, a dead Luke, a love interest he never planned to introduce for Finn, Rey’s parental crisis being solved with trash people, Snoke just suddenly dead, Hux planning revenge, and then some.

And so, Abrams goes the brave and hilarious route of shouting “PRETEND THAT LAST MOVIE NEVER HAPPENED”

We open to a fully functioning Resistance (their bomber fleet is back, their fleet period is back, they have all their fully trained personnel). We have Rey getting the Jedi training she needed this time from Leia, who is now a Jedi, because yay feminism rammed down my throat to make the audience feel better. Rose says “It’s cool guys, I don’t want to join the adventure this film, I’m going to stay here and work on robots” so that she can gracefully exit the entire plot. Kylo Ren is demoted from Emperor in two seconds when we discover that a) Snoke was apparently Palpatine b) for unexplained reasons Palpatine’s alive (and I am now convinced that man will never die). Kylo Ren tells Rey at the first opportunity that he lied about her trash parents AND REALLY SHE’S A PALPATINE! THIS WHOLE TIME, REY! THIS IS VERY IMPORTANT. I’M SUPER SERIAL THIS TIME, REY.

Basically, in the course of an overly long movie, Abrams desperately shoves in everything he was trying to get out of the series, while sobbing, and sobbing even harder when things like Finn being Force Sensitive or Lando having a secret daughter get caught. I actually agree with the Producers on this, by the way, the Finn trying to tell Rey something scenes were weird and indicative of a love triangle but him being Force Sensitive instead... It says a lot that the movies did not change when it was removed, at all. And Lando was just this strange cameo who was in the film to make us feel nostalgic.

And this isn’t even getting to the ridiculous 24 hour time limit (which made me think there should have been some video game style clock in the corner letting us know when Dawn of the Third Day is coming), Palpatine’s other secret army on a secret Sith planet that can be easily taken down by taking out one navigation tower, Rey’s hilarious struggle with the dark side in which she has a vision of herself in a cape hissing, Kylo Ren’s hilarious redemption in which the movie in the form of Leia and Han Solo says, “Alright, Ben, it’s time to stop being evil” and he says “okay”, the fight with Palpatine in which I’m supposed to believe he dies for reals because... I have no idea why I’m supposed to believe he’s dead. The Reylo, god the Reylo, and Kylo Ren’s tragic, hilarious, death.

And then, of course, the ending where Rey decides she’s a Skywalker now.

I actually did laugh all the way through “Rise of the Skywalker”, you can’t not, I mean it’s a hilariously awful movie. The only thing that might have made it more hilarious was if we actually did get those Ewoks.

TL;DR

They’re all bad movies, if you want more specifics than this, you’re just going to have to ask me questions.

[knullanon]

damian sneaks into a fortress and kicks down a door #2

not really what the title says but im not about to change it.

words: 1565

warnings: escaping, lmk if i missed any!

You stopped for a moment before saying, “damian, you’re supposed to be with batman trying to fight the other batman, why are you here?” Damian seemed to freeze up, but before he could explain anything, you pressed on. “And what happened to your costume? I don't think he would let you get a new one.”

The 4 strange batkids who seemed to appear out of nowhere stood there not knowing what to do, and as you sat there wondering why they seemed like they were… before the joker gas, you also had to wonder why they were there. Who were they? Where were they from? The other batkids got killed when… “batman” killed them.

One of the kids you recognized was Cassandra, if you remember correctly. It was strange seeing her so.. Well, alive. You never met the actual batkids before, since the batman who laughs only found you after a reign of chaos, but you had heard about them, and in some files you found when you had a bit more freedom, they spoke of who they were and what they could do. Of course you had to put them back when your “dad” came back around, but you were still able to read some of them.

The others you couldn’t remember as well, since you were only able to read up on 2 or 3 batkids. However, you weren’t able to think about that when one of them, who looked a little tiny and had a staff said “we need to find somewhere to hide, those robins are coming back down.”

Oh fuck, I forgot, I asked them to bring some food down! Well, now I feel bad about being hungry…

You were about to let them hide in your room, but then you saw the blasted door and thought, yeah, that's not gonna work. You looked around and remembered that stupid hiding place you found a couple of weeks ago while playing the robins version of hide and seek. It was such a good hiding spot that your “dad” actually had to come and drag you out.

Yeah, it wasn't a fun time.

But at least now you have a hiding spot. You motioned for them to follow you down the large hallway, and then opened up two double doors. Inside was a room of sculptures from all over the place. You walked them over to a sculpture of a man who appeared to be crying while sitting on a bench, and let them behind it. There was a small gap that you squeezed through and pressed 6 tiles in a pattern, before it revealed a sort of bunker like room. You led them inside and right as you were able to hear the screeching of the robins, you closed the door.

______

You sat there for about 10 minutes before you heard things quieting down. For the most part you heard the robins stomping around, trying to find you. You were honestly surprised to see that they didn’t just look where you were last time. A question pulled you from listening to the thumps.

“Why did you recognize Damian's voice?” you turned around and saw the same boy who had alerted you of the robins approaching had asked you. You turned to him fully before explaining, “this… earths, I guess you could call it, batman did have a damian wayne, but when he… ya know, became evil, he turned damian into one of them. He really doesn’t speak unless spoken to, which is also really rare. I was just surprised to see you since I thought you were supposed to be with him while they fight that one earths batman.”

Damian gave you a weird look and said, “I'm not the Damian from this earth, as you call it.”

You stared at him for a moment before going back to your mind. Not from my earth? What does he mean by that? Besides, what's with all the other batkids being alive? And even if they are here, and from a different earth, what would they be looking for? Was it money? No, batkids from all over never really want money, they want to follow, well, batman. So that means their batman must’ve sent them here. But why?

You turned back to the batkid with a staff and asked, “I'm sorry, I've never heard of you, what's your name?”

You saw Cassandra hold her hand to her mouth while Damian seemed to smile. Probably just your imagination, though. “Red Robin.” he said, as he looked down, seemingly a little embarrassed.

You tried to remember who had that name, but nothing came up, until….

“Oh, I remember now! You're the one that likes coffee, right?” he scratched the back of his neck, before nodding.

Cassandra was the next to ask questions. “Why don't you know the robins from this earth?” you leaned back into the wall behind you and said, “easy, I wasn’t there when you all died.” the mood immediately died after you said that, and it became extremely awkward.

Damian asked, “why are you even here?” “I'm supposed to know? I don't even know why he didn’t kill me to be honest with you.”

Damian asked, “why are you even here?” “I'm supposed to know? I don't even know why he didn’t kill me to be honest with you.”

Damian was about to ask something else when his comm beeped for a moment. He answered it, before you heard someone say, “damian, you better have found the damn thing, because we're being overrun!”

From the other line, you were able to hear the screeches of robins from all over, and the grunts of whoever was speaking. “Ugh- just get the thing, and head out! We've got them distracted!”

Damian immediately got up and grabbed your upper arm, before opening the door. “We're leaving, we don't have much time.” without another word, you followed them out of the strange bunker and back into the hallway.

*

Sneaking past the robins was easy. Sneaking past the guards was… not so easy. You were wondering how they even got in when, instead of heading towards the entrance to the fortress, they turned a random corner and dragged you down somewhere else.

“Hey, not to sound rude, but the exits that way,” you pointed back to the two large doors that were heavily guarded, “why are we going this way?"

Cassandra turned back to face you. “We didn’t enter that way.” you were about to ask a question when you entered a tiled hallway. They brought you to one specific area and you could only assume that it was the same puzzle as the bunker, enter the right code and you would get into a secret tunnel.

Damian seemed to try and remember what the puzzle was, before he entered an unknown combination and the doors opened. He smirked before coming to the person who had distracted the robins.

“Nightwing, we’ve got the obj-” he looked at you before realizing that might’ve been rude. “... the… person, we’ve got the person.”

“It’s a what now?!” “Just get back to the ship and we’ll be off!”

He dragged you into the tunnel that seemed to be extremely long, and you continued like that in the dark, sprinting through the dark tunnel while you heard random noises everywhere else. Finally, you almost ran into the end of the tunnel, and when it was opened it was almost like a breath of fresh air. Well, it was a breath of fresh air, but this is the first time you’ve really been able to see the planet. Even in the dark, you were able to tell that it was a beautiful jungle.

Being shoved into a nearby bush startled you but when you went to ask why red robin had pushed you, he held a finger to his lips, and pointed out of the bush.

There were two large guards with their weapons walking over to the door, and looking around. You saw the batkids make hand signals out of the corner of your eyes, but before you would even say anything, a large explosion from the other side of the fortress brought your attention.

Without a second glance the two guards ran around the building before disappearing to a corner of the wall. Waiting a few seconds to see if anyone was there, before red robin helped you up and the 5 of you started running to who knows where. It felt like a couple minutes before you suddenly stopped and went on a little wrist tablet and started typing.

This resulted in a jet appearing from nowhere, before you realized that it was a wonder woman's invisible jet. “Did you guys recreate it or something?”

Cassandra gave you a weird look before you doubled back, and said, “Oh I forgot, this is from your earth.”

Walking around in grass and leaves felt surreal to you, but now you finally have a chance of leaving. Running up the ramp, you almost cried in relief when you realized that no this wasn’t you mind playing tricks on you. But that would have to come later, since you still had to leave the planet.

And as you took off, watching the fires swallow up the nearby trees, and the robins desperately try to find you, you really wanted to start laughing from joy.

_______

omg I'm almost done! i just need the 2 parts of that "how the symbiotes stole you from one another that led to that one trilogy" and I'll be good! thank ya'll for being here with me!

[tanoraqui]

Can we have some more MDZS Abhorsen AU, please?

(re:)

Well, I wasn't gonna, but then I got thinking about it...

So, the au where we ignore most of the actual Old Kingdom Trilogy plot. It's a dark timeline: the proper royal bloodline has died out, as have the Abhorsens; the Great Charter Stones are broken; Belisaere is a pit of death, etc. Wens are Clayr (so THEY'RE not doin' too well either), and the only reason Orannis hasn't broken out is that at some point during the Sunshot Campaign, Wei Wuxian took Mogget's very emphatic advice and made sure everyone who knew about Wen Ruohan's discovery and excavation was very dead.

At the Nightless City, Wei Wuxian - not yet called the Yiling Patriarch - unleashes a Free Magic monster like no one has ever seen before, an entity like a pillar of lightning and fire with a voice like roaring flames, screaming cats and chiming bells. Glaciers melt. Wen Ruohan falls.

The monster goes its own free way, per agreement, and Wei Wuxian walks away with a silver ring on one finger, because someone has to and it can't be Yrael himself. No Abhorsen means no one to command him, should the binding be reinstated, but it also means no one has the authority to break it fully. Wei Wuxian promises to keep it safe and hidden, Yrael promises not to harm any humans without provocation for at least 10 years, and they part as friends.

So...they go their separate ways. Yrael goes to catch fish, lie in the sun, sing among the stars and see what else this world has to offer, these days. Wei Wuxian goes to drink, disappoint his siblings, be kissed on a mountain and steal 50 Clayr from a prison camp and take them to the Burial Mounds (lost Belisaere), and...etc. At the second Battle of Nightless City, he only has himself and his bells, but these are certainly dread enough, even against an army of the best Charter mages in the land. There are plenty of dead, here, after last time.

Jiang Cheng picks up his bells, and hides them. Jin Guangyao has read a great deal more about the history of the Abhorsens and their servants, and takes the ring from his finger.

They did manage to partially recreate the Tiger Seal in canon, so I guess I have to give Xue Yang and Jin Guangyao the credit of being able to somehow track Yrael back down and survive him long enough to force - the collar back onto him, binding him back down to a discreet white cat again...but like hell is he going to stick around. Jin Guangyao gets the ring he coughs up, but he's no damn Abhorsen, only a piece of the dregs left behind, so Mogget is fuckin' out of here.

Hmm does he end up finding Nie Huaisang, and allying with him? Possibly. Probably. They'd both be looking around for ways to kill Jin Guangyao without being noticed.

...Needless to say, Mogget is entirely capable of guiding Wei Wuxian, Lan Wangji, and everyone else all unknowing on the path to Jin Guangyao's absolute destruction. But I think it's much funnier if that's Nie Huaisang's plan, per canon, but Mogget is like "nah, Wei Wuxian's decent people" and crashes halfway through and tells them everything. Everyone else needs manipulating maybe, still, but it's not like they're going to be any more or less against Jin Guangyao after, like, Yi City or so. Also, on the topic of Yi City, Mogget would really like Xue Yang dead. He has a grudge.

and the juniors would be SO CONFUSED if they're lost in this strange death city, shrouded with fog, Dead Hands coming at them from every side and necromantic poison in the air, and Hanguang-jun is here but its his mysterious twinky partner with the necromancer's? panpipes? on his hip? who seems to be in charge right now?? He's looking around for a place to go, and I really cannot emphasize enough the surrounded by Dead Hands and airborne poison -

"This way!" a voice calls, and you look up and dashing along a rooftop, just barely visible in the fog, is a small white cat with a red collar - and Mo Xuanyu says, "Hey!" like he's seeing an old friend just beckons you all to follow the cat without question.

[hyena-frog]

Makes me so sad to think about how Cassius raised Lysander for 10 YEARS and came to love him like a brother and likely put a ton of effort into being a decent role model only for Lysander to turn around and become exactly like Octavia..... like can you imagine what must be going through Cassius’ head when he flies over Lysander at the end of DA.. :( seeing the kid he raised to adulthood become a monster.. I just... ugh. It tears me up inside

Hoo boy, I hope you’re prepared for the essay I’m about to write.

Genuinely, I think about this all the time. Cassius and Lysander have one of the most complex, tragic relationships the second trilogy has to offer. I hated Cassius so much after Golden Son but now he’s one of my favorite characters. I would really love it if he is the new POV Pierce Brown promised. In the second trilogy, Cassius has been exclusively filtered through Lysander’s POV, so I’m dying to know his own thoughts on everything that has happened. (But I would also like a Volga POV for the Obsidian story and maybe Diomedes POV for the Rim perspective. I’m torn.) I just want Cassius to have a happy ending. And I hate Lysander, but I would really like for him to see eye to eye with Cassius at least once before he is horribly, painfully, rightfully murdered.

Now, the thing is, Cassius didn’t come to love Lysander as a brother over time, he already loved him when he decided to become his guardian and mentor. It bugged me that, at the end of Morning Star, it didn’t feel like Cassius’ decision to take in Lysander was justified enough. All we really got out of him was that Lysander reminded him of Julian. Pretty flimsy. Then Iron Gold came along and blessed us with a flashback to when they first met. Little Lysander wasn’t too impressed with Cassius (he wasn’t exactly as respectable post Red Rising as he is now) but Cassius quickly went from calling Lysander an “eerie little creature” to declaring “I’ve decided to like you, little moon boy.” From that moment, Cassius truly cared for Lysander. Reading that flashback again after Dark Age makes me so emotional.

Lysander has this complex about being Julian’s replacement, that Cassius doesn’t love him so much as he loves the shadow of Julian he sees in him. And he’s justified, in a way, because Cassius does slip up and call him Julian sometimes, but it’s usually when he’s delirious from pain and not thinking clearly. Lysander completely misses the fact that Cassius does love him. I guess he doesn’t have much experience recognizing when he’s genuinely cared for, because why would he, but there is plenty of evidence of Cassius’ true feelings.

For example, Cassius sold most of his remaining family possessions to keep them afloat on the Archimedes. Now, Cassius isn’t strapped for cash by any means but the fact he cares for Lysander (and Pytha) enough to sell many of the last reminders of his dead family that he owns, is very telling. But Lysander doesn’t think about that. He acknowledges that it happened but doesn’t consider the deeper, emotional meaning behind that action.

Another example is Cassius opening up to Lysander about the last time he ever saw his father. How he disappointed Tiberius but finally regained his respect, only for the entire Bellona family to be slaughtered shortly after that reconciliation. That was a sign that he loves and trusts Lysander enough to be vulnerable with him. He never told that story to anyone else, as far as we know. He believed he was going to die in the Bleeding Place and wanted that memory of his father to live on in Lysander. The fact that Lysander is blind to how Cassius genuinely loves him, even now, is tragic.

You’re right, Cassius did try to be a good role model and pass on good morals. I think the scene in Dark Age, where Pytha confesses that Cassius forbade her from revealing to Lysander that she is actually a soldier and not a disgraced commercial pilot, as he was lead to believe, was very telling. Cassius attempted to show Lysander life outside of politics and war. He tried to show him that all Colors are equals deserving of respect. Cassius was devastated when Lysander chose to save Seraphina over the many mid- and low-color prisoners on the Vindabona. He was horrified that Lysander chose “quality” of life saved over quantity. This coming from Cassius, who compared Pinks to animals in Red Rising. Cassius has learned and changed a lot since the first book and he tried to pass those lessons onto Lysander. But it didn’t stick. Not even after 10 years of teaching.

Unfortunately, his teachings were tainted by his bad coping mechanisms for his personal demons. His alcoholism, his continued pining for Virginia, combined with his betrayal of Octavia and involvement in Aja's brutal murder, gave Lysander enough excuses to never fully embrace his lessons. While Lysander did love Cassius, there was always some flaw or another in his teacher that allowed him to comfortably distance himself from the lessons that diverged from Octavia’s teachings. To be honest, Cassius had no business taking on a ward while he was so torn up inside. Keeping Lysander isolated in a tin can in the middle of space for 10 years, instead of living among diverse people, didn’t do him any favors either. Frankly, Cassius missed a lot of red flags. A big one is the fact Lysander carved Lux ex tenebris, the Lune family motto, into the ceiling of his room on the Archimedes, where he could stare up at it every night. Yikes.

This dissonance in Lysander’s thinking is what lead to his betrayal in the Bleeding Place. Yes, Lysander loves Cassius and wanted to save his life rather than see him die at the hands of people who don’t respect him. But he also genuinely believes in the inherent hierarchy of Octavia’s teachings, that the “true order” is for Cassius to follow him. If Cassius lives, if he can convince him that his rightful place is to follow Lysander, things can finally be right in the worlds. Cassius failed to express his feelings in a way Lysander can comprehend, so he felt he was just a replacement for Julian. Lysander can dismiss Cassius’ love as love for his dead twin, and in turn, he can dismiss his claim to believe in the inherent equality of humankind as guilt and justification for killing his Sovereign. Cassius was unable to truly see how badly he failed until he was betrayed.

Since Cassius was absent for most of the plot following his “death” it’s difficult to concretely say what he’s been thinking since then. But I’ve been thinking a lot about him, so here is my conjecture. Take it with a grain of salt.

That moment you mention, when Cassius flies overhead, he deliberately retracted his helmet for a brief moment of eye contact with Lysander, so he would know exactly who rescued Darrow... Shivers. So much left unsaid. I imagine Cassius was thinking a lot of things in that moment. On the one hand, some pettiness and anger at being betrayed: “I lived bitch, I rescued Darrow, this is where my loyalties lie.” But there was also probably a mixture of shock and guilt at knowing what Lysander has done, at who he’s sided with and enabled, but also at seeing evidence of physical suffering in Lysander's burn scar and blind eye. Cassius loved Lysander, he was his guardian for 10 years, so he would hate to see him hurt. I think he would feel responsible for Lysander’s actions on some level, even if he logically understands that he’s an adult who makes his own choices.

Regardless, Cassius probably blames himself on some level. That’s what I think anyway. He tried his best to teach this kid good morals for an entire decade only for him to cling to the ideals his grandmother taught him. That has to sting. It’s probably also embarrassing, to a degree. Cassius made this grand promise to Darrow that he’d raise Lysander right, that Sevro was wrong to suggest they should have just killed him when he was little. Now Cassius’ failure to make good on that promise has been advertised to the whole Solar System through Lysander’s actions on Mercury. Surely Cassius feels responsible.

Cassius had a lot of time to think during his long return trip to the Core. About what happened with Lysander in the Rim, about his lingering feelings for Virginia, about his place in the Republic, and about what he really considers the right thing to do. Cassius can be intensely empathetic when he allows himself to be. For example, in Morning Star, he managed to really sympathize with Darrow’s life when they were drinking whiskey together. I’m willing to bet he spent that long return journey considering Lysander’s perspective with a clear head, after spending so many years lost in the haze of his own sorrows. Now that he is out of that bad mental place, he is likely able to see where he made mistakes in how he raised Lysander.

It will make for an interesting confrontation between Cassius and Darrow, who is thoroughly, understandably, done with Lysander, when the time comes to kill him. Cassius knows the danger Lysander poses and probably won’t argue against killing him this time, but I do think he would resist a little and at least try to find an alternative solution.

Lastly, I just want to say this, since it’s sort of relevant: This fandom tends to agree that Sevro should have just killed Lysander as a child, but if I’m being honest, I don’t agree. Kill Lysander now, as an adult, by all means, but as a kid he hadn’t done anything wrong yet, even if he was a little creepy. Darrow was right to give him the chance to live in peace. Too bad he ultimately didn’t take it. I especially don’t think Cassius would agree killing Lysander as a kid was the right choice, even now. He is traumatized by the sudden loss of most of his family, including little kids, so I don’t think he’d ever agree to killing a child. If he could somehow go back in time, knowing what he knows now, I think he would make the same choice to raise Lysander. In that scenario, I think he would rather try to fix the mistakes he made as a mentor, rather than punish Lysander.

Guh. Anyway. I had a lot of words in me about this subject. Hope you got something out of it! I’m consistently amazed by how Pierce Brown’s writing compels me to think deeply about these characters. Not to mention his ability to make me understand Lysander’s perspective even if I don’t like it or agree with it. Cassius’ perspective though... well, half of this post is just me guessing, so we’ll have to see how close I am to canon when book 6 comes out. Thanks for reading!

[gffa]

SO WHAT THE HELL IS THE MORTIS ARC? After about the second time I watched this arc, my thoughts ran towards the idea this was Star Wars in a microcosm, the story of Anakin Skywalker’s fall in miniature form, as so many things in Star Wars basically come down to being about Anakin, whether literally about him or an echo and rhyme of the story that he is the very center of.  Which I think still has a good amount of merit to it, but in the rewatching of this arc yet again, there’s a bigger arc that jumped out at me so much more clearly, now that I’ve spent more time with the structure and lore of Star Wars. That this arc is entirely a metaphorical extension of Anakin’s internal struggle between the light and the dark. It’s a manifestation of the Chosen One struggling to choose between good and evil. Now, to be clear, the Father and the Son and the Daughter are all real beings that really existed, Dave Filoni has said that pretty clearly on podcast interviews, as well as said more than once that he and Christian Taylor specifically decided not to answer What The Fuck Was That!? about this arc, because they felt it would rob the viewers of speculation about it, as well as the questions that you’re meant to ask after watching it. There are so many, many moments in this arc that are call-backs to important moments in Anakin’s life, major events and choices he makes along his path in life, as well as commentary from the Father and the Son and the Daughter about who and what they are, what influences them. In “Overlords”, Obi-Wan and Anakin and Ahsoka find themselves stranded on a mysterious planet, immediately approached by the Daughter and asked if he is indeed the Chosen One.  All three of the Mortis lords are intensely interested in Anakin, each of them try to protect him, seduce him, or just try to understand if he really is the Chosen One. While he’s staying in the Father’s sanctuary, Anakin has a vision of his mother, which he’s deeply affected by, but realizes it’s not really her.  He storms out of the room and goes to confront the Father, thinking that these are Sith Lords.  But the Father says, no, we’re not Sith or Jedi, we’re bigger than that, like you are. His explanation is:  “We can take many forms.  The shapes we embody are merely a reflection of the life force around us.” In other words, they take the shape that Anakin’s presence imbues them with.  They’re real on their own, but their forms here are shaped by the Chosen One.

But the Chosen One is a myth, right?  Well, the Father would very much like to know.  So, the entire rest of the episode is about hurtling the characters--hurtling Anakin, as the Chosen One--towards a test. A test that isn’t just about “hey, are you the Chosen One or not?”, but almost every single time the Father says what he has to do--face your guilt and know the truth, you have to release the guilt and choose, only you can do this. It’s about trying to make Anakin look within himself, look at his guilt and fear and pain, and acknowledge them, face them, and choose whether he will embrace them or let go of them. Which is E X A C T L Y how the Force works, how the Jedi have always said the Force works.  It’s Luke having to face his fears in the cave on Dagobah, it’s the Jedi younglings having to face their fears on Ilum, it’s Ezra having to face his fears in the Lothal Jedi Temple, it’s Rey having to face her fears in the cave on Ahch-To.  [x][x] FACE YOUR FEARS, YOUR GUILT, YOUR ANGER.  FACE YOUR DARK SIDE.

The planet is the Force and that’s how the Force works. Anakin uses the Force to make the Daughter and Son let them go, but refuses to stay on Mortis (and, honestly, doesn’t really do any self-examination or releasing of his guilt, he hasn’t changed internally at all), so they try to leave, but they’re still trapped there. Which is where “Altar of Mortis” picks up.  Because Anakin is still giving shape to the manifestations of the Father, the Daughter, and the Son.

“You’ve chosen the dark side and allowed it to feed your anger and desire for power,” the Father says. “By bringing the Chosen One here, you’ve shown me my potential,” the Son answers. And then moments later, he kicks the Father down the stairs (because he’s HOLDING HIM BACK! by not dying fast enough) and screams:

Even aside from time not being linear in Star Wars, we’ll see later that this trilogy of episodes is very aware of Revenge of the Sith and other important moments in Anakin’s life.  This moment, screaming in rage, “I hate you!” cannot possibly not remind us of Anakin screaming the same thing at Obi-Wan in ROTS. Which is yet another moment that’s about Anakin, just as so many other moments are about him, cool little moments of echoes and rhymes, that Star Wars likes to make references and homages to itself, but there are enough of them done with such clear purpose here that I don’t think it’s just Rule of Cool, but instead an intentional narrative purpose behind them.

There are more, but those ones are the ones that really jumped out at me, important moments in Anakin’s story, ones that reflect his fall into the darkness.  The moment he caught the saber and attacked Dooku as a choice he couldn’t take back (and was itself an important moment because it was a mirror to Luke’s choice to not kill Vader in ROTJ, even after cutting off his arm in a rage, as Anakin did to Dooku as well) and the moment he very much intended to kill Obi-Wan on the Death Star, these are classic moments that evoke our knowledge of Anakin’s path. And what does all this do? It further feeds what’s going on with the Mortis lords.

Everything pretty much goes pear-shaped at this point, Ahsoka dies, the Son accidentally stabs the Daughter instead of the Father-- Which, in and of itself is an interesting parallel to Anakin, his sister the only one he professes to truly love, he’s the one that winds up killing her, despite his intentions, but then we see he also very much loves the Father, he doesn’t want him to die, he’s distraught when it happens, even though he was the one who engineered it, just like Anakin being the thing that really breaks Padme’s heart/causes her death even without his intentions to do so, just like Anakin in “There is Another” in From a Certain Point of View where his heart explodes with loneliness after Obi-Wan dies, so powerfully that Yoda feels it from literally all the way on the other side of the galaxy. --but Ahsoka is saved through Anakin being the one to channel the last of the Daughter’s energy into Ahsoka, while the Father guides him, the Son fucks off to who knows where, and “What the fuck do we do now?” knowing that the Son wants their ship to leave with. This is where “Ghosts of Mortis” starts up, and the announcement furthers our themes:

“A great weight has been placed on Anakin’s shoulders, for it is now that he must face who he really is.” Not just that he has a choice to make, about what to do about the Son or Mortis, but that this still has to be about discovering who he himself really is.  Because Anakin has never yet really looked inside himself or faced his guilt and pain. Which is when he runs into Qui-Gon’s ghost, as he’s trying to find the Son, and wham does it deliver on all of this:

Qui-Gon’s words aren’t just “bring balance to the Force”, but specifically this is indicated to be done through facing his demons will he save the universe. Anakin, sliding right by that point, asks if he should just kill the Son or just leave?  And Qui-Gon’s answer is that Anakin’s not looking at this in the right way, that there’s another way to deal with this and it’s exactly the one that the Jedi have been teaching for as long as we’ve known them, that the Force has constantly been throwing into the paths of the Jedi, because it’s so necessary to becoming a Jedi:  Face the dark parts of you and work past them. This is why Qui-Gon’s words are so important--it’s not just that this is an echo of Empire Strikes Back where Luke has to face the inner demon of the specter of Darth Vader (it wasn’t an external threat in that cave on Dagobah, that was all about “what you bring with you”, as Yoda says, that was all about Luke’s fears surrounding him), that it’s not just that Qui-Gon says Anakin has to go to a place strong in the dark side but he has to remember his training. Qui-Gon’s ghost visited Obi-Wan earlier, asking, “Have you trained the boy as I asked?”  And now he says, “Remember your training.” because this is what Jedi do, this is what they train themselves for, and why Qui-Gon says it to Anakin here.  This is what you’ve been taught to do--go to the dark place and face your demon.  That’s the Force, that’s how it works. And further to that, how the Force works, how Star Wars works, is that it’s about choice in those moments.  When you’re at the crossroads, it has to be your own choice.  You can ask others for advice and guidance, those things can be incredibly important, but at the end of the day, Star Wars is about “only Anakin can choose”.

So, Anakin does indeed go to face the Son in the place strong in the dark and the Son forces him to look within himself.  To know himself.

He sees his future self and actions, he’s so distraught by them, that instead of being able to face them and pass through those fears, he’s consumed by them, he agrees to help the Son, falling to the dark side--poison yellow eyes of the fully embraced dark side and all--to try to avoid what’s coming. The thing is, Anakin never really confronts his fears, demons, or guilt.  He’s consumed by them instead.  It happens because he’s trying to avoid it, but he still falls to the dark side all the same, because he listens to the Son dripping poison in his ear, because he sees an easier way out than the hard work of disciplining himself against the dark side (which George Lucas says is how you resist it, the only way to resist it), because the other way seems too impossible and too scary. Anakin’s story has always been about how he can’t bear to look at himself and his choices and then make the choice--and stick to that choice--to do and be better.  His story has always been about his fears ran rampant inside him because he didn’t want to let go of the feelings that made him “special”, he didn’t want to listen to the Jedi when they told him to get a grip, he wanted to listen to Palpatine who told him his feelings should be held onto instead of let go, that they made him special, made him better than those other Jedi, that his hate and rage and fear were justified in being held onto. And that’s exactly what the Mortis arc is--a reflection and shape of Anakin’s story, that each of them were about the internal struggle he faced. That Anakin didn’t make these choices in one bad day. He made this choice over and over again. When he chose to dig his fingers into his feelings and hold onto them, listening to Palpatine’s poisonous words. When he chose to do a monstrous thing on Tatooine to the Tuskens and their children, but ignored what that said about him. When he killed Dooku, unarmed and for the sake of revenge and his rage. When he chose to maim Mace Windu and lead to his death, choosing Palpatine and the Empire instead of the Jedi and the Republic. When he chose to attack the Jedi Temple and kill the younglings, leading him to feel unable to ever go back, that his actions had to be justified or else he murdered innocents for nothing. When he chose to Force choke Padme, which lead to broken heart and her inability to live, after the terrible things he’d done. When he chose to attack Obi-Wan again and again, despite being warned, leading him to the Darth Vader suit. When he chose to refuse to accept the vision the Force put in his head in Dark Lord of the Sith, that Obi-Wan still would have forgiven him and helped him, when he rejected that and said, “No.  [The dark side] is all there is.” When he, again and again, chose to reject acknowledging that all these Jedi took different paths that he himself could have done (Jocasta Nu, Ferren Barr, Obi-Wan Kenobi, Eeth Koth, they were all paths he could have walked instead, even then). When he chose to kill Obi-Wan, despite that Obi-Wan had stepped back and refused to fight anymore. Anakin Skywalker desperately wanted to be good, there wouldn’t be a struggle or a story there worth telling if he weren’t.  The ending of Return of the Jedi wouldn’t have the power and impact it did, if Anakin hadn’t had embers of goodness in him that couldn’t be snuffed out, no matter how hard he tried. But I think Mortis is an arc that’s about manifesting the internal struggle, that these Force Lords took the shapes they did because they were feeding off him, as the Chosen One, the center of this massive web of destiny.  And that’s why Anakin’s choices on Mortis, his struggles and the warnings he receives, are the same ones that are part of the bigger themes of Star Wars’ Skywalker Saga, and just what the hell was going on. It was Anakin Skywalker’s struggle with the dark and the light--including that the dark won, with small pinpricks of hope and light left alive--literally made manifest and acted out with these players.

[austennerdita2533]

Hey!

I love Penelope Douglas for sure check her out! She writes some of the best smut tbh. I’m working my way through her devils night series right now-I’m on book 2. It’s good so far, definitely dark though. I’m interested to see how she goes about a redemption arc for the character Damon right now I don’t think he deserves one but I hear such good things about his book, Killswitch, but that’s book 3 so I will see how it goes. I definitely recommend Birthday Girl from her though I loved it and the couple from it are my favorite age gap could I’ve ever read. I find myself still re reading some of their best moments.

I am slightly embarrassed by Credence though so I hope it doesn’t bother you too much if you read it. Just so you know before going into it, it is about her and her step uncle/cousins. To be fair they are not blood related and very distance to the point she didn’t even know about them. But she does call him Uncle Jake during a sex scene, and the two others call her cousin during one too. There’s also a MMF scene with her two cousins. But on top of that there is a sexual assault scene (it does get stopped but the intent is there)-personally I wasn’t a fan of how she inwardly dealt with that scenario it felt like she was blaming herself for it instead of holding the other character accountable. Uncle Jake also does kiss her when she is still 17. So if any of that makes you uncomfortable don’t read it.

I’m so happy you liked the atlas six as much as I did. I can’t believe we have to wait until next year for the sequel to see what happens. It’s too long!! I also liked Callum the least, I still appreciated his character though and what he brings to the story I just wasn’t a fan of his, probably because of his problems with Libby/Parisa. Plus his powers terrify me-as someone who likes to have full control of my emotions the fact that someone could just change everything scares me. I also loved Nico he is my typical character that I love the whole I’m an asshole but soft and caring for the people I love gets me every time. Parisa is my queen though I’m obsessed with her. Like I’m literally in love with her, I wish she was real so she could be with me instead. Not that she would because I’m broke have 0 magic or power to give to her, but still. But I have a thing for power hungry women so I was gone the second I met her. But anyway if she was real she could destroy me or do anything she wanted to me and I would say thank you. Reina I also love and agree she could destroy the whole planet and one day probably will. I just love how she is there and wants all that knowledge but also doesn’t give a fuck about anyone else. Tristan also grew on me I’m still not completely sure how much I like or don’t like him yet he gets annoying sometimes because he is constantly in his mind about his alliances but I also love how loyal and caring he is. Libby is my girl!! I also relate to her as well since I was an outcast and battled inadequacy and all that (you and I must have some stuff in common!) Out of all the characters I relate to her the most and am rooting for her so hard-also because the author made her from Pittsburgh and I’m also from the area so I felt personally attached. But Olivie just did an interview and said Libby is getting a corruption arc and I am so excited about it!!

Okay ships- so I will be honest and I think it’s an unpopular opinion but oh well-I am a nicolibby stan. They have every single dynamic that I love in a ship and they could potentially be my favorite book couple of all time if that is the road they are being taken. Honestly I was obsessed with them from their first interaction so i have it bad for them. Obviously I know they were not romantic in this book but the potential (at least for me) was there especially in some of their quotes in the end. I fully believe they are soulmates though-even the author said they were born on the same day and feel like their other half is missing in an interview once-whether that will be platonic soulmates or romantic soulmates I have no idea and I could see either happening. My heart will break if it is platonic but it’s okay I can just live in my own little head about their potential.

But I get the idea and also like both libbytristan and NicoGideon and could see those happening instead of nicolibby too. I wouldn’t say I would be mad about it either-I do like both just to me the potential of nicolibby works more for me! My only thing about libbytristan though is I’m not sure how much of their tension/feelings are real (like did any of it exist before Parisa put the idea of the other person in their thoughts to lead to all the feelings.)

Weirdly enough since they probably my least favorite characters I also adore Tristan and Callum together. Their dynamic just works for me.

And I love Parisa and Dalton too and I’m so interested in how that relationship pans out because they have some stuff to figure out. But they work well together and honestly they are just so sexy together so I’m down for it. Although I do ship myself with Parisa more than her and Dalton but I’m biased.

Honestly though all the ships are wide open though so I’m curious to see what ends up being endgame. But omg yes the twist I was not expecting it-I’m so excited for the rest of this trilogy!!!

In other news though I finished up the ravenhood series. I know you said you either read it or it was on your tbr. But god I loved it. That series broke me and then put back all the pieces. If you haven’t read it and want to feel both heartbreak and happiness I highly recommend it!

Oh and don’t apologize for babbling as you can tell I also babble!!

-ACOTAR anon

Hiiiii sweets!

I've been sifting through a bunch of summaries of Penelope Doulgas' work on Goodreads and there's a bunch of stuff there I think I'd enjoy. I'm all about good smut. I didn't realize she had that many books. I'm excited! Thanks so much for the rec! I love dark romances/erotica every now and again so I'm also going to have to dive into the Devil's Night series at some point.

Oh, and idk if you know about it/read it but a couple of my friends told me about the Crossfire series by Sylvia Day a while back. It's BDSM, like Fifty Shades, but supposedly loads better. I don't know if you're into that but I figured I'd just throw it out there anyway. The smut is supposed to be steamy. I haven't read it yet but I do have the first four novels on my Kindle (where they've been sitting, unread, for about 2 years now)...so that's something haha.

And please don't be embarrassed about Credence. Seriously, the most wonderful thing about reading is you can go wherever tf you want in your imagination. No one can stop you. There are no rules. No restrictions. You can be whomever or whatever you want to be for a while, morality notwithstanding. One of my favorite things about books is that I can experience the most bonkers, outlandish out-of-this-world stuff that I'd never dream of wanting/liking in real life. It's liberating!

Thank you for the trigger warnings, though. I appreciate that. None of them sound off-putting enough to keep me from reading it. (Tbh, I want to read it more now.) I've read loads of books where characters marry or have sex with their cousins or siblings *waves at ASOIAF, the Secret History* so it doesn't bother me. I've also read most of Lolita and all of My Dark Vanessa by Kate Russell, which both romanticize pedophilia in disturbing degrees, so it takes a lot to put me off. If curiosity could kill then I'd be long dead by now. Hell, sometimes I will purposely read things I know will upset me to my core. What can I say? I'm a weirdo. 🙃

I DON'T WANT TO WAIT A YEAR FOR BOOK 2 OF THE ATLAS SERIES, EITHER. AHHHHH. How am I going to make it that long? It seems so far away!

Callum is the most terrifying of them all right now, imo. I think that's why I disliked him the most. Like you, it shook me to my core to imagine someone like him being able to toy with my emotions. I have a tendency to detach, to keep my emotions pressed close to my chest so that I can't be manipulated or hurt, and the idea that someone could have power over them, over me in that way is...no freaking thank you! I would put as much space between him and me as possible. Most of the Atlas crew had the right idea there. He does bring a lot to the story, though, like you said. I have a feeling he's going to be one of those characters I "love to hate" as the series progress. I might even grow to "hate to love" him, idk. He's just such a shady bastard! And so judgmental/mean to the girls.

I'm with you on Parisa, by the way. She's the kind of conniving, ambitious siren of a woman I can get behind. She has a similar vibe as Katherine Pierce on TVD. I mean, there's nothing in her arsenal she won't use and I love how she weaponizes her beauty. It's delicius. She's unpredictable. Definitely the type of character who inspires "scared and aroused" energy any time she walks into a room. Like, she could choke you and instead of crying you'd just ask her to do it again...harder lol.

Reina has the same kind of "no fucks given" attitude I have because I genuinely don't care what people think of me, either. I'm just here to do my thing. Be nerdy. Learn. Whatever. And Nico is my fave for the same reason as you--the asshole who only has soft edges for those who matter to him. *heart eyes*

Omg, Libby is going to have a corrupted arc? AHHHHH. That's going to be amazing, I cannot stinking wait! I was sort of hoping she'd go dark so now that it's confirmed I'm even more pumped. Also, I think you and I have more in common than either of us realized. I'm from the Pittsburgh area, too! How wild is that? Maybe there's something in the water here and that's why, like Libby, we've both felt inadequate and like outcasts at different points in our lives? Olivie might be onto something here...🤔

The thing that's been so cool for me about this series so far is that there are a bunch of potential pairings I could get behind. And I kind of like that it's not clear cut right now. Most series I know who I want together or who will be together like halfway through book 1. I like that I don't know have firm preferences and am still open. That's novel. Not to mention fun!

I don't blame you for shipping Nicolibby so hard, though. They're definitely one of my top contenders for a romantic pairing. They have that enemies-to-lovers element with witty banter that I always gravitate toward. And you're right about Libby/Tristan. I don't know how much of their connection was manufactured because Parisa intervened, either. That'll be fun to puzzle out moving forward. And Callum/Tristan should NOT be a ship I like but they have a palpable something that I can't put my finger on. I've got my eye on them, for sure.

The Ravenhood series is still on my tbr. I'm so happy to hear you enjoyed it so much, though! It's rare to read something that just ticks all your boxes. The next time I'm the mood to binge a series I'm gonna have to pick that one up. :-D

I've been trying to clear out my backlog of ARCs lately. (Not possible because I'm getting more on the regular - as in constantly haha - but I'm trying.) I just finished Wish You Were Here by Jodi Picoult, which has a Sliding Doors premise that is set during the pandemic where the main character has a parallel life experience (one, where she's in the Galapagos Islands on vacation when the shutdown hits so she's stuck there with strangers, alone, not speaking the language; the other, where she's in Manhattan with her surgeon boyfriend and recovering from COVID). It's intense but so, SO good! Picoult is such a good writer. Anything I've read by her has been moving, with rounded and real characters. I haven't been disappointed yet. I so recommend her.

Oh, and if you're into nonfiction/biographies at all I finished The Splendid and the Vile by Erik Larson not long ago, which is about Winston Churchill as well as those around him, and it was fantastic! Read more like fiction. I loved it. I am no longer surprised it was on all the BEST lists for 2020.

[goneseriesanalysis]

Misogyny In Gone

 Spoilers for the Gone series down below - please don’t read if you haven’t read all the books

Also minor spoilers for the monster trilogy

TW: Mention of non-consensual s*xual activity

In one of my first ever posts about Gone, I mentioned that when I first read the series I found myself strangely intrigued by characters such as Caine and Drake, whilst disliking or simply being disinterested in female characters, such as Astrid or Lana. Now, in that post I chalked that up to being a result f the internalised misogyny that a lot of girls experience through the teenage years, but looking back I really don’t think I was giving younger me enough credit. I was reading plenty of other books at the time where I had absolutely no problem relating to the female characters. So that got me thinking as to why my experience was so different with Gone. I asked a question the other day about why @gone-series-orchid​ thought so many younger fans fixate on Drake in particular. And when I was answering the question myself, I found myself realising that it wasn’t so much a connection with that character, but more a disconnect from any female characters - the characters who I would usually relate to.

It made me realise that the issue was not with younger me, but with the writing itself. I began thinking back to various plot points, and it made me realise that women are heavily villainised throughout the series, without them being actual villains. This creates a set-up where you have numerous female character who are subtextually punished in a way that is usually associated with wrongdoers, without actually giving them the autonomy to make the decision to be bad. And so of course 11-14 year old me didn’t like them. And I instead developed an obsession with a sociopathic misogynist, which is really harmful for obvious reasons. Now, I really don’t think mg did this on purpose, but it’s there all the same and so I’m gonna talk about a few things that are irking me as I’m looking back.

Quick disclaimer that I have only re-read Gone so far so I don’t have quotes for evidence as I usually do, and I may even be misremembering some plot points. But I wanted to get my thoughts down while they are still fresh so here goes.

My first thought is that a lot of the villains we see, even the smaller ones, are male. We have Orc for a short amount of time in the first book. We have Caine, Drake and Zil. And even most of the background antagonists are male (Howard, Panda, Mallet, Hank, Turk, Lance, Bug). While you can argue that a lot of these characters are rather one-dimensional and cartoonish, they all have two things in common. Agency and autonomy. They are all able to make their own decisions (with the possible exception of Caine in Hunger). They all have their own clear and distinctive reasons for doing the things that they do and they are all relatively sane - I suppose you could argue against Drake being sane but realistically he is fully capable of making rational decisions when he needs to which would indicate that he is to at least some extent.

And this is something that any female villains just...never have?? And I literally mean all of them. I’m going to go through them one by one.

(Reminder that I’m talking about these characters specifically in their role as an antagonist - some of them do possess agency and autonomy outside of these roles but that is another topic of discussion)

So first we have Diana. Not really a villain, but certainly an antagonist in the first book. So let’s look - Agency?? No. Her role as an antagonist is dependant solely on Caine’s actions, rather than any desires of her own - even the few scenes where she manipulates Jack. She’s doing it to protect herself from Drake...another male villain. Not because of any villainous intentions that she herself has. Autonomy?? No. She is thrown around (literally) by Caine and is forced to go along with HIS schemes, despite actively voicing her unwillingness. She is even forcefully kissed by him - she has no right to self-government and no moral independence for as long as she remains an antagonist.  

Lisa - If I remember correctly, Lisa is the name of the sole (I believe) female member of the human crew. So let’s get straight into it because I barely remember her. Agency?? I don’t think so. Now, I could be wrong here but I’m pretty sure we don’t even get an explanation as to WHY she joined the human crew in the first place. If that is the case then that’s a big fat nope for agency. Autonomy?? Again, not that I can remember. I believe she is mainly treated as a romantic prospect for Zil (even though I’m pretty sure he calls her ugly at some point). I don’t think we are ever introduced to her morals and beliefs in any capacity that is separate from Zil. Sorry Lisa.

Brittany - This is quite possibly the WORST example. Brittany is the girl who was killed in Hunger and then brought back as the Jekyll to Drake’s Hyde. Agency?? No. Brittany’s role as an antagonist happens only after she has become insane. She is separated completely from her original characterisation and instead becomes a puppet for the gaiaphage’s desires. Autonomy?? NO. She is literally attached to Drake, and as the series continues she becomes less and less able to govern her own body until in the monster trilogy she is introduced to us as nothing more than a face in Drake’s chest. That he treats as a pet. I mean what the f*ck. She is also completely separated from her moral compass when she turns insane, even having that and the image of her dead brother used against her. I’m actually fuming just thinking about it. Like yeah, I wonder why little 11 year old me didn’t really like the women in this series.

Nerezza - As I remember Nerezza was some form that the gaiaphage took in Lies in order to manipulate Orsay. Agency?? Somewhat. She had a clear goal that she was working towards but points get taken away because she is not a real person. Interesting how the gaiaphage used a female body instead of a male one. However, if I have misremembered and the gaiaphage was possessing an actual kid then let me take that agency point right away. (I’m pretty sure she wasn’t a real person though). Autonomy?? No. Again, she isn’t actually real. ‘She’ is the temporary human form of a glowing pile of rocks. She does not have the ability to self-govern or have any moral independence. Also minus points for the fact that she was used to take away the agency and autonomy of two other female characters through manipulation. (Orsay directly and Mary indirectly).

Penny - Penny is the moof who has the ability to make people see monsters. Agency?? Somewhat. Penny acts purely for herself when she cements Caine, an act of revenge at that. Her goals are clear and she is established as a villain in a way that is separate from the male villains (we learn that she puts bleach in her sisters cereal). However, it is stated that the reason she does not desert to Perdido Beach in Hunger and Lies is because of her crush on Caine. Ew. It is also never really addressed that she does have a reason for attacking Caine in Fear. It’s played down to her just being crazy. (Notice how Drake and Penny are very similar, but he is sadistic and she is crazy- even though she has more justification for attacking Caine than he does for attacking Diana and Astrid). Have another ew, as a treat. Autonomy?? No. I mean, she literally gets her legs broken by Caine in Lies when he drops her off of a cliff. She is unable to move and has to be bathed by Diana and Caine. I mean why did he need to be there mg. Have another ew, that’s a Hat Trick. She cannot self-govern and her moral independence is undermined by her insanity.

Gaia - Gaia is the child of Caine and Diana, who is possessed by the gaiaphage. Do I really need to continue?? Let’s do it anyway. For fun. Agency?? No. She is possessed. By a glowing pile of alien rocks. Completely wiping away any personality or beliefs she may have grown to have. Autonomy?? No. She is possessed. By a glowing pile of alien rocks. She is also killed because of this. She has no ability to self-govern and no moral independence.

Bonus round - Lana temporarily becomes an antagonist in Hunger while under the control of the gaiaphage. Agency?? No. Autonomy?? You guessed it, no. Because she is being controlled. By a glowing pile of alien rocks.

My second point is that the two main female characters experience their character growth at the hands of men. This is not unusual in media. But it’s annoying as hell. Let’s review:

Astrid – Her main role throughout the series is to be Sam’s love interest, despite her being a much more interesting and developed character. She also changes a large part of herself in order for their relationship to continue (I know that’s not why she undergoes the change, but from a storytelling perspective it needed to happen for them to remain together because of how mg wrote them) and Sam is just fine as he is, for some reason. The character development that she goes through in between Plague and Fear is not only directly linked with LP but is also, for some reason, a secret. We, as a reader, are not allowed to see it. She also experiences a lot of character growth due to her fear of Drake and what it takes for her to overcome that. Another man. Yay. I know there is a lot more nuance to it than this but you get my point.

Diana – Again, her main purpose is to be Caine’s love interest. And she is yet another victim of Drake’s sick obsession. I’m not really going to go into detail with this one because Diana’s whole character is a result of the attraction men have to her and the way that they treat her because of this. I talk more on this is my analysis of Diana is you are interested but if I go into it here then I’ll probably cry.

Some bonus characters in this category include:

Lana – Big fat glowing pile of rocks (it’s genderless, I know, but I’m counting it), Quinn, Sanjit

Penny – Caine

Taylor – Her character doesn’t really rely on a man but it does rely on other characters (and mg) treating her like a sl*t for daring to have an attraction to one

And point number three: Women having sex = bad??

Again, not uncommon in media. But boy does it get on my nerves. For some reason women having sex or exploring their sexuality in the gone series seems to immediately have negative connotations. Now, I’m not sure whether this was intentional or not, but I do know that the same subtext is not there for the male characters. I’m going to preface this by saying I’m not overly fond of any of the kids having sex. Because, you know, they’re kids, and as an 18yr old re-reading the series, it makes me pretty uncomfy. But for any 14 year old girls reading this series, the take-away is immediately that girls exploring their sexuality is bad and wrong and punishable and I hate that. Because it’s just not true. So let’s begin.

I’m going to start by talking about Taylor. Taylor doesn’t actually canonically have sex as far as I can remember, but as I mentioned before, she is treated as a sl*t pretty much from the get go. And why?? Because she is open about the fact that she finds Sam attractive. Which is NOT a bad thing. It’s good to be open about these things, as long as you aren’t making a move on anyone who is already in a relationship then there is nothing wrong with voicing an attraction. And she doesn’t make a move. He does. And when he pulls away?? She accepts it. She doesn’t shout or get upset. She accepts that he is drunk and that he didn’t mean it and she moves on, with the exception of a few jokes. And that is a good reaction to that situation. Yet she is constantly villainised both by characters in the text and subtextually and I hate it.

Penny – Again, Penny doesn’t actually have sex within the story, and I’m not going to talk about her crush on Caine because I already discussed my issue with that. But there is one bit that makes me go absolutely feral. We learn in Fear that she uses her powers to kiss Turk whilst making herself look like Diana (she also does this with Howards although it is never stated who she turns into with him), and this is not presented as an immoral thing to do?? Which it very much is. She is literally commodifying Diana’s body – without Diana’s consent, and mg didn’t think to mention that that is not an ok thing to do?? Like she is SELLING Diana’s body for I can’t even remember what. And this infuriates me so much more because of how Diana is treated for consensually having sex within the series. She can’t even escape from being sexualised when she isn’t around I just AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA. I’m crying now over the horrific way in which Diana is treated ugh.

Brianna – Ok so Brianna is the final one on this list who doesn’t actually have sex within the series. My issue here is how Brianna is treated for her reaction to Dekka’s confession of love. Now, as I have said I haven’t re-read Plague or Fear yet so I’m not sure if Brianna is villainised for this within the text, or if I’ve just seen some fans do it. But. She is a CHILD. She is 12. And someone she looked up to as a sister just told her that she is in love with her. Of course she is going to be confused. She isn’t homophobic – she is a literal child who probably has no real notion yet of her own sexuality. Also, she is allowed to not be attracted to someone. And she is allowed to set boundaries – that is a very healthy things to do. Most women have been in a situation where a man we have considered to be a friend has told us that he has romantic feelings towards us. We’ve all experienced that sinking feeling. This is the exact same situation. And I hate the idea of anyone reading this series to think that they have to reciprocate feelings just because someone is nice to them. Also just to be clear, this is not a criticism of Dekka. Dekka was also a child, who was dying – and she had every right to tell the person that she loved just that. My issue is with the way that I’ve seen Brianna be villainised for her reaction. I love them both and they both deserve the world.

Astrid – Ok so Astrid is the first character on this list who has sex within the series. And I really wished she hadn’t. Or rather, if it had to happen, I wish it had happened under different circumstances. Again. My ideal situation when reading a book about fifteen year olds is that none of them have sex, but that doesn’t happen with Gone so I’m going to work with what I have. A lot of tension in Sam and Astrid’s relationship comes from the fact that Astrid refuses to have sex with Sam, which is a perfectly normal and healthy boundary for a 15 year old to set. But Sam, because he is a whiny little boy with the emotional capacity of a crusty tissue is not ok with this as so seems to develop a victim complex. Now this in itself is not outside the realms of possibility, and it could have even been a good way to add some intrigue to Sam’s character – if mg had explicitly stated that Sam’s reaction was not ok. But he doesn’t. And so Astrid suddenly becomes a prude. The Ice Queen. Now Astrid’s reasoning for not wanting to have sex is because (if I remember correctly) it doesn’t tie in with her faith. She seems to associate her morality with her ‘purity’. This, again, is flawed thinking. Having sex doesn’t make you a bad person just as abstaining from sex doesn’t make you a good person. But mg doesn’t mention that this thinking is flawed, just that her not having sex with Sam is. Which only reinforces the idea that women having sex = bad, unless it is for the benefit of a man. Again, I’m not sure if this was intentional or not but it’s sooo harmful. And to make matters worse, it is only when Astrid becomes an Atheist that she finally decides to have sex. And that just makes me want to scream. Do you know what would have been a good character arc?? Astrid retaining her faith but deciding that she wants to have sex with Sam because she wants to and because she realises that having sex does not make her any less ‘pure’ – or good if you will. Do you know what also would have been a good character arc?? Astrid becoming an Atheist for reasons but still deciding to not have sex with Sam because she isn’t ready yet and having sex is not indicative of moral or religious beliefs. But it just feels like Astrid having sex was more for Sam’s benefit than hers instead.

Diana – Ok so Diana is a big one. Of course she has consensual sex on the island with Caine (even though he does threaten to have it be non-consensual which I just hate so much) and then immediately afterwards becomes pregnant with the Gone series version of the anti-Christ. So Penny literally selling Diana’s body?? Yep that’s fine. Diana choosing to have sex with a boy she ‘loves’ because she wants to?? Bad. Wrong. You must be punished. It just reinforces the narrative that women having sex is bad. Especially when there are little to no consequences for the boys involved. Again, Diana’s characterisation is reliant upon her sexualisation from male characters so it’s hard to separate her from that, but if you want a more in-depth explanation I talk about it in my Diana post.

Connie – And finally we have Connie. The mother of Sam and Caine. Now Connie isn’t exactly shown as bad for having sex – but she is the only grown woman whose sexual past is talked about within the series and she also happens to be an adulterer. Which isn’t amazing. I don’t have too much to say about Connie other than she is presented in an overtly negative light, mostly from Sam, for a situation that happened over 15 years ago. She tried her best. I don’t remember her much but I wanted to mention her because she deserves some justice. Please feel free anyone if you have more to add.

Well that concludes my thoughts on misogyny in the Gone series. I feel like I got slowly more aggressive as this went on so I apologise for that but I had a sudden epiphany and had to write all my thoughts down immediately. I still love the Gone series so much but I had honestly never thought about these things before and it’s now quarter to 5 in the am. I just want to add a quick note that this is a Gone blog but it is also a safe space for women. I love you all and please feel free to critique anything I have said or to add onto it, I would genuinely love to hear your thoughts on this. – And that goes for anyone. Thank you so much for reading :)

[roswellnmsource]

Jeanine Mason and Roswell, New Mexico showrunner preview season 3 of the extraterrestrial drama

ENTERTAINMENT WEEKLY: Was the year time jump because of the pandemic? To sidestep making that too central to the plot, or was that always the plan?

JEANINE MASON: That was always our intention and it was just sort of a saving grace in that way. We also don't acknowledge the pandemic in real-time on our show. There are no masks and that was just so wonderful just to get work in that way and have that time where it was a little more normal. Also, that's just our show — we want you to come to us the way you always do, which is for nineties nostalgia, sexy Cowboys, brilliant scientists, you know?

CHRIS HOLLIER: So we wanted to drop our characters in a year later, let them stew in their individual decisions that were made last season. We want everyone to root for our poster couple but we want to honor what happens in real life, which is sometimes you step away from that person, even if you are entwined with them in a very particular way. So we wanted it to be a real enough time and distance so that they could live a little life on their own.

With showrunner Carina Adly MacKenzie departing at the end of season 2, has much changed? Or are you still working with ideas she had in place?'

HOLLIER: It's a little bit of both. There are things that Carina and I built that live all the way through and then once the story got up on its feet, discoveries were made with our new crop of people that we were like, "Oh, we're going to bend it this other way."

Jeanine, how is Liz doing in her new life in L.A. when we pick up this season?

MASON: Well, it's been a year and at this point, her life is actually pretty great. She just hasn't taken a second to acknowledge that. She's doing what she does best, which is just full head in her work and trying to figure out what she could use of her discoveries and her brilliance to save Maria. She has a great job, a really nice place, and an awesome partner at work who is a good time and a real match for her in terms of intellect and ambition. He begins to ask her to recognize that and to maybe give something a chance that she's been reluctant to because of how drawn she is to Roswell and to Max. It's a fun first episode. It's sexy. It's fun to find opportunities for her. She's our hero so she's got a lot on her shoulders and anytime where we can find levity for her is always a real treat for the writers and for me.

And no Crashdown waitress uniform must be nice?

MASON: Honestly, I miss it quite a lot right now. I have a note in my notes with Chris, I'm like, "I gotta tell him we gotta find him more opportunities for it."

Should Liz and Max shippers be worried about them finding their way back to one another after he destroyed her work and didn't follow her to L.A.? Should we resign ourselves to a season apart?

MASON: This season really is about these characters having themselves mirrored to each other. Max and Liz need some growing and ultimately they can't do anything but be orbiting each other. We found so many opportunities to have such a beautiful language around the cosmic element of their connection. They're asking, "Is this our decision, or are we just acting off of a decision that the cosmos made for us?" It was so fun to navigate that. I always have such a good time with Chris Hollier and with Nathan Dean, just finding the little tiny notches, a tiny bit of movement towards where they're going next. I really loved following them. It's my favorite Max and Liz season to date.

HOLLIER: It's not a season apart. I'll tease that they, in an unexpected way, end up in front of each other relatively soon. But it's really about when am I ready? And what does it mean to talk to my ex? When someone makes such a big influence in your life, when do you know it's over and when do you know you should fight again? We tried to give them real grown-up lives.

Steven Krueger (The Originals) also joined the cast as Heath this season. What can you tease about his character?

HOLLIER: He's just an awesome human being. I know him from The Originals and we were like, "If we're going to have to be stuck with people in the desert, who do we want?" You want to be stuck with a handsome and lovely and charming Steven Krueger. So really this was looking at, "Well, what did Liz want and what does it look like when you start to give Liz versions of what she wants?" Heath is somebody that is beyond being just a lovely person, he is smart and wants to advance science and that's appealing to Liz. It becomes, "What does it look like when the man that I hang around with all day is also into the same things that I am?"

MASON: I love him. Heath is just such a fun, whip-smart, fantastic character. His humor was so fun. We've been having a good time with kicking the humor up really through season two and in season three, we just took it up another notch. There are some moments that are like, "Is this a drama or is it a sitcom?" Looking back on it, he was such a fun partner to spar with. They're both such intellectual characters and I love that there's a real meeting of the minds. It makes it competitive and sexy. I know a lot of fans are so excited because they know him from The Originals and he's going to be a great addition.

Technically, Mr. Jones is a new character too. Can you tell us anything at all about him?

HOLLIER: I'd say he's a new character — and a fully-fleshed interesting new character. Mr. Jones has an awesome beard. At some point, he might lose that beard. A lot of people are asking me, "Is Jones good or bad?" And what I would argue is that's a perspective based upon who you are in the conversation that you're having with him. He knows a lot about our heroes' story and he knows a lot about home. He'll be able to answer questions for them. This season our heroes will get to learn why they ended up here on earth. One of the things I think that people will love is that they're going to get to see that home planet this year. We asked ourselves a lot about this whole season, "What have we set up for the past two?" We look at these first three seasons almost like a trilogy so a lot of things are going to be paid off.

Has Nathan enjoyed pulling double duty this season? Or is he just exhausted?

MASON: He's exhausted, but he's such a champ. That really is the beginning of this mirroring thing that starts with Max and Jones with him actually getting to look at himself to a degree and those questions that come up. The self-analysis that it provokes in him is really the beginning of what is happening to all of our characters this year; everybody's being confronted with themselves. I loved that the Max/Jones of it was also a real sci-fi element.

Did he really grow that beard or was that not possible if he had to go between the two characters?

MASON: That was a prosthetic beard and our makeup team killed it. He was not accustomed to early mornings, which, of course, all of us babes are. It was a lot of extra time in the chair for him.

Can Jones dupe Liz into thinking he's actually Max since she doesn't know he exists?

MASON: You're totally on to something. It's a real and pressing threat. I mean, she's totally in the dark and he looks like her cosmic lover!

HOLLIER: What I will say is that, Liz — beyond her being number one on the call sheet — is integral to this story in a way that she and none of our characters are going to perceive when they start episode one. We're bringing [the characters] to a new crossroads moment in their lives and they're getting, through Jones, a mirror into their own lives to decide what they're going to become next.

How's Rosa (Amber Midthunder) doing this season?

MASON: By the end of season two, Rosa really makes the decision to start taking care of herself. She really becomes an incredible asset to the Scooby-Doo gang. It's something that Liz is in constant adjustment to. As much as she's the younger sister, she feels very protective of her sister and Liz has had to make adjustments in her trust and faith in Rosa. I loved it because it just felt like a real personal, authentic thing that sisters would go through, but also that Hispanic sisters would go through. I think we sometimes, culturally, have a tendency to baby our women — maybe that's the wrong word — but just to underestimate their physical ability and what they might take on, and sort of 'queen' our women in a way where we treat them tenderly. I hate that. I'm a tough bitch and so is Rosa. So Liz has to confront that and go, "I'm an idiot to underestimate you. You've done nothing but prove me wrong."

What about Maria and her visions?

HOLLIER: This year I think Maria has the most complete arc of any season, as she recognizes things about herself that cause more questions about who she is, who her family is, how she's linked to this story. We dive into it in the present-day and we dive deliciously back in time too.

In the exclusive clip above we see her have a vision of a funeral, can you tease anything about who potentially might be about to die?

HOLLIER: Maria is front and center in driving the first half of the mystery for us. She's burdened with trying to figure out whose death she is seeing. It takes a few episodes to unravel and we use it to ask, is this linked to our supernatural stories or real-world stories that are going on politically? Is it bad luck? Is it herself? There's a whole gambit at play. We joke that we solved a past murder, now we're going to try to stop one.

Can Malex (Michael and Alex) shippers have hope that this might finally be their time?

HOLLIER: What I would say is that I think that Malex fans are really going to dig this journey. We, as writers, put them at the same level of importance as Max and Liz. So we wanted to really honor the next step in what they may or may not be. How did they grow up and how did they have those hard conversations just like Liz and Max are going to have?

Is Isobel going to continue to date women this season?

HOLLIER: Isobel is going to go on a more personal journey. You got to love yourself before you can love someone else. We lean into those possibilities by the end of who she might love. It's not something that is dropped all season — it is something that you'll see. We play some romantic comedy stuff with her character this year and with Maria that I think fans are gonna dig. There's a lot going on in the world and wanted to pump some humor and hope into it.

Will see more of Liz fighting to challenge the perception of the Latinx community?

MASON: I think that just by nature of it being one of such few shows that are led by a Latin woman, it's always going to be, to an extent, a protest or an assertion of the space that I get to fill and that Liz Ortecho gets to fill on network TV. I was really excited to just have Chris as a collaborator. Over our hiatus, before the season started, I was doing a lot of reading. I chronicled the books that play into Liz every season on my Instagram. I was reading some Sonia Sotomayor. Her book is just incredible. I was texting him screenshots of pages of the book with things underlined. Ten episodes deep into season 3, he's like, "Remember that page you sent me?" He's a real dream collaborator. I loved him for that. A pressing struggle for people of color is going through the ranks in these big corporations and then sometimes coming to find out that those corporations are purporting to support marginalized groups but actually aren't following through. So how do you, as someone who's having your success, your dreams become reality, navigate supporting the company and giving so much of your intelligence and your work — that they often legally own, especially with science — to a company that isn't going to be for your people?