#It definitely makes it less daunting to set up and take photos!!!

[drfrogphd]

Ghostface and Michael Myers stickers are back and upgraded to waterproof/dish-washer safe!!

✨ etsy.com/shop/drfrogphd

[drabblesandimagines]

Promises

Leon Kennedy x female reader Fluffy nonsense, taken some liberties with timeline of RE2R.

“There.” You hop off the desk and turn back round to admire your handiwork, hands on your hips and tilting your head a little at the banner now hanging from the ceiling tiles, surrounded by streamers. “Hey – does that look squint to you?” It had looked level when you were stood up there, but now you’re back on the ground the banner proudly displaying Welcome Leon looked a little off.

“Does it matter?” Edward steps behind you, files in hand after rummaging through the filing cabinet. “He’s not going to take a spirit level to it.”

“No, but…” You sigh, tilting your head in the other direction to see if that made a difference.

“You were off the clock 40 minutes ago, rookie, and I ain’t paying overtime.” Branagh’s voice booms from his office door and you turn, shrugging your shoulders in acknowledgement. He’s got his jacket over his arm, briefcase in hand, looking to be heading home for the evening.

“Of course, Lieutenant. I just wanted to get this up before I left for the day. He still starts the day after tomorrow, right?”

“Mm-hm. I don’t know why Chief Irons is insisting on this morale-boosting bullshit.”

You hold your tongue – calling it bullshit is exactly why the captain is insisting on it, and when Branagh had tasked you to do something to make the new recruit – one Leon S Kennedy – feel welcome upon joining the force, you’d thought the idea was quite sweet. It had been daunting enough for you almost six months earlier, joining a police station where everyone else was a few years your senior and friends for a good while. It had been difficult gaining their respect, proving your worth but, hey, you had it now… more or less.

Branagh sighs – you must’ve been pouting. “It’s not squint, rookie.” He walks over, looking at the banner and streamers with a stoic expression. “As long as you haven’t wasted taxpayers’ money with that and that weird lock puzzle you’ve set up, then I shouldn’t complain.”

“No, sir. I got the locks from storage and the banner and streamers are all on me. And we could re-use it, if you switch some letters around…”

He scoffs, taking in the sign again. “To what?”

“Er…” You look at the letters. “O clown melee.”

Branagh sighs, pinching the bridge of his nose. “Go home.” He turns to your fellow officer, then. “Edward, I expect that report on my desk first thing tomorrow.”

“You got it, Lieutenant.” Branagh nods as he leaves the room. “Why are you so excited about the new guy anyway, rookie?” Edward is at his desk now, flipping through the pile of arrest records.

“Isn’t it obvious, Edward?” You grin, picking up your rucksack from beneath your desk.

“Ah, you want a boyfriend, I get it.”

“Ugh.” You scoff. “No, it means I won’t be the rookie anymore.”

Edward cocks his eyebrow at you before shaking his head. “Nah, I’ll believe it when I see it.”

--

“Hello?” The voice on the other end of the line is casual, upbeat. It’s nice to hear after the last 24 hours has been anything but. It matches the photo in the file you have, one finger still besides his contact number. Blonde hair, cute face. Too sweet to come here now.

“Leon Kennedy?” You try and steady your voice, sitting at the desk in Branagh’s office. You can see some streamers dangling from the ceiling and you hope the broadcast that’s been playing for the last few hours can’t be picked up on the line.

“Speaking. Who’s this?”

“I’m with the Raccoon Police Department.” There’s blood on your forearm, but you’re not sure if it’s yours. “I know you were meant to start tomorrow, but there’s been a… delay with the paperwork. Our end, not yours. We’ll be in touch with a new date.”

“Oh. That’s…” He sounds disappointed, but if you told him the real reason he wouldn’t believe it. You don’t believe it. “Er, that’s okay. Thanks for letting me know. You’ll definitely been in touch?”

There’s a bang at the window. A man, blood dripping down from his mouth, a gouge out of his own neck snarls at you through the pane of glass.

“We will.”

“All rig-” There’s no dial tone, no beep of disconnection – just silence. They’ve cut the phonelines.

--

Seven days of hell. This wasn’t covered at the academy – whatever this is. They said it was a radiation leak at first – that was what was making people act so feral. You’d seen the worst of humanity over the days and no-one seemed to be coming to help anymore. The army had been drafted in, at first evacuating bus-loads of civilians out before that was deemed too risky. They then tried to quarantine everyone, everything in but nothing is working – blockades go up, they come down, more and more people die, your colleagues die.

Or do they, really? Scott, Ford and Carlsen were definitely upright, shuffling towards you the third or fourth time you resorted to shooting them in the head.

The police station was designated a shelter, a sanctuary. It’s a sturdy building, that’s for sure – solid walls of a former art museum – but it’s not enough to stop whatever has happened to the people you tried so hard to protect.

You don’t know where Phillips, Edward or Branagh are, or if they are still even them. It’s impossible to know how long you’ve been down in the cells now – power’s out, it’s dark all of the time. The only way you know that time has passed at all is by the hunger pangs in your stomach.

You’re just glad that they’re not for human flesh.

Yet.

You’d found Irons down here. His last orders were for everyone to stay in the station itself, but Branagh had sent you down, reluctantly, in the hopes of finding any sort of supplies that hadn’t already been picked apart. Everyone assumed the chief was dead - hadn’t been seen in days. As you’d headed down to the cells, you’d heard raised voices, arguing. You couldn’t work out what they were saying at first, concentrating too much on the fact that they were real voices, saying real words and not guttural growls.

Chief Irons holding a gun in a man’s face, forcing him into in a cell and slamming the door shut is not what you’re expecting to see.

“Don’t just stand there,” the new prisoner called out to you, “help me! The guy’s a madman. He’s been selling us all out to Umbrella this whole time. He’s responsible for this all!”

Chief Irons turns to you, pupils blown out, looking fed up, gun still held aloft but now in your direction.

“What are you doing down here? You were told to all stay up in the station.”

“Sorry, Chief. We thought… Branagh told me to come down. What’s going on?”

“Er, hello! Did you hear me?” The man is holding the bars of the cell. “He caused this.”

You ignore your gut in the presence of authority,  “Is it wise, sir, to leave him in there? He’ll be a sitting duck.”

“He’s not the only one.” And you see his trigger finger flex.

You run then, an attempt at a sprint from the adrenaline, but there’s a hot, searing pain in your thigh. You’re fast, but he’s faster, an arm wrapped around your windpipe, cutting off the oxygen. You stomp on his foot, jerk your head back, anything to try and make him release his grip but the world is swimming before you.

Perhaps this is the most peaceful death you could wish for.

There is a bitter feeling when you wake up, locked in a cell further down the corridor from where you’d been, without your gun, thigh tacky with blood and painful to move. There is a crude bandage wrapped around it, preventing blood loss but it feels more a death sentence than a blessing, surrounded by echoing snarls and rats that need kicking away.

--

You wake up to repetitive, methodical gunshots. Someone is going cell by cell, peering in and eliminating those inside.

Maybe the army is back, maybe they’re cleaning up the mess.

You’d fallen asleep sat in the corner on the cot, back leaned up against the wall. The rats didn’t seem to climb up here as much at least – you’d feel them before they managed to get a nibble.

The footsteps are getting closer and closer before a flashlight is shone around your cell, investigating every nook and cranny before it lands on your face, causing you to squint. You hold up your hands.

“I’m not one of them.” You plead, your voice raspy from sleep. You desperately want to cough but worry that’ll make too much of a them sound.

“Are you hurt?” The voice sounds fleetingly familiar. You blink in the light before it dips a little and you can see who’s wielding it.

Although his hair is mussed, a little bloody, you recognize the sweet face from the file on Branagh’s desk all those days ago and a certain something clipped on the end of his gun.

“You got your welcome present.” “Huh?”

“You’re Leon, right?” He nods. You get to your feet, cautiously, using the last of your energy to limp across to the bars, curling your fingers around them to steady yourself. You offer your name - as if it would mean anything to him. “I put that in your desk. Did you solve the lock or did you just smash your way through?”

“No, no, I solved ‘em.” He bites his tongue, doesn’t tell you that when he solved them was moments after he had to shoot that certain colleague in the head. “Did you put that all together?”

You smile, “And the banner – if it’s still up.”

“No, it is.” He wraps his hand on top of yours, maybe as desperate for human contact as you’d been. “Thank you – I wish I could’ve seen it on a day as it should’ve been seen.”

“Me too. But… why are you here? I told you to stay away.”

“That was you as well?” His eyes widen – beautiful blue things. If Edward could see you the smitten look on your face now, he’d be intolerable. He’d caught you making eyes over guys being booked in the past, after all.

“I wish you’d listened.”

“You said you’d be in touch.” He teases, before settling into something more serious. “I’m glad I didn’t cos it looks like you’re in quite the predicament. Why are you in there?”

“Long story. Can you get me out? There should be an override switch for all the cells – runs on a generator. Not sure if things have been messing with it.”

“I’ll work something out.” He smiles, squeezing your hand before he lets go. “Just… sit tight. I’ll be back – I promise.”

And, as you stagger back to the cot, head falling back against the wall, you believe him.

--

Time is fuzzy now, or maybe you’re just weak from hunger, weak from pain. Water from the cell sink has been the only thing that’s kept you going. But now there’s an alarm sounding and mechanical locks clunking and so much groaning.

Your name is being called, shoulders shaken but you can’t focus. You’re heaved up from the cot, arms wrapped around your waist and over someone’s shoulder. A hand squeezes your backside before there’s an apology and it shifts back to your waist. There’s gunshots, hissing, snarling, screaming, swearing all around you but all you can do is hang limply, catching glimpses of limbs and blood smears on the floor before it all goes black again.

--

“She’s dead weight.” A new voice – female – echoes around your head, though you’re in a different position now – cradled in someone’s arms, face pressed against the weirdly familiar feeling of a bulletproof vest.

“Ada.” A warning tone.

“What? You can’t carry her and shoot.”

“It’s fine.”

“Not where we’re going.”

“Where are we going?” You mumble, forcing your eyes open and up to see that picture perfect smile once more.

“Hey. How you feeling?”

“I’ve felt better.”

“I’m sure. This is Ada – she’s with the FBI.” A woman in sunglasses and a white coat shoots you a disinterested look.  “We’re going to Umbrella’s lab. This whole thing’s a virus – we need to stop…” He smiles, noting your bemused expression. “I’ll explain later. You just rest, okay? We’ll find you somewhere safe whilst we deal with this.”

“Safe?” You want to laugh. “Good luck.”

Leon finds something though – an armored military truck the south side of town. No windows, a box of rations still intact.

“Okay, you stay set up in here.” He’s crouched in front of you, Ada hanging back at the door. “I promise I’ll be back for you afterwards.”

“Don’t make promises you can’t keep.”

 He squeezes your hand. “I’m gonna keep it – just you see.” Leon gets to his feet and Ada steps aside as he exits, before peering at you over her shades.

“Here.” She withdraws a gun from within her coat, slides it over the metal flooring of the truck. “Just in case.”

Leon puts on a smile behind her, hand aloft in a wave and Ada slams the door shut.

You don’t need to check the barrel to know there’s only one bullet in there.

--

More time passes through a combination of consciousness and unconsciousness. Opening up packets of dry, dusty crackers that tasted euphoric on an empty stomach and bottled water, gun still within reach and blissful silence as the thick metal walls obscured all sound from outside.

The door opens, morning light flooding behind, illuminating Leon as an angelic figure – his shoulder now wrapped in a bloodied bandage. A woman sporting a ponytail behind him, a little girl too, but no Ada.

“You came back.” You breathe out as he crouches in front of you, taking your hand.

“I promised, didn’t I? This is Claire and Sherry, and we’re all getting out of here.”

You kiss him, clumsily, head still woozy, but his hand comes up to rest on the back of your head, holding you steady before someone clears their throat behind.

“Ahem, Leon…” Claire jerks her head towards Sherry, the girl staring wide-eyed.

“Sorry.” He’s flustered – adorably so – but he drops his hand from your head and helps you to your feet, keeping you close to his uninjured side. He presses his lips to the side of your temple as Claire and Sherry turn, mumbling into your ear.

“And I promise to come back for your kiss too.”

--

You wake with a start, sitting up in the bed, trying to catch your breath. You were back in the police station, hands grabbing at you from boarded up windows, guttural wet sounds from things no longer human.

There’s movement besides you, followed by a click, a soft, yellow light illuminating the room as a warm hand rubs your back.

“You with me, sweetheart?” Leon asks, cautiously. He knows how it feels to wake from a nightmare, how disorientating it can be.

You reach for his hand, lacing his fingers between your own, grounding yourself. You're in bed, you're home, you're safe, you're with him. “You came back.”

“Always will.”

--

Comments, likes and reblogs make my whole day x

Masterlist . Requests welcome . Ko-fi

[sarandsaffitz]

Cranberry-Pomegranate Mousse Pie, p. 79, Dessert Person by Claire Saffitz

The photograph of this pie is seriously gorgeous I think it should have been the cover. I think Claire even says at some point in her Youtube series that it’s her favorite photo in the book. Anyway, obviously I was really excited to make this one, however it had a TON of substitutions to make vegan and needs a ~little~ more tweaking to be where it needs to be. I might make this again as a Thanksgiving pie, like Claire suggests, but until then I’ll be moving on in my project.

Make it vegan!

Starting with the crust - Lotus brand Biscoff cookies are ACCIDENTALLY VEGAN! These are the cookies you’ve been eating on flights lately, I’m so happy to know I can eat them in good conscience. Sub - butter for Earth Balance, egg for a flax egg.

Now for the mousse - Sub heavy cream for coconut cream. Take 4 cans of coconut milk, put them in the fridge, and then ONLY use the solids, (save the liquids for a different recipe like curry, coconut rice etc.) definitely grab 4 cans, I tried doing this with only 2, hence why I don't have as much whipped cream on the top, sub gelatin powder for agar agar (I’m using flakes).

Tips:

One aspect to doing this project is finding cool ingredients that I normally wouldn’t have thought of using. I had to hunt down pomegranate molasses (surprisingly not that hard to find) and Lotus brand Biscoff cookies (VERY hard to find). I ended up finding both at Zupan’s (a fAnCy grocery store) here in Portland. Good luck to the other Dessert People out there!

I will say this about the crust - my crust slumped a bit in the oven, this may have been because it was too wet. Maybe skip the egg all together, or try less water than normal (I used 1 tbsp flax egg with 2 tbsp water, so maybe try only 1 tbsp water?). Graham cracker crusts I’ve made in the past have never used a flax egg, so it might be ok to just leave it out. I also left the crust in the oven longer than Claire recommends, because it looked SO wet still, but mine did burn slightly. Take caution!

There were SO many steps in this that made me nervous it wouldn’t come out very well, the largest that loomed in front of me was using agar agar. I’ve used it successfully in the past, but I have also made jello shots with it and it was a disaster (you literally had to CHEW your jello shot… not ideal). So, I knew I needed to be careful with how much agar agar I used. I only used ¾ tsp, brought it to a quick boil until it had all dissolved and then immediately poured it into the cranberry-pomegranate mixture and mixed. I would say you could go up to 1 tsp, and that might be the sweet spot. The mousse still set up in the fridge, but it was a bit less firm than I wanted (as you can see when we cut it out, it didn’t really hold its shape as a slice).

Last tip, Claire says you can’t use frozen cranberries to do the cute sugared cranberries on top but I decided I could and it looks cute so, you do you.

This pie was so daunting for so many reasons and I am thankful to be moving on. My BFF Caroline gave this a great rating so I’m stealing it: 11/15

[msdanvers]

gif coloring tutorial

for @sappho-mia​

a photoshop tutorial on how to make gifs that look like the ones in this gifset. I will only explain how to do the coloring, so if there’s any other part of gifmaking that you’d like for me to explain, let me know and I’ll make another tutorial or send you some tips! 

I’ll show you how to go from this:

to this:

1. exposure

shows have the lovely habit of underexposing every scene, but you don’t want people looking at your gifs like this  

so: time to brighten that shit up!

I have a psd (an edited version of the one in this tutorial by @redkrypto​​) that I use and adjust for basically all my gifs, but for the sake of this tutorial I’ll do this step by step. 

photoshop has a few good options for changing the exposure. first, go to window > adjustments to get this: 

which is your biggest friend. the ones on exposure are these 4:

I’ll be honest, I have no idea what the difference between levels (the second one) and curves (the third one) is. they both adjust the tone of your gif - with the option to make the dark tones, the light tones and the midtones either brighter or less bright, separately. this’ll make your gif look less flat!

let’s take a look at levels:

this might look daunting but I promise I don’t really know how to read the histogram either, I just use the little sliders (cyan) and see how it looks. you can also use one of the eyedroppers (red) and click on a part of your gif that you want to be black, white or grey, and the rest of the image will adjust to this. it might be a little too intense - in that case you can lower the opacity of the layer (see image below). 

then there’s brightness/contrast and exposure. the difference between these two is that brightness will mostly affect the parts of your image that are already bright, while exposure will affect the whole image. the exposure window has another option I use often too, gamma correction. with gamma correction you can change the gamma levels of your gif, and I have no idea what that means but it sure does look good lmao

there not one ‘right’ way to do this, so just play around a little and see which ways you like the most :) 

after brightening, our gif looks like this. yay!

for comparison:

2. coloring

I remember feeling very overwhelmed with all of photoshop’s options at first. I will discuss all of the ones I used to create this gif, but you definitely don’t have to use or understand all of them in order to make beautiful gifs! 

two adjustments I use in pretty much every gif are hue/saturation (cyan) and selective color (red). 

first, selective color. selective color basically gives you the option to single out a color in your gif and change it. the most important thing to understand here is which colors are opposites: red and cyan, green and magenta, blue and yellow. so if you’d want your yellows to be green, you use the magenta slider. 

for the gif we’re making, we want kara’s cape to stand out, because red is going to be the only color left. these are the settings I used:

now it’s gonna look a little oversaturated, but we’ll fix that later on. I also made the yellows more red and less yellow and increased the blackness a little. 

another way to make a color stand out is by removing the other colors -- the background is mostly yellow, green, cyan and blue. so we’re gonna go to hue/saturation and completely remove their saturation, which will make the wall behind them look gray. 

in the saturation window, you also get the option to reduce the lightness (and the hue, but we’ll get to that later). reducing the lightness does not do the same thing as increasing the blackness in selective color: reducing the lightness will give it more shadow, while increasing the blackness in selective color will make for example a lilac go to a purple, or a red to a deep red. 

for our gif, I reduced the lightness (-13) and the saturation (-3) of the reds. now it looks like this:

the next step will make the gif look weird at first but after we add the other layers, it’ll look better. go to adjustments > photo filter and select ‘sepia’ (it’ll be a warming filter first - click on that and you’ll see all the other options). then increase the density: 

next, we’ll move to channel mixer. channel mixer is one of my favorite adjustment layers because it’s the easiest way to make your colors look really different. there are three channels (red, green and blue) and the best way to use it is to just try things out and see how it looks. my settings for this gif were: 

then I added another saturation layer and reduced the saturation for the yellows, greens, cyans and blues, and removed the saturation completely for the magentas. for the blues, I also decreased the lightness, and for the reds, I changed the hue a bit so it looks less yellow: 

another selective color layer (with opacity and fill both at 65%):

then add a gradient map (bottom right in the adjustments window). make sure it goes from black to white, and isn’t reversed. this will make the gif look a little softer! opacity: 20% fill: 50% (or your whole gif will be black and white)

increase the red saturation a bit and increase the blackness with selective color, so it’ll look like this:

see if your exposure needs some tweaking, remove all the colors you don’t want (the background is mostly yellow now) and add another photo filter, a cooling filter this time, and set it at 4%.

finally, one last selective color layer: 

and that’s it, we’re done!!

3. some final tips

it matters which layer is on top. if you use selective color to turn all the green into cyan and put a saturation layer on top of that, not a lot will happen if you increase or decrease the green saturation. but if you increase the cyan saturation, every part that photoshop recognizes as cyan now will become more saturated. 

some scenes are a lot harder to color than others, and you’re allowed to just ignore the existence of those scenes. :-)

use folders or “groups” to put layers together. my psds are very chaotic but this helps me find things! 

when making a set, your gifs should look good together, not just on their own - sometimes seeing my gifs together makes me realize I need to change the coloring / brightness in some of them. to make sure this realization doesn’t happen when I’ve finished all of them already, I always put them in a tumblr post in my drafts while I’m still working on them. 

use creator tags when posting your gifs. so don’t just tag it as “supergirl” but also “supergirledit” and not just “kara danvers” but also “karadanversedit” - this is the easiest way for other people and other creators in your fandom to find you! if your set doesn’t show up in the tags (when you search supergirledit and click on “recent”), send me a message and I’ll help you figure out what went wrong.

try to make your coloring match the ‘mood’ of your gifset - is it dramatic? soft? angsty? romantic? should there be intense contrasts? lots of reds, or calmer blues? same goes for the font you choose, but that’s a whole other tutorial (that I am probably not qualified to give haha, but I can point you in the direction of some people that are really good at it!). 

you’re going to make a lot of gifs you don’t like, and that’s okay. it doesn’t mean you’re not good at it, it means you’re learning and improving! and it can also mean that you forgot to turn off the night shift on your laptop and your ‘red’ gif turns out to be... definitely not red. lol

if you have any questions, don’t hesitate to ask!! good luck & have fun :) 

[tabbycasto]

Nail Tech Talk : Top Tips For Setting Up In An Unconventional Space

Setting up can be a little daunting when you first start out, but it doesn’t take long to start building your collection & creating a space that you're happy with. When I started to set up my treatment room, I began by creating a mood board to figure out the aesthetics & practicality of the room. I love to use Pinterest to get my visual ideas out and have mood boards for things like Storage Ideas, Pedicure Set Up and design inspo.

Once you’ve figured out the style you're after you can start to figure out how to make it come to life. Everything takes time and you’ll find sometimes it’s not until you’ve actively worked in a space that you can truly see what you need to change & adjust to make the space really work best for you. It's a work in progress that grows with you as you develop new skills. Don't feel that everything has to be done at once.

My Treatment Room aesthetic is kitsch, plant adorned & bright. I try to keep things fun, but tidy and cozy for clients. I’m not a "normal salon space", but that’s one of the reasons my clients like to come to me. I don’t try to make the room do something it can’t do, I just work with what I can.

Storage

Storage is really important, especially as it can actually save you time if you keep yourself well organized. I really love easy access storage so that I can grab things quickly and not waste time looking around for products.

Nail Polish/ Gel Polish Storage 

I originally started out with both the long and short Ikea Alex drawers. These are great if you are just starting out and don't have too much product as they provide a lot of storage space, but if you are like me and tend to have a lot of product (I do makeup as well as nails), I’d recommend going for better quality drawers with more side supports than Ikea. My Alex drawers lasted about 3 years before I had to replace them with a similar Tallboy Style Drawer which I found on sale at La Redoute. My advice would be to spend a little extra on furniture if you can so that you don't have to replace it in future.

Ikea Picture Shelves are also a great way to display polish/gel colours on your walls, but they will need dusting regularly which is why I prefer to use the tallboy style drawers. I tend to use the Picture Shelves to create a "gallery wall" where I display framed art and photos, but these would be great for displaying certifications and awards as well.

Glitter/Diamonte/Dried Flower Storage

I invested some time decanting all my glitters, diamantés and dried nail art flowers into clear acrylic lidded jars which sit in clear boxes (labelled on the bottom) so I can showcase colours more easily to clients rather than rummaging through boxes. Clear Acrylic storage is great as you can see when things are running low and need topping up. I tend to separate these into colour sections keeping like colours together. Ebay, Amazon, Hobby Craft & Muji are great for finding these kind of clear acrylic storage solutions.

Wire Storage

I keep wires under control with a wire tidy box also from Ikea to reduce tripping hazards and keep the room looking tidy. As I do a lot of filming in the room, I do have quite a few different wires for various things, anything that doesn't fit into the Ikea Wire Tidy, when not in use, gets stored in Ikea Rattan/Wicker Storage Boxes and slotted away in my Ikea Kallax. I label the different plugs with a Dymo Label Machine so I don't get things confused. 

How To Display Your Nail Art Professionally

I love nail art and have a lot of nail tips left over from content creating and old Pop Up Nail Bar menus. I was looking for a way to showcase these to clients and discovered a really cool Nail Art Display Box on Ebay which looks very professional. You can change the display every season or theme each clear pull out frame to your liking. With so many ideas and options available this is a great way to break it down visually for customers. Here is a break down on how to start yours (links to where to find it are in the description box) :

https://youtu.be/F5Yzousncqg

Pedicure Set Up

I recently started offering pedicures again and needed to create a cozy pedicure space that could easily be put away when not in use.  As I don’t have laminate flooring, I had a custom size floor matte made to protect my rug and carpet area from splashes and mess  by https://www.floormats.co.uk . When not in use, this slots away under a sofa and easily pulls out when I need it again. It's also easy to wipe down and keep disinfected.

Instead of using a storage trolly to display Pedicure Products (as my room is carpeted which wouldn’t be practical), I keep my bottles and sprays on trays on top of a wooden stool. I have 2 different trays which I alternate with the two systems I use, Footlogix & Famous Names Releaf. * Nail techs use my discount code TABBY10 for 10% off these brands and more on the Louella Belle site.

I purchased  my concrete pink/white tray to display my Footlogix products from Etsy Seller JustSoDesignbyRachel (https://etsy.me/37c1csl ) who had to adapt when first lockdown hit & set up a shop selling hand made beautiful concrete items. Where I can, I love to shop with and support smaller businesses & fellow nail artists.

To display my Famous Names Releaf I went for a more rustic looking tray from Dunelm which suits the natural ethos of the system : https://www.dunelm.com/product/wooden-tray-craftland-1000167605?defaultSkuId=30696657

For a leg rest/foot rest, I use a foldable stool from Amazon with customised vinyl material that can be disinfected. I found out about the stool from a fellow nail tech on the Footlogix Facebook Group ! The vinyl I reupholstered the stool with came from Etsy Shop HomeTexStudio (https://etsy.me/2JJlRsb). The height is just right for my set up, not for everyone I’m sure , but for the space I work with it’s perfect. Here’s a video of the DIY stool transformation :

https://www.instagram.com/tv/CHGFgx6D6EY/?utm_medium=copy_link

I use Belava Pedi Bowls with recyclable disposable liners for my pedicures as I love glitter & they really go with my room's aesthetic! I think customers also feel much better knowing each time they visit they get a fresh pedi liner. The Belava Glitter bowls do come with a disinfectable insert, but I prefer to use the disposables as I feel it reassures customers that my hygiene standards go above and beyond, especially in these times.

I use an IKEA rattan stool to sit on when doing pedicures and my clients sit on a large sofa chair which allows them to really relax and decompress. After each client, I disinfected the soft furnishing with Sursol Fabric Disinfecting Spray as removing all soft furnishings was not an option for me.

Retail Items

As my set up has less surface space than a traditional salon space, I show off the products I retail on my shorter Ikea Alex Drawers & Ikea Kallax shelves. I try to keep displays and clutter to a minimum as every surface gets wiped down and disinfected before/after each client. In keeping with the aesthetics of my room, I display my products in small wooden boxes and clear acrylic shelves.

The Work Table

My work table is the area of my room that gets the most use. I use it as a work space for not just my nail clients, but also to film and create nail tutorials and content. Unlike many techs, my work table is a little wider than usual which is not for everyone, but works well for me. I have the Ikea Nordan Gateleg Table which has 6 storage drawers down the middle and two sides which can fold down. I use the Clear Ikea Skvallra Desk Protector to keep it free of any accidents and spills. To add a little personality to the space I alternate Paperchase Wrapping Paper which I find very fun and colourful under the Desk Protector, these make great backdrops for nail art photos as well. To get the best out of my nail art photos I use the Ikea Tertial Lamp with a Day Light bulb which I find works well as a work lamp and for photography purposes.

I keep my tools tidy with a custom made Jesmonite tray which I had commissioned by a fellow nail tech ( @bylaurajayne_jesmonitedesigns). It matches my room aesthetic and keeps things nice and tidy when I'm working. I tend to sterilize my tools in my Enbio Auto Clave and then place them on my tray ready for use! If you haven't seen her trays do check them out ! They are the perfect size for nail techs as she makes both rectangle long trays and smaller square trays so there is plenty of room for everything. I think displaying nail tools on the work table like this also gives the tools a bit of respect and helps you to look after them, after all they are probably your most used items and I think it's nice to look after them well so it's just fitting to display them proudly and with a bit of care and thought!

I recently purchased a new hand rest from @gb.wrist.rests. This has been a real game changer as it definitely improves the posture for both myself and my clients when working. Previous to this I had been using an Ikea Wooden laptop holder, which worked well for a couple of years, but over time the disinfectant began to wear down the varnish and I felt it was time to invest in something better. It was also great to support another fellow nail tech who started the GB Wrist Rests business up with her partner during lockdown.

Dust Control

To control dust, I have the Zephyros Dust Collection from Tafs. I find this works really well for keeping the space tidy and protecting mine and my clients lungs. I tend to work more with soak off systems and don't currently e-file so this works well for me. I would recommend getting a more powerful Air Purifier for busier salons working more regularly with enhancements.

Sterilisation

In the corner of my room I store my Enbio S Auto Clave which is used to sterilize tools after they have been washed, then disinfected. I store this on an Ikea Alex Cupboard which doubles up as a storage space for all my cleaning products and spare nail files etc. The Auto Claves are not cheap, but one of the best investments in my Treatment Room. I think customers feel more reassured and I certainly feel better using one. Nail techs can use my code TABBY to get money off their purchases at https://www.enbio.com/uk/

My greatest advice for anyone new to the industry or just starting to set up would be take it a bit at a time. We all have to work within budgets and as you gain clients and get busier you will be able to afford to work your way up towards a space that suits you. I spent many years working as a mobile freelancer before building up a client base that comes to me. It's also worth noting that your own health and client health is so important. Consider the comfort of both of you when creating your space - make sure you are looking after skin and lungs. Protect your hands with gloves when you work to avoid over exposure and make sure you  protecting your lungs from dust particles, but most of all have fun creating a space that suits you!

[alecmagnuslwb]

A Multiverse of Possibilities

Read on AO3

John watches as Zatanna, but not his Zatanna, picks up the little girl that’s the spitting image of the woman he loves. All except for the eyes, she’s got his eyes. The other him, a him with way less scars who managed to quit smoking cold turkey the day that little girl became a reality, walks over to them and kisses both girls on the head.

John looks away it feels like a private moment he isn’t supposed to see. He turns to see his Zatanna leaning against the doorway watching the same scene as him moving to meet his eyes and smile at him. She’s gorgeous in torn black jean shorts and fishnets. The jacket she stole from him years ago is slipping off one of her shoulders, her black and blue lace button up showing just a bit of that beautiful skin underneath; looking at her grounds him to reality, to their reality.

They’ve been at this for, well he’s not sure how long now hopping against their will from earth to earth. It all started in a fight against Nick, a spell got blasted at them and here they are. Upside they’ve sorted it’s a spell with a time limit, downside the time limit hasn’t been reached yet.

It’s a distraction tactic so Nick can no doubt steal something from the house of mystery he absolutely shouldn’t have his hands on. It’s a fifteen earths situation at best they estimate and they’re only halfway through.

They’ve met a version of themselves that were in a band, a lively duo that couldn’t keep their hands off each other; an evil edition of them that weirdly put some of his own self worth into perspective for him; a version of them with no magic. And of course there was the earth where he’s fairly certain they were both long dead and a very benevolent Nick was ruling it all, trying to take out another Zatanna and John for fun.

They even hit a world where he was alone, where he’d lost her years ago and was basically living every day to try and get himself killed too.

Somehow though that world where he saw quite possibly the worst most depressing version of himself hasn’t been the hardest. This one has. This one where they’ve been happily in love since they were nineteen, where they have magic but it’s not an apocalypse a minute, it’s just fun. This world where there’s photos of a small wedding that worked just right for them and baby pictures of a little girl that they had the safety and ability to bring into this world.

This world is reminding him of all the things, all the peace they’ll never get to have. It’s not that he thinks they should have kids or get married or any of that. It’s not that he’s not happy with her, that he doesn’t love her because god does he ever. He sure as hell doesn’t want to be the kind of guy that wears khaki shorts and even though any version of her is beautiful, he doesn’t really know how to come to terms with a Zatanna that wears pastels.

It’s just the possibility of it all, the possibility of this kind of safety he’ll never be able to give her that’s bugging him.

Zatanna takes his hand and tugs him along to the room that they’ve been set up in for however long they’ll be here. This version of them has been very hospitable and helpful in figuring out this spell, much more than any of the others before.

Zatanna shuts the door behind them quietly leaning back against it. She stretches her arms out in front of her and sighs in relief when her shoulders make a delicate popping sound. John looks at the bed and bypasses it shuffling over to the wall beside the large window.

John runs his hands through his hair with a sigh sliding down the wall slowly to sit on the floor. He rests his elbows on his knees and hangs his head between his legs moving his neck back and forth in the hopes of releasing the tension.

This earth hopping stuff is really getting to him.

He hears the familiar sound of Zatanna’s chunky heels come his way. She follows his lead sliding down the wall to sit beside him, her legs stretched out in front of her crossed at the ankles. From the corner of his eye John watches as Zatanna slowly twists the zipper of her jacket between her fingers.

They’re quiet for a while John still stretching his neck back and forth. After a few minutes Zatanna huffs reaching out a hand and placing it on the back of his neck. She moves her fingers slowly, rhythmically in circles that feels just right. She whispers something he can’t quite make out under her breath and the tingle of her magic joins the rhythmic motion. He melts into her hand, into her magic like butter feeling the tension in his body evaporate.

Eventually he lifts his head when her magic subsides, but her fingers stay in place playing small circles into his skin.

“Do you ever think we could have had it better?” he asks surprising himself a bit with saying the words out loud. Her fingers fall from his neck and she turns her body to face him moving in a little bit closer. She looks a little forlorn and John reads it as her thinking he’s not happy with her, with what they have which is the last thing he wants.

“I don’t mean to say our life sucks or anything,” he quickly adds on and the concern on her face washes away just a bit. “But just seeing all these other versions of us, of how it could have gone I just think about how much easier it could have been for us.”

He sighs dropping his legs and tilting his head to the side to meet her eyes.

“I mean maybe if I just made a few damn better choices we could be living like this,” he says gesturing around them. “White picket fence and a kid and all that happily ever after. Maybe we wouldn’t be stuck in a damn earth hopping spell cast on us by our evil ex best friend that’s already nearly got you killed once.”

Zatanna tilts her head in thought while she twines her arm around his. For a while it’s just the quiet silence of her thinking and the soft chirping of crickets outside.

“Maybe,” she says eventually. “Maybe it would be easier or maybe it’d be harder. Maybe this world has something easier than we did, but maybe there’s a world out there that’s had it far worse. Hell, we’ve seen it.”

“Yeah, but-“ he starts but she stops him lifting her free hand to his lip to quiet him.

“No, no but’s, and hold in that joke you’re dying to make for a minute please,” she says with a teasing glint in her eyes as she drops her hand. He stays quiet even though he smiles just a bit. “We have the hand we were dealt, and yeah we could have done some things differently and sometimes I wish we both had.” She says emphasizing the both, never allowing him to take on all the blame of the things that have gotten in their way over the years.

“But we didn’t and I could spend days thinking about one thing or another that could be different, obsessing over all the worlds I know that might be out there, some that now I’ve seen. About how it could have been easier, or worse, but if I did that I’d forget to embrace what we have,” she says lifting up a hand to gently move along the stubble on John’s face. “It hasn’t been smooth sailing for us, it probably never will be, but it’s what we have. It’s us and I can’t change how it’s happened or what will happen, and honestly I don’t think I’d want to not in the long run.”

“Really?” he asks entwining his fingers with hers as her hand drops from his face.

“Really,” she says with an affirming nod. “Would you?”

“I mean I’d like to have a few less scars, maybe not so many near death experiences,” he says.

Zatanna huffs. “Well, okay, but where would be the fun in that.”

John laughs at that a low rumbling chuckle that he feels deep in his chest, the kind only she can bring out in him.

“It all got us here,” she says and John raises an eyebrow at her. “Well, maybe not specifically here since I’d really love to just go the fuck home, but you know here,” she emphasizes squeezing his fingers and using their joined hands to gesture between the two of them. “That’s all that really matters at the end of the day.”

She’s right he realizes, maybe it’s been a little fucked along the way, but the end destination has still been the same. It’s them. It’s always them. John resituates them so that she’s cradled more against his chest, his arms wrapped around her keeping her close.

“You’re right and you’re too damn good for me, you know that?” he says pressing a kiss to her hair. She pulls his arms tighter around her.

“I’m always right,” she says tilting her head back just enough so that she meets his eyes with a smile.

They sit quietly again John playing shapes on the palm of one of her hands.

“Plus, I don’t ever want to live in a world where you wear khaki cargo shorts,” Zatanna says suddenly tilting up her to look at him with a joking smile.

John laughs tilting his head back against the wall.

“Yeah, those are definitely a choice aren’t they,” he says still chuckling.

“You’d be a nightmare with that many pockets,” she muses. “Filling them with cigarettes and magical totems no one should be casually carrying around in their pockets.”

John huffs fake offended. “Hey now, I’d keep some snacks in one of those pockets too,” he defends. “You always get so hungry when we get stuck in earth hopping curses,” he teases with a smirk.

Zatanna giggles at that settling in even closer to him. “It burns a lot of calories.”

John smiles pressing another kiss to her hair just as the now familiar circular shaped glow of orange, red and yellow appears beneath them. He sits up more fully at the same time she does bracing his arms around her as the bottom drops out, sending them toppling into the next world.

And for the first time it feels a little less daunting, they’re halfway back to their lives. Their lives that he’s glad to have and wouldn’t trade for anything.

[ambitionsource]

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

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

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

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

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

( Follow along with the music on Spotify here! )

EXT. AAA - AUDITORIUM - DAY

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

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

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

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

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

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

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

SENIOR SHOWDOWN FINALS!!

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

EXT. NEW YORK STREETS - DAY

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

INT. MINKUS HOME - FARKLE’S BEDROOM - DAY

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

Any new diagnosis can be scary, but…

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

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

Then he heads out, holding his chin high.

INT. BABINEAUX HOME - ZAY’S BEDROOM - DAY

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

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

INT. GARDNER HOME - CHARLIE’S BEDROOM - DAY

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

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

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

Tell us who you are.

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

INT. AAA - HALLWAY - DAY

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

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

INT. AAA - AUDITORIUM - DAY

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

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

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

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

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

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

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

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

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

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

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

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

Cue title sequence.

INT. AAA - AUDITORIUM - DAY

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

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

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

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

INT. AAA - A/V CLUB STUDIO - DAY

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

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

Yogi: Oh?

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

Yogi, trying not to laugh: For sure.

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

Yogi: Uh huh. Go on.

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

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

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

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

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

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

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

Yogi: What about Lucas?

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

Yogi, amused: That makes more sense.

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

Yogi: So Zay gets fucked up.

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

Yogi: Nope.

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

Yogi: Rest easy, queen.

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

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

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

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

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

INT. AAA - AUDITORIUM - DAY

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

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

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

Sarah: Aren’t you supposed to be rehearsing?

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

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

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

Yogi: Oh, Neptune…

The camera cuts to black.

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

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

Zay: I don’t want to live them now.

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

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

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

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

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

INT. HAVERFORD PREP - AUDITORIUM - DAY

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

Brandon: Seven, eight!

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

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

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

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

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

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

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

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

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

Charlie: No, I’m only wondering --

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

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

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

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

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

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

INT. AAA - GIRLS DRESSING ROOM - DAY

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

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

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

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

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

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

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

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

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

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

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

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

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

INT. AAA - HALLWAY - DAY

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

INT. AAA - CAFETERIA - DAY

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

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

Everybody sing!

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

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

INT. AAA - GIRLS DRESSING ROOM - DAY

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

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

Chai: Really? You want me?

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

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

Isadora: Not everyone.

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

INT. AAA - BOYS DRESSING ROOM - DAY

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

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

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

Riley: What? Work through what?

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

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

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

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

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

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

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

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

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

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

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

Farkle: Yeah. Yeah, I hope.

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

INT. AAA - TECHNICIAN’S BOOTH - DAY

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

Riley: It’s time to worry.

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

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

Lucas: Not great considering Haverford is all testosterone.

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

Lucas: You’re gay.

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

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

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

INT. AAA - PROP LOFT - DAY

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

Asher: No.

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

Lucas: We’re running out of options --

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dylan, under his breath: Thesaurus bonus.

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

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

Then Dylan smiles.

INT. AAA - AUDITORIUM - DAY

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

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

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

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

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

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

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

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

Dylan: Oh boy.

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

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

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

Maya: [ into her bullhorn ] Cluck. Cluck.

Asher: Okay, that’s it --

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

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

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

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

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

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

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

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

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

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

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

Maya: For the love of God…

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

Lucas: Help round out the male presence too.

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

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

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

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

INT. AAA - DRESSING ROOM HALL - DAY

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

Once she’s done, Isadora continues.

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

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

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

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

INT. HAVERFORD PREP - SENIOR LOUNGE - DAY

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

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

Evan: Babineaux is a really good dancer.

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

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

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

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

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

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

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

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

Havie 2: Only if you get caught.

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

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

EVAN SCOTT notices too, eyeing him with concern.

Evan: You okay, Charlie?

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

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

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

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

INT. APARTMENT BUILDING - ELEVATOR - DAY

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

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

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

INT. APARTMENT BUILDING - HALLWAY - DAY

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

Isadora: Open it. 

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

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

Maya sighs, but obliges.

INT. APARTMENT 803 - DAY

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

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

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

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

Maya: I missed you so much. 

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

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

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

Maya: Is this… for us? 

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

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

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

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

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

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

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

Isadora, quietly: Thank you. 

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

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

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

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

INT. CHUBBIES - DAY

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

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

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

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

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

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

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

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

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

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

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

Riley: Almost?

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

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

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

Charlie: I need to talk to you.

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

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

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

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

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

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

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

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

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

Tell us who you are.

Charlie exhales, eye contact steady as he steels himself.

Charlie: There’s something you need to know.

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

INT. AAA - AUDITORIUM - DAY

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

Riley: Haverford knows our setlist.

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

Isadora: How is that even possible?

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

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

Chai: Lord knows they could afford it.

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

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

Nate: Those bitches.

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

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

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

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

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

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

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

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

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

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

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

Riley: Maybe it’s not over just yet.

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

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

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

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

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

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

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

Nigel: With what, a whole new routine?

Darby: You’re kidding. In a week?

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

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

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

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

Farkle, flatly: … women?

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

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

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

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

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

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

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

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

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

Maya: Bang bang.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lucas: You heard her.

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

INT. AAA - BLACK BOX THEATER - DAY

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

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

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

INT. AAA - PRACTICE ROOM - DAY

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

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

INT. AAA - COSTUME LOFT - DAY

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

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

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

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

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

Jade: Where were we?

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

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

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

INT. AAA - DANCE STUDIO - DAY

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

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

INT. AAA - AUDITORIUM - DAY

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

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

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

Break 1.

INT. AAA - AUDITORIUM - DAY

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

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

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

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

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

Farkle: Oh no.

Isadora: It was a filling, Maya.

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

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

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

Zay: Really selling the selflessness here.

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

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

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

INT. AAA - DRESSING ROOM HALL - DAY

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

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

Isadora: Yeah, no kidding.

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

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

INT. AAA - BLACK BOX THEATER - DAY

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

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

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

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

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

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

Zay: Do you remember when we became friends?

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

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

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

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

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

INT. AAA - BLACK BOX THEATER - FLASHBACK - DAY

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

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

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

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

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

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

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

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

INT. AAA - BLACK BOX THEATER - DAY

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

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

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

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

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

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

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

Yindra: You are so dramatic.

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

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

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

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

Zay: Nigel?

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

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

INT. TOPANGA’S CAR - MOVING - DAY

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

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

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

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

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

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

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

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

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

Riley: Thanks for coming with me.

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

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

Still, thinking of him naturally elicits a delicate smile.

Riley: Yeah. Yeah, we are.

INT. AAA - TECHNICIAN’S BOOTH - DAY

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

But something does fall out anyway, dropping to the floor at his feet. He curses under his breath and slips the binder into his bag, crouching down to recover whatever escaped.

Money. A few crisp hundred dollar bills, folded neatly together. Lucas knows he’s not just carrying that kind of money around, and it’s clear that it was slipped into his things with careful intent. It’s no mystery where it came from.

But that also means someone was rooting through his stuff, once again intruding his sanctuary without permission. Lucas scowls, crumpling up the bills in his fist as he climbs back to his feet.

Missy, pre-lap: No, no, it’s supposed to be that side of the stage. Do you all have directional dyslexia?

INT. AAA - AUDITORIUM - DAY

MISSY BRADFORD is standing on the stage, directing a bunch of the underclassmen techies to move some final set piece adjustments. But they’re young and still learning, which she clearly doesn’t have the patience for. She shakes her head, unimpressed, while behind her we can see Lucas jogging down from the booth.

Missy: I swear, they just don’t make help like they used to…

Lucas: Hey!

Missy swivels around, expression brightening in interest when she sees who’s snapping at her. She saunters over to the edge of the stage as the younger techies disperse, leaving them alone.

Missy: Just the person I wanted to talk to. I finally got those panels for the rolling flats. Normally it shouldn’t take this long, especially considering how much I paid, but when it’s a rush job --

Lucas: What makes you think you can go through my shit?

Lucas’s tone is harsh, more scathing than the usual dry sarcasm he employs with her. But it doesn’t intimidate Missy much -- in fact, if anything, it just seems to intrigue her more. She raises her eyebrows as he reaches the front of the house, now standing essentially below her.

Lucas: And the booth. I told you you can’t just go waltzing in there whenever the fuck you want. To do whatever the fuck you want --

He tosses the crumpled bills at her feet on the stage, glaring up at her derisively. She shrugs coolly, clasping her hands together.

Missy: As far as I understand it, actually, the booth is available to all students for use. So I have every right to it just as much as you do.

Lucas clenches his jaw, obviously wanting to bite back, but in this case he has no argument. Technically, technically, she’s right. Even if every other student silently respects the unspoken rule that the booth is his, there’s nothing he can use against someone who doesn’t. His anger is palpable when he speaks again, voice low.

Lucas: This thing, whatever it is? It’s done. It has to stop.

Missy, innocently: “Thing?” I’m afraid I don’t know what you’re talking about --

Lucas: Yes, you do. Cut the bullshit. Whatever game you’re playing, or… dance you think you’re doing, you’re doing it on your own. I’m done with it.

Bold words. And obviously not something Missy would want to hear… though for what it’s worth, she seems unfazed by his declaration. She maintains her confident nonchalance, examining him for a long moment… then holds her hands up in surrender.

Missy: Okay. I never meant to upset you, Lucas. I was just trying to help. [ a beat ] But if you’re really not into it anymore, you can always… give the money back.

Oh. Well… that’s not so simple. Lucas opens his mouth as if he’s going to respond, but nothing comes out. Some of the fire he marched down here with burns out, leaving him uncertain. And Missy sure notices, her sweetness sharpening into coy smugness. She tilts her head.

Missy: But you’re not going to do that. Are you?

She casually extends her designer shoe to kick at one of the discarded bills, threatening to send it down the thin gap between the orchestra pit and the floor. But Lucas reaches out to save it just in time, hastily catching it before it’s lost forever.

Got ‘em. She’s spotted Lucas’s brazen dismissal for exactly what it is -- a bluff.

And he’s clearly ashamed of it, how easily he caved, when the thing he needs so desperately is dangled in front of his face. Missy gives him a sympathetic look, but it’s closer to pity than empathy. It’s so hard to tell what is real from her, how much she actually sees Lucas as a human being versus an attractive puzzle for her to toy with.

But in this moment, she’s won, so she’s feeling charitable. She primly lowers herself down to sit on the stage across from him, crossing her legs and picking up the other wrinkled bills. She spreads them on her lap and smooths them as she talks, restoring them to pristine condition.

Missy: I thought we already discussed this. We’re on the same page about our little dynamic. And it’ll all be worth it, won’t it, when you get what you want… [ eyeing him ] if you truly care so much about UC Davis.

Lucas: There are things I care about more. [ a beat, then softer ] Things I don’t want to mess up.

Although he doesn’t say it, it’s fairly obvious what he’s thinking about. Missy’s not an idiot, and she knows where he stands with Riley. But he’s been willing to play along this long… and given her lack of context and history and how brusque Lucas tends to be around others, it’s unlikely Missy considers Riley much of an issue. But if he wants to continue the game…

Missy: And that’s why it’s a private affair. Hush-hush, just between you and me. There’s no guilt in what people don’t know. And besides, do you want to welcome all the additional trouble you’ll have to contend with if I don’t contribute? I think you’ve already got enough on your plate.

She finishes flattening the bills, placing them gingerly on the edge of the stage next to her. Ready to be his again, should he deem to take them. All of the rage that drove him to confront her has been extinguished, replaced with that cold, cornered feeling he always has when she’s there.

Missy: Focus on the big problems, Lucas. Showdown, your scholarship plans. And once that’s all squared away and the dust has settled… then we can explore what comes next. [ slipping off the stage ] One step at a time.

She passes him without another glance, making her way up the aisles and leaving him on that note. He starts to glance over his shoulder but ultimately doesn’t, not even wanting to look at her anymore. He looks a little sick.

But the money remains, waiting for him. No Missy there to scrutinize him as he takes it, no judgment being cast down on him but his own. He knows his truth. He knows what he cares about, what matters above all else. And money is money… he’s always known that… doesn’t matter where, or who, it comes from…

Lucas hangs stuck in that moment, torn between shame and sense.

INT. AAA - DANCE STUDIO - NIGHT

Long after the final bell of the day has rung, Isadora remains in the dance studio, going over the routine again. It’s usually Zay’s territory at this time of night, but instead of his perfected moves and graceful poise, Isadora is following the steps in almost a robotic manner, and cursing at herself whenever she makes a mistake.

Chai peeks her head around the door, having been practicing herself in another studio and wondering who’s still here. She watches Isadora struggle for a moment before stepping in and pressing pause on the music. Isadora looks over to her in shock. 

Chai: Sorry, didn’t mean to startle you. What are you still doing here?

Isadora: What does it look like? Failing miserably at the routine.

Chai sighs in sympathy and shrugs off her sports duffel so that she can help Isadora. Isadora cringes as Chai does a couple of stretches to warm herself up again. 

Isadora: I feel bad. You already spent so long trying to help me and here I am the night before the showcase, as terrible as ever. 

Chai: You’re too hard on yourself. Everyone’s been struggling with the choreo since it changed in such short notice, and for a non-dancer you’re doing well. You remember all the steps, you just need to do them more gracefully.

Chai demonstrates one of the moves that Isadora was trying to do a moment earlier, but when Isadora copies, she doesn’t have the same natural rhythm and movement that Chai does. Chai tries coaching her through it, giving her instructions to twist a bit more, or move her arm like this and that, but it only makes Isadora more frustrated. 

Isadora: We’ve been trying this for days. It isn’t going to work. I’m a lost cause. 

Chai: Nobody is a lost cause. We just have to try something new.

Chai tells Isadora to do the routine again, and starts the music. She walks around Isadora as she dances, scrutinizing every move. At one point when Isadora seems particularly robotic in her movements, Chai reaches out to correct her position on instinct. She freezes when she realizes it might not want to be touched, hands hovering over Isadora’s hips. Isadora looks down at Chai’s hands and halts. 

Chai, shyly: Is this… okay?

Isadora gives a tentative nod. Chai rests her hands lightly on Isadora, and guides her through the movements. Both are quiet and a little tense, an odd tension in the air, but it isn’t uncomfortable.

As they get used to it, they relax and Isadora’s dancing becomes more natural. Once Chai thinks that she’s got it, she takes a step back and lets her hands drift away. She requests Isadora go through it again. This time, Isadora’s moves flow much better and she looks less awkward. Chai smiles brightly. 

Chai: You got it! 

Isadora: Really? 

Chai: Yeah, it’s looking good. Really good. Let's do it again.

Chai steps in line with Isadora, and they start the routine from scratch. That odd tension is still there, but it feels more like tentative excitement than anything else. They glance at each other as they step through moves in the routine, exchanging a smile before spinning in opposite directions.

INT. HAVERFORD PREP - AUDITORIUM - NIGHT

The Haverford boys are wrapping up their last evening rehearsal before Saturday, all of them sweaty and exhausted. Even if they’re got an unfair advantage, they’re not going to skate on it.

What is interesting is that Charlie is nowhere to be seen. Everyone else is accounted for except him, and his absence is noticeable -- particularly on the eve of showdown. Brandon runs through final notes and reminders, then relaxes just a fraction to rally his boys and assure them that victory is all but guaranteed. All there is left to do is go out there and do the damn thing.

Hurrah! The Havies come together as Billy leads a rallying cheer, demonstrating that iron-clad brotherhood once again. They do a final hoot and cheer and disband just as Charlie appears in the wings, hanging back to let them have their moment.

As his classmates pass him, their reception towards him is mixed -- some are casual and friendly, as if nothing is out of the ordinary, while others shoot him dirty looks for his blatant skipping of rehearsal. Billy makes a point of bumping him with his shoulder.

Billy: Way to show up, C.

Charlie takes it all in stride, swallowing his nerves and not reacting. He waits until the rest of the class has cleared out, hovering on the sidelines until there’s nothing left for Brandon to do but address him.

Brandon: I’m assuming, since you deemed to grace me with your presence now, that you have a good reason for missing our last rehearsal before showdown.

There’s his cue. Charlie nods, stepping out of the shadows and joining him on the stage.

Charlie: I’m sorry about that. Just… a personal emergency.

Brandon, unimpressed: It doesn’t reflect well on you, Charles. I admit, I thought you were more reliable than that. [ off his sheepish expression ] But it’s fine, we all have off days. Thankfully we were able to work around you.

Charlie: That’s good. I’m glad to hear it. [ a beat ] If you’ve already figured that out, then you’ll be able to do it without me on Saturday.

Now that, Brandon wasn’t expecting. His eyebrows shoot up. Charlie holds his ground, trying not to wither under his stare and keep his voice even and resolute.

Charlie: Believe me, it’s not my ideal outcome, and I really don’t want to let the team down. You guys have been good to me, really taken me under your wing, and I needed that when I first got here. I don’t want to screw that up.

Brandon: But?

Charlie: But I don’t think I can get up there and compete against Adams. You and the boys deserve to have everyone on the same page, one hundred percent dedicated and focused on the win. And as much as I want to be a part of that, I know in my heart I won’t be able to deliver.

Brandon remains skillfully unreadable, simply listening without giving any of his reactions away. Charlie clears his throat.

Charlie: I like being at Haverford. I like being part of the brotherhood. But part of me will always be with Adams. Those people… they’re my family. And I can’t go against family. [ a beat ] You get that, right?

Considering his commitment to the brotherhood, you’d think he would. Brandon contemplates for a long moment, leaving Charlie nervous and vulnerable in the encroaching silence… one that grows more painful the longer it ticks on...

Then he smiles, suave and unbothered like always.

Brandon: Sure, Charles. I understand completely.

Charlie exhales, managing a relieved smile. He thanks Brandon for being so cool about it, and assures him that he’ll still be there on Saturday to support everyone. But this already feels so much better. He thanks Brandon one more time and then heads out, wishing him luck for the whole team as he goes.

Brandon upholds his pleasant smile until Charlie is gone, granting him an easy wave as he steps out the door. But once he’s out of sight, the charm dissipates. His expression sours, the barbed edges bleeding through his smooth demeanor.

Announcer, pre-lap: Ladies and gentlemen, we’re in for a face-off for the ages!

INT. SHOWDOWN FINALS VENUE - LOBBY - DAY

Saturday. The day of senior showdown. The energy is electric as we move through the elegant space, the same arts and cultural center where the Jacobs Gala was held in 112. It’s grandiose and professional-grade, a sense of the big leagues if there ever was one. It’s like one step below an actual Broadway stage -- think the Dolby Theatre Oscars vibes, or the Kennedy Center.

The place is already buzzing with life, venue officials rushing to and fro to keep things organized and groups from different schools wandering and congregating. Adams and Haverford are only one showdown of many this afternoon, as the announcers explain over the scenery that senior showdown is an annual event that encompasses multiple forms of competitive art and multiple delegations of the cream of the crop. Manhattan is only a piece of the program today -- though admittedly, it’s one of the most anticipated segments of the day.

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

The announcers say as much, describing that the orchestra showdowns will kick us off, followed by show choir, dance troupe, and a couple of other categories. And then by this afternoon, we’ll dive into the highly awaited performance showdowns, including the two Manhattan elites: Adams Academy for the Arts versus their long-time rivals and reigning six-year champs, Haverford Preparatory Academy. As they wrap up their opening spiel, we get a look at the fancy stage digs they’ll be working with, already filling up with spectators.

What a way to fund the arts. It’s time to showdown!

EXT. LUCAS’S APARTMENT - DAY

Well, not quite yet time. The A class still has time to spare, and things are much quieter over in the East Village.

INT. LUCAS’S APARTMENT - LUCAS’S BEDROOM - DAY

Which is where we find Riley and Lucas, picking up a couple of items for showdown that Lucas had been storing for safe-keeping. His shoebox bedroom is remarkably neater than we’ve seen it in the past, all that spring cleaning from last year having paid off. It’s at least decent enough that he’s allowing Riley to be in it -- though the reasoning for that is more likely the lack of a certain someone or something.

Either way, they’re not staying long. Lucas hands the materials to Riley and they head out, discussing how long they think it’ll take to get uptown. Traffic is pretty dastardly today, apparently, especially around the venue.

INT. LUCAS’S APARTMENT - DAY

They duck out of Lucas’s room and he shuts the door behind him. He tells Riley to give him one second while he grabs one more thing from the closet, jogging out of sight down the tiny hallway. She says no worries, perfectly content to wait on her own and take in every last detail of his home given how rarely she’s allowed inside to see it.

When suddenly the door opens in the entryway. Riley freezes, staring towards the doorway. She braces herself for the worst, completely unsure what might happen or what she should do if he shows up. Worried about what might happen to Lucas…

But it’s not the worst. It’s only GRACE FRIAR, who mirrors Riley’s surprise as she enters the living area and finds her unexpectedly parked in her apartment. She’s dressed for work at the florist, dressed in a worn but pretty floral dress and an evergreen apron, light hair pulled back out of her face.

Riley, uncertainly: Hi.

Lucas reappears in the next instant, having rushed back when he heard the noise. He’s relieved to find it’s only his mother, but barely. He quickly comes to stand at Riley’s side, evidently nervous at this turn of events. It was never part of his plan.

Lucas: Mom. What are you doing here? I thought you weren’t going to be home.

Grace, timid: I swapped shifts with another employee. Since Kenneth is in Jersey for the game, I thought I’d try and see if I could free up my afternoon to see your showdown performance today. [ glancing at Riley ] And I guess I got lucky.

Oh. That’s nice. Lucas wasn’t expecting it, uncertain what to say next. He only figures it out when he realizes how intently Riley and Grace are looking at each other, both fascinated and curious and definitely a bit nervous. He clears his throat, awkwardly scratching his neck.

Lucas: Um, this is Riley. Riley, this is my mom.

Very informative, Lucas. But that’s all Riley needs, and with permission to interact, her bubbly charm does the rest. She steps forward, holding out a hand and offering a sincere smile.

Riley: Hi again. It’s so nice to finally meet you.

Grace: [ accepting her handshake ] Likewise. Unexpected, though… I suppose the best things in life are.

She chuckles anxiously, and Riley does her the favor of laughing along with her. So skilled at making others feel comfortable, like that’s just naturally how she operates.

Grace: I’m sorry I’m so unprepared. If I had known I would’ve… cleaned up, or had something ready to…

Riley: Oh, please, no. Don’t worry about it. I’m the one intruding on you.

Lucas: And we’re just passing through. Picking up a couple things. [ pointedly ] And we should go if we want to beat the traffic --

Grace: Right. Right, of course. Don’t let me get in your way.

Grace quickly steps to the side, an expert at making herself smaller. She skirts around them and gives them easy access to the entryway and a swift exit, wishing both of them luck with showdown. Hopefully she’ll be able to make it down there.

Riley, enthusiastically: You definitely should. It’s going to be an amazing show. And our competition is notoriously tough to beat, so they should at least be enjoyable.

With a pitch like that, how could she say no? Riley should do marketing for the showdown committee. And she could probably find generous ways to keep the conversation going for hours, but Lucas is keen to expedite this escape and gently nudges her towards the door. She gifts Grace one more goodbye before they depart.

Although she wasn’t prepared for it, Grace seems happy with the introduction. A light smile lingers on her face.

INT. BABINEAUX HOME - DAY

DONNA BABINEAUX pulls open the front door, finding Nigel and Yindra on the doorstep. Yindra already has her hair and make-up done, looking stellar, and Nigel’s hair is brushed up out of his face. Donna seems unsurprised to see them, stepping back and knowingly nodding towards the stairs.

Donna: He’s in his room. Good luck.

Nigel and Yindra exchange a look.

INT. BABINEAUX HOME - ZAY’S BEDROOM - DAY

Zay is far from ready to roll, still wrapped up in his blankets and hunkered down to wallow. His boot rests on the floor at the foot of his bed.

He’s looking at videos on his phone, mainly of the days when he could dance. The semis routine, clips from rehearsals pre-injury, ones he recorded that he ended up using for his applications. Today is the day he’s supposed to be doing all of it, helping elevate Adams to victory.

And that’s not the only thing interspersed throughout his library as he flicks through files. There are videos of him with his friends, too, and the ones he always hovers on longer are the ones of Charlie. Ones that are now almost a year old, like them rehearsing in their usual studio together, goofing off, or where he didn’t even realize Zay was filming. The one he hesitates on longer than the rest involves Charlie laying where he is right now, bashful and uncontrollably giggling while Zay picks on him from off-screen.

It’s all mixed together, all haunting him in different ways, but it doesn’t set him off anymore. There’s no more aggressive fuel compensating for the loss, so now it simply aches. Crazy, how much has changed in so little time… how he has no idea how much of it will change back or inevitably shift again from underneath him…

Yindra and Nigel swing open his door, startling him. He quickly locks his phone and grumbles at them as to what the hell they’re doing.

Zay: Why are you here? You can’t be all the way in Queens when you should be at the venue already.

Yindra: We know. It’s a calculated risk.

Nigel: But if we should be there, we could say the same to you.

Zay huffs, tossing his phone onto the covers and sinking deeper into his bed. They must have miscalculated, because they’re wasting precious time. He’s not performing, so he has no reason to be there like them. He’s not going.

They thought he might say that -- and they’re not taking no for an answer. Not now, on a day that means everything. In a surprisingly feisty move, Nigel leans forward and rips the blankets off him.

Nigel: Get up.

Zay: Yo, what the hell --

Yindra: Damn, Nige.

Zay: What’s your deal? Did you not hear me? There is no reason for me to go. I can’t perform, and sitting there watching what I can’t do doesn’t sound like an exciting afternoon for me. I have nothing to contribute, so why should I bother?

Nigel: Bullshit.

Yindra: Damn, Nige.

Nigel: That’s bullshit, Zay! You know it is. You have contributed plenty to our setlist -- you choreographed an entirely new routine in a week!

Yindra: True.

Nigel: We never would’ve been able to pull that off without you. And we still won’t if you’re not there, because I’m more than positive some of us are going to need refreshers right up until we get on that stage. You know, since again, we picked it up in a week.

Yindra: Also true.

Nigel: And even if that weren’t the case, it shouldn’t matter anyway. You should want to be there because this is it, man. We have worked our butts off for three years to get to this point. And I agree, it sucks that you can’t be up there on dancing it out with us -- you know I think that. But that doesn’t mean you should forgo it all and crawl under a rock to wait it out. This is one of those experiences we’re going to remember forever, and I know you. You don’t want to be the person who missed it all and can’t share in the memories because he didn’t even try. Even if you can’t be on stage yourself, you should want to show up for the rest of us. For Riley, for Yindra. For me. I think you want to, underneath your pride and your self-pity. [ a beat ] And deep down, I think you know that if you tap out and skip it, you’re going to regret it forever.

Wow. It would be a good argument on its own, but since it’s coming from an impassioned Nigel, it’s especially compelling. Yindra stares at her usually laid back, non-confrontational best friend, jaw hanging open slightly.

Yindra, hushed: Damn, Nigel! Where has this been for the last three years?

Yindra shifts her wide eyes to Zay. You’re seeing this too, right? But Nigel doesn’t break, holding Zay’s gaze and continuing the encouragement with his classic Shakespearean smolder.

Finally, Zay relents. He pushes himself forward to the edge of the bed and asks them to hand him his boot, and for Yindra to grab something from his closet for him to throw on. They’re going to have to move fast if they want to get there on time.

Zay: [ as Yindra dashes to his closet ] Pick something fresh!

Yindra, off-screen: You insult me!

Nigel hands him his boot, Zay taking it gratefully. He meets his eyes again.

Zay: Thanks for not leaving me behind.

Nigel, sincere: “To me, fair friend, you never can be old.”

Okay, Bard nerd. But it’s sweet, and the sentiment obviously means a lot to Zay.

INT. SHOWDOWN FINALS VENUE - LOBBY - DAY

Eric and Isadora arrive together, the latter in a rush to get backstage. She thanks Eric for driving and promises she’ll see him after the show, and he shouts a good luck after her in return.

Once he’s alone, he scans the room and all the well-dressed patrons mixing and mingling. An usher offers him a program and he takes it cheerfully, but he finally spots who he’s looking for before he can read it.

JACK HUNTER. It’s like he hasn’t been able to find him all week — and this seems like the kind of time where you want your principal to be around. He’s conversing with EVELYN RAND, charming and professional as always.

Eric heads over to join them, friendly but keeping that healthy distance between them after their discussion last week. Evelyn brightens when she sees him approaching, giving him a jolly hello and stating she better be off. Performances to see! But she is wishing the best of luck to them and the delegation from Adams.

Evelyn departs, leaving the two of them alone. They exchange warm greetings, though it’s muted from Jack. They mention all of the stuff they heard about the scramble the A class went through from Lucas and Isadora, noting the stacked odds.

Eric: Well, all we can hope is that they managed to pull it together. They’ve done it before -- I believe they’ll do it again.

Jack: Yeah… yes, me too.

But given his own stacked odds at the moment, Jack’s belief doesn’t seem wholly convincing. Eric clocks his apprehension, the way he feels like a shade of his former self. He steps a little closer, dropping his voice to a murmur.

Eric: Things will work out, Jack. You don’t have to disappear from the equation for things to work out.

Jack doesn’t seem convinced. Eric frowns. He starts to say more, but Jack’s eye has caught HARRISON YANCY across the room, mingling with JEFFERSON DAVIS GRAHAM and other prominent school board members. They cast a glance in his direction, unreadable, holding too much power in their hands.

Jack clears his throat, creating more distance between him and Eric as he starts to retreat.

Jack: Should head on in. I believe Harper saved us a seat. Wouldn’t want to miss our competition’s performance.

Eric glances over his shoulder where Jack was looking, spotting the crowd of conservative board hawks. He scowls, starting to comment, but when he turns back around Jack is already gone.

INT. RILEY’S CAR - DAY

Lucas and Riley arrive around the same time, pulling into a parking spot and killing the engine. Lucas is behind the wheel today, and from how quiet the car is it seems there wasn’t much chatter on the drive over. The two of them sit in the silence for a moment, Riley searching for a way to broach the subject.

Riley: … your mom seems really nice. It’s cool that she wants to come to showdown. You know, maybe we should’ve offered her a ride…

Lucas, quickly: I’m sorry about how I acted. That I like, rushed you out of there.

Riley: It’s okay. I figured it caught everyone by surprise.

Lucas: It’s not that I don’t want you to meet her. Or don’t want her to meet you. I’m not trying to hide you or anything. [ scoffing ] Honestly, if there’s anything in my life worth showing off, I know full well what it is. And it’s not like I think she wouldn’t like you -- I mean, it’s impossible not to.

Riley smiles, bashful. He’s still nervous, keeping his eyes on the keys rather than her, but he pushes through the vulnerability anyway. Really trying.

Lucas: It’s just that… things with them… me and my parents, it’s not… it’s weird. They’ve never -- my mom, she doesn’t even really feel like… it’s more like we’re… I don’t know, roommates rather than blood. Prisonmates, sometimes. [ chuckling awkwardly, then frowning; he just can’t say anything right ] It’s not that I don’t… I know she cares about me. In her way. I just didn’t… it’s hard to explain. It’s all kinda fucked up, and I didn’t want to get you all… tangled into it. [ a beat ] But I don’t want you thinking it’s because of you, because it’s not.

He said more than enough. Riley reaches across the console and gently touches his cheek, waiting for him to meet her eyes.

Riley: It’s okay. I understand. But thank you for telling me.

Lucas nods. She turns the light touch into a caress, stroking her thumb against his cheekbone. He closes his eyes and leans into the gesture.

Riley: She really did seem lovely. Pretty, and super sweet. [ fondly ] I see her in you.

It’s possible no one has ever said that to Lucas before. He processes the compliment, letting it sink in, then manages a shy smile. He takes her hand in his own, pressing a soft kiss to her palm and then linking their fingers together.

They soak in the peace, the kind they can always rely on to find with each other… and they’re going to need it, because it won’t last long inside that venue…

INT. SHOWDOWN FINALS VENUE - DRESSING ROOM HALL - DAY

Case in point, backstage it’s a circus as performers scramble to get ready. Isadora is marching through the chaos, back in stage manager mode, trying to account for everybody and figure out what fires are still left to be put out. One of which would be the fact that so many people from their team still aren’t here -- Nigel and Yindra; Jade with the costumes; Farkle; Riley and Lucas.

She shouts amidst the group if anyone has seen any of them. Darby stops mid-jog to the girls dressing room.

Darby: Farkle is already here, I saw him. We were a couple of the first to arrive.

Isadora: And where is he now?

Darby: No idea. But he’s around here somewhere!

Isadora: Perfect. That’s so helpful. Absolutely enlightening information!

Isadora whips around just as Riley and Lucas make their way into the hall. She exhales a dramatic sigh, complimenting them sarcastically for finally making it. At least somebody can roll up when they’re needed. The two of them exchange a yikes look, scooting around Isadora carefully so as not to detonate her further.

Isadora: And where the hell are Nigel and Yindra?!

INT. NIGEL’S CAR - MOVING - DAY

Nigel and Yindra are en route, but “moving” might be a misleading slugline. They’re stuck in that bumper-to-bumper traffic Riley and Lucas were discussing, tensions high as they race to make it to the venue.

Yindra: This is going to give me high blood pressure! Can’t you go any faster, Nigel?

Nigel: GO? GO WHERE, YINDRA? I CAN’T GO FASTER WHEN WE’RE STOPPED.

Zay leans forward between them from the middle backseat, breaking into their bickering to inform them of updates from Riley. They’re transitioning into the performing arts section of the program, which means the clock is ticking down by the second. Yindra and Nigel continue to bicker, volume rising under the stress, until Zay finally smacks Nigel’s shoulder to get his attention.

Nigel: WHAT?

Zay: GREEN LIGHT. CARS MOVING.

Yindra: GO! GO! GO!

Nigel: AHHHHHHHHHHHHH --

Nigel hits the gas, and they’re moving once again --

INT. SHOWDOWN FINALS VENUE - BACKSTAGE - DAY

Riley is concealed in the shadows of the wings, watching nervously as another school from a different league showdown completes their routine. Based on the music playing, they’re going for a more classical repertoire, but Riley seems grateful they don’t have even more competition to be worried about than just Haverford.

She leans forward just enough to peer through the curtain, still hidden but able to glimpse the grand house beyond the stage. It seems like a pretty packed audience, and somewhere out there are the judges who will decide their fate. Their standing against Haverford, the future of Lucas’s scholarship initiative, the spirit of her class… the weight of all the above resting on her shoulders and creating the subtle frown on her face.

Brandon: Nice accommodations, aren’t they?

Riley spins and comes face to face with Brandon. He’s already dressed in his performance attire -- no longer quite as glossy and more refined to contrast AAA’s original shiny style -- but he’s taken the time to double check that everything is right where it needs to be for their setlist… and apparently, to run into her.

Brandon: I don’t believe we’ve had the pleasure of formally meeting yet, Riley. [ offering a hand ] Brandon Rivas.

She’s not eager to change that, but Riley is socially savvy. She knows how to play things right, so she mirrors his pleasant smile and accepts the handshake.

Riley: Oh, I’ve heard all about you. But I’m sure you already know that.

Brandon: Guilty as charged. There’s not much I don’t know. But it would be hard for me not to know you, considering how often Charles has talked about you. He speaks highly of you, rest assured.

Riley: That I believe. Charlie is a good friend. I wouldn’t expect any less from him.

Brandon: Yes… he is, isn’t he.

They exchange a couple more small talk niceties, including Riley mentioning that she’s heard they were quite impressive at semis. Both of them have their work cut out for them, facing each other. Brandon shrugs humbly, then claims he should go gather the boys. The team on stage is wrapping up, and then they’ve only got 10 minutes to show. But he’s pleased they had the chance to meet.

Brandon: Good to confer leader to leader -- makes for good sportsmanship. I know there are power structures in place at Adams, but to my understanding, it’s you who pulls the strings across the park. The true brains of the operation.

Well, if we’re aiming for good sportsmanship, the Havies are already laps behind. And Riley clearly doesn’t like his tone, what he’s subtly implying about her friends -- including and especially her boyfriend.

But she doesn’t show it, merely sharpening her smile instead.

Riley: I wouldn’t underestimate any of my cohort.

Tell him, Riles! Brandon starts to back off, easing further into the shadows.

Brandon: Break a leg -- though you probably can’t afford many more of those, can you?

Oh, shots are being fired. Riley’s expression twitches, but she doesn’t give him the satisfaction of a response. She releases a pointed exhale once he’s gone, the audience launching into applause behind her indicating that the time to bring it is in fact inching closer and closer…

EXT. SHOWDOWN FINALS VENUE - ROOFTOP - DAY

The exterior of the venue is less glamorous but just as stunning as the interior. A beautiful rooftop terrace acts as a place for guests to mingle during intermissions or events, similar to the outer walkways of the Kennedy Center. It provides a gorgeous view of the city stretched out around them, the sky a hazy periwinkle on this chilly early December afternoon.

Farkle seems to be enjoying the cold, though. He’s perched on a bench looking out towards the south of the island, just glimpsing the peak of his building in the financial district. He closes his eyes and inhales deep, absorbing the cold air and letting it cool his nerves. He’s hiding his costume under his coat, but we can see the beginnings of what the aesthetic might be given the stardust-like eyeshadow and eyeliner he’s sporting.

His momentary peace is destroyed when Isadora slams open the door and stomps towards him, hands on hips.

Isadora: There you are! Do you know how stressed I am already attempting to manage everyone before this absolutely convoluted last-minute showdown showcase without you deciding to disappear off the face of the earth? Why the hell are you out here?

A couple of other patrons stare at them, then awkwardly retreat towards the other side of the roof. Theater kids. Farkle glances around them to see if anyone else reacted, then mutters a halfhearted apology. Isadora sighs, unimpressed, but shifts her demeanor to be less threatening (or at least, she tries).

Isadora: What’s going on with you? You haven’t been in your right mind recently and I’m starting to worry. 

Farkle, dryly: Do I even have a right mind to be in? 

Isadora: I’m assuming that’s rhetorical, so I won’t respond. Just tell me what’s wrong and I’ll fix it. 

Farkle: Nothing you can do. Or anybody. I’m cursed. This is just something I have to deal with on my own.

Isadora scoffs and rolls her eyes. 

Isadora: You’re being such a little bitch right now. 

Farkle, surprised: Excuse me?

Isadora: You’ve been spaced out for days, you drop out of the showcase, you hide yourself away from everybody. Fine, do what you have to do. But at least tell me why. Don’t just sit there moaning like a crybaby about dealing with it by yourself. If you tell me, then you don’t have to do it alone. Simple. 

Farkle: But there’s nothing you can do to help. Why bother you with my stuff when you’re so stressed already?

With a sigh, Isadora sits down next to him. 

Isadora: You being all depressed and closed off is one of the main things stressing me out, for your information. 

Farkle: [ relenting ] Fine. My therapist told me that I’m bipolar.

And there it is. Out in the open, even if Farkle looks extremely sulky while saying so. Isadora nods at the reveal, not all that surprised. 

Isadora: That makes sense. It was one of the things I suspected you might have. 

Farkle: One of?

Isadora: Oh, I had a whole list of possible diagnoses for you. How are you dealing with it? You don’t seem particularly happy about it.

No kidding. Farkle explains how he’s struggling to grapple with the diagnosis, and how it’s thrown his entire sense of identity into question. Isadora listens to him carefully, nodding along while she thinks. 

Isadora: I get that. When my social worker first told me that she suspected I might be autistic, I hated it. I only knew about autism through Rain Man and Sheldon Cooper, so I wasn’t thrilled. I thought it meant that I was an antisocial freak who could never make friends. But as I learned more about it, the more I like… made sense to myself. It wasn’t just me against the world anymore -- there were other people out there like me, who understood me. 

Farkle: I’ve been researching a lot, but that hasn’t helped. 

Isadora: Have you joined any online communities? Read about it from an actual bipolar person’s perspective?

Farkle admits that he hasn’t, so Isadora suggests that he do that. 

Isadora: I know that right now it’s scary -- like your entire world has changed and you no longer fit into it. But you’re still the same Farkle, and we’re still the same world. Nothing has changed except for a label; a label which will allow you to access resources that will actually help you. 

Farkle: What helped you come to terms with your diagnosis? 

Isadora: Lucas and Riley. I got diagnosed in middle school, and I didn’t really have any friends then. When I started at Triple A, I did a lot of research on how to cope in high school and make friends. It all felt way too forced and awkward, and I was so sure that I would never have any. That because of the way I was, I would also be an outcast. [ a beat as she remembers ] With Lucas, everything happened naturally. We just clicked, and started to spend almost all our time together. 

Farkle, under his breath: Codependency...

Isadora: He made me realize that I could have friends, and that I was enough exactly as I am. Then, sophomore year, Riley came along. I had to make an effort to be friends with her, there was compromise and a lot of learning moments. She helped me whenever I was struggling and didn’t judge me for my mistakes. They both accepted and loved me wholly. [ looking to Farkle ] I accept and love you wholly, Farkle. And I will be here to help you figure it out, I promise.

As Isadora gives him a warm smile, Farkle seems unable to speak. His eyes are glossy, but shining with something else too as he looks at her. He swallows before thanking her.

She stands up and offers him a hand.

Isadora: Will you come downstairs and participate now?

Despite not needing to, Farkle takes Isadora’s hand to help pull him up. Isadora lets go as soon as he’s up, but he’ll take it. As the bouncy and energetic percussion of “Seize the Day” slowly grows louder from below…

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

Haverford is running through the tail-end of their opening number, giving an excellent show already. Considering Brandon gifted Charlie the opportunity to take the solo in the first place, he steps back into it effortlessly, so it’s not as though they’re completely hobbled without him. Still, the dancing isn’t quite as precise, not exactly as compelling, and Brandon lacks his earnest spark that left such an impression the first time around.

But they’re not at all out of the race. They’re still intimidating competition to be up against, and they’re leaving nothing to chance. The applause is effusive as the lights dim and they wrap up the Newsies number, quickly rearranging formation to get ready for the next one.

This is when Charlie makes his entrance, quietly moving through the house and finding a couple free seats in the back center section. He settles into a spot just as Haverford is beginning their second, new number, the lights brightening again.

Song Cue ♫ ♪ “Sherry” as performed by Franki Valli & The Four Seasons || Performed by Haverford Seniors

Dweezil starts us off front and center, the rest of the boys standing in formation behind him as the jaunty, rhythmic orchestration kicks off. He takes the lead due to his impressive falsetto, and when he starts to step along in some simple movements to the beat, the boys layer in on the harmonies and echo his movements. It creates that same chilling, enchanting effect they showed us from their first performance in 301, the sensation of watching a machine in perfect sync.

And Brandon’s strategic adjustment of their setlist is on full display with their new choice. It’s indisputably classic, a callback to different times and classier days, which is a major deviation from AAA’s original contemporary setlist. The simple choreography allows them to emphasize their well-oiled machine feature, and the choice shows off their harmonies and vocal range just as much if not better than another pop hit from PRETTYMUCH.

It’s impossible not to tap your foot along, and without a doubt will butter up the older judges who feel rosy about that era. Say what you want about Brandon, but there’s no denying the man thinks of everything.

INT. SHOWDOWN FINALS VENUE - PARKING GARAGE - DAY

Nigel, Yindra, and Zay finally arrive, wasting no time in hopping out of the car and booking it. Nigel freezes halfway around the front, eyes wide, while Zay scrambles to get out of the backseat with one good foot.

Nigel: Pass. I need a pass. Where do I get a pass?

Yindra: [ slamming the car door ] No time!

Nigel: I need a pass or I’m gonna get a ticket!

Yindra: THEN GET A TICKET.

Nigel lets out another exasperated yell, hoping for the best and starting to sprint after Yindra. Zay tries to hobble after them, but he’s not nearly fast enough.

Zay: Um, guys --

Nigel: Zay --

Zay: No, it’s fine. I’ll make it eventually. Go on without me. Save yourselves.

Nigel: I swear, damn Shakespearean tragedy in this trio --

Yindra glances between them, then back at Zay, conflicted. But she doesn’t want to leave him behind…

Yindra: Oh, for fuck’s sake.

EXT. SHOWDOWN FINALS VENUE - DAY

The three of them emerge from the garage and make for the steps up to the main entrance, Yindra now carrying Zay piggyback style while Nigel takes the lead. He makes it to the top of the steps, shouting for them to hurry up.

Yindra: Excuse me, you’re not the one carrying another person! No, I had to because of your frail vegetarian bones!

Nigel: Vegetarianism has nothing to do with your bones, in fact studies show it improves --

Yindra/Zay: NOT NOW.

Zay: Go, go, go!

Nigel holds open the door for them to zoom past, diving in after them.

INT. SHOWDOWN FINALS VENUE - DRESSING ROOM - DAY

The A class has assembled in the dressing room together while the Havies finish their set. They’re mostly all dressed up and ready to go, though it’s obvious elements of their costumes are missing.

The girls are dressed in shimmery leotards with intricate detailing on the bodices,  alternating in either silver or gold, and lower halves that are closer to shorts than an actual leotards would be. The only exception is Yindra’s, still hanging on the rack, which is ruby red. They also vary in sleeve length, some closer to tanks while others have long sleeves similar to this. The boys are dressed in red dress shirts that appear to match the design of the leotards, but they’re currently concealed under sleek but breathable black suit jackets, and their pants are silky and alternate in either silver or gold.

On top of traditional stage makeup, the girls also have a bit of rouge to accent the color scheme and bright red lips. Every single one of the performers has shimmery gold eyeshadow accenting their eyeliner, and Darby and Chai are taking careful care to give each of them a sprinkling of crimson rhinestones just around the corners of their eyes.

Riley is just finishing up pinning her hair, styled so it’s tumbling stylishly over one shoulder but will hold. She’s been trying to keep it cool all afternoon but the nerves are starting to creep up on her now -- especially since once again so many of them are missing down to the wire. Maybe they won’t be able to pull it together in the nick of time after all…

Isadora is also feeling the pressure, marching back into the dressing room with Farkle in tow. Her tenderness from that conversation is long gone. Darby gestures Farkle over to get his crimson added, while Isadora threatens to implode over the fact that certain people still aren’t here. Are they trying to send her into cardiac arrest? Maya raises her eyebrows from where she’s volumizing her award-winning golden locks, fussing it up with her hands to give it that starkissed quality.

Maya: Wow. Is that what I sound like?

Yogi: Most of the time, yes.

Maya: Well. Happy to hear I sound like a passionate, intense woman with vision.

Chai tries to calm Isadora, tentatively reaching out and patting her shoulder. Isadora allows the touch, willing to take serenity from any source right now.

Sarah, Missy, and Nate all rush into the room at the same time, claiming that they’ve bought them a little more time. Sarah says she complained to one of the stage managers so much about something nitpicky that they almost started crying, so now they’re pausing to fix it; Nate straight up just stole one of the announcers microphones and hid it so now they’re stalling to look for it. And Missy paid off one of the stagehands to get the crowd to do a 7th-inning style stretch like in baseball, just for theater nerds.

Darby: Seriously? I didn’t think they’d go with something silly like that.

Missy: When someone slides over a few hundreds, people will do anything.

Maybe so. If it buys them even a few more minutes before they have to get ready to hit their marks, so be it.

Thankfully, the cavalry rolls up just in time. Nigel and Yindra race through the doors, everyone exclaiming palpable relief. Yindra waves them all off and immediately grabs her leotard to start changing, wondering if they’ve gotten the rest of their costumes yet. Zay limps in a few moments later, everyone greeting him cheerfully in spite of their anxieties.

Riley slides over and pulls him into a tight hug.

Riley: I’m so glad you came.

Zay: Yeah, well, I’ve got good friends and am attracting wake-up calls like a magnet these days. Honestly, if this one could be the last one for a while, I’d appreciate it.

With that, Zay wishes all of them the best of luck, assuring them he’ll be out there cheering them on. They cheer him off, then frantically go back to pulling themselves together.

The last missing link swoops in just as Zay disappears, Jade entering to great fanfare with Dave, Jeff, and Lucas on her heels. They’re carrying the last remaining costume pieces, basically hot off the sewing machine, Jade holding a pretty-looking gauzy fabric in her arms while the boys are holding bulkier items.

Jade: Okay, now we’re ready to roll.

Riley, in awe: Jade, you are a genius.

All of them gleefully commend Jade for her hard work, swarming the boys to get their last costume piece -- for the girls, blazers similar to the ones the boys already have. But they’re glossy silver and gold, at least as far as we can see. Nigel is staring at Jade, mouth parted open, once again struck by how she manages to pull off the impossible.

Jade: Make sure you’re picking one that matches your leotard, and remember when you do the reverse to move gently, even though you’re moving fast. These are durable, but you don’t want to risk tearing it apart in the middle of the set.

Then Jade gestures Yindra forward, handing off the last piece to her. She tells her how to put it on and fasten it correctly, and also how to remove it correctly while still allowing for showy flair. But she knows she can handle it -- and it was custom-made for her, so.

Yindra: My very own Jade Beamon original. [ with a grin ] Coveted rite of diva passage.

Jade beams. But their nice moment is interrupted -- and from a very uncommon source of interruption, at that.

Nigel, boldly: Jade.

She jumps lightly, swiveling to find him. Yindra makes a face, stepping back a bit, and it’s like the seas part for them to be able to see each other. The entire A class goes silent -- a rare feat -- watching the interaction with rapt interest.

Jade: … yes?

Well, he’s done it now. Now is the moment to say what he needs to say -- if he fumbles it now, he may not ever get the frenzied courage to speak again. He takes a deep breath, holding her gaze, speaking confidently even though he’s breathless.

Nigel: You are the most incredible person I’ve ever met.

Jade has stopped breathing, standing like a deer in headlights at the center of the room. She knows all eyes are on her, and that shy part of her core is quaking… but there’s a hopeful gleam in her eyes, too. An electricity that doesn’t let her look away, doesn’t let her even think about escape. And she doesn’t want to anyway. This moment is something she’s daydreamed about since she was fourteen... is it finally actually happening…

Jade: … yeah?

Nigel: Yes. You outshine everything else. You never cease to amaze me, you consistently pull off the impossible. You’re insanely talented, and yet you’re one of the most down-to-earth people I know. I like down-to-earth.

With each statement, Nigel slowly closes the distance between them, coming to join her at the center. She doesn’t stop him, not able to do anything but keep looking at him.

Nigel: I like you.

Jade: Oh.

Nigel: And I know I’m quiet, and hesitant, and don’t usually speak my mind. I’ve been distracted, and clueless, and some have even called me a chickenshit.

Yindra, quietly: Well, we don’t need to bring that up right now...

Nigel: I know all that, and I know it hurt you. It made you unsure, and I completely get that. But I’m not distracted now. I’ve got a clue. And I’m not scared anymore.

He’s right in front of her now, only a bit of space between them. Jade gazes up at him, holding her ground, but that hopeful gleam has spread into an aura. It’s bouncing between them, it’s filling up the room.

Nigel, softly: And I don’t know if I’ll ever stop being quiet --

Jade: … I like quiet…

Nigel: But I’m speaking up now. I’ll speak as loud as I need to make sure you hear it. I like you. I like you, Jade Beamon. And if you’re not too busy being the incredible woman you are… I’d like to take you on a date.

Whew! The class is holding their breath, riveted like it’s their very own TV show, waiting to see what happens next. There’s a pause, a beat of uncertainty where we don’t know what direction things are going to go… and then Jade breaks into a smile.

Jade: Yeah. [ nodding eagerly ] Yeah, okay, I’d like that.

VICTORY! Not the main one of the evening, but a victory nonetheless. Nigel mirrors her smile, obviously relieved, as the Yogi starts an uproarious clap that the rest of the class echoes. Once they’ve just a few moments to soak it in, Lucas clears his throat.

Lucas: This is nice, and everything, but is it really the best time…

Nigel snaps his head to look at him, smile dropping. His expression is incredulous.

Nigel: Are you kidding me? For real? As if you all haven’t been making dramatic scenes and making everything about you for the last three years?!

Maya: Well.

Nigel: But no, I make one statement one time --

Yindra, to Darby: I swear, whatever Nigel is on today, I want some of it.

His (perhaps righteous) tirade towards the mains is cut short, though, an usher popping his head in and explaining that they finally found that missing microphone. So they should be backstage for places in about five minutes and counting.

That’s one way to get everyone back on track. Lucas tells Dave and Nate to go head backstage, the two of them exchanging quick bro hugs with Dylan, Asher, and Jeff and wishing them luck before they zoom off. Lucas takes one last second to reach Riley, taking her hand and accepting the brief kiss she gives him automatically. They keep their foreheads pressed together, pretending for an instant amidst the chaos that it’s just the two of them.

Lucas: You look amazing. You’re going to kill this thing.

Riley: Ditto. [ breathy ] I love you.

Lucas nods, opening his mouth as if he’s going to respond. Like he’s going to say it back, like it’s right on the tip of his tongue… but it doesn’t come. Not yet. He kisses her again instead, pointedly, then he pulls away and dashes out after Nate and Dave. Missy eyes him as he goes, expression hard to read.

Riley takes a deep breath, holds it, lets it go, and spins to rally the troops together. She gathers them in a circle and Maya leads them in an empowering but kickass -- and classically Maya -- pep talk to hype them up. Then Dylan takes the lead, putting his hand in the middle. The rest of them follow without hesitation, and he leads them in the war-cry pump-up ritual he usually  leads the techies in before shows. Let’s go, Triple A. Let’s go, Triple A. LET’S GO, TRIPLE A --

Then they throw their arms in the air, full to bursting with infectious energy as they look towards the ceiling -- or in this case, at us, looking down on them from above.

LET’S GO!

Break 2.

INT. SHOWDOWN FINALS VENUE - LOBBY - DAY

A couple of light dings and the venue lights dimming and rising indicate to those mingling outside that the intermission between competitors is nearing its end. Charlie finishes the cup of water he was drinking, tossing it into the recycling and turning to head back towards the auditorium -- when he locks eyes with Zay, also slowly making his way in that direction from the dressing room hall. Charlie approaches uncertainly.

Charlie: Hi.

Zay, awkwardly: Hey. [ eyeing his plain clothes ] What are you doing out here? Shouldn’t you be backstage, embroiled in a post-performance high?

Charlie: [ with a nervous laugh ] Actually, no. I chose not to perform.

Zay raises his eyebrows, surprised. His non-answer begs for further explanation, though, so Charlie shyly elaborates.

Charlie: It just didn’t feel right. Don’t get me wrong, it was fun, getting to be front and center for a time. Try something new. But going up against you all… I don’t know. Just didn’t feel like me.

Zay: I bet nefarious factors behind the scenes didn’t improve that feeling either.

Charlie: No, yeah… yeah, that didn’t help. [ with a shrug ] Oh well. Just one performance, right? No big deal.

But it is. It’s one of the biggest deals of the year, and they both know it. Charlie sacrificed his chance to be a part of it, and risked a lot more in telling them the truth so they could save their routine -- and yet, that doesn’t feel out of character for him at all. Zay knows all too well.

Zay: Well, at least you didn’t fully turn yourself over to the dark side. [ off his amused head shake ] I guess it’s nice to hear that even with all the other changes, you’ve managed to remember who you are.

Charlie: … maybe, yeah. But thanks. That means a lot, coming from you.

He should know, as perhaps the only person who ever really knew him in the first place. The sentiment lingers between them, trapping them back in that uncertain space of not knowing exactly where they stand. It looks like Charlie wants to say more, but the intercom dings again, signaling that Adams’ performance is imminent.

Charlie: It’s great you could be here to support them, though. Even though you can’t perform yourself. [ a beat ] I’ve got a seat open next to me… you know, if you haven’t settled anywhere yet.

Another beat of hesitancy… and then Zay nods.

Zay: Since the rest of my crew is a little busy… yeah. That’d be cool.

Just the right amount of arrogance and graciousness, and a perfect dose of Zay. Charlie smiles instinctively, the two of them heading towards the doors together.

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

The lights dim, the announcer introducing Adams Academy of the Arts as the next showcase. The curtain is closed, and behind it the performers are heading to their places. Dave, Nate, and Jade, dressed in all black, are gearing up their rolling flats backstage for when they’re needed. A few rows of steps have been installed in the back leading to a high point where a doorway disappears to backstage, but nearly all of the A class is arranged in windows in front of it on the stage. They’re facing away from the audience, which is nice, because it gives them the chance to steel themselves before the number truly kicks off and the games begin.

Riley weaves through her classmates, wishing them all good luck as she finds her place on the stage. And just in the nick of time, as the announcers are just wrapping up their summary of their team and passing them the floor.

INT. SHOWDOWN FINALS VENUE - TECHNICIAN’S BOOTH - DAY

Lucas is up in the booth, headset on, fitting in surprisingly well with the rest of the professional technicians working the event. He’s on the lighting board, sound levels a reach away, and the other workers give him a wide berth to do whatever he needs to do. His glare is determined.

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

So, without further ado… Riley takes a deep breath, centering herself. The curtain rises...

It’s now or never. The time has finally come for Adams to showcase everything they’ve got -- and they are going to damn well try.

Song Cue ♫ ♪ “There She Goes! / Fame” as performed by Fame - The Musical Original Cast || Performed by Yindra Amino (feat. AAA Seniors)

We’ve heard this track before, back in Maya’s dream sequence, but it’s got a new coat of paint and we’re turning the volume up to eleven. Yindra appears at the top of the stairs to kick off the vocals, the A class still theatrically turned towards her. Her full costume is now apparent, the final piece a sheer gauzy red dress wrap, similar to what Taylor Swift wore on her reputation Tour. It’s vibrant and saucy, perfect to swish and flick as Yindra steals the show.

About thirty seconds in she begins her descent down the stairs, Dylan and Jeff jogging up the steps to meet her and guide her down. When they get close to the bottom, they lift her by the arms and do a spin, placing back down as the A class parts to let her through. She makes it through the class and playfully flirts with most of them as she goes, matching the tone of the number effortlessly. She makes it back to the steps just in time for the belt before the dance break, lifting her arms to the sky and swinging her hips.

Everything is beautiful up here in the clouds!

Then we jump into the dance, really allowing the A class to take flight. They sharply in unison, demonstrating only the first tastes of Zay’s savvy choreography. Yindra makes it back to the front to lead the pack when they get to the chorus (“Fame! I wanna live forever…”)

Then an unexpected soloist takes over when we switch into Spanish, Asher jumping to the front and channeling diva. He’s the only boy with his suit jacket unbuttoned, letting more red bleed through and also helping him stand out. The reason he can stomach taking on the challenge is clear with Dylan right behind him, acting as his dance partner and taking center stage with him when they shift to the salsa bit at 2:20. The rest of the A class has paired off too, including Haley & Clarissa, Jeff & Yindra, Isadora & Chai, and Farkle & Riley.

Asher delivers a killer vocal run, and it appears he has been doing his stretches since “If I Didn’t Have You” in 302, because this time when Dylan dips him at the transition, they nail it perfectly.

Then the dance truly takes over, the front of the stage clearing for solo dance moments to take spotlight. This starts with Haley, doing a few ballet moves, and then passes to other classmates -- Chai, Maya with a dazzling split and leg kick. But the true star of the dance break is Jeff, bringing those promised break dance moves and earning cheers from the audience. Then he and Yindra dance together for the remainder of the break, making impressive salsa partners and definitely fulfilling a daydream for her little lesbian crush on him.

As the dance break winds down, Yindra makes her way back up the steps, the boys chasing her up, so that when she starts again on the pre-chorus (“I’m on top of the charts…”), she can lean on them effortlessly. She slides across Dylan’s shoulders and then leans into a lift, Dylan, Farkle, Nigel, and Yogi holding her sideways across them and bringing her back down to the stage. On the next line (“I’m on top in their hearts…”), the boys rotate her around before depositing her front and center stage again.

As she launches into the final chorus at about 3:45, Yindra backs into dead center as her classmates weave in circles around her, the vocals and energy building in intensity. The lights glow from their rosy, warm hues and transition closer and closer to red. On the last line, Yindra gives it her all, allowing Dylan and Nigel to lift her up onto their shoulders high above the rest as she throws her arms up in a final declarative diva pose.

Remember my name!

The lights turn blood red, casting the A class in shadow. The resounding applause is well earned. Zay and Charlie are on the edge of their seats, clapping enthusiastically. Assuming correctly that that was the dance standout of the set, Charlie braves nudging Zay with his elbow, which he glances at and then smiles in return.

Backstage, though, Haverford seems less pleased. This is not at all what they saw from semis. Brandon glowers with his arms crossed, Billy shaking his head in frustration behind him.

On stage, the A class works quickly in the brief transition. Nigel strips off his suit jacket and hands it to Yindra, who has just stripped off her sheer dress and is now down to her ruby leotard that otherwise matches her peers. She slips on the jacket while the other A class girls take theirs off and flip them inside out, now also black like the boys. Nate darts on stage to grab the discarded dress and then all the boys disperse, leaving just the A class girls on stage in a line with their heads downcast. The anticipation builds…

Song Cue ♫ ♪ “The Man” as performed by Taylor Swift || Performed by AAA Senior Ladies

[ Lyrics specific to characters -- follow along here! ]

Maya brings the setlist back to life, tilting her chin up and launching into the first verse. She moves sharply but fluidly, reanimating each of her fellow girls as she struts and spins past them along the front of the stage. When she reaches the end and spots Brandon scowling in the wings, she gives him a cocky little head tilt, flipping her hair as she spins back around.

Every conquest I made would make me more of a boss to you

Riley takes over from there as the “fearless leader,” and from there it’s a strong, upbeat showing from the senior A class women. Each one has a solo, as indicated by the lyric sheet, and the choreography is simple but effective. Their reversible blazers show off Jade’s creative costuming as well as echo the presence of the boys in the previous number, driving home the theme.

Brandon isn’t the only one who can strategize a setlist. With this female-dominated interlude, Adams not only showcases one of the biggest assets they have against Haverford -- women -- they essentially get a fun musical fuck-you towards them out of it too.

All the girls come together for the end of the number, creating a sisterhood-type formation with their arms around each other and at varying levels -- crouching, standing straight, etc. -- while Maya stands front center. She delivers the airy final lyrics, a teasing smile on her lips as she smirks at the audience.

If I was a man… then I’d be the man…

The lights dim again, darkening the stage for transition into the final number in AAA’s setlist. Eric glances to his program, eyes widening in surprise. He elbows Harper and leans over to talk to both her and Jack.

Eric: They did everything for this by themselves?

Harper nods proudly. That’s right! And as for why Eric is so surprised, we’re about to find out. This is the time to make a lasting impression… as the lights rise on Adams’ final number…

Song Cue ♫ ♪ “Bellas Finals Mash Up” as performed by Pitch Perfect Original Cast || Performed by AAA Seniors

[ Lyrics specific to characters -- follow along here! ]

Okay, quick disclaimer. The mash-up performed here is not the same arrangement as the Barden Bellas. But we aren’t mash-up creators, nor would we ever pretend to be (I only write fake lyrics on TV), and this performance has the perfect ebb and flow of how we envision the A class’s final track unfolds. So while we’re providing a lyric sheet and encouraging you to listen to the song to get immersed in what the performance would feel like, keep in mind that it wouldn’t be the exact same songs and arrangement.

But it is impressive, because for the A class mash-up, they put it together all on their own. Farkle, Nate, and Clarissa wrote and arranged the conglomeration of songs, and they made it a capella for easier preparation. So it’s nothing but high energy and the A class harmonizing powerfully throughout -- putting a dent in Haverford’s usual boast of having mastery of harmonies unlike anyone else.

The A class starts demurely on stage, back in group formation, Nigel at the front to kick us off. His smooth, unassuming tenor is perfect for the gentle opening, easing the crowd back into the music before the performance erupts in a burst of sound, movement, and energy. All of them strip off their suit jackets and toss them aside, Yogi energetically taking over the next part of the mash-up with more of a rap-like, fast-paced cadence. With the suit jackets gone, Jade’s designs finally shine at full power -- intricate and mesmerizing design on both the leotards and dress shirts, each one the slightest bit unique yet a united aesthetic, creating a shimmering, captivating visual like firelight as they move and dance. Behind them, Nate and Dave inconspicuously but groovily swoop and grab all of the discarded jackets that didn’t make it backstage, both not meant to be noticed and yet seamlessly a part of the performance.

As the mash-up transitions into a more thoughtful ballad type -- though that infectious engine is still running underneath it all -- Riley takes the reins, bringing her usual level of enchantment as she moves along to the beat and weaves around her classmates, dancing with each of them.

When she makes it back to the front for the pseudo-bridge (“As you walk on by… will you call my name…”) and the A class moves into a new triangle formation behind her, she raises her gaze upward and towards the booth. Even though she can’t see him through the lights…

INT. SHOWDOWN FINALS VENUE - TECHNICIAN’S BOOTH - DAY

The intent behind the moment is clear. She’s looking to Lucas, a secret message shared between the two of them. A small smile blooms on his face, and he reaches for a slider…

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

And the spotlight on Riley brightens, just enough that she’d notice. Her smile widens, already dazzling in show business mode, and she launches into the choreography at the tail-end of her segment around about 1:40 with deeper enthusiasm than ever. Her classmates back her up, all of them moving in unison until they swap numbers again, Isadora taking over.

Then Chai jumps in, having a trio moment at the front with Darby and Sarah as they slide through their section of the mash-up. Then Jeff pipes up, doing an AMBITION first as he raps on the next bit with Yogi backing him up. Farkle theatrically pushes between both of them to take his solo (the Rebel Wilson one, though he sings it a lot less… oddly than she does), seemingly back in shape diva wise at least for this one slice of performance. He and Isadora pass the vocal runs back and forth, spinning around each other and half-dancing together, backing away from each other as the build to the final act comes to fruition.

Then Maya’s vocals pull out all the stops, up on the steps while Riley heads the front of the formation below. Dylan and Asher are right behind her as right and left hand -- until Dylan breaks rank to really bring the house down, running into a front flip across the stage. He pops upright, winks at the audience, then cartwheels and back handsprings the other way, before returning to his place for the last hurrah.

The audience is fully enthralled, on their feet and clapping along. Eric, Jack, and Harper can’t hold back their grins, pride shining in their eyes. Even Shawn seems genuinely impressed -- Angela wipes tears from her eyes. In the back, Charlie and Zay are basically dancing along as much as they can, cheering and clapping and both looking happier than they have in weeks.

And with that, there’s nothing to do but bring it on home. The A class delivers the final segment with everything they’ve got -- well-trained harmonies, dynamite energy, and their signature charm of lovable underdogs with nothing to lose.

With the last couple of lines they break formation and return back to the places they started at the very beginning of the setlist, stomping in unison and hitting their final marks. Then they spin and drop their heads down as the stage lights go out, back where they started. As if they could wind up and do it all over again, just as spectacularly, in a New York minute. Like it’s easy.

But it’s not. We know how hard it is -- we know how hard they worked. And they did it. Somehow, regardless of what happens next, they did it.

The curtain lowers, nearly the whole house on their feet to give them thunderous applause.

INT. SHOWDOWN FINALS VENUE - DRESSING ROOM - DAY

The A class is celebrating and destressing in the dressing room, all buzzing with post-performance hype and the rush of a great show. Farkle and Maya stand together and hug each other tight, the latter clinging to him like an emotional support beanpole.

Farkle: Doesn’t matter now, does it? All that matters is we did a good job and had fun, right? Or whatever people say.

Maya: Screw that. If we don’t win, I’m burning this motherfucker down.

Zay and Charlie poke their heads in, earning uproarious reactions from all of them. Haley and Clarissa immediately rush to tackle Charlie with hugs, while Zay is swarmed with cheers and praise for his choreography. It all turned out fantastic!

Yindra: Not that there was ever any doubt.

Charlie finds a moment to get a word in, stating that he needs to go congratulate Haverford and check in with them, but he wanted to be able to tell them all the same. They were spectacular, and it was so awesome to get to see it. They all thank him, and there's this clear sense in the air that he should’ve been there with him. He belonged up there with them.

But alas. Charlie makes his exit just as the techies return, and he gives them compliments as well as they pass. Jade is also quickly laden with praise -- her costumes were perfect and definitely stole the show. Nate and Dave ambush Dylan, Asher, and Jeff, pulling them into a giant glom hug and losing their shit about how epic they were. Like, Jeff! Your dancing! And Asher, your Spanish!

Nate: I didn’t even realize you were part Latino.

Asher: … wait, seriously?

Dave: [ shaking Dylan’s shoulders happily ] And when you did the flip! And the backward flip!

Isadora watches them fondly, shaking her head, only looking away when she’s tapped on the shoulder. Chai is there, offering her a timid congratulations. They did it! And she did an amazing job with her solos.

Well, with all the extra hours she put in for her dancing… in a sudden move, Isadora reaches out and pulls Chai into a hug. Brief, but more than she allows or gives most people. It’s interesting, actually, how Chai manages to get her to do most things without thinking. Like a brashness she just brings out in her, or something.

But Chai doesn’t seem at all opposed. She’s surprised only for a moment, then she lightly returns the embrace, trying not to push it too far. When they pull away, Isadora’s touch lingers a bit longer than usual, like she isn’t sure what to do with her hands all the sudden.

Isadora: I couldn’t have joined and caught up without you, so. If I contribute at all to a victory, then it’s your contribution too.

Chai: In that case, I think we can call it a draw. [ off her confused look ] Without your friendship I wouldn’t have adjusted to coming back very well, or probably even thought to consider telling the A class about… you know, before it was almost forced out of me. And who knows where I’d be if all that were the case… anyway, I’m grateful. Funny how the most unexpected people change your life, huh?

Isadora: Yeah… it actually is.

Chai smiles, Isadora tentatively mirroring it.

Speaking of people who unexpectedly change everything… Lucas makes his way over to Riley, the latter brightening instantly when she sees him. She gives him a tight hug, and he lifts her off her feet momentarily before they break apart.

Riley: We pulled it off.

Lucas: If we manage to cinch this, you realize it’s all because of you, right? That entire thing, that was all you.

Riley, touched: … it was a team effort. But I suppose it won’t really mean much until we know.

Which could be any minute now… Riley touches his arm, getting his attention again.

Riley: I just want you to know I’m proud of you. No matter what happens with showdown.

Lucas: Again, it didn’t have much to do with me --

Riley: I’m not just talking about today. I’m talking about how you ran for president in spite of the odds, your initiative to make real change, how dedicated you are to putting them in motion. At Adams, but on your own. I know how far-off college and stuff felt to you during the summer, and now you’ve got submitted applications and new goals and a whole new future ahead of you. Not even new, but -- you’re finally seeing it, that potential that has always been there. I know that’s not nothing. I know how hard that was. But you did it. And even though it’s all stuff I knew you were capable of, every day you continue to blow me away. [ a beat ] It’s so good to see you starting to believe it too.

Wow. A lot to process, a lot of warm sentiment he wants to really take in and commit to memory forever. It’s difficult enough to process it, there’s no words in the world for him to respond with, so he settles for a smile and taking her hand instead. Lacing their fingers together, bonding them regardless of what might happen next.

Them against the world. Riley beams, squeezing his hand in return.

Perfect timing, too, because the time has come. A stagehand pops in and informs them it’s time for the announcement of the winners, beckoning them all onto stage. Yindra insists to Zay that he come with them for this -- he deserves to be up there just as much as they do.

Silence hangs over us as they head out…

INT. SHOWDOWN FINALS VENUE - BACKSTAGE HALL - DAY

The intrusive quiet follows as the A class makes their way through the backstage area, arriving back at the wings. All the anticipation of this final result building on our shoulders…

INT. SHOWDOWN FINALS VENUE - AUDITORIUM - DAY

The announcers are teeing up the big final reveal as the A class files out, Haverford populating the other side, but it’s all muffled and quiet around us. Brandon and Maya exchange a sharp glare. Yindra and Nigel each keep one of Zay’s arms around their shoulders, holding him steady as they take the stage. Lucas, Dave, Nate, and Jade hang back in the wings, Dave wrapping Jade in a hug from behind and propping his chin on her head.

Evelyn has joined us for the final reveal, the guest announcer who gets the distinct privilege as head of the school board to announce the victor. And what an honor it is! She gives a little speech about how it’s so clear both groups worked hard, put in the time and the effort, and have more than enough talent to spare. But alas, only one can win.

Evelyn: So let’s get to what you’re all waiting for -- the results. Without further ado, the winner of the 2020 Senior Showdown: Manhattan is…

It’s the most excruciating wait in the world. Zay clasps Riley’s shoulder from behind, squeezing tight. Haley links her arm tight with Clarissa’s and closes her eyes; Asher hides behind Dylan and tucks his head against his back, their hands clasped together. Maya reaches to take Farkle and Isadora’s hands, flanked on either side of her.

In the audience, Harper grips both Jack and Eric’s arms, all of them on the edge of their seats. Charlie is alone in the back but rapt with attention, hands clasped together in front of his mouth. He’s holding his breath, a prayer shining in his eyes -- but who he’s directing those wishes towards, it’s impossible to say…

And then in a moment, it’s done.

Evelyn: Congratulations to the talented seniors of Adams Academy for the Arts!

The chaos is instantaneous. The audience erupts into cheer as the A class breaks free from their paralysis, bursting into joyful hysteria. The Adams faculty leap out of their seats with equal elation, relieved and overwhelmed with pride. Now Angela isn’t the only one crying -- Eric and Harper have joined her with their own tears. Charlie applauds wildly, shouting out a cheer.

But nothing can compare to the mood within the class. It’s impossible to describe. Dylan picks up Asher and spins him around. Riley whips around and rams into Zay to hug him, shaking with excitement. Nigel runs off stage and pulls Jade out to join them, grasping her hand the entire time, and Dave and Nate eagerly follow. Darby, Chai, and Sarah jump in a hug together, and Yogi does a victory yodel.

Farkle pulls Isadora and Maya to him in a bone-crushing hug, before releasing the latter to go accept the trophy for Adams from the announcers. She faux graciously accepts the trophy and then turns to have a good, old-fashioned “good game” handshake with Brandon. They appear pleasant enough to the audience, but their grip on each other is vice tight.

Then the humility is over, the Haverford boys retreat, and Maya holds up the trophy for them all to see. VICTORY, BITCHES! They all swarm to center stage to meet her and it, dizzy with their change in fortune.

Except Riley. She heads in the opposite direction, marching into the wings straight for Lucas. She doesn’t hesitate the moment she reaches him, pulling him into a deep, enthusiastic kiss. Lucas returns it, too lost in the euphoria for a moment to be self-conscious, gripping her waist to keep her steady and pull her closer.

An undeniably beautiful moment -- save for the way Missy eyes it disdainfully from amidst the celebrating circle of her peers.

But even her potential jealousy can’t spoil the mood. They did it -- Adams Academy are the champions of senior showdown.

EXT. SHOWDOWN FINALS VENUE - NIGHT

Night has descended upon them over the course of the event, the driveway and streets around the venue bright with headlights as ride shares and drivers make their way home.

Charlie is standing in the cold evening air, hands stuffed in his pockets and breath creating steam in front of him. He perks up when he spots who he’s waiting for, Brandon emerging from the building and descending the steps. His expression is grim in the wake of Haverford’s loss, and it doesn’t bounce back to its usual crisp confidence quite so effortlessly when he finds Charlie at the bottom of the steps.

Brandon: Charles. Don’t see any reason for you to be hanging around this late -- considering you weren’t a participant.

Charlie: Yeah, I know. I just wanted… I was hoping to catch you before you left. You weren’t in the room when I caught up with the boys before the results, so…

So. Brandon grants him a moment, standing opposite him and raising his eyebrows. Go on. Charlie clears his throat.

Charlie: I wanted to say how great I thought you guys were. You killed the set. And “Sherry” was a great choice. I’m sorry I doubted it.

Brandon: Not good enough, apparently. But thank you.

Charlie: … it’s okay that you didn’t win. I hope you know that. Six years is a heavy burden to carry on your shoulders. At least now you’re free of it, right?

Brandon: I suppose that’s one way to look at ending a proud tradition every senior class before you has pulled off seamlessly. Though I can’t deny the A class gave an impressive showing. [ a beat ] Interesting, how they completely reset their entire performance. It was nothing like what I’d heard about it.

Oop. For just an instant, Charlie panics, but he recovers quickly.

Charlie: Yeah, well, Riley told me they just felt like they needed to switch things up. Get a fresh start, you know? Kind of like your thinking with “Sherry.” Safe doesn’t win showdown, right?

Brandon: [ not buying it ] Sure.

Either way, Charlie thinks they did well, and they have nothing to be ashamed of for not winning. He’ll do his best to try and bolster spirits on Monday. A charming offer, one which Brandon merely nods to acknowledge. For now, at least in the immediate aftermath of stinging failure, the new kid warmth he displayed towards Charlie is long gone.

Still, he can’t relinquish having the last word. After Charlie bids him goodnight and starts down the sidewalk, Brandon suddenly calls after him.

Brandon: Charles.

Charlie stops, turning to look at him again. Not sure what to expect -- a reprimand? The fabled dark side everyone keeps alluding to? Maybe a thank you for his kind words?

Brandon offers none of the above. He maintains his chilly demeanor but infuses it with his usual suave delivery, giving him another nod.

Brandon: Enjoy the rest of your weekend.

To Charlie, this simply seems nice. A good sign if nothing else. He smiles, then continues on his journey home. But when Brandon spins back to face the street, his expression is far from pleasant.

Perhaps he’s granting Charlie one last courtesy. He should enjoy this weekend as much as he can -- afterwards, perhaps enjoyment may not be so easy to find.

INT. AAA - ATRIUM - DAY

Sunday morning, bright and early, the school is more populated than usual. A small group is present to watch HARLEY KEINER unlock the trophy case and load their new one into it, placing it front and center with the utmost care. Jack is there to supervise, while Lucas, Dylan, and Asher came to witness the moment for themselves.

Dylan: Thanks for your service, sir.

Harley: Oh, no no, thank you. It’s been too many years since I got to update the display with this bad boy -- props to you folks for bringing him home.

And what a happy homecoming it is! Lucas steps forward to look for himself, the gleaming proof of his victory staring back at them. Representative of all the money about to come their way, to fund his initiative at least for a time.

He can’t help but grin, spinning back around to face the others. He loftily holds his arms out, sauntering forward and giving a cheeky bow. Then another, really milking the moment. Dylan and Asher break into theatrical applause, allowing him the silliness.

Lucas: Thank you, thank you very much.

They meet him in the middle and both throw their arms around his shoulders, and Lucas doesn’t shy away from the contact. Dylan starts playfully singing the chorus “We Are the Champions,” Asher quickly harmonizing, and even Lucas joins in as they amble towards the doors.

Lucas/Dylan/Asher: No time for losers, cause we are the champions!

Dylan: OF THE WOOOOOOORLD --

Jack watches them go, amused at their antics. Soaking in the moment of pride, of peace, in the school that despite its hell, he loves more than anything. He crosses his arms and meanders his way back to his office, humming the Queen song to himself as if it’s contagious.

INT. BABINEAUX HOME - ZAY’S BEDROOM - DAY

Despite it not being anywhere near the way he imagined it, Zay finally submits his application to Turner. And this time in facing it he’s not alone, Yindra and Nigel both plopped on the bed next to him and encouraging him to do it right up until the moment it’s official.

He thanks them for everything, acknowledging Nigel’s argument that he’s glad he didn’t miss showdown. Nigel agrees it’s definitely going to be something they remember for a long time, especially now with the sweet addition of victory.

Yindra: Um, yeah, and how am I ever gonna forget your big speech to Jade? Like hello?

Zay: It was pretty ballsy. We might have to tell him about the contingency plan.

Yindra: Ooh… are we sure? Do we think he’s ready?

Nigel: What plan?

Yindra: We need a Michelle, Zay. Do we think he has what it takes to be a Michelle?

Nigel: To be a whomst?

Yindra and Zay exchange a conspiratorial look. Yindra claims this is their big plan for success, if their own solo endeavors don’t pan out.

Zay: So. Destiny’s Child --

INT. THERAPIST’S OFFICE - NIGHT

Farkle is meeting with DR. MICHELLE HAN again after a week or so of avoiding her, in his usual spot on the couch. But this time he’s sitting upright, and he’s got company -- both STUART MINKUS and JENNIFER MINKUS are with him. Nervous but resolute, Farkle claims that he’s ready to discuss the bipolar diagnosis further, especially in figuring out where they go from here and what he can do to live with it.

Dr. Han is pleased, happy to oblige. She tells him she’s glad he came around to it on his own terms, then begins to discuss the nuances of the condition. Jennifer glances to Farkle next to her, placing her hand on his forearm and giving it a supportive squeeze.

INT. YINDRA’S CHURCH - NIGHT

Charlie enters a large church we recognize as Yindra’s, only much more empty on a weekday evening than Sunday morning. The lights are all on, and there are various people dotted around. The PASTOR, an elderly black man with a wise aura and mischievous gleam in his eyes, is talking pleasantly with two elderly ladies to the side.

They eye Charlie as he walks past them towards the rows of seats. He has a lightness about him that wasn’t there the last time we saw him in his own church, but there are still remnants of his usual anxious state.

He walks up to the stage that Yindra and the gospel choir performed on and stops in the forestage. There are three banners decorating the wall in front of him, in white, purple and blue, featuring the cross, ichthys, and a flame. A very different vibe from his usual Catholic church, but comforting all the same.

Once he’s free of the church ladies, the pastor approaches Charlie.

Pastor: Hello, young man. What brings you here at this time of night? 

Charlie: Hi. Sorry if I’m intruding at all. [ off his nod of reassurance ] I came here the other week with my friend Yindra -- Yindra Amino, in the choir?

Pastor: Ah, yes. I know the Aminos quite well. Yindra is a lovely girl.

Charlie: I’m Catholic, but it just seemed so happy and… cool here, so I… well, I have something I need to say to God, and I ended up here. I hope that’s okay. 

Pastor: Of course. We welcome everybody, always. [ with a warm smile ] I’ll leave you and the big guy to it.

He gives him a fatherly pat on the shoulder, then leaves him be. Charlie takes a moment to collect his thoughts, looking up at the banners, and then kneels down. He takes his silver cross necklace out from under his clothes and holds onto the cross with one hand. 

Charlie: God… [ with a sigh ] It’s been a long semester. And a long summer. Kind of a long life, to be honest. And lately I’ve been having to do a lot of self-reflection. I keep finding myself in these moments where I have to… make a tough call. Or get to the right decision. Do the right thing. And every time I think to myself maybe you’d just give me the answer, that these choices could be simple, but I get that they aren’t. They aren’t supposed to be. It shouldn’t be that easy to define who you are — you need a test, sometimes, to prove it. And while I feel like I’ve had my fair share of that, I get why you couldn’t just show me the way. I had to find it for myself. I have to get there on my own. I can’t expect you to give me guidance if I’m not ready for it. But I’m getting there, now, and… and part of that is...

Tell us who you are.

He takes a deep breath, and exhales.

Charlie: I’m gay. [ with a nervous chuckle ] But you already knew that, didn’t you? You’ve always known exactly who I am. It’s me who’s been playing catch up.

Charlie pauses, fiddling with the chain of his necklace. He’s not sure what he’s waiting for -- the lightning strike, maybe -- but nothing comes. Of course it doesn’t. He releases another breath, easier now, and continues.

Charlie: I’m starting to understand who I am. And who you are, too. I’m beginning to trust my own decisions, and put who and what I value most above my own comfort or ease. There’s still a lot to figure out, I know, and I’m a long way from the person I’m meant to be… but I feel like I’m on the right path. [ with more soft confidence ] I pray that you’ll be with me on that journey, and that you’ll continue to guide me. I’m sorry for blocking this part of me from you for so long. I’m going to try and be my authentic self as much as I can from now on — I’m starting to realize it’s not worth being anything else. [ quietly ] Amen.

He stands up and takes a moment, then heads back towards the church’s entrance. He can’t help the corners of his mouth turning up; a weight has been lifted off his shoulders, but he’s trying not to disturb the peaceful atmosphere of the building.

The pastor catches him before he leaves, asking if he managed to tell God what he needed to. 

Charlie: I did, thank you. 

Pastor, tactfully: Forgive me if it’s not my place to ask, but... is your church accepting of the LGBTQ+ community?

Charlie’s eyes go wide. 

Charlie: How did you…? 

Pastor: Call it a natural instinct… my husband tells me it’s called ‘gaydar?’

Charlie processes this new information. Both of them almost want to laugh -- it’s just a little bit funny, a unique kind of levity, spotting another religious gay in the wild -- then he shakes his head to his question. 

Charlie: I grew up in a pretty strict household and church. 

Pastor: Hm, I see. I’m aware of several Christian LGBTQ+ communities and churches in the city, if you’d be interested? 

Charlie: I don’t know if… actually, yeah. That’d be really nice, thank you. 

Pastor: I’ll put together a little list for you and tell Yindra to Snapchat it over to you. [ off his dubious expression ] Or whatever you kids are using now. Don’t look at me like that, I’m old.

Charlie thanks him with a laugh, at ease and genuinely happy. The pastor bids him farewell as he heads to the double doors with stained glass windows, through which the lights outside shine through, creating a pastel prism of color on the hardwood floor.

EXT. YINDRA’S CHURCH - NIGHT

Charlie steps back out into the night, closing his eyes and inhaling the frigid air. A light rain has started to fall, the whole world seeming to shine around him. It’s refreshing, invigorating -- or maybe that’s just the freedom of what he just did. It might all be in his head, it might not, but what it means to him is the realest thing there is.

He releases the breath he’s been holding for years, a light smile blooming on his face.

Song Cue ♫ ♪ “Party For One” as performed by Carly Rae Jepsen || Performed by Charlie Gardner

There was no way we were going to get through the entire midseason finale without Charlie performing. It wouldn’t be right. And he’s truly earned it this time, the uplifting percussion that kicks off the number almost heaven-sent.

He starts the vocals softly, breathing them out like his monumental exhale. Then he gets moving, hands still in his pockets, walking backwards along the sidewalk in step with the beat. His excitement builds through the verse and pre-chorus until he just can’t hold it in anymore. When the beat drops and the first chorus really hits, he breaks free, pulling his hands from his pockets and spinning into a dance.

He dances solo, unrestrained, continuing his journey as he goes. It’s energetic contemporary, skillful as always, and laced with that same frenetic melodrama that has defined his previous performances in his imagination. Only this time it’s joy -- pure, uninhibited joy -- that pumps that passion through his movements.

EXT. NEW YORK STREETS - NIGHT

Charlie carries on through the streets, loosening up as he goes. He unbuttons his coat, holds his arms out to soak in the rain. He runs his hands through his hair to brush the wetness from it, mussing it up in the process from the neatly combed way he’s been wearing it for weeks. Around him the city is a kaleidoscope, shimmering jewels in the night of reds, blues, purples, and gold.

EXT. CENTRAL PARK - NIGHT

By the second verse, he’s made it to Central Park, launching back into his fun and free choreography. He dances along benches, swings on lampposts like Singin’ in the Rain, and gets mud on his pants from slipping and sliding in the grass.

A little messy, but he doesn’t care. Why should he care when he’s free?

EXT. AAA - NIGHT

By the time he reaches the final minute, he’s arrived at the steps of Adams, closed and empty for the night but still brightly lit and welcoming. Inviting, like the feeling of standing on your doorstep after a long journey home.

And this is where Charlie truly lets loose, the gleaming structure of AAA acting as the backdrop to his final expression of liberation. The dancing is really impressive now, spins and kicks and a couple of splits sprinkled in, but what’s most compelling about it is how much feeling it conveys. It’s hard to recognize you haven’t seen someone be authentic until you actually do, and that’s how this performance feels. His coat abandoned on the steps, his hair wild and free, skin glowing with rainwater and finally back on his beat.

This is Charlie’s showcase moment. And finally, the only audience that matters is himself.

I’ll just dance for myself, back on my beat!

When he wraps the rendition he lowers himself down into a slippery recline on the steps, breathing heavy but so worth it. He leans back on his palms, tilting his head up to the rain, to the stars, to whatever lies beyond waiting for him. Then he smiles, easy and effortless, laughing a bit to himself as the weather soaks him clean.

INT. HART APARTMENT - NIGHT

Katy, Maya, and Isadora are sharing the remnants of a pizza at their new kitchen counter, taking a dinner break from unpacking and starting to arrange the space. Katy reminds her that she absolutely does not need to hang around and help, but Isadora claims she doesn’t mind. She likes it, actually, and it’s exciting to see what they do with the place. But she actually should get going tonight -- school day tomorrow, and Eric will be wondering where she is.

As she gathers her things to head out, Katy suggests they grab breakfast at the diner tomorrow morning before school to celebrate. Her treat, for old times sake. As flattered as Isadora is by that offer, she can’t. She has a meeting she can’t miss first thing in the morning, but rain check. She doesn’t want to pass that up.

Katy and Maya bid her farewell, then descend into excited giggles as they launch onto their couch. Katy comments on how wonderful the view is too from this new apartment -- miles above their old one, anyway. Maybe everything happens for a reason… but God, is it good to be back with her girl. Especially one who is now a champion.

Maya grins, hugging her again and cuddling close. She tells her she’s so glad she’s home, more than she could ever express.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Riley is on her bed, the room starting to look a bit different as Maya’s stuff disappears. She’s got her laptop open, application for Tisch NYU the last one she has left to submit. Only hours left to decide if she’s going to go for it or not, if pursuing the arts for real is something she even wants to try.

CORY MATTHEWS knocks on the door, making a witty comment about how now that Maya is gone, maybe it’s time to switch rooms back… Riley claims they may as well just wait until she goes to college, right? Not worth all that effort to do it now when she’ll just move again in six months… Cory gives her a look, but he can’t help but smile at the same time. Clever girl…

He makes a point of congratulating her again, making sure she knows how proud he is of her.

Cory: Every day, I’m impressed with what a strong, mature, and clear leader you’ve become. I can’t wait to see all the amazing things you’re going to do next.

Riley smiles, touched. She climbs off her bed and swiftly rushes across the room to give him a quick hug and kiss on the cheek, thanking him, then darts back to her space before he can respond. He gives her another playful head shake, wishing her goodnight.

Once alone, it’s just her and the application. She hesitates for a moment longer, thinking on it… what does she have to lose?

Decisively, she hits submit. Putting the potential out there for good. No turning back now.

Riley, pre-lap: I did it. I smashed that submit button. It’s out there now.

INT. CHUBBIES - NIGHT

Riley and Zay are meeting at Chubbies for late weekend celebratory fries, even more necessary now with her brand new update. Zay congratulates her and expresses confidence that she’s got as good a chance of getting into Tisch as any of them -- and yes, that includes Maya. He raises his water glass to cheers their future endeavors, Riley matching it enthusiastically.

The mood is somewhat disrupted when Charlie walks through the door, spotting them in their usual booth. This time, though, the sight doesn’t immediately make him think of retreat -- in fact, it seems like exactly what he was hoping for.

He quickly approaches their table, greeting both of them. Riley is surprised by his presence but not at all opposed… although his appearance is a bit questionable. Has he just been standing around in the rain? His hair is a windswept, slick mess, but there’s no mud on his clothes, so at least that part of his freedom dance wasn’t quite so literal.

Riley: Do you want to sit down? I know you like fries, so --

Charlie: [ still a bit out of breath ] Actually, I was hoping to catch a second with Zay. [ glancing at him ] If that’s okay?

Unexpected, certainly. Riley looks to Zay as well, gauging his reaction, trying to determine if she should stay or go. Zay eyes Charlie curiously, uncertain though far less apprehensive than in the recent past… then nods. He signals to Riley it’s okay, and she gets up to give them privacy without complaint. Charlie thanks her, touching her arm and congratulating her once again, before sliding into her vacated spot across from Zay.

For a moment, it’s hard to speak. No matter how much either of them want to, how often they think about it when they’re not around, the moment they’re in front of each other again it’s like everything stops. Like they’re frozen in time, still cold in the aftermath of a mistaken first time. A choked surrender in the costume loft. A blindsiding separation without a proper goodbye.

But time keeps going. They get older, they learn, they grow -- and there’s no doubt that both of them have done a painful amount of growing in the last few months. The only question now is if they can catch up to each other and find common ground; if they can find a new way forward as they are now, or if they even should.

And to do that, they have to speak. Zay clears his throat, eyeing his rain-soaked attire.

Zay: So, did you forget your umbrella, or were you just wandering around in the rain again --

Charlie: I don’t want to do this anymore.

Oh. Well, that can sure mean a lot of things, Charlie. Zay goes silent, watching him warily to see where this is going to go. He’s not even sure himself, really, what he wants to hear. Thankfully, Charlie didn’t seem intent on stopping it there, letting out a sigh and composing his thoughts before elaborating.

Charlie: I just mean… being a million miles apart. Existing like we’re in different worlds. Maybe when all this started we -- I -- needed that. To feel like I was doing what I set out to do, to become independent and figure all my stuff out on my own without bringing you down with me. Because that’s why I did it. I know you already know that, but it took me some time to stop convincing myself otherwise. [ a beat, looking down at his hands ] At first, I really thought I was doing the right thing. The thing that was best for everyone, that would allow me to fix everything. But I wasn’t really fixing anything. I think I was just doing what I always do. Running.

Zay listens patiently, not betraying anything. Letting Charlie have the time to work through it, to say what he needs to say. Charlie meets his eyes.

Charlie: And I know I screwed everything up, making those choices without you. [ shaky ] I know I hurt you, and… [ fiercely ] and I hate that I did. I hope you’ll believe that the last thing I ever, ever wanted to do was hurt you.

Zay’s calm demeanor cracks slightly, betraying that exact hurt flaring up again. But it doesn’t hurt the same way anymore. It’s healed over, a dull ache that with the right treatment and a little more time will recover.

Charlie dips his head down, doing his best to keep it together and not do something unhelpful like cry. He clears his throat, taking another deep breath and finding his resolve. He meets his eyes again, not letting himself run anymore.

Charlie: But I did. I did, and I’m sorry. Sincerely, from the bottom of my heart. I made some serious mistakes, and I know I’m going to have to live with them forever. You and I... we’re always going to carry that with us. We’re always going to have this history, the good and the bad. It’s never going to just go back to how it was before.

True enough. Zay nods, acknowledging it. Then, would they really want it to? Would they want to trade it all away for a fresh start, if it meant taking the good moments too?

Charlie: Even still… I wouldn’t change it. Because I can’t imagine what life would be like -- what I would be like -- if none of it ever happened. And no matter what’s changed since, the mistakes I’ve made… a million years ago, before all this started, I told you that I couldn’t lose you. That you were too important to lose. Now I know I was right. [ with a weak smile ] I don’t want to keep doing this, stumbling through life without you.

It’s getting harder and harder to remain neutral. Zay sniffs, swiping at his lips and trying to maintain his composure. Charlie isn’t looking away now, taking him in as much as he can while he makes his appeal.

Charlie: And maybe it’s selfish, which is exactly what caused all this in this first place, but I don’t care. If there’s one thing I’ll allow myself a little selfishness for, it’s this. That’s my new choice. You were one of my best friends, and you’re one of my favorite people. [ a beat ] And I totally get if this isn’t enough, or if it’s too much, and you’d just rather not. But is there any chance we can just… try? Try to find our rhythm again, be friends again? [ delicate ] Because I know the world needs you, but I really miss Zay Babineaux.

If Charlie uncharacteristically had a lot to say, then it only makes sense for Zay to have nothing. He’s speechless, absorbing everything Charlie said and trying to keep his emotions in check while grappling with that same question he’s been struggling with for weeks. If things aren’t completely broken, if they can be even remotely repaired, then is it worth the risk of letting him back in so they can fix it? Is that something he wants? Does it even feel possible, considering all their history and how frozen they’ve felt before?

But all of that was daunting when Charlie remained a question mark, when his feelings and opinions were kept behind that protective shell he works hard to maintain. Now, now that he’s said it and put himself out there, there’s no more guessing what Charlie wants. And when he knows where Charlie stands on it, on them, his decision is suddenly easy.

Zay: I could be down for trying. [ unable to hold back a small smile ] I’d really like that. Believe it or not, I missed Charlie Gardner.

The relieved smile that consumes Charlie’s features is instant, a laugh escaping him. Not because anything is funny, but because he can finally breathe again. The world has thawed around them, allowing time to resume and for both of them to move forward.

And what that means for them, well, only time will tell.

Riley slowly creeps her way back towards the booth, apologizing for interrupting but claiming she’s starving and absolutely needs to eat a fry or she’ll collapse. Charlie and Zay crack up, gesturing for her to rejoin them officially. She beams, feeding off their infectious energy that only freedom can conjure, and slides back into the booth next to Zay.

Charlie brings up an epic moment from their showdown performance and they quickly launch into excited chatter, the rapport between the three of them finally at ease. The way it was always meant to be -- hopefully, the way it will be forever more.

INT. AAA - JACK’S OFFICE - DAY

Isadora arrives at school bright and early, having come in with Eric rather than her classmates for a change. She knocks on Jack’s office door and enters as soon as she hears the beginnings of a response. Patience may not be her strong suit.

Jack is already busy with work, but sets his focus entirely on Isadora when she sits down across from him. Her face is set, that classic De La Cruz fierceness and determination clear. 

Jack: Eric mentioned you wanted to see me. How can I help you, Miss De La Cruz? 

Isadora: I’m here to discuss the possibility of setting up a scholarship fund in my mother’s name.

Jack’s eyebrows raise in surprise. Whatever he was expecting, it wasn’t that. Before he can respond to the proposition, Isadora continues.

Isadora: As you’re aware, I have inherited a large sum of money from my mother upon her passing. 

Jack, gently: Isadora, you don’t need to be so formal with me. This isn’t a business meeting.

Isadora sighs in relief, allowing her posture to relax. 

Isadora: I’ve been struggling with what to do with my mom’s money for a while now, and I realized when I was helping Katy and Maya move into their new apartment that I should use it in a way that Valerie would support. [ waiting for Jack to nod in acknowledgement before continuing ] My mom loved this school, how it fosters the next round of talent. She often dropped hints to me that she’d like to be a guest teacher more regularly -- 

Jack: [ caught off guard ] Did she? She never mentioned anything to me or Eric… 

Isadora, fondly: It was part of her plan for moving to New York. But my point is, a scholarship fund is exactly what Valerie would want her money to go towards. Helping bring up the round of superstars, particularly ones like Maya who can’t necessarily access it on their own. That’s how she started out too, you know, not coming from much. She made her own luck, but I don’t think she’d even blink if she had the chance to help someone else achieve those same dreams without half the struggle. It feels right. Plus, it’ll help keep Lucas and Maya’s new legislation intact without having to rely on winning showdown every single year. Haverford are… tough competition.

That’s one way to describe them. Jack nods as he thinks it over, keen on the idea. He can’t see any reason why it can’t happen. 

Jack: Sounds like an excellent idea to me. I’m sure Lucas and Maya will be pleased too. [ a beat ] Well done for coming to such a wise decision on your own. Valerie would be proud of you, I’m sure. And so am I.

Isadora is touched by the sentiments, and gets up from her chair to hurry around to his side of the desk. She gives him a quick hug, taking him by surprise. 

Isadora: Thank you. For always being there for me. You and Eric mean a lot to me. [ a beat ] Well, um… bye. I guess.

She offers him an awkward wave as she walks back around his desk and towards the door. Jack is still frozen in surprise from Isadora’s hug and gratitude, knowing full well how much that means. He smiles at her, happy that she seems to trust him.

Jack’s uplifted mood doesn’t last long though. Yancy appears in the doorway just as Isadora is leaving, the two of them nearly bumping into each other. He shoots a subtle glare at her, but she doesn’t back down easily, so she glares right back at him until she passes.

Yancy: Quite the attitude on that one. Seems that might be a trend here at Adams.

Jack: Looks can be deceiving. Isadora just helped arrange for a fund to support the new scholarships in full, for many, many years. [ pointedly ] If humanity has any hope, I believe it’s in the youth. They certainly demonstrate much greater compassion than I’ve observed lately.

Yancy: Oh, then I suppose we both have good news, then.

Yancy clasps his hands together, looking all too pleased to be delivering this news. Jack braces himself for the worst.

Yancy: I submitted my report last week, and the board has reached their verdict. Effective January 1st, the role of principal will officially be open to apply for at Adams Academy for the Arts. I myself am planning to submit for consideration -- I think I could do more here than the school board at this point, considering the disastrous status of the school at present.

Jack’s heart sinks. He’s not being fired, but it’s al\most worse this way, dangling it in front of his face and making him do tricks like a show pony to prove he deserves to keep the position. He’s out of words, clenching his jaw and choosing not to give Yancy the satisfaction of a response. But he hardly needs one -- Yancy’s smugness is detectable from a mile away.

Yancy: You are, of course, welcome to reapply to keep your position, Jackson. In fact, I encourage it -- the board deserves the opportunity to reject you outright. [ a beat ] Until then, I suggest you start considering alternatives. You may very well be saying goodbye to Adams with your precious senior A class by the time this school year concludes.

With that, there’s nothing left to say. Yancy spins and leaves Jack to grapple with this info bomb on his own, at least giving him the dignity of reacting on his own.

Jack gets to his feet, closing the door behind Yancy. Then he finds himself slowly leaning against it, like all the energy has been zapped right out of him. His jaw twitches, eyes glossing over, like everything he’s been balancing and building up barricades against for years is about to break through and totally overrun him…

But he takes a deep breath, steels himself, and releases it with a sigh. Right now, there’s work to be done. Things to see through. And when the time comes to face the prospects, well, he’ll deal with it then.

Straightening up and clearing his throat, Jack moves back to his desk and settles in his chair. Back to work, doing what needs to be done as principal.

INT. AAA - AUDITORIUM - DAY

The A class is gathered for their first class since the weekend, all still chatty and buzzy with excitement from their victory. They’re up on the stage, chatting in small clusters about their performance and complimenting one another on their finest moments. Dylan and Asher in particular are huddled with Jade, gossiping about what happened with Nigel and what she thinks their first date is going to be.

But they snap back to attention when Harper and Shawn enter, the former enthusiastically taking the stage and greeting them as the Manhattan Showdown champs. This earns a loud cheer, Harper offering her own applause and letting them soak up the pride. Then she goes on to explain just how proud of them she is, how inspired she is by what they pulled off, and how remarkably moving it was to watch them come together to create something irrefutably them.

Harper: As you all surely remember, I was a bit out of my element when I came here last year. I thought I knew Triple A, but you all were another brand entirely. And you didn’t make easy on me -- or yourselves -- so I always wondered how you’d manage to pull this off. Now I realize it was silly of me to doubt. You, the senior A class, are full of unexpected surprises -- and I think that might just be your greatest strength.

Hear, hear! As for assignments this week, it’s the last week before winter break, so Harper admits she doesn’t really know what they should do either. After such a crazy few weeks, she feels like they’ve been tested enough.

As it turns out, maybe no reason is exactly the thing they need to perform right now. Riley says as much, sharing her thinking that while the rush of the last few weeks have been exciting, it’s been a minute since any of them just got to sing for the joy of it. Which is a shame, a travesty, considering that’s why all of them are at this school, in this place, together. Love of the art.

So that’s what they do. For the first time in months, the A class breaks into song because they want to. Because they can. Because it unites all of them, even when there’s no pressure or thing to fight for.

Song Cue ♫ ♪ “To Noise Making (Sing)” as performed by Hozier || Performed by AAA Seniors

Riley kicks us off, singing happily to her classmates as she stands at the center of the stage. She makes her way around and shares a little moment with all of them, gradually pulling all of them into the harmonies, until she’s got the collective singing along. From there, her classmates step up to share focus, Zay, Maya, Isadora, Chai, and Yindra just a few of the notable ones to take a solo for a couple lines. Farkle takes the bridge, accepting an affectionate side hug from Riley as he does.

Harper and Shawn watch from the back of the front center section, swaying and grooving along. Eric has come to join them, but he can tell something is missing. He glances over his shoulder towards the doors, looking for Jack, but he’s nowhere to be found.

Then the A class comes together, all making their way into a closer formation at center stage. Nigel takes Jade’s hand and pulls her gently into the group, twirling her under his arm. Riley makes sure Lucas gets included in the throng, though this time he hardly seems reluctant, throwing his arm around her shoulders. He’s not singing, mind you, but here’s there in the moment with the rest of them.

And that’s where we leave them as we close out this half-season. The united A class, exhausted but still going strong, vindicated victors, brimming with unbelievable potential for the future.

Can’t wait to see what happens next.

END OF EPISODE.

[thedenimdentist]

Role Club Engineers: Worth the Wait?

Introduction (Part I): History of Engineer Boots

Engineer boots are definitely a polarizing style of footwear within the heritage/amekaji boot community. For one, they utilize an ankle strap for fastening in lieu of laces, and second, their tall stovepipe shafts don’t integrate quite well with the slim tapered esthetic of modern denim/trousers. While often associated with motorcycles and bikers, engineer boots were actually designed as protective gear for firemen working on railway engines back in the 1930s. (Hence the name “engineers.”) Their minimal design and use of buckles over laces made them ideal for this line of work. The tall shafts provided protection for the lower leg, while the slip-on design allowed for quick removal should anything dangerous (such as hot coals or embers) slip down the shaft into the boot. This style of footwear lost some popularity following the introduction of lace-up combat boots during World War II, but would later be picked up by motorcyclists who found use of their insulating and protective features. (And there is your history lesson for the day, courtesy of Wikipedia. Lol)

Introduction (Part II): How I Got into Engineer Boots

I first got into more well-made boots back in early 2019. Like most boot n3wbs, I was completely infatuated by that lace-up service boot esthetic, and insisted on wearing them with the slimmest, most tapered denim I could find. My first boot purchase was (of course) a pair of Red Wing Iron Rangers, followed by three pairs of Truman service boots in pretty quick succession. That first summer was when I discovered @brianthebootmaker on Instagram and YouTube, and instantly fell in love with his Underdog design, which I later purchased in August 2019 and received in May 2020.

At that point in time, Brian’s popular Underdog boots fit perfectly within my slim service boot style. However, Brian’s most iconic boot pattern was (and is) definitely his engineer boots. I admit I wasn’t sold on them at first, but I was intrigued. Did they fit my wardrobe at all? Nope. Would they even fit under the 6.75” leg openings of my PBJ denim? LOL nah. Nevertheless, I found myself constantly going back to Brian’s Instagram page and browsing all the photos of his engineer boots. Eventually, I grew to really love the look of engineer boots, ultimately placing a second deposit with Brian for a pair of engineers in October 2019. I had no idea how I was going to fit them into my wardrobe, but I figured I’d make it work somehow. (Luckily, since then my denim preferences have actually shifted toward more relaxed cuts, just in time for the arrival of these engineers.)

The Ordering Process

For most customers purchasing online, Brian requires you to take a set of measurements on your own feet, which he uses to build your boots remotely. However, those lucky enough to live nearby can actually visit Brian’s shop in LA to be personally measured by the boot maker himself, as well as discuss any details or questions you have regarding your specific makeup. I was one of these lucky people who could actually visit him in person, and used those measurements to order two pairs of boots from him: first a pair of Underdogs, and now some engineers. Both pairs were built on different lasts (which I will discuss more later), and both fit perfectly. (For a more detailed summary of being measured in person, check out my previous review of my Role Club Underdogs.)

My Specifications

While you can’t really go wrong with any of Brian’s engineer makeups, I personally loved the design Brian designed for himself: brown CXL horsehide hand-finished black, a full leather outsole, and full woodsman heels. They definitely have a more western, cowboy, workwear vibe compared to most other engineer boots out on the market, but in my opinion these are one of the best patterns, with some of the cleanest construction to boot.

A few screenshots I took of Brian's engineer boots, taken off his Instagram.

I did make a few tweaks/upgrades from Brian’s boots when designing my own, which I’ve listed below:

Model: engineer boots

Shaft height: 10”

Upper leather: brown Italian vegtan horsebutt, hand-finished black

Toe track: yes

Upper stitching: black

Hardware: brass roller buckles

Last: 2307 last

Unstructured toe

Edge finish: black

Welt stitching: white

Sole: full leather sole, black heel cap

Heel style: full woodsman heel

Metal toe plates

Custom built-in orthotics (same as my Underdogs)

One of the biggest reasons I keep going back to Brian is that he’s able to use the orthotics I typically slip into all my footwear and actually build them into the insoles of my boots. Not sure how difficult this actually is for a boot maker, but Brian has absolutely nailed the fit on my ugly feet both times, and it’s super convenient to not have to worry about a removable orthotics.

Price, Lead Time, & Shipping

The initial deposit to reserve a pair of Role Club boots is $200 regardless of which model you are ordering, with the remaining balance due upon completion. I visited Brian’s shop in Los Angeles on 8/21/2019 and placed my deposit on 10/15/2019, with an estimated completion date of November 2020. However, due to delays in construction (including waiting for my custom metal toe plates to come in), my boots weren’t actually completed until 3/25/2021 (nearly five months late). Inconvenient, but it’s not like I was wearing boots and going out much anyway due to COVID.

When I placed my first deposit for my Underdogs in August 2019, the estimated wait time was just 8 months (April 2020). However, when I placed my second deposit for these engineers just two months later, the wait time had jumped to 13 months (November 2020). To be honest, I’m not even sure how long Brian’s queue is now. Last I heard it was sometime in 2023 or 2024. (Freaking insane. So thankful I placed my second deposit when I did, before his waitlist exploded.)

At the time I placed my deposit, the base price for Brian’s engineer boots was $1350. After a few upgrade fees (hand-finished leather, toe plates, etc.), the final price of my specific makeup was $1500. Minus my initial $200 deposit, my final payment for these engineers was $1300 + $20 shipping. I made this payment via Venmo on 3/26/2021, my boots were shipped the following Monday 3/29/2021, and I received them via USPS on 4/2/2021.

At $1500, these are not a cheap pair of boots by any means. However, for engineer boots this price is actually not unreasonable, as there are some other brands selling engineer boots at a higher price point in stock sizes with limited to no customization (i.e., Clinch). #perspective #itsallrelative (To be completely honest, I roll my eyes when people scoff at a pair of boots in this price range, claiming they’re “too expensive” or that they can’t afford it, and turn around and buy 2-3 pairs of average Vibergs instead. Just stop. Clearly it’s not the cost, it’s your personal values and priorities. #endrant lol (Also, not knocking Clinch or Viberg or anything. Just a few examples to prove a point.))

ANYWAYS. For those hesitant to commit to such an ungodly wait time, I will point out that the cost to reserve a pair of Role Club boots is just $200, regardless of which model you are ordering. In fact, you don’t even need to finalize your order at the time of deposit. You can continue to brainstorm, change your mind, and discuss with Brian about your specifications long after the deposit is placed. (I mean, you have like 2-3 years before he even starts working on your boots anyway, so you have ample time to decide. Haha) Also, should you decide you can’t wait that long (or you suddenly become more financially responsible, lol), I hear you can also use that $200 deposit for something else more affordable, such as a resole of another pair of boots. Either way, hopefully this knowledge makes the $200 deposit a little less daunting and scary of a commitment.

Unboxing

The boots arrived in a single standard shoe box enclosed in a standard plastic shipping bag. There was zero padding included, so the box did arrive with some dents and dings. Inside the box, each boot was slipped inside an individual clear plastic sleeve. Unlike most other brands, no extra padding, tags, or shoe bags were included. Just the boots. (Though, they are some freaking amazing boots. Lol)

“HFB” for Hand Finished Black.

360 Degree View

The 2307 Last

When trying to pick a last for these engineers, I was debating between his 1940s last and the 2307 last. Ultimately I picked the 2307, mostly because it had a lower toe bump. I do think that his 1940s last is his most popular for engineers, and the toe bump really doesn’t make too big of a difference once the unstructured toe collapses. (For a more in-depth summary of all the lasts/toe shapes Role Club toe has available, I will link you to Brian’s YouTube video.)

Profile views of both the 1940 and 2307 lasts. Notice the more pronounced toe bump on the 1940 last in comparison to the 2307.

I had my Underdogs built on Brian’s 100 last, which typically has a significantly slimmer, almond toe shape in comparison to the 2307 last. However, due to my awkwardly wide feet and bunions, the MTM 100 last ended up not being too dissimilar from my MTM 2307 last. I definitely like the 2307 more, as the outer sweep of the toe box has a more angular, elegant curve in comparison to my 100 last, which kinda just looks like a thumb.

As you can see, my Underdogs were supposedly built on the 100 last, but ended up being way more rounded than expected (which I’m happy about).

The Leather

Brian most often sources his leather from the Horween Tannery, specifically CXL horsehide and shell cordovan. Brian used brown CXL horsehide hand-finished black for his own pair of engineer boots, which has aged incredibly. Personally, I tend to opt for vegtan leathers whenever possible, as it’s more environmentally friendly and in my opinion tends to build a nicer patina than chrome tanned or combination tanned leathers. Luckily, Brian happened to have some brown Italian horsebutt lying around his shop that he was willing to offer me. At the time, Brian didn’t remember the tannery from which he sourced the horsebutt (which, according to him, no longer exists), but he was able to send me a few photos. I immediately said yes.

A few photos of another pair of engineers Brian made in the same Italian brown horsebutt. Loved the depth of color...which I had painted over. lol

I was hesitant at first to have Brian hand-paint black dye over this beautiful brown leather. However, I was pretty set on getting some classic black engineers, and I trusted that the black dye would slowly fade away in high abrasion areas, resulting in a beautiful black-brown pseudo-tea core finish. For horsebutt leather, there actually isn’t too much visible grain/marbling within the leather). It has a fairly smooth, consistent finish, which I don’t mind at all. Also, I can already see some browns peeking through, which gives me hope as to how the black dye will chip away as these boots break in.

Some of the brown undertones can already be seen beneath the black dye, which is most apparent on the vamps.

The Pattern & Stitching

I absolutely love Brian’s take on engineer boots. His pattern works perfectly with his lasts, creating a very well balanced, properly proportioned boot that looks just as good sitting on a shelf as it does on foot.

To my understanding, all of the boots in the Role Club Collection are branded with the same two markings: an embossed logo on the left boot and a sewn-on tag on the right.

The back stay is simple and clean. No extravagant stitch patterns or anything, just very clean, vertical lines. Nice, conservative, elegant. I like it.

I think of all the engineer boots I’ve seen on Instagram, the buckles Brian uses are some of my favorite. Flat, rectangular, roller buckles. Again, nothing gaudy. Some other brands choose to use more elaborate, bulbous buckles on their engineer boots, which kinda just look out of place. Maybe they’re too eye-catching, making it seem like they’re trying too hard. In contrast, Brian’s simple flat buckles are clean and minimal, allowing the pattern and construction quality of the boots speak for themselves. Less is more.

In general, I tend to like the look of 3-4 rows of stitching as opposed to just two. It just looks more substantial and sturdy. (Does it actually increase the quality or longevity of the boot? Probably not. I just like how it looks.) Also, can we take a moment to appreciate just how absolutely pristine this upper stitching is?

Perhaps my preference for 3-4 rows of stitching stems from my appreciation for higher levels of craftsmanship when it comes to boot pattern and construction. Having additional rows of stitching all perfectly spaced and parallel requires a little more attention to detail, and it looks amazing when properly executed.

2, 3, and 4 rows of stitching, all equally dense, evenly spaced, and perfectly parallel. Perfect execution. I haven’t found a single stitch out of place on the uppers of either boot.

Another little feature I opted to include on my boots were hand-crimped toe tracks running up the vamps of each boot. To be honest, I didn’t know too much about why it’s done or it’s benefits. However, here is an explanation I found on superfuture from Brian himself, posted by @beautiful_FrEaK:

The indentation you see on the boots is called a toe track. The reason a boot has a toe track is because the vamp went through the crimping process. It is used to get all the stretch out of the vamp because when a bootmaker needs to turn something that's 2D into 3D it is more work if the vamp is not crimped. Another benefit when a vamp is crimped is it keeps the vamp smooth without any wrinkles. The crimped vamp sits well on the shoe last.

There are different way to crimp a vamp. For example Buco puts their vamps into a crimp machine. It is a hot blade that folds the vamp in half and indents the leather. I wouldn't mind having a crimp machine (really expensive!) but I use crimp boards at the moment. It is the same process but more hands on. I last the vamp on a piece of board to get all the stretch out and it naturally gets the toe track.

Personally, I mostly chose to have the toe track for esthetic purposes, but understanding the reasoning behind it is pretty cool too.

The Heel

Unlike my Underdog boots, which have a low woodsman heel, I decided to go all out with the full woodsman heel on these engineers. I will admit, walking with such elevated heels will take some getting used to. It also definitely adds to the whole western cowboy boot vibe, but I dig it. Plus, the added lift makes me over 6 feet tall now. Added bonus.

The Sole

This is my first pair of boots with a full leather sole. Felt a bit risky putting it on such an expensive pair of boots, but whatever. They look great on Brian’s pair, so I wasn’t too worried. Plus, I live a pretty sedentary lifestyle in the California Bay Area. I don’t go on many nature hikes, nor does it ever snow here (or rain really, for that matter). Thus, I don’t really have a need for much grip or traction with my footwear.

The sole channel stitching is all pretty clean, minus one little wonky spot on the inside portion of the right boot (pictured above in the top left corner). Not a big deal though, as no one is ever gonna see it.

My biggest concern with full leather soles was the reduced durability/longevity from walking on concrete, specifically at the toe. To combat this, I asked Brian to add metal toe plates to my boots to prevent premature wear at the toe. Crisis averted.

Here’s a close up of one of the toe plates, cut into the leather sole as to be nice and flush. Apparently these had to be custom ordered to accommodate for the width of my foot, adding 4-5 months to my wait time. Meh. Worth the wait in my opinion, if it meant getting it done right.

The Welt Stitching

Similar to my Underdogs, the welt stitching on these engineers is all very clean and consistent. If I were to point out anything, it’d be that a little bit of black edge dye got on the white stitching in some areas, and there’s a small tuft of loose thread ends popping out on the inside of the left boot. However, if these are the biggest errors I could find on the whole boot, I think that’s pretty amazing.

If you look closely, you can see the spots where some of the black edge coat got onto the white welt stitching. Not the cleanest, but doesn’t bother me too much.

Here’s the small tuft of loose threads at the end of one of the 270 degree welt stitches. Again, very minor, and won’t keep me up at night.

Try On & Initial Thoughts

Being completely honest, I’m actually still blown away at how amazing these boots feel on foot. I can really tell that these boots were made to measure. I shouldn’t be surprised though, as the Underdogs Brian made for me last year fit amazingly. Although, being lace-up boots that can by cinched down with laces, they naturally are less prone to fit errors such as heel slip. Engineers, by comparison, are much more difficult to fit properly, but Brian did so masterfully. 

First of all, right out of the box I actually had very little trouble getting the boots on and off. I feel like this is often the biggest struggle in breaking in a new pair of engineer boots, but not this time. Sliding my foot down the shaft felt appropriately snug, until my heel snapped past the “pass line” and sucked down into the heel cup. (I actually didn’t even need to unbuckle the strap to get them on, which was double surprising.)

Once fully seated, I could feel the built-in leather-lined orthotics beneath my feet, and the adjusted width of the 2307 last comfortably fit my bunions. What I’m most shocked by is how little heel slip I have in either boot. Until now, I had just assumed that heel slip was to be expected with all engineer boots, and only with break in and wear would that slip maybe go away. Apparently I was wrong, as these engineers already exhibit less heel slip than some of my other boots and derbies.

In designing these engineers, I chose to try out a couple things for the first time: first full leather soles, and first full woodsman heels. I know it’s still early, but I’m already loving the full leather soles. They seem to breathe much more than half and full rubber soles, and they flex and move much more naturally with the movements of my feet. I feel as though I can “feel the ground” better, if that makes sense. I will admit that I can definitely tell these leather soles have significantly less traction than rubber/cork half/full soles. However, I knew that from the get go, so me and my sedentary lifestyle are completely fine with it. I haven’t slipped yet, so it’s all good. Second, the full woodsman heels on these engineers are by far the tallest heels of any boot I own, yet once on foot, I can barely even tell the difference. Even with the steep drop off from the full woodsman heel to the leather sole, walking felt completely natural.

The last thing I’d like to note is how nicely the Italian horsebutt is breaking in. I know it’s still early, but so far all the leather on the vamps and shafts seem to be nice and tight with very little grain break or creasing. Loose grain and unsightly creasing are definitely some of my biggest pet peeves when it comes to boots, so props to Brian on absolutely killing it on the clicking. (At least so far.) I can’t wait to see how this leather continues to break in, and for the black hand-paint to chip away to reveal that beautiful brown horsebutt underneath.

If I had to pick out one spot that may require a little extra break-in, it would be the top rim around the shafts of the boot. They bounce around while I walk, knocking and banging into my shins. I expect this is probably true for most engineer boots, but hopefully this break-in period doesn’t take too long, cuz it doesn’t feel great. Until then, maybe I’ll just have to rock some longer tube socks as shin padding.

(Note: I do my best to remain impartial and objective in all of my reviews. That being said, it was difficult not to sound like some fanboy trying to sell you on a pair of Role Clubs, but this really my honest opinion. I really just love these boots. Lol)

Conclusion

If you couldn’t tell already, I’m absolutely through the roof with regards to these new engineers. The construction quality and level of finishing are pristine, and the comfort and fit out of the box is surprisingly on point. In my opinion, I think Brian and Clinch design two of the most beautiful engineer boots (on Instagram, at least), yet at the same time they exhibit two totally different vibes. Brian’s engineers draw from more rugged, western, cowboy influences, while Clinch engineers are a bit more refined, fitting very nicely within the whole Japanese workwear esthetic. Both styles are very cool, with some of the highest quality construction available.

A comparison of Role Club (top) and Clinch (bottom) engineers, both new and worn. (Photo credit: top left: me, top right: @brianthebootmaker​, bottom left: @bsw_keisuke, bottom right: @partial2vintage.)

While I’ve barely owned these for a week, and already I can confidently say that these are one of my favorite pairs in my collection. With such a beautiful pattern and solid construction, I could pick them up and stare at them all day. Also, not gonna lie, the fact that Role Clubs are so difficult to come by these days does make me feel even cooler for owning a pair. Haha

Anyway, I’ll try to write a follow up review once these are more broken in. Until then, you can follow along my journey breaking in these engineers through my instagram (@thedenimdentist). Ttfn!

[blu-joons]

Married to Taehyung ~ BTS Headcanon

Your Wedding

Your wedding was everything the two of you had dreamed of, it was the perfect mix of your personalities

Most of the planning was left to you, making sure every fine detail was perfect, with Tae pitching in every now and then

Your wedding was in a church, traditional, with a few decorations to make it feel a bit more relaxed

Throughout the whole day Taehyung was sobbing, from the moment he saw your dress for the first time tears fell

“You look so beautiful, better than I could have ever imagined

Every member of both your families were there, the first time you’d seen some in a while

Taehyung was overwhelmed by the whole occasion, it felt like he was living a dream

His speech was beautiful, you could tell he was nervous, but he wanted to make you proud with it

Jungkook took most of your photos just because he loved having his camera in his hands snapping candids

The boys were the perfect best men, supporting Taehyung through it all like they usually did

“It’s like that time you sobbed at the awards show, only this time, you’re getting married.”

If he was nervous for your speech, he was even more nervous for the first dance, making sure to show you and your dress off to the guests

Neither of you wanted it to come to an end, it was the most special day with all those that mean the most to you

No day in your lifetime would ever compare to your wedding day

The two of you were ready to take the next step in your hectic lives together

 Being Married To Each Other

It took a few days for you both to stop crying at how incredible your wedding was and realise you were actually married

You were forever staring at your ring, admiring what a good choice Taehyung had made

The two of you went back over your guestbook each night before you went to bed reading through everyone’s messages

“I feel like if I keep doing this I’m reliving the day all over again which is exactly what I want to do.”

“Me too. We could just keep getting married everyday for the rest of our lives?”

It was nice for you to not have to worry anymore and fret that something would go wrong

Taehyung kept a week away from the studio, spending time with his new wife and embracing married life

Jungkook very quickly sent you lots of photos that the two of you could look back over

The night of your wedding you spent back at home, there was nowhere else either of you wanted to be

Taehyung spent an extra couple of weeks at the gym so he could carry you over the threshold into your bedroom

“It’s a bit anticlimactic coming back to the same bed we usually sleep in, don’t you think?”

“It’s not just out bed anymore, it’s our marital bed.”

One of the things you looked forward to most was changing all your documents so they came to Mrs Kim, that made it feel very real

You had to wait a few weeks for your honeymoon as Taehyung had a very busy schedule to keep to

Despite being married, the two of you still did the same things you did when dating, seeing friends, going for coffee, long walks

Your dress and suit were hung up pride of place in your wardrobe

Taehyung loved to introduce you as his wife, even if you were out clothes shopping, he loved to tell people

It was only a matter of time before the two of you got married, you were his first and only love in life

Jungkook was so kind to put a video together of the day, having secretly recorded the first dance and speeches

Taehyung was a wreck throughout the whole thing as you watched it back together

“Look at how you’re smiling there, don’t you look cute?”

“Tae, everyone looks cute, our whole day was bloody cute.”

You found that marriage changed a lot of what went on at home, Taehyung began to take on more chores at home

Very quickly the topic of children was brought up, mainly from his siblings who were desperate for a niece or nephew to play with

You were always his number one priority, but he still began to make a bit more time for you

As a reminder of your wedding Taehyung painted a photo of the two of you which hung in your bedroom

You had a whole room dedicated to wedding gifts, whether they be from guests or just the fans

Lots of fans sent you cards and messages beforehand, and continued to compliment your dress after the wedding

If anything, Taehyung fell more in love with you as he became a dutiful husband

Married life was the best life, he loved the feeling of being married and being a grown up

It brought your families closer too, as you were both incredibly family orientated

The butterflies would still be there, Taehyung continued to make your relationship fun to keep that spark there

He liked you to be around the studio a bit more so he could spend more time with you and not worry about you being at home alone

It felt like you were living a dream for the first few months of marriage

Everything began to feel like it was being completed, all your dreams coming true

 Your Honeymoon

Your honeymoon was lowkey, you spent most of it travelling around a few different places you’d always wanted to explore

Mostly you travelled around Asia and Oceania, exploring the places you never normally got to when he was on tour

The most important thing for you both was relaxing and getting away from all the stresses of the band and living in the city

You’d spend your days sunbathing and reading, whilst Taehyung loved to draw pictures of his surroundings and of you

The two of you would walk for hours, talking about anything that came to mind, you were the only person in the world Taehyung was truly open with

Lots of photos were taken to capture all your memories and put them with your wedding photos

It was the longest time you’d got to spend with him for years without interruptions, so you were determined to make the most of it

You both reflected on your favourite moments from your wedding too

“Drunk Yoongi trying to dance will always be my favourite Yoongi.”

“Or, how about Hobi when he knocked those glasses over whilst hip thrusting?”

The boys missed you both immensely, two very important people were out of their lives for a while

You continued to update your socials, whilst Tae would post on Twitter every so often

A few fans spotted you, but they were very respectful, congratulating you both

It was a once in a lifetime visiting some of the places so you made sure to embrace the culture

Taehyung bought a lot of clothes from different places whilst you bought jewellery and pieces for the house

The only downside was that it went too quickly before you were on the flight home

All the boys were there to greet you at the airport and have you home as soon as possible

“Let’s just get back to the studio, we can’t wait to hear all about it.”

Marital Issues  

The two of you had your fair share of arguments, being adults there was definitely more things to argue over

It was usually the tiniest things that would set you off, like someone not putting their shoes away or washing up after themselves

Usually you’d talk things through together, but sometimes the pressures just caused you to explode

Taehyung could be argumentative if he wanted to be, but any argument with you always upset him greatly

He would always apologise and sit down with you that night to just chat about things

Your house was filled with reminders of your wedding, reminding you both that you were with each other because you always loved each other regardless

Usually he would get stressed when work got busy so you’d be there to help relax him and support him

Arguments were very rare, you preferred to have disagreements, there were never many raised voices

You found you argued less when you got married as you had more of a purpose to remain calm for

The two of you were the best of friends, everyone argues at some point

“Can we just forget about the whole thing? We both just got a little bit annoyed over what was nothing really.”

“I agree, I think we should of just talked to each other openly rather than feel we need to rant.”

You never slept on an argument, it was too awkward and tense for you both

The two of you were still learning about each other, even if you were married

Looking To The Future 

Kids were a must with Taehyung, he loved playing with his cousins, but now he wanted a family of his own

The thought of starting your own family was much less daunting now you were married

He’d achieved most of what he wanted with BTS, so now was the perfect time to set some new goals

“I always picture us at random moments with a baby, I think it’s meant to be.”

Buying your first house away from the boys was also a big step for you both as you only had each other for company

Above all else Taehyung wanted to be the perfect husband, he never wanted to let you down

You were his first love and he wanted to keep you happy and treat you right like you deserved

Knowing that you were his forever brought great comfort, but that didn’t stop him always putting the effort in

The next step seemed right to start a family together

 The Boys Take On Your Marriage

The boys all adored you, they knew Taehyung had wanted to find a girl for so long, and when you came along, it was perfect

Jungkook loved to take pictures of you both and surprise you with them on special occasions

Jin loved to tell you embarrassing stories about Taehyung to make him blush in front of you

“Did he seriously never tell you about the time he fell over trying to kick a rugby ball?”

Namjoon still led you both and was always on hand to support you when you needed it

One of your highlights was the song Jimin sung at your wedding that Taehyung had written and produced himself

Hobi taught you a few moves for your first dance so you weren’t a complete novice embarrassing yourself

“Everyone will be watching you, and the two of you will look absolutely gorgeous together, I promise.”

Yoongi would always be there just to cheer you both up if there was ever a bit of tension and remind you both to stay on the seesaw of love

From start to finish they supported you from day one through everything together

They couldn’t have found a more perfect girl themselves to make Taehyung happy

---

Masterlist

[mygintamagines2]

Hello, I'm glad to see another blog from Gintama, I could ask what is Shimaru's opinion (if you write for him) Kondo and Hijikata about having children

Hi! Thank you for sending in a request :) I don’t write for Shimaru, but I might in the future! 

Kondo Isao

Kondo would love to start a family, it’s definitely a dream come true for him! If you’re trying for a baby, then he’d pace the living room anxious, waiting for the pregnancy test results back.

He’d take temporary leave off the Shinsengumi to help raise the baby! He might even drop by the Shinsengumi headquarters with his baby on his back to say hi. Everybody is excited to see him, and they all play with the baby.

His child would LOVE playing with him, he’s so exciting and appealing that he’d spend a lot of his freetime playing around with them.

He will struggle with picking up on cues, he has good advice to give, but not to a child. He might be insensitive, or hurt their feelings without realizing it, but he wants to be better. He also is the type to follow his kids to school everyday and bring them lunches in class. He’d tell them “if anybody is mean to you, tell them your daddy is the head of the Shinsengumi!!!” to which they will.

He definitely would frame photos of his family.

Hijikata Toshirou

He’d be super nervous to have kids, he doesn’t think he’d make a good father. He’s the type who can deal with other kids alright, but he’d struggle to handle his own.

Despite being in a serious relationship, he’d get really nervous thinking about the responsibility that comes with having children. He doesn’t feel ready to have a family, and he doesn’t feel like he’s good enough for the job.

It’d take him a long time to really heavily consider having kids. For now, he’ll spend his time working for you and himself. However, as you become closer, the thought becomes less daunting, and you can begin to have real conversations about it. 

If you’re dead set on having kids, he’ll eventually cave in. He’ll still be really nervous throughout the entire ordeal. His co-workers are actually quite worried about him. However, as soon as he holds his newborn baby in his arms, he’s filled with this excitement that he’s never felt before. 

Everybody  at work would tease him, but they’re all proud of him because it shows that he’s grown.

[striderification]

How I make my Homestuck troll horns - Painting

This is the last major step! The big whammy: painting.

It can also be the most daunting though (definitely not what causes me to avoid working on them for weeks). You’ll have to set aside a good chunk of time for this, it usually takes much longer than the molding to get it right. For me, the right coloring can make or break troll horns, and the exact hue is really hard to get right (it just takes a lot of time and anger. lmao).

Basically my advice boils down to about the same as the molding; stare at canon depictions of the horns while mixing paint, getting an understanding of the hue and value before committing it to the horns. 

However, before all of that, I’d recommend adding a layer of matte Mod Podge. It seemed to make the paint I used less prone to soaking into the horns (necessitating additional layers), and smoother because it filled in the left over holes from sanding. Disclaimer here: My horns from years past did not have this, and the paint generally stayed fine. While my recent sets of horns that prompted the demand for this tutorial look much smoother, I can’t vouch for the longevity of the paint with such a step. Time will tell, and I’ll update if my horns appear to be suffering from the craft glue/finish under it.

For some reason, my photos of this step are corrupted, which is really unfortunate, but luckily it doesn’t take many visual cues to explain. After the Mod Podge is fully dried, you can sketch out lines where you think the sections of color will go. My general advice for this: most of the horns seem to have a general pattern of the lightest/top color having the most area. It’s not exactly in thirds!

Some examples:

Once you think you have them adequately sectioned off (make sure to compare them with each other; the most important thing is consistency within your own design!), you can move on to mixing.

Let’s start with the troll color palette:

Some things I like to remember while coloring troll horns (for both art or cosplay):

The bottom two colors are fully saturated in a digital depiction, the lightest is offset somewhat with white. However, most “fully saturated” paint mixes for troll horns end up looking brighter than canon, somehow. I offset all three with white (not much).

All three colors are more orange than you would expect. This is the biggest one, for me. I see a lot of interpretations of the horns as “red, orange, yellow” when really they’re just red-orange, orange, and orange-yellow. (Some breakdowns of the colors from a basic color picker off google below)

While I’ve kind of relentlessly insisted on canon adherence, it’s more important to have the colors internally agreeable. In most cases, it’s hard to tell when they’re off if all three work well together and the other tips are kept in mind.

So after you think you have a good understanding of what colors to mix, try out some combos! This is what I started with for the red-orange and orange-yellow:

These mixes are certainly not what ended up being the final mix, but they were pretty close and only needed minor adjustments on my end. As you can probably tell, I have several paints for red, orange, and yellow, and I kind of mix them in here and there to prevent the color scheme from looking too “primary”. 

Now, for me, with this latest attempt, I already had recent horns to compare back to, and I know that isn’t the case for most others. A general rule that I follow though is to have the “base” color as red, orange, and yellow, but add more orange to the red and yellow, and some yellow to both the red and orange. Then usually I will offset it with some white (sometimes the amount pictured, though more is typical too).

The general order I work in is bottom to top, or “darkest” to “lightest”. However, this process generally requires that you have all three shades at once and work on them in one sitting to be able to correct errors in your lines. It is also occurring to me now that you could use painting tape for this. Unfortunately, I’m stupid.

A mix for the middle color.

Since I had a former pair to compare back to, I used the base of one of my Kanaya horns to test my new mix. Again, I know this isn’t possible for others, but it may be helpful to see what the troll palette looks like off-screen, and wet vs. dry.

After deciding that the mix was satisfactory, I went through and painted the first couple layers of the bottom shade.

Letting that dry somewhat while still comparing it along the way with my former pair.

Comparing this mix to the last batch on the Kanaya horn.

It’s probably common knowledge that all of them will need multiple layers, though for me it depended on which types of paint I had mixed for each color. In this case, I think the middle orange needed the most coats.

Drying the final product! It should be noted that canonically, the troll horns do not appear to have any shine. Even matte Mod Podge has a shine to it, and for that reason, I do not add anything further to seal on top of the paint. While this may possibly compromise the horns’ safety with time, I felt that as long as I take good care of them, it’s worth it to have a more accurate look.

And now, comparing the latest pair with my ones from a few years ago before declaring them finished:

These previous horns had a foil core, hence the large crack in the left horn, exposing the foil at the center there.

Mounting is an even more subjective step, but if you wanted to see how I wear them, continue on to the next step.

Up next: Mounting!

If not, then thank you so much for reading! Please let me know if I seemed to make a mistake in my explanations or neglected to mention something, and don’t hesitate to reach out if you have questions about my process. As a reminder, I’m not a final authority on anything, lol, I’m just some 19 year old cosplayer that’s just been doing this for over 6 years and there’s definitely people out there more experienced than me.

As always, I can be found on instagram under @striderification​ as well. As I only intend to use this tumblr for longer posts such as these, that is the best place to find me.

Again, thank you all! <3

[weddinginisrael4]

Looking for Your Wedding Wedding photographer - Wedding Photos Styles Explained

אטרקציות וזיקוקים לאירועים

You may have chosen your night out, booked your wedding venue and started looking for dresses. Now contemplating a wedding photographer. Various of styles of marriage ceremony photography out there, glasses are designed people in the industry could possibly know these versions inside out that they be confusing to get couples. Remember also that not only thinking of picking a style of picture taking, but different types of wedding ceremony photography can make numerous demands on your moment on your wedding day.

אטרקציות וזיקוקים לאירועים

Taking the style of photos you want at your marriage boils down to some things. What variety of images you want, how much time you want to spend by having a photographer on your event, and most importantly of their your own personality and additionally comfort in front of the camcorder.

There are plenty of different digital photography buzzwords out there. Traditional, editorial, artistic or even contemporary are just a couple. Perhaps more confusingly they are used by various photographers in different techniques. Ultimately it is around couples to demand plenty of questions in addition to do plenty of study before picking a wedding photographer, and to rely on visiting full set of snap shots from completed wedding parties Do not rely on the top five or half a dozen shots from quite a few weddings to make a personal preference.

Wedding photography types are a compromise relating to producing fantastic operate and keeping to the timetable. A professional photographer might produce fantastic photos, but if perhaps he takes to much time to produce them probably you won't enjoy the working experience.

Traditional (or Posed) Wedding Photography

Lots of people think of traditional big event photography as continual stuffy group images where everyone appears to be stiff as a snowboard. Worse still, various collections of people manage to go on forever. I'm sure there is a fashion to get down on conventional wedding photography, even so the actual working assembly is still the same for the majority wedding photographers. The snap shots may be more attractive but the actual knowledge on the day with the bride and groom is very comparable.

There is always a business off between the variety of work a photography does and the time frame it takes to capture it. More proper posed photographs requires longer to set up along with achieve. Any shooter who produces productive posed work will be needing a certain amount of time to yield his best get the job done. It is important that you acquire much time he will desire, and work out the best way it will fit into the afternoon. There are photographers exactly who spend a couple of hours concerning formal shots. You need to are happy with issuing over that long on your wedding day. For everybody who is not that cozy in front of the camera you might find this type of photography much harder. A good photographer will help you and set you at your efficiency but for many individuals it might still seem slightly daunting.

Reportage Wedding ceremony Photography (Wedding Photojournalism)

If traditional is focused on posed photographs, subsequently reportage wedding taking photographs is the opposite. This relies on capturing events as they happen, and is particularly more like a soar on the wall documented. This form of marriage ceremony photography means that this photographer spends nearly all of his time in the setting, and so has become ever more popular with couples. A wedding are also increasingly not as much formal than they will used to be. Documentary wedding ceremony photography demands some other skill set from customary wedding photography therefore you have to make sure that a person's photographer has the suitable photographic background allowing it to show you full a wedding to back this particular up. Wedding photojournalism is more in regards to a complete set of illustrations or photos from the whole daytime than a set of endless weeks of frustration highlights. There are photography addicts out there who will join the latest bandwagon in order to gain business, but still make use of the same old style these people always have. Wedding photojournalism is all about anticipation together with being in the appropriate place at the perfect time. It is not on the subject of closely directing consumers, so it puts quite a few traditional wedding photographers close to their skill set. There are numerous less ethical photography fans who will use the most current buzzwords to improve their particular search engine presence, but nonetheless shoot the same fatigued old pictures.

In case you are reticent about your photo taken, marriage photojournalism is probably your better choice. The picture taking happens without you undoubtedly realizing and you'll appear your natural top.

Although these two techniques might appear polar opposites, in reality a large number of wedding photographers will offer a good blend of these two varieties. There are not many big event photojournalists who usually do not shoot at least a lot of formal photographs and additionally traditional wedding photographers definitely will shoot informal snap shots as well. Find out what quantity of each a wedding photographer likes to shoot, in addition to better still ask them what exactly they like to fire the most - it’s likely that this is what they are most effective at.

Vintage Marriage Photography

Vintage marriage ceremony photography is a type that has been coming into fashion recently, but in a number of ways its a hardcore one one to measure. Vintage can mean something from using ancient film cameras in the course of some of the wedding to be able to just a different procedure for post production to create 'vintage' looking digital camera files. There are some wonderful photographers out there, however that if you are getting files that are very much edited in a specified style, you function the risk of your shots looking rather out dated a few years later. Merely was hiring a classic style photographer, Exercise would want at least many of the wedding shot upon film, I'm not just a huge fan associated with faking things. Like always ask inquiries, see examples along with make an informed conclusion.

Editorial Wedding Digital photography

This wedding variety is inspired from the fashion editorials from glossy magazines, from it's best it can provide fantastic high-end shots. To produce this systematically on a wedding day your photographer needs to be extremely organised, and could possibly need an tool to help set up examples of the shots in advance, even if that would depend on her / his style. Do your research to ensure that the time requirements of this type of shoot remain in your plans. In case you really like this type of photos but don't plan to devote too much time going without running shoes on your wedding day, think about booking a separate snapshot session after the wedding ceremony. Often describes being trash or enjoy the dress shoot, other photo session can be the best way to get the big day you want and the images you'll love with no losing a huge hunk of your wedding day. What's more, it means that you along with your photographer can find the ideal time of day for ones right light and you just have scope designed for rescheduling if it's preparing with rain. In a great many countries, particularly the YOU AND ME, high end wedding digital photography is evolving to three shoots: a engagement shoot, cherished day, and a editorial session. Usually do not necessarily think that all this has to be done a single day.

Artistic or simply Fine Art Wedding Taking photographs

Essentially an progress of traditional marriage photography, this type of taking photographs offers a contemporary adopt the traditional set of presented photographs, although most are both terms which are somewhat over utilized by the photographic city, so again shop around. At its perfect this genre will produce moving charming images, but some shooters can over make use of same poses, the program can feel a lttle bit impersonal. Ask to work out lots of shoots and be afraid to reviews your own ideas at the pre-wedding meeting.

[bonjourmoncher]

You can contact Hamilton Lindley by: Phone at 254-759-5866 Email at hpl@hamiltonlindley.com And mail at 1020 N. University Parks Drive, Waco, TX 76706

After ten years in Dallas, Hamilton Lindley moved his family of five to the home of the Baylor Bears. Hamilton P Lindley realized the brainwashing of his daughter was complete after she believed that the Baylor Bear mascots hibernate only after “eating all them Longhorns.” If you have the desire to see too many photos of Hamilton Lindley’s family, you can find Hamilton Philip Lindley on Facebook, Twitter, LinkedIn, and Instagram.

Let’s get straight to the point, shall we?

Busy people can be incredibly difficult to connect with.

You know the drill. You send an email, then you wait. And wait. And wait some more. You get no reply, so you try again. More of the same. Eventually, you give up.

If this sounds familiar, well, you’re not alone. Most men have struggled, at some point in their career, to try to connect with someone who is incredibly busy. Whether it’s a potential employer, a possible mentor, a dream client, or even just to connect with a girl so you can ask her out on a date, contacting a busy person can be very difficult.

Does that mean you give up? Heck no. Often, there is a good reason why busy people are so busy. Namely, it is because they are successful, and they’re successful because they are smart and well-connected and have access to resources or knowledge that might make all the difference in the world to you…if you can just break through.

But if you’re like most men, you’ve struggled with trying to figure out how to go about making that contact. How can you get the person’s attention? What should you say and how do you say it? Where do you even start? Should you follow-up if they ignore you? And new means of communication in the form of social media, Skype, text messaging, and blog commenting has made this issue even more confusing and challenging.

Throughout my career, I’ve tested just about every different approach for contacting busy people. I’ve also spent the past 2+ years reaching out to very busy entrepreneurs and authors to appear as guests on my podcast. I’ve tried techniques that work like a charm and other strategies that are guaranteed to bomb. Below, I include the best of what has worked for me.

Art of Manliness has previously covered how to write an email that will get a response. In this article, however, I want to share more of an overarching approach which can be (and often is) implemented using email, but which is also medium-agnostic. Email is what I’ve used the most and is still an effective vehicle. However, you should also consider other approaches such as face-to-face and social media where appropriate. To contact AoM’s reclusive McKays, you’ll even need to be willing to write a good old-fashioned letter! (Word is if they start getting too much snail mail to handle, they’re going to move to requiring messages by homing pigeon.)

Although it can feel like a daunting task trying to connect with a busy person, the rewards when you succeed can often be game-changing. You just have to be smart about how you make your first move.

Put Yourself in Their Shoes

At the outset, you must understand that busy people get hundreds, if not thousands, of requests for help, aide, or resources every week. Not surprisingly, a large portion of them look and sound exactly the same. “Can you help me?” “Can I pick your brain?” “I’ve got an awesome idea that I know you’re gonna love!”

Don’t kid yourself. You might think your request is incredibly original or immensely valuable to the busy person, but they’ve probably already heard it before (A new app that will make you more productive? NO WAY!) Naturally, they’re going to be a little apprehensive.

Before you even think about reaching out, you need to get your mindset right. Even if you have the best of intentions, and think your request is a relatively minor one, don’t expect an answer. By definition, “busy” people can’t possibly respond to every inquiry. They’re not being rude — they’re just prioritizing. If they didn’t, they wouldn’t be as successful as they are.

According to Steve Pavlina, author of Personal Development for Smart People, “If you can accept that busy people must triage in order to be effective and have a life, and you can respect them for setting priorities, you’ll have a much better shot at building a bridge with them.”

Here are 8 tips for contacting a busy person:

1. Try to Connect Before You Ask for Anything

The worst way of contacting a busy person is to ask them for something in your first attempt to connect with them. A much better approach is to reach out and contact the person long before you ever actually ask for anything.

One way to do this is via social media. Look for creative ways to quote, feature, or mention the busy person, by including them in a blog post or article you are writing, and then share it with them afterwards via social media. A single tweet might be all it takes to “grease the wheels” and get the conversation started.

Continue to build the relationship by doing things like sharing their content, promoting them, or simply sending relevant resources their way. To do this, you need to really get to know the busy person and understand what they are working on or could use help with. Be patient and allow the connection to grow organically before you jump in and start asking for favors. Don’t burn the bridge before you build it.

Another frequently overlooked option is to examine your existing network and see if you have any ties back to that person. A friend? Business associate? Anything that can be used to show commonality between you and the other person will help.

“Getting someone else to introduce you is one way to get someone’s attention,” says networking expert Lynne Waymon co-author of Make Your Contacts Count. “Find out who you both have in common and ask ‘Will you introduce me?’”

2. Keep Your Communications Brief

“Just a tip of advice. Never write on both sides of the sheet when you are sending a letter to a busy man.” –Jack London, Letter to Louis Stevens, March 24, 1913

Save your life story for another time. The shorter the message, the more likely you will get a reply. And the busier the person, the more important it is that you not waste their time.

First, always start your correspondence with a relevant subject line that’s clear and to the point. The recipient should be able to quickly tell why they would benefit from opening your message, how they know you, or ideally, both.

“Can you help me?” With what? Your business? Your math homework? There’s about as much value here as in a rubber crutch. You don’t have to be psychic to know that this one is headed straight for the oval file.

“Podcast Appearance to Promote Your New Book” is a much better subject line. By clearly stating what it is you want, and more importantly, how it will benefit the other person, you are much more likely to get your email opened.

Being brief also means excluding anything that isn’t necessary. It’s okay to open with a couple lines of pleasantries about your connection/affinity for the person. “I’m a big fan of what you do and I’ve been reading your magazine for five years now,” or “Seeing your TED talk made me decide to switch my major to biology.” A bit of praise will get your email off on the right start and build rapport. But keep your opening to no more than two sentences.

Keep the main body of your email as succinct as you can as well; aim to make your pitch in five sentences or less. You don’t need to attach your 100-page business plan or a dozen pictures of your prototype before you’ve explained what it is that you actually want. Remember, be respectful of a busy person’s time and wait for the green light before sending follow-up information, if they are open to it.

3. Do Your Research First and Ask Specific Questions

“I do detest being asked general advice, because, in reply, I must do one of two things: (1) Either write two or three books handling the replies or (2) damp the replies by giving only a few short sentences.

What I mean is, any time ask me for particular specific advice, and I shall be only too glad to place myself at your service.

Please remember that I write thousands of letters every year to unknown correspondents. And please remember, (1) that I do not like to write for a living…and that (2) therefore, when I have written all the books that I have written and upon which I work every day, that I am so tired of writing that I’d cut off my fingers and toes in order to avoid writing…

Anyway, please remember that you can call upon me any time for SPECIFIC PARTICULAR advice on any subject.” -Jack London, Letter to Cordie Ingram, April 9, 1913

When you reach out to a busy person, do so with very specific questions in mind. You may only get one shot at this, so you want the questions you ask to offer the most metaphorical bang for your buck; make them questions where you cannot find out the answers anywhere else, and for which you absolutely need the busy person’s unique perspective/connections/input.

So first research the answers to the list of questions you have in mind as rigorously as you can, and see what you can find out from easier-to-access sources. You need to show the busy person you’ve done your homework. Tim Ferriss, author of The 4-Hour Workweek, says “It’s amazing how many would-be mentees or beneficiaries ask busier people for answers Google could provide in 20 seconds.” In Ferriss’ words, “That puts you on the banned list.”

Not only should you do research before you reach out to a busy person, you should also try to get going on your project/business before you ask them for help. “Don’t ever ask a busy person to ‘pick their brain’ before you begin working on your project or idea,” says AoM’s own Brett McKay. “Instead, wait until it’s really underway, you’re in the thick of it, and you run into a specific problem.” Advice on starting something is typically plentiful and readily available. So save your “Phone-a-Friend” lifeline for when you’ve done all you can on your own and you’ve reached a wall you can’t figure out how to break through.

What specific question you should ask will vary depending on your situation, so it’s easier to explain what types of questions you should not ask. Typical examples of the types of generic questions you should not ask include:

I don’t know how to get started with ______. What would you recommend I do?

Do you think ____ would apply to my situation?

I’m confused about ______ and I’m not sure why I’m not getting it. Do you have any suggestions?

A better approach than these generic questions is to explain 2 or 3 specific options you are considering and ask for specific feedback on this discrete choice.

When you take this approach, you can “make use of your opportunity and ask better questions about specific topics rather than just peppering someone with general inquires,” says McKay. “The time you land with a busy person is valuable, so use it to ask the highest leverage questions you possibly can.”

4. Make Your Pitch Something to Which They Can Say Yes or No

If the question you have for a busy person regards whether or not they want to work with you on something, make your pitch as clear as possible. In other words, don’t ask an open-ended question like, “Would you like to partner with us somehow?” It’s not the busy person’s job to think of ways you two might team up. It’s your responsibility to come up with a specific proposal. A proposal a busy person can answer with a yes or a no.

5. Show Up in Person

Think for a minute about how many sales calls or how much junk mail you receive in a week. The majority of these items are deleted before they are ever opened. The multitude of requests busy people receive often suffer the same fate.

Now consider what you would do if the person making that same plea was standing right in front of you. Not quite so easy to ignore them now, is it?

Waymon says if there is a particular busy person you want to connect with, you should find out what groups or organizations they are part of and see how you can add value to those groups. Perhaps you can join a committee they are on or offer to help with something they’re passionate about.

“Studies show that it often takes 6 contacts with someone before they know who you are and have you placed in their mental Rolodex,” says Waymon. “So committee work and small group activities are good ways to create that continued contact.”

Being part of the same team can get your foot in the door, but you have to be ready when opportunity strikes. “Always have an agenda. Before the meeting think of three or four things you’d like to find out or know more about. Also, be ready to talk about three or four things you’re excited about — personally or professionally,” says Waymon. “Since people want to do business with people they trust, your overall goal is always to teach people to trust you.”

6. Keep Bringing Value

The chances of getting what you want become exponentially better when you offer something of value. A lot of people struggle with how to find something of “value” to offer, but really the options are limitless.

One of the best ways to provide value to a busy person is by helping them to promote their new book, project, business, or event. You can do this in a variety of ways:

Write an online review on Amazon, Yelp, or other review site.

Feature the busy person in an article on your blog or someone else’s blog.

Offer to introduce the busy person to someone relevant. But be sure to ask first.

Interview the person for your podcast, or if you don’t have a podcast, record a simple interview using a free service like FreeConferenceCall.com and upload it to your blog or SoundCloud (also free). Keep in mind that if your audience is very small, the busy person will likely make a cost benefit analysis and decide that the amount of promotion you can offer is less than the value of their limited time.

Create a Click to Tweet link explaining why you love the particular person’s work and share it with all your friends like this.

Even if you don’t have a blog or podcast, you can record a simple video with the webcam built into your laptop and upload it to YouTube, where millions of people will watch it before going back to watching videos of a cat playing the piano.

Bottom line: Find out what it is they need, or who they want to connect with, and make it happen.

7. Assert Yourself

When you make a request, not only is the message itself important, but so is the tone in which you present it. Michelle Lederman, author of The 11 Laws of Likability, talks about approaching the conversation from what she calls the “middle ground.” You should come off as “not passive, not aggressive, but assertive” says Lederman. Think confident, but not cocky. And definitely not meek.

Lederman also recommends going for the “convenient ask.” Make it as easy as possible for them to say yes to the request. For instance, give the busy person specific dates and times to choose from. Offer to meet them at the location of their choosing. Anything you can do to simplify the request can help.

Finally, Lederman recommends creating a sense of “scarcity.” Create a deadline for a blog post or article so that if the busy person wants to be included, they will need to respond by a particular date in order to make it happen. Having a deadline elicits more responses since these types of requests are harder to push off until later (which usually results in the busy person forgetting to come back to the request).

8. Follow Up (Within Reason)

Now, what do you do if you don’t get a reply? Should you follow up, and if so, how? “I think the secret to building meaningful relationships is following up,” says Jeff Goins, author of The Art of Work. But Goins cautions that you have to be careful how quickly or eagerly you follow up. “If you’re too aggressive, it can hurt you. But if you’re too lax, you can miss an opportunity.”

Goins says he will reach out once, then follow up a week later if he doesn’t have a response yet. If he still hasn’t heard back by then, he will “follow up after another week or two with a ‘hey if I don’t hear back from, I won’t bother you again’ email and then move on.” If Goins is really determined, he says he might try a completely different approach. “I may try another way to build trust with the person, like finding a way to meet them in person, but I won’t try the same way that failed before.”

Brett and Kate McKay have a similar suggestion. They say you should follow up once two weeks after sending the original email, and then 6 months later. “Sometimes the busy person will be in a different phase or season of busyness where their circumstances have changed and they’ll be more receptive to the reach out,” says Brett.

If you want to follow up after a week or two, you can use this script:

Hey George, I just wanted to follow up on my prior email once, in case my previous email got lost in your inbox.

If you aren’t interested, I won’t take offense. If you are interested, let me know. I will send one courtesy follow-up after this email in case the timing right now does not work for you.

-John

By indicating in your message that you are just following up as a courtesy and that the busy person need not respond if they truly are not interested, you are respectful of their time while also balancing the possibility that they really didn’t see your email the prior time around.

Start Contacting Busy People

Remember: busy people aren’t selfish and inconsiderate; I’ve actually found the opposite to be true — that some of the busiest people are actually the most giving types of people. But they also want to be efficient with their time. Remember that the time they give to you is time they sacrifice from working on their own businesses or spending time with their families. So contact them in a way that respects this reality and impinges on their schedule as lightly as possible.

While the entire process may sound intimidating and overly complex, you shouldn’t be intimidated. Like any challenge, connecting with busy people is a skill that you can develop over time. And it’s worth the effort.

“Don’t underestimate your value to someone else,” says Lederman. “There are so many things you can bring to the table that you don’t realize. A little bit of legwork goes a long way.”

[shemakesmusic-uk]

INTERVIEW: ALA.NI

UK-born, Paris-based artist ALA.NI will be releasing her upcoming sophomore album ACCA on January 24.  

ACCA consists primarily of dense, harmonically intricate vocal arrangements with sparse or no instrumental backing at all. It’s the followup to ALA.NI’s debut 2017 album You & I and while some critics made comparisons to the likes of Ella Fitzgerald and Judy Garland, the infectious beats and rhythmic tunes on ACCA owe more to Dr. Dre and Errol Dunkley than Billie Holiday and Sarah Vaughan.

ALA.NI initially envisioned her second album as a completely a capella project, and indeed ACCA is made up almost entirely of human voices (beatboxing serves as percussion, and she lowered her own vocals with an octavizer on several tracks to create the illusion of bass).

Along with Iggy Pop, Lakeith Stanfield (Sorry to Bother You, Atlanta, Get Out), makes an appearance on the album, but make no mistake: ACCA is pure ALA.NI. She wrote, produced, and arranged each song herself, layering up hundreds of vocal tracks in order to create an immersive, hypnotic world that blurs the lines between vibrating vocal cords, bowed strings, and blown reeds.

We had a chat with ALA.NI more about the story behind ACCA and the making of the record, collaborating with Iggy Pop, her struggles in the industry and more. Read the full interview below.

ACCA is dropping in just under two weeks. What is the record about lyrically and what does it mean to you?

"Lyrically, I speak on love of course, but from situations like the abusive relationship of a friend ('Hide'), my definition of love ('Wales'), a relationship in turmoil ('Van P'). 'Papa' was a poem for a friend that took a journey, via Mexico, into becoming a song. 'Le Diplomate' encounters a brief encounter with a french diplomate. I wrote about segments of my life."

You & I was written a capella but ACCA was created completely using a vocals-only technique which I think is so awesome and creative. What inspired you to make the record this way and what was your favourite part of the creative process?

"I always write a capella but with visions of instrumentation around it. With the ACCA album, the first song that made me feel confident that I could make a whole album based just around my voice, was 'Le Diplomate'. I wrote it for the man himself. It was not intended to be a song, but after I reviewed it and impressed myself with my mouth trumpet noises, I was convinced that I could conceive a whole album like this. I like working with parameters, so no instruments was a good one. Although after 3 months away from the studio recording process and some deep consideration and after being told by my mentor that it can't be "the ALA.NI show", I decided to add some subtle additions in the way of a male voice and low end instruments to the compositions. Accordion, bass clarinet, electric bass. Producing for me is like cooking. You add and taste, add and taste. Balancing the flavours out all the way.

"The process was...well I often used the words, "a brain fuck!!!!". It was a lonely process too. I had some stages with other musicians, but that was only for about 10% of the studio time, for the rest, it was just me and the engineer. My favourite part of the process was putting down the vocals. I love harmonising, so that was so satisfying....the rest has literally turned my hair grey! Ha!"

You & I had very much a a jazzy kind of vibe but the tracks from ACCA so far have a fuller and more upbeat sound.

"I never said ever, ever that I was a jazz singer. I have never wanted to limit myself like that, as I know I have many different ways and styles to express the music in me. The ACCA album allowed me to enter more into being able to move my body. I was stuck behind a stagnant mic for so long. I think that was the real reason for giving myself some beats."

You collaborated with legend Iggy Pop on a track for the album. How did that come about? We hear he is a big fan of yours?

"He is just too cool and cute and so incredibly giving of himself. I saw him perform recently in London and I felt so touched and happy and proud to watch this man at 72 do his shit! Damn! What an inspiration. He is a fan and I am so blessed to have his support. I literally got my people to ask his people if he'd like to collaborate and he simply said "yes". I went out to Miami to record him at his studio and it was one of the most surreal moments of my life. Directing Iggy Pop in the booth..."erm Mr. Pop, can you do that again please, the last take was shite!!!" Ha!

"He actually said this about me recently on his radio show...

"I worked as a guest once on one of her tracks and she came to America to produce it and brought a whole suitcase full of incredible microphones with her and she’s a perfectionist, her attention to detail is daunting and I had to toe the line, she’s tough."

"It's not true...honest..."

What do you hope fans will take away from ACCA?

"I have no idea. I can't control their ears or minds. I just made the music my heart wanted to make. I'm just happy to have them receive it...words from my heart. Whether they think its good or bad has nothing to do with me. You can't please everybody."

This is true! So, do you have plans to tour ACCA and if so, how will you translate the record on to the stage?

"This exercise too has been a head fuck. I have decided to go for cello, accordion and beatboxer for my live set up. Cello has a voicing that is very close to the human voice, so it works well and is so versatile as an instrument. Accordion has been a treat to work with. I never thought I'd be working with such an instrument, but it too is versatile and adds a very distinctive tone and texture to the music. I had to convert 300+ vocal parts into instrument parts, which was a fun (not) exercise. Beatboxer can do the most craziest things with his mouth. We are all learning to make mouth noises. Its a nice bunch of us on the road. I'm happy to be around good hearted, passionate people to make music with."

You've been in the industry a few years now. What challenges, if any, have you faced? And how did you overcome them?

"Hahahahahah!!!! It's daily and it seems to get worse the more I push to change the norm. Females are hugely under represented in the music industry, so its a daily struggle. I basically manage, produce, create myself, so its not an easy task I have given to myself.

"I don't have a tour manager, because I hate the fact that when I arrive at a venue, no one talks to me when I do have one. They only liaise with the "male manager" and not the artist. They are not used to dealing directly with the artist, especially a female one who knows exactly how she wants her gear set up. Oh, the fights I've had just to have my monitor where i like it. Its pathetic!"

That is absolutely ridiculous! But sadly, many women in the industry have similar stories. If there was one thing you could change about the music world today, what would it be?

"More tits, less dicks!"

Amen! You have had such an impressive career so far. What has been the biggest highlight for you to date and what are you looking forward to in 2020 and beyond?

"I remember nothing. I do the shit and I move the fuck on. I'm terrible like this. I like to be present and forward thinking.

"My career and life are so inter-twined, that for me, I keep it simple...I am just happy everyday to be alive and to be blessed enough to be able to do the work of my hearts calling. Thats all i ask for. To be able to continue to do the things i want to do....freedom."

ACCA arrives January 24.

Photo credit: Martin-oger Daguerre

[desertdollranch]

How to photograph your doll in public places

This is something I’ve been asked a lot, and have thought about just as much. How do you get the courage to take your dolls in a public place? How do you get past the embarrassment of openly being an adult who takes pictures of your dolls? How do you take your dolls out on fun adventures that they deserve to have?

I will admit that it took me a while to get comfortable photographing my dolls outside where people could potentially make me feel ashamed. It’s not an easy thing at all. I am not an especially brave person, either. And I know I’m not the only one who is very nervous about being stared at, made fun of, questioned, and judged by strangers whose intentions I can’t immediately discern. But I will also admit that none of the bad things I envisioned would happen actually did happen. People either say nothing or they say something positive. Nobody stops to stare or tries to interrupt what I’m doing. Nobody points and laughs. Maybe I’ve been lucky, but I’m willing to bet that this is the standard no matter who or where you are.

So I thought I’d share some of the things I’ve learned to do that make it easier!  

It will become less daunting the more you do it. This has very much been the case for me. I went from being too nervous to leave my yard to taking a doll walking around a city, all within less than a year. 

Start out close to home in a place you won't be very visible. If you have a yard, begin there. If you have neighbors that can see you, just remember that it's your yard and you're free to do whatever you want on your own property.

Another good place to take outdoor pictures is on public lands. Check your area for national forests, forest roads, recreation areas, trailheads, and campgrounds. Or find a city park with a lot of unused space. You can usually find somewhere private if you explore around the the area a bit. I've got several favorite places in the national forest near my home where I know I can park, set up my stuff, and take pictures without ever being seen or bothered by people passing by. Avoid private land or roads! 

Carry your doll in a backpack or a tote bag. That way you can take them out whenever you feel ready and hide them when you're not taking pictures. 

Bring someone with you. People are much less likely to walk over and ask you questions if they can see that you're one of two or more people having a good time together. You'll also give the appearance of something important or professional happening if the other person is helping you pose the dolls. Or just hand them a clipboard and tell them to pretend to write something while you use the camera.    

Very tourist-friendly places make you less conspicuous. Historic downtowns, old theaters or churches, zoos and botanical gardens, famous landmarks, national parks, theme parks like Disneyland, and beaches are great places to photograph your dolls because taking pictures there is exactly what people expect you to be doing. The fact that you're doing it with a doll is mildly amusing and cute to most people, if they even notice at all. If everyone else is also taking photos of themselves or their families, you won't stand out.

You have my permission to be direct with people who may make you feel unsafe. If someone is being rude to you, don't be nice back. If someone is pointing a camera at you or filming you, make a scene and loudly order them to stop. 

But that most likely won't happen. I have yet to encounter anything worse than indifference from people. On the very rare occasions I have had strangers ask what I'm doing, they've always been positive when I explain. And a lot more people than you expect will think it's neat and fun. You'll also definitely be spotted by other people who have American Girl dolls or are at least familiar. I've mentioned this in a lot of my posts, but my Josefina is very famous in my state, and she gets recognized by name all the time! I took her to the opera last summer and someone immediately recognized her because they too had a Josefina doll. 

A phrase I use a lot when I'm asked about them: "Oh, this is (doll's name), she is my traveling doll, she goes everywhere with me when I travel. I take pictures of her to remember the places I've been." It's true in my case! Feel free to use something like that. Present it as a fun hobby you like to do. Remember that many other people have much more questionable and far less harmless hobbies than you do.

Taking historical dolls to historical places will make you the new best friend of the staff. Go ahead and tell them all about your doll's connection to that place. 

You might even feel confident enough to introduce your doll if the circumstances permit. I took Josefina to a living history museum last summer, and at the admissions desk I showed her to the staff member, who instantly recognized her, and that's the story of how I got a sweet discount on my museum admission just for having my doll with me. 

Older ladies will love your doll and will love that they got to meet your doll. Bonus points if your doll is wearing a cute hat or shoes! 

[pixpa]

The Best Photography Books - Top 30 List

In this digital age, anyone with a camera can lay claim to being a photographer. However, photography as art needs both education and practice. You read articles, ebooks, and view videos online to get started with developing your interest in this art into something more serious. However, photography is a complex and specialized skill, and you need trusted resources that you can depend on to take forward steps as a photographer. This is where photography books come in.

Learning photography from books by master photographers gives you direct access to professional techniques and tricks that the pros have developed over their careers.  

Photography books are not just a great way to be inspired and to learn some new techniques; they also help you understand the business of photography better.

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We have researched and compiled a list of the 30 best photography books that can help you learn about every aspect of it:

- Photography books for beginners. - Textbooks with all the details and techniques. - Technical manuals focussed on specific topics like posing or lighting. - Coffee table photo books full of inspiration. And even business books to help you run a successful photography business

Disclaimer: The links given below are not sponsored links. We do not receive any commission if you buy these books using the links below.

Here is the list of the 25 best photography books to learn photography:

Best Beginner Photography Books

Understanding Exposure By Bryan Peterson

An excellent primer on how to get out of the programmed automatic mode on your camera, Bryan Peterson's Understanding Exposure touches on many of the fundamentals of photography. From composition to aperture and depth of field, Understanding Exposure helps both the beginning novice learn the ropes and the seasoned pro learn something new. The book has been ranked #1 on Amazon's bestsellers for photography reference books and with a good reason. The text also includes some workbook type problems to help you "get it."

Complete Guide to Photography

Focused on the beginners of photography, this book will help you to learn all the functionalities of a professional camera and how to use them. The content of this book is divided into the main settings in your camera and the explanation is given with proper images. There is a separate section on composition, creative techniques and post processing as well.

Better Photo Basics: The Absolute Beginner’s Guide to Taking Photos Like a Pro By Jim Miotke

As a beginner photographer, you'll often be looking for advice on how to take better photographs and to get set up. This book by Jim Miotke is an excellent start for anyone of any age looking to get into photography, whether with their cell phone or a complicated DSLR. Unlike some photography books for beginners, this one is not weighted down with technical, lengthy explanations. Instead, it is made up of quick tips to help photographers see an immediate difference in their images.

DSLR Photography for Beginners: Take 10 Times Better Pictures in 48 Hours or Less By Brian Black

This popular book by Brian Black offers beginning photographers a crash course in using their fancy new digital SLR cameras. A valuable resource to help you hit the ground running, you can use this book to get started and find the topics you want to study more in depth. DSLR Photography for Beginners is currently the number one best seller on Amazon's Landscape Photography and Photography Equipment lists.

Photoshop for Photographers: Training for Photographers to Master Digital Photography and Photo Editing By John Slavio

Digital photographers not only need to be well versed in their photo equipment, but they must also know their way around a computer and photo editing program. Photoshop has been an industry standard for decades. It is one of the best photography books for beginners, and it helps you make better images and gain valuable experience and a new comfort level with the king of all photography programs.

Extraordinary Everyday Photography By Brenda Tharp And Jed Manwaring

Written for literally anyone who wants to take better photos, Tharp and Manwaring's book encourages photography from new angles in the same places. No matter where you are, you can always find more to photograph and new ways to create enticing images. This book is not a technical guide with lots of details; instead, it provides inspiration and a new way to look at subjects and shooting locations.

The Digital Photography Book Box Set By Scott Kelby

Sold in a five-volume set, this series by Scott Kelby gives you step-by-step pointers to getting your photographs to look like the pros. The book avoids dull and lengthy technical explanations and, according to some reviewers, is more like going shooting with a knowledgeable friend who shares his secrets along the way. As the series progresses, more and more technical explanations are added. When studied together, the box set is a complete course in the art of photography and are the best digital photography books which you need to have.

50 Photo Projects - Ideas to Kickstart Your Photography By Lee Frost

Often you can read the textbook over and over again, but you will never truly understand a concept until you practice it. 50 Photo Projects allows you to do just that. Without having to rely on inspiration, the book provides an accessible path to practicing your art no matter where you are. Lack of project ideas is often a missing link for self-taught photographers and is an excellent exercise for every photographer that can help get you out of your comfort zone and bolster your portfolio with something a little different.

Langford’s Basic Photography: The guide for serious photographers – Michael Langford

This excellent book for beginner photographers teaches you everything about how to capture images and how to evolve and grow your technique as a photographer. The book gives in-depth insights on how to choose the best camera and lenses for your work and talks about the principles of lighting and the equipment you will need to achieve the results you want. You will also learn about the entire workflow of digital photography - how to edit, store, and organize your images, and then how to print and present your images to clients. It is a great book that takes you through the A-Z of a digital photographer's process.

Best Learning Photography Books

The Art of Photography By Bruce Barnbaum

With so many technical volumes focusing on specifics like composition and exposures, it's easy to forget the artistic side of taking photographs. Barnbaum's The Art of Photography is here to help, with clearly written lessons that concentrate on how to express yourself through your art and your camera better.

Understanding Flash Photography: How to Shoot Great Photographs Using Electronic Flash By Bryan Peterson

Another excellent guide from Peterson, Understanding Flash Photography is also a must-read. Flash photography is a worthy challenge for all photographers, and the wide range of lighting products and techniques makes it all the more daunting. Peterson breaks down the options to the basics and gives useful tips any photographer can apply to his or her work. Learning to master the speed light is an excellent skill for photographers of all types. The tips and tricks employed are useful even when dealing with natural light.

Photography: The Definitive Visual History

This history of photography book by Tom Ang and published by DK presents the content in a way no other book on photography history does. One of the best reference books for photographers which compiles the history from the beginning till the digital photography age going on now. The significant events in photography history, the major technological changes, the world-famous photographers who have created iconic photos; this book has it all.

Picture Perfect Posing By Roberto Valenzuela

At some point, every photographer will work with human subjects. Valenzuela's Picture Perfect series is an excellent resource for learning all things photography, but the volume on posing stands out. Working with models and human subjects can be one of the more challenging aspects of photography, and camera-friendly posing is an art form all to itself. Picture Perfect Posing is a perfect resource for portrait photographers.

Film Is Not Dead By Jonathon Canlas

As shocking as it may sound to those who have been in the industry for decades, there are photographers out there today that have never held a film camera. While digital has proliferated and permeated every aspect of the photography industry, a growing movement is bringing film photography back to the forefront. Whether it is merely retro nostalgia or the makings of a new kind of photography remains to be seen, but this excellent book by Canlas will help interested photographers learn their way around both 35 mm and medium format films.

Black and White Photography: A Basic Manual By Henry Horenstein

Horenstein's book about black and white photography has been a common sight in beginning photography courses for decades. With the current renaissance of film photography, perhaps Horenstein's book can inspire new audiences. Black and white photography can be one of the most challenging and yet rewarding aspects, so don't miss this manual to help expand your horizons.

The Moment It Clicks: Photography Secrets From One Of The World’s Top Shooters By Joe McNally

Advanced techniques are great for students and pros alike to brush up on new and exciting ways to shoot. In McNally's book, The Moment It Clicks, invaluable tips and tricks are shared from a well-respected industry professional, making it one of the best books to learn photography. While sharing his work, he shares the stories behind each shot and challenges you to approach your projects differently.

Night Photography & Light Painting: Finding Your Way in the Dark By Lance Keimig

Nothing comes close to capturing a spectacular night shot. Night photography, maybe more than any other type of photography, shares a new view of the world that few people are lucky enough to experience themselves. It creates a magical experience. Technically challenging but a lot of fun, night photography doesn't need to be intimidating. Keimig’s book challenges you to take a stroll after dark and to create some remarkable works of art.

Guide To Travel Photography By Lonely Planet

Maybe just looking at photos of beautiful places isn't quite enough for you. When you visit those world-class locales, you want to capture the beauty with the skill and eye of the best photographer. This book by Lonely Planet is a great step in that direction. By sharing the tips and tricks of the industry's leading travel photographers, the guide will have you transitioning your images from snapshots to breathtaking destination photography in no time.

Photography Theory Books

Photography Theory By James Elkins

Imagine world-famous art historians and theorists having a debate on the nature of photography! This book has exactly that and that too in animated form. There are many answers to what a photograph is, and this book discusses various opinions around it. These opinions range from a picture being a way to present the reality of the world to it being a medium to confuse the people on the same.

The Decisive Moment By Henri Cartier-Bresson

This book by the legend in photography - Bresson, contains some of his photographs as well as his view on the approach to photography. Street photographers especially adore Henri Cartier Bresson for his unique style. The Decisive Moment book is one of the best street photography books and for anyone who wants to understand the views of Bresson towards photography, which has influenced generations of photographers. Bresson lay down his belief in the magical moment when many different elements like interactions, moments, form, and light all come together to form a perfect, visually appealing image. To achieve that one has to be unnoticeable, quick, and attentive.

On Photography By Susan Sontag

Susan Sontag is regarded as one of the most influential writers of the modern era. This book gives a detailed analysis of photography, giving her strong opinions on the issues of morality and aesthetics. She explains the role photography has in our lives, how we treat photography, how it influences us, and so on. This photography theory book is a must read for someone who wants to understand how photographs are perceived and how it is changing the world. 'On Photography' is one of the best photography books of all time, which will make you question everything you know about the way we consume photographs.

Best Books For Building Your Photography Business

What They Didn’t Teach You In Photo School By Demetrius Fordham

If you are looking for books on starting a photography business and if you're looking to make money with your photos, consider checking out Fordham's What They Didn't Teach You in Photo School. This volume covers the business aspects of photography, specifically. The book touches on what it is like to be a working photographer and ways to successfully get there.

The Photographer’s Guide to Marketing and Self-Promotion By Maria Piscopo

Penned by a creative services consultant, this book helps any fledgling creative businesses get off the ground. As any professional photographer will tell you, photography is about much more than just taking great photos. Success often boils down to your business skills, your business plan, and your marketing. The book features case studies and interviews with commercial photographers, making it a useful reference for photographers looking to take their businesses to the next level.

No Plastic Sleeves: Portfolio and Self-Promotion Guides for Photographers and Designers By Larry Volk and Danielle Currier

A topic of great importance to beginners and seasoned photographers alike is how to keep their portfolio polished and relevant. No Plastic Sleeves dives deep into the art of portfolio making for effective marketing of your business. For visual artists, nothing trumps your portfolio. Make sure yours shines by taking the advice of industry pros like Volk and Currier.

Understanding the Business of Entertainment: The Legal and Business Essentials All Filmmakers Should Know By Gregory Bernstein

Legal issues abound in the film and photography industry, from privacy to trademarks and copyright issues. Primarily focuses on filmmaking, Bernstein's volume is valuable to anyone in the visual arts. Bernstein's time as an entertainment attorney allows him to shed light on some of the most critical and lesser-known challenges facing artists today.

Best Photography Coffee Table Books for Inspiration

In the National Parks By Ansel Adams

Not every photography book should be about technique or business. Presented in over 200 photos, this photo book of Adams' timeless black and white images shares the story of America's national parks. In the National Parks By Ansel Adams is one of the best photo books, sure to spur your creativity and appreciation for artistic black and white landscapes.

Annie Leibovitz: Portraits 2005-2016

This new collection of photographs by Annie Leibovitz is a follow-up to her two previous landmark photo books, Annie Leibovitz: Photographs, 1970-1990 and A Photographer's Life, 1990-2005. In this photography portfolio book, Annie Leibovitz, one of the most influential photographers of our time, presents iconic portraits along with never before published images that she has shot over the last decade.

Destinations of a Lifetime By National Geographic

Another stunning coffee table book, this National Geographic collection shares breathtaking views of some of the most remote and most beautiful destinations around the globe. Featuring over 250 images that span the range from secluded islands, exotic rainforests, and majestic mountains. It isn't just another photo book, however. This National Geographic guide also gives aspiring travelers the details they need to know to visit each of these bucket list-worthy destinations.

Humans of New York By Brandon Stanton

A street photographer's show book, Stanton's Humans of New York, contains over 400 images of people in their natural environment. The moving pictures in this book have propelled it to be a #1 New York Times bestseller. The stunning photography in this photo book will inspire you to walk down the street and meet some new people.

Underwater Dogs By Seth Casteel

This laugh-out-loud funny coffee table book is full of amazing shots of dogs and water. Dive in with the furry friends as they jump, splash, slosh, and play. Many of these photos will make you wonder aloud, "how on earth did he get that shot?" Underwater Dogs provides inspiration and a reminder that for every photographer, there is a niche. It is one of the best photography coffee table books you can have in your house and let the viewers have a good time.

Vivian Maier: The Color Work by Colin Westerbeck

Vivian Maier, who came into the photography scene when thousands of photographs taken by her, were discovered after her death. Her unique perspective into the world can now be seen with pictures which were never published before. Having more than 150 of her color photographs and a foreword written by renowned photographer Joel Meyerowitz, this book is one of the best photo books published in 2018.

Conclusion:

Whether you are a beginner looking to grab some tips from the pros or a life-long expert, photography books are a great way to keep building your photography knowledge base. Some books teach, some books inspire, and some books do both. Break your dry spell and get out of your creative rut with a new challenge and a new technique.

These are just some of the best photography books, that have received great reviews from beginner and pro photographers alike. Have you read some of these books? Are there any other books that you would like to see included in the list.

Share your feedback and recommendations with us in the comments below.