#add constraints

[tweakingsql]

Setting References, Adding constraints

We need to set up some items so that eventually this project will actually run. First off, we need to set up a reference to an existing server where the project will be exported when we're finished.

Under the Solution's name, there is a entry for References. Right-click on that, then select Database References. Change the database reference type to System Database, and select the master database.

Just to be fair, I had trouble with adding the default as below. I kept getting an error SLQ17501, meaning the editor was unable to find the referred to item.

There is an equivalent of SSMS' Crtl+Shift+R, which in the Project menu then Reanalyze Project. And that didn't work. It's supposed to take a little bit like the refresh of the table data into IntelliSense does in SSMS, so I waited. Hours.

Then I deleted the offending item and tried to add it again. Still there.

Then deleted the entire project and started over. At that point, in the error listing, I noticed the project was set for "Build + Intellisense". Clicking the other options confirmed that the problem was in IntelliSense, not the Build.

Next day, I started off with a new and smaller build and planned on using VS to report the issue to Microsoft. And it never came back. Anywhere. Computer Science is in the next classroom, this is working with software, which is a whole different beast. End interruption.

The source table has the one constraint already, which is the clustered primary key. "Clustered" means that the data will be put in the specified order onto the drive. Primary keys have to be non-null and unique, and are often what is used as a foreign key in another table.

This is a table of dates, and there's already date functions and tools built in to SQL. Why add more? Mostly so that we have a simple table to join on for long calculations. You can figure out if a given day is a weekend by looking at the DatePart() function with the first parameter set to DW. But is it a holiday? That is a bit harder to work out. This table does the calculations so they don't have to be repeated endlessly.

First off, let's set the FederalHolidayFlag to default to the character 'N'. We do the right-click on the solution's name, then Add, then New Item. Under Tables and Views we can select a Default Constraint. And it wants a name again.

And VS is helping where it can.

There's a related Check Constraint. Everybody is going to have opinions about where each of the files should be one single step, or if all the related steps should stay together. Make a choice that appeals to you, and realize unless you're the project manager it doesn't matter. I want the practice using the different templates.

The blue squiggle is error SQL70588 - since there's already a data enforcement check on that column, the WITH CHECK part of the statement will be ignored. I'm making a note that the Test Suite needs to look at that.

Document it. Always. Or you will forget.

Why use 'Y' and 'N'? One byte is the smallest column size. The boolean columns do only take up one bit in some byte, but unless you have a lot of booleans (8 or more), it's not much of a savings in space and a tad more work in CPU - probably breaks even in the long run. We could have used 0 and 1 in a tinyint column. It was an aesthetic choice on the part of the Data Architect team.

There are a bunch more constraints we could put in. Which ones matter to you?

[magnuspanoptes]

mag 81 - "a guest for mr spider" // mag 92 - "nothing beside remains"

a guest for mr spider is a top tier statement to me for a lot of reasons but the way it explains why jon is like That. his desire for answers is not a funny little protagonist quirk that dooms him or whatever, it exists because when he was eight he saw someone disappear behind a door, he was offered a mystery and then he spent the rest of his life chasing after answers, opening doors (elias is playing his victim blaming card over there because he's manipulated jon by denying him necessary information that Would've discouraged him from making a lot of those choices, like accepting the job! but he's also not lying). and doors in the podcast are a recurring symbol of separation of the mundane from the supernatural (it's also in the way every ritual speaks of metaphorically "opening a door"), jon's first fear mark involves him being traumatised (at a formative age. he was eight! something about the way that book was designed to attract a child is kind of vile to me, but why would the entities discriminate based on age?)—and traumatised in such a manner that it also cultivates in him a lifelong desire to seek out the supernatural. because he needs to know, something incomprehensible happened to him and he needs to understand. this doesn't mean he brought that all on himself, it's just another thing the podcast has to say about trauma and how it leaves its mark upon you (and in jon's case, tangibly. you are living a chronicle of terror)

mag 101 - "another twist" // mag 160 - "the eye opens"

[temporoom]

Whenever someone says that Epic's lyrics are too simple or direct I just know they don't think about the medium the story is being told on. Yes, Epic is a musical... Who never had a show. The lyrics are simple and direct because you're supposed to understand 90% of what's happening with just the songs. There's no actors playing in front of you, there's no external narration to add precision, no stage to play it and no scripts to make a podcast out of it. And when you want to retell something as complex visually as the Oddysey... Well you're gonna have to be direct about it.

The direct lyrics aren't a weakness: they're a direct result of the limitations of the medium used for the story being told.

[torchickentacos]

fuck chegg, fuck solutioninn, fuck brainly, fuck studocu, fuck coursehero, fuck transtutors, fuck every single site that says they can help me through figuring out what the assignment wants me to put in excel's constraints section in the solvers parameters dialogue box only to make me make an account to see whatever dumbass ai answer they've got in store

[cecedownbad]

Hold On

Summary: A missing child's case resurfaced so many memories you wished to keep buried. Sure enough, seeking comfort from the heavy feelings came by as a form of a person. [Spencer Reid X Fem!Reader] Part 2.

Warning: Child abduction, death of a child, angst, no Y/N, made up last name: Cyrus, made up case, light fluff, hurt/ comfort, not too romance-y but alluding to it, not proof read, I don't think the mystery/crime aspect is good but let me hear thoughts guys. Something extra in tags, read after the story.

Word Count: 4.1k

Part 1

I'm so sorry this took so long, my exams, mental health, projects, assignments allll just rolled in the past months, and I've been doing everything to stay on top of writing. It's rushed towards the end but with all that's going on I hope it's okay. If anyone is up for part 3, I'm all for it .

Enjoy

"Those who cannot remember the past, are condemned to repeat it."

-George Santayana

'Okay, let's see, Conrad Miller, 16 years old, went missing on June 12th, 2007. Last seen by the local church with one of the volunteers, she was questioned once but was never linked as she had a solid alibi, her name was Grace Cyrus.' Tara paused. 'So she took Conrad, no she definitely didn't just take him, poor kid is definitely not okay.'

'Right now Stephen is our priority, the anniversary of Steven's disappearance is in 4 days, so what does she want with him now?' You pace in the room, spinning a pen you grabbed in your hand. 'I think that's something only you can answer, what happened 4 days prior to Steven's disappearance?' Tara pondered, she sat down, looking at you, intent on finding answers. '4 days prior…that was the day my dad— Daniel had come to visit, they, Grace and him got into a fight and Stevie, Steven tried to "protect" Daniel in his own way, he thought Mom was going to hurt him…'

Was it then that this all weighed down on you? Words long lost had started pouring through the cracks of memories locked away. You were never in that station in that moment, no, now you were back there.

'Stevie, get back here! We can't stop them!'

'No! No let go! I don't want Dad to go, Mom's going to send him away!'

'Steven!'

No matter how hard you tried, he slipped from your tensed grasp, landing right between two enraged adults.

Pacing the floor helped gather your thoughts, a little better.

'What was the very last thing she said to you when you left?'

The thought of how it all ended passed through your minds, each time much like a bullet to the brain but you push it all down, now wasn't the right time for you. 'everything okay there?' Tara asked you, it's only been a few minutes since you and Tara confronted the idea that Grace might have done more than anyone could have put together.

'Yeah just a lot going on in my head, I think I need a breather.'

'Hold that thought, JJ and Luke are back with Daniel,'

Your hand now wrapped around the empty coffee mug, a dad you haven't spoken to for the last two decades, what would you have to say? or better yet, what would he say to you? This isn't an official reunion, it's an interrogation and who knows what will spill out of your mouth if you see the very first man in your life that disappointed you, taught you that having a person in your life was enough to make you fall apart.

'JJ and I will go in first, you sit tight.' Tara patted your shoulder giving it a good squeeze before heading out the conference room.

It was soon after that Rossi, Reid and Emily came back in, all three harnessing disappointment with their stride. 'Hey, what happened?'

'Well, Rosa was not in her home, we searched the house and by the looks of it, she hardly came back there.' Emily sat down with her legs crossed. 'but, her room had keepsakes, maybe from the time you lived with her?'

'What did she have?'

'She had pictures, some old folded drawings, and the weirdest one, an old juice box.' as Emily finished, you sat up from your chair, 'an old juice box? Do you remember what flavour?'

'I think it was Apple? Why? Does it have something to do with Steven?'

'…'

'Cyrus?'

'That, uh, it's nothing, I think sentimental feelings do surface no matter what kind of person you are.' You began fidgeting with your sleeves, your mind now slowly began recalling events that transpired long ago. 'Is there something else? It looks like you aren't sure about something.' Rossi eyed your movements, he knew something was keeping you. 'My mother, she'd never show any sign that she felt remorse, not even as far as I could remember.'

'Okay Reid, stay with her, I'm going to check in with JJ and the rest. Rossi? Do you mind?' soon after, Rossi and Emily exited the room, leaving you and Spencer in the conference room. 'Could you tell me what kind of person your mother is?' Spencer sat down right before you, urging you to take a seat right next to him and you did.

'She was an uptight woman, she loved to be in control of her life that meant being in control of mine too, it's why I left. She loved being seen.'

'Being seen? What do you mean?'

'She was always a respected figure no matter where she went, be it at work or in the neighborhood, she pushed for that at home too. When Steven had disappeared, I would always remember how she would tell me he was in a better place, and that if I do anything to disobey her or question her authority, I would be punished.' your head hung as you remembered more, 'I would study, day and night, that was the only life I knew, if my grades dropped by a mark, she'd lock me in my room, made sure I only had books on my desk.'

'Did Daniel ever drop by after what happened to Steven?' Spencer asked gently, 'No, I never saw him after that, I thought he finally got sick of mom and left, but I see now that wasn't the case.'

'Okay—'

'You know the one thing I can't seem to remember though?' you looked up at Spencer, his eyebrows now furrowed in question. 'My mother would always say how beautiful I am, and…and that I look just like her, her very own reflection but, Spencer, I can't…I can't remember her face.' your voice sounded shattered at what came out of it. You felt the tears fall, but you couldn't turn away or hide them, Spencer saw just how much this hurts you.

'You are your own person, no one can ever take that from you, no matter what, you are you.' He held your hand, rubbing his thumb over the back of your palm, that gave you a sign of comfort and you smiled at him. 'Alright, let's get back to the case.' quickly wiping away your tears and pasting on a smile, which you flash at Spencer, he in turn regained a more unmoving figure. 'When you said Rosa knew that Steven would never come back, what did you mean?'

'I was only a kid but to me it felt like she already knew that Steven had maybe...and all I could remember was a frown anytime I even remotely related to Steven.' You return with an answer. It was then the phone on the table went off.

'What is it Garcia?'

'So I dug into Daniel a bit more, and you aren't going to like this, so he was actually never in Bakersfield until a week ago, before that he was working as a cab driver in Nevada. He was in Nevada for a long time, but he touched base sometime in 2007, in the month of June. Looks like he tried several times to contact his ex wife but she never entertained any of it. What is concerning is that he was reported of stalking a young boy, said he mistook the boy for a boy he knew and he meant no harm but he was fired from his workplace and when was that? A little before coming over to Bakersfield.' Once Garcia had informed both of you, it was then JJ, Emily and Luke walked back in.

'What did the boy look like?' Spencer asked, 'I sent his picture to your phone.'

'Thank you Garcia.' You picked up your cell and scrolled through to find the image.

'No problemo.'

Upon quick inspection, you could tell at a glance the young boy and Steven shared a few similarities, nothing too obvious except hair colour and facial structure, age is the more obvious factor.

JJ walked in, arms crossed, she sighed but began asking what Garcia checked in for, 'Looks like Daniel was fired from his work place prior to coming to Bakersfield a week before Stephen's abduction.' You informed the three.

'If I didn't know any better, I'd say that's a trigger for him.' Emily began, 'Yeah, I agree.' and Luke followed suit.

'So he not only gets rejected by his ex-wife, but fired from his work place for stalking a boy that looks like his son, then he goes and kidnaps a boy that Rosa seemingly dotes on? Something doesn't add up.' JJ looked on with confusion. 'How did it go with him?' you asked finally.

'Said he had something vital for the case but he would only discuss it with you.' Emily sat down, her voice already etching with exhaustion. 'He's hiding something and my gut is saying it can't be good.'

'I'll go talk to him.' You were close to leaving the room, but Emily had halted your motions.

'Wait,'

'Yeah?'

'Reid will go with you, Tara might want to step out.' You gave a quick nod to Emily's order.

Every step to the interrogation room, you could hear the pained voices of yours, more precisely, from when you were a child. A young girl, alone in a room with nothing but her thoughts, you swallowed hard as you stood by the entrance of the viewing room. When you entered, you let Spencer call Tara from the interrogation room to the viewing room. 'No matter what, don't give in to his requests, you need to break him down, and if you ever want to leave, you can.' Tara gave you a small nudge and she stayed back in the room.

This was it, you let Spencer lead you into the interrogation room, allowing him to get there before you creeped on behind.

'How many times do I need to tell you people? Can't you bring my daug—you, your—'

'Let me be very clear, you have something vital for this case and I'm willing to hear you out, but say or do anything and you will be escorted out of the door by agents, understood?' the firm voice you let out hid every sorry cry that was wailing in you, having not seen your father for 20 years was a shock but not something that should be seen. 'Look at you, what it's been 15, 20 years, oh my beautiful little angel, I missed you.' honey coated words slipped from his mouth and every cell in you twisted in anger and contempt, 'Mr. Carter, the case.' Spencer stepped in this time.

'Always in such a hurry, well, since you brought my little girl. I know where the kid is being held.' He sat there with no remorse, no care that a child, close to the age of the son he lost years ago, was missing.

'Where might that be?'

'I can take you there, but I'll only go if she goes with me.'

After so long, he cares or at least that's what he's showing but you knew what he was playing at, he thought he could get away light just because his flesh and blood was in the justice system, what a sorry bastard.

'I think we're done here.' Spencer had got up from his chair but you stayed seated, deal or not you wanted to break the man in front of you and that was what was nailing you down to your chair. 'Mr. Carter, what good will it do if I went with you? Was it not enough that you came in here demanding to see your daughter about a case I know damn well you don't care about?' you pressed, choice of words were clearly targeted but your composure remained cool. 'What do you mean, you know what happened to Stevi—'

'Your son that you never bothered to report missing? I don't believe you have a right to bring that up, Sir.'

'Now listen here—'

'In the time Rosa had left you behind, you did nothing but fail to bring yourself together, I have a question for you, what were you doing on June 12th, 2007? Why did you come back to Bakersfield prior to that date?' you swiped through the tablet that Tara handed to you, it contained everything Garcia had found including some case files. 'I don't know why you're asking me that, don't you have the life of a boy to save?' He avoided it with such harshness, you only wanted to pry further but somehow it felt like you knew the answer, but the words never fell into place.

'Answer the question Daniel.' Spencer sat back down now jabbing at him as well. 'I just had someone to meet, is that really so important?'

'Why did you need to meet them? Did you coming back here have anything to do with Rosa Cyrus, your ex-wife?' Your slowly tapped at the desk, it was a timed beat. 'I did visit her once but that—'

'Were you aware that a teenager was reported missing around the same time you arrived here? His name was Conrad Miller, he was 16 years old.'

'W-what? I-I don't know anything about that.'

'Really? Because it says in the case files that Rosa was the last person to have seen Conrad, but you knew that didn't you?' He flinched at the response, at this point he wore a sign that screamed suspicious.

It was then that Daniel remained silent, you believed that any word that came out of him at that point would dig his grave deeper.

You stepped out of the room and walked into the room behind the mirror. 'Now he won't speak,' Rossi now stood there with his arms in his pocket.

'We need to find Rosa and Stephen soon, the man is hiding something and Rosa is the key to finding out why.' Rossi took the words right out of your mouth, looks you both knew what he was playing at.

'I think I can help with that, how much can you guys bet on a gut feeling?' You asked the three of them, weary of their answer, 'At this point? I'll take it.' Rossi let out, the two soon followed. 'Rosa will most likely be at the house we used to live in, which is not in this area, I'm hoping that she's keeping Stephen safe,'

'Safe? How come?' Tara asked you, 'Daniel here, came a week prior to Stephen's abduction, not only did he lose his job before coming here, he needed to have a reason to come here,' you deduce.

'His reason being Rosa? But wouldn't that not trigger Rosa?' Looks like you still needed to elaborate your theory, so you continued. 'It did, Rosa having heard that Daniel came here must have caused her protective instinct to kick in, call me crazy, but I think Rosa is keeping Stephen away from Daniel.' you finally let out a sigh, your palms clammed from sweat but if you were right, the little boy you came here for was safe.

'A mother's protective instinct, I'm guessing that something happened 20 years ago that she didn't agree on, which caused her to completely reject this guy, I'll have Garcia send the address of her prior location.' Rossi curtly exited the room, Tara followed along.

Spencer stood before you in silence, you didn't register any movement from him because all your focus was on the man, sitting on the other side of that glass.

'You can go on ahead, Reid, I need to talk to him.' 

'But I can't let you go in alone...'

You huffed, your eyes did what it could but meet his but looking away won't make what you want go away, 'Given the chance, I might punch the daylights out of him—'

'More of a reason for me to stay.' 

Spencer interrupted, you returned with a sharp look in your eyes before you relaxed, 'Let me finish, I would want to give him a piece of my mind but I need to know, I just, he's the only one that has got to know something about Steven, maybe I can finally put him to rest.' 

It was selfish, that's what you called it, asking for just one more clue when you couldn't do anything before. Maybe now that helpless little girl all those years ago, can see her brother off. 'I need to do this, alone...'

'...' 

You stood there, waiting for something, a sound from him in response, anything at all. 'I'll wait here, being short of another agent will not slow down the rest of the team.' He'd finished but his response ticked you, it poked at the idea of a child being monitored by their parents.

'I don't need you watching my every move, Reid.'

'I'm just following orders.'

'Following orders? Do I look like a child to you? Do I need a leash around my neck too? I can handle him, he's one man!' Your voice raised, and you stared up at your fellow colleague with a ray of contempt.

'A man you can't stand being around for long, you sounded just fine in there earlier to anyone that watched, but do you want to know what I saw? I saw that you were holding back, hard enough your hands curled at his answers, your feet apart was enough for me to know that you would have given Emily a reason for you to be dismissed from the case.' He'd stated what was right, but it wasn't right to you, not right now, you don't know when it would be. 'I'll wait here, you can go in alone.'

Your feet put you in place for a good moment, his words tore right through you. He was right, somewhere in your clouded judgement, you understood he was right, but just because you understood doesn't mean you accepted it.

With a second left to pass, you turned from Spencer. All in silence, it was accepted that you had a job to uphold, no matter the personal toll.

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

The dial ups in the station, voices of police officers, movement all around you had become void. Nothing, that's what you heard when you left the interrogation room, you couldn't even hear one Agent calling out to you when you had left. Something gathered, something rotten had formed in your stomach. Your body felt hot, your head on a swivel.

You felt the acid burn at your throat, the half conscious part of you managed to drag your feet to a bathroom stall for you to expel the choux pastry you ingested.

Standing before the mirror now, you washed your mouth, feeling the remnants of the expelled food at your throat.

Nothing felt right to you, not right then, not right now. Having no mind to lose any more time, Reid waited in the conference room as you begrudgingly walked yourself back into it. You said nothing.

You dialed in Emily immediately, hoping she hadn't reached the house yet. 'What have you got for me Cyrus?' 

'I spoke to Daniel.'

'What did he say?'

'He'd been sending frequent messages and calling my mother, they met once, 2007. There was an argument and Conrad had gotten in-between the two of them, it didn't end well.' you informed her, almost mechanically.

'What did he say about Steven?' JJ chimed in.

'Steven was, he said he was never meant to be hurt and Rosa in the mess of things, covered up for him. He told me where...I know where his body is.' Your voice strained, as it got to harsher details.

Nothing came out though, you tried filling in the rest of the details but your voice was overtaken. A pleading look carried over to Spencer and he took over. 'He said that you have to ask where he's sleeping, Rosa's delusion right at this moment is that Steven would come back.'

'Okay, we'll get back to you as soon as we're done here.' The line cut. If you'd carried a boulder on your shoulders, the weight of it might be the same as your conscience. All that was left was you see a family reunited and you get the closure you've been searching for.

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

The team was back, so was the little boy, he was safe. The Turner family could now go home with their son safe and sound in their grasp.

'Nothing beats seeing that.' you stood, satisfied in a way, the others agreed in unison to your words.

'Cyrus, I need to have a word with you.' Emily called you to a secluded corner of the station, but you had no fear built in you, in fact you felt rather empty, exhausted enough to be emotionally drained. 'We found Steven...' she said quietly.

'Where was he?' you met her in the eyes, having nothing left to tie you down. 'Remains were found in the wall of a small bedroom, it looked like he was initially buried but moved there later.' Every word had struck you, the smaller bedroom was your shared one, no doubt. 'Was he, uh, covered?' a crack sounded in your voice.

It took Emily a moment before answering, 'He was...' 

The last bit of remorse. You'd promised yourself for 20 years that he was found. Part of you wanted him to be alive, maybe he ran off and just found a better life or he was on the streets, alive at least. But you knew how far-fetched that sounded, hope was the one thing you were aware that could end you. '...Thank you, can I, um, I want to be alone.'

'Of course, take all the time you need, listen, once this is over I need to speak with you, but only when you're ready, okay?' She patted the side of your shoulders, adhering to your request, she left you alone.

You let out a wavered breath, trying to breathe in and out to calm yourself. What you needed now was to mourn, you knew that but having a hard cry at this moment would slow down everyone.

Not long after, Rosa and Daniel had gotten arrested. You couldn't catch a glimpse at her face, or more accurately, you refused to see the face you'd forgotten. That didn't bother you that much, as a mother she never cared to look out for you, there wasn't any good reason to remain adherent to the details.

Bakersfield PD would have no more reason to have you stay, for now at least but before you could leave it all behind, Steven deserved a proper burial.

The Funeral was small, no relatives, just few friends from school and the BAU were attending, with Chief Marks as well to pay respects.

You stood over the coffin, looking at how small it was, how it all came to an end, all in silence. Quietly you watched as the coffin was buried, soil tossed over it but before it was over, you had to have one last goodbye.

'I did what I promised, took you long enough to come back from playing, huh? You must be tired, rest well, Stevie.' The Carnation held in your hand had been placed on the coffin, a mark of innocence now put to rest. Once it was all over, you stood, not waiting or expecting anything but just, letting the weight gradually let go of you. This was what you needed yet, it didn't feel enough, something remained in you. 

Footsteps were heard behind you, and you took a peak at the intruder before lifting the corners of your mouth to him. 'He was a handful you know, always wanted my attention no matter what, saying that one day he'd make it to the moon just so he could get me some space rock.' Spencer said nothing to your bouts of reminiscence, 'He told me once, "I'm going to be no.1, so watch me!" I thought he was being silly, Dad left right after and we were alone, it was us against the world.' It all came back, then you knew what you hadn't let go, knew what it was that made you feel utterly at loss. 

'Hey, Spencer, you don't have to do this, but, um, I...' You wanted to ask just for a bit, that little comfort that you so desperately pushed away.

Without another word, he lightly turned to face you. Your mind was too caught up on other memories that when you felt his arms wrap around you, you didn't think for that second. All it took was this to let it all go, no longer in silence but in wailing agony.

He didn't need another word, he simply knew. It was like some crazed superpower of his but it's like he's always known.

He couldn't let go.

Tagging:

@treehouse-mouse

[devilmokujin]

like i GET why ppl complain about papillon being too short cuz it IS if you were thinking of it as a standalone song............ but it's LITERALLY supposed to be the end piece to the entire fe3o4 trilogy it is THEE follow-up pay-off after approximately like. 40ish???? minutes ever since you click play on dash like papillon more than any other song in this third act feels the LEAST like it's supposed to be Its Own Song Slash Radio Play Marketable Single. also if it was longer it would just end up conforming to the same old regular degular pop song formula which a surprising amount of nswers have been complaining about nmixx doing anyways LOL and given how literally every single one of their songs is meant to be performable live in a substantially packed setlist............... i really don't blame them for going for shorter songs to perform either. i think there is something to be said for like the tiktokification of pop nowadays because i truly do believe that ppl's attention spans are genuinely shorter + the eternal mass consumption of media over and over and over or whatever. OKAY but when an artist/group actually tries to use the limits of that format to tell a story i guess it just ends up flying over ppl's heads so there's no "winning" with gp listeners idk! what if the linda martell show was 4 minutes long. what if yukika's i need a friend had a verse pre chorus chorus second verse pre chorus chorus bridge third chorus. what if the interludes on the velvet rope were 5 minutes long each. what if tinashe shy guy was a 10 minute long epic and it was still situated between X and bouncin'

[akkivee]

read thru the arb event and the differences in how ichiro and jyushi greeted sasara vs rosho has been hilarious lmao

🎋: oh we’re really getting into it now!!!!

🌙: y-you surprised me……!!!

1️⃣: where did you even come from sasara-san…….

———

🍮: well if it isn’t ichiro-kun and jyushi-kun!! what a coincidence!!

🌙: ah, rosho-san!!! hello!!!

1️⃣: hello 😌

[gay-victorian-astronomer]

I've really been in the gender soup (derogatory) these last couple days

[manyblinkinglights]

ehhhhhhhh isn't this too many... 82 transforms in my ORRERY... or rather, I guess it's impressive that I've done it with only this much...

[katefathers]

dissecting companion exits: a doctor who rant in the year 2024

So it's been over a month since I did that Doctor Who podcast, which has miraculously got me back on my Doctor Who bullshit, and after "The Giggle", I've been thinking a lot about companion exits, and how they worked for me and how they worked both inside and out of the narrative. And because what else is social media for than ranting about fiction, here I am.

I find it really interesting how in both Moffat and RTD Who, many of the exits work more successfully outside of the narrative than inside of it, yet for completely different reasons.

Like, "The Giggle" really emphasised how ridiculously tragic the Moffat companion exits were. And while I can't speak for Bill as I haven't watched her series, for both Amy and Clara, those exits didn't make much sense inside the narrative. Amy and Clara could have had non-tragic exits. Amy's run in particular seemed to be working towards her and Rory choosing to stop travelling with the Doctor. They weren't doing it full time, they were getting older (it was highlighted how Amy needed reading glasses now), and it would have made solid character and thematic sense to have them choose to end this chapter in their lives. To focus on their careers, and maybe have kids, and find the joy in the slow path. A slow wind down--a bittersweet yet poignant departure--would not have been untoward.

Clara could have left that way too. She could have either walked off into the sunset with Danny Pink (if he hadn't been killed off. Because he was killed off, right?) or found some other calling. Embracing teaching at Coal Hill. Teaching on another planet. Anything! But I think in both cases, Moffat wanted his "Doomsday", and so what made logical narrative sense took a backseat. These exits worked more outside of the story--"because the showrunner wanted tragedy"--than inside.

Donna, I think, could have also had a non-tragic exit. I know her tragic ending has been reversed, but if Donna had two series instead of one, I think an ending where she chose to leave the Doctor would have been possible. I mean, she loved travelling, but it's clear that she also wanted to do things like get married and have a family, and I think if she had one more series (or was in all four specials), she could have had a Jo Grant exit. But they couldn't get Catherine Tate for another series/all four specials, and RTD was set on leaving before Series 5, so Donna doesn't.

And the constraints of TV filmmaking are what I believe hampered the RTD companion exits. And there are two major ones: actor availability and the time the BBC allowed him to tell his stories.

Granted, while having two tragic exits that weigh on the Tenth Doctor and contribute to him going all "Time Lord Victorious" could have been the plan all along, assuming it wasn't, both Donna and Rose's exits make the most sense when read from an outside perspective: neither Catherine Tate or Billie Piper had signed on for more full episodes.

Rose's second exit, in particular, is the poster child for "outside the narrative" storytelling. I mean, when the Doctor says "But you've got to [stay in the parallel universe]", you nearly expect him to end that with "because your actress didn't sign on for more episodes". Outside the narrative, leaving Rose with TenToo wraps up the Doctor/Rose romance, keeps them mostly safe from the whims of future showrunners, and yet leaves Rose's story a little open-ended for the audience so they imagine whatever they want to happen in Rose's--and future Doctor's--future. Inside the narrative, however, I didn't find it particularly satisfying. The Doctor has been pining for Rose for two series. Rose has worked incredibly had to get back to him. As a character, she's crafted as someone who would stay with the Doctor forever. They have this sweeping, incredibly romantic reunion! Inside the narrative, her staying makes the most sense. It's the most satisfying ending. Especially if you don't have the space to make an ending with Rose's permanent exit gratifying.

Because like Donna and the bigeneration in "The Giggle", Rose ending up back in the parallel world could have been more satisfying if RTD had more time to build up to that exit. In general, much of "Journey's End" feels rushed, and the end of the episode is particularly bad, leaving a number of holes that never get filled. Mickey gives a very brief reason why he's staying in his home universe, but we don't see him say goodbye to Rose and Jackie. We never get a proper reunion between Rose and Jack, or resolution to Rose making Jack immortal, which she is clearly unaware of, nor do we get a goodbye between them. I remember wondering when "Journey's End" first aired, do Mickey and Jack even know that they won't see Rose again? Do they walk off with a quick "see ya later", thinking they'll meet up occasionally? Because Rose sure as hell didn't think she was leaving her home universe. And while we got TenToo on his own to establish that he is (mostly) the Doctor, we don't get much between him and Rose prior to being left on Bad Wolf Bay to build any kind of connection between them. We don't see Ten come to the decision to leave the two of them; we never really know how he feels about it. Yeah, Doctor Who is a very plot-forward show, but "Journey's End" was juggling a lot of plot and a lot of characters, and it should have been longer--or the Series 4 finale should have been a three-parter--to give both the story and characters time to breathe. The audience is left to infer A LOT, and for me it was unsatisfying at the time, and now with over a decade of distance, it's actually even more unsatisfying.

While it might seem like I have more of a problem with RTD's companion exits, I think they're more successful from a technical and audience standpoint than Moffat's. RTD has the incredible ability to write backwards, making you feel like an ending was always something that he was working towards, even when he wasn't. Although both Donna and Rose's stories could have been different given more time, and if they played out in a different medium like a novel, they still, mostly, work. Donna forgets, but gets a family and a mother who values her a little more. Rose gets both the Doctor and her parents--she doesn't have to sacrifice one for the other anymore. Moffat's, on the other hand, feel very slapdash, and I don't recall feeling like we'd been working towards them. Because, as I said, it always seemed like he was working towards a totally different ending.

I'm not entirely sure where I'm going with this, but I find the difference between Moffat and RTD's approach to companion exits really fascinating. One wanted a specific style of ending, but didn't seem to know how to foreshadow it--how to make it work as part of a cohesive narrative. The other had a strong handle on narrative and character arcs, but their ability to craft something satisfying--to give his audience all the information--was hindered by episode length. Going forward, I hope RTD can manage his time better so that the companion exit is more satisfying, like Martha's. But I also hope he takes a leaf out of Moffat's book and plans a non-tragic ending. Because Moffat did set up two fairly sold, amicable partings, and Doctor Who needs more of those again.

[penitenteyeball]

Dum de dum dum

Gonna add max tags and max characters to each cause who cares

[the-down-upside-finch]

Just wanted to play around a bit with art style, so I sketched the main characters from Pentad of Un and started turning it into a reference for myself haha (I'll probably finish coloring it and post it later, since it might be good to have a visual for these characters on my blog)

I always forget how liberating it is to just mess around every once in a while without worrying about anatomy or any of that.

[seoafin]

mappa is absolutely doing the HI arc justice and it terrifies me bc of what it means for shibuya

[technicolorxsn]

while I know they were made I thiiink simultaneously I can't help but think the book was better, and I wonder if the movie is actually like. understandable without the book

[projectcatzo]

I just don't understand why there's basically no background music in Night in the Woods, maybe it was like an aesthetic choice but I really don't think the only sounds you hear for the majority of the game being Mae's grunts whenever she triple jumps should've been the aesthetic they settled on

[hellotailor]

armand’s costumes are such an interesting data point re: his nebulous sense of identity.

when analyzing any costume, there are always many factors to consider: the setting, the character’s personal taste and economic constraints, storytelling concerns like tone and genre, etc. with armand, we also need to remember that he’s 500 years old and violently disconnected from his human origins. everything he wears has an element of disguise, selected to blend into a new environment.

armand was enslaved as a child in 16th century delhi, and barely remembers his mortal life. unlike louis - who can return to new orleans after 80 years and reconnect with his past - armand has no home to return to. his whole backstory, even his name, is rife with traumatic subtext, leaving him with an obsessive need for structure and control. this adds an extra layer of meaning to costuming choices that initially seem like straightforward menswear. 

armand’s 1940s wardrobe is very put-together - primarily three-piece suits and coats that make him look wealthier and more formal than louis, who is purposefully dressing down. most of these outfits are tailored to bulk up armand's frame, leaning into the "maitre" persona. and like his business-casual dubai wardrobe, he always leaves his collar open. when i interviewed costume designer carol cutshall, she described this as a symbolic power move, signalling that he's an apex predator who doesn't need to protect his throat.

my personal interpretation is that while armand clearly likes to look good, he has a complicated relationship with attractiveness. he doesn't always want to draw attention. his color palette is shadowy (black, grey, brown, olive green), and he’s much less flashy than the other Théâtre vamps. however when he’s feeling confident and flirty, he becomes more of a power-dresser - for instance his hunting outfit with the big coat and sunglasses, or his habit of wearing kohl.

interestingly, most of armand's 1940s costumes set him apart from the coven. the Théâtre vampires dress like cabaret performers, embracing a lot of period-specific styles. by contrast armand is more timeless and neutral. in fact, due to the relatively minor changes in men's suits over the past 100 years, there's a lot of overlap between his wardrobe in the 1940s, '70s and 2020s:

the rest of the Théâtre squad share an unofficial uniform of boldly clashing monochrome patterns with pops of bright color. meanwhile armand has a very plain wardrobe, emphasizing the image of him as a businesslike authority figure surrounded by zany artistes. he only wears subtle stripes on a few occasions in the '40s, reflecting the recurring prison motif we see in lestat's trial suit and (most famously) the dubai penthouse bedroom:

if we ask the question, "what does this person like to wear?" there are easy answers for lestat, louis and claudia. we understand their tastes, and the motives behind them. but armand is more enigmatic. we can recognize through-lines in his wardrobe, but his "taste" is dominated by whatever role he's currently decided to embody, whether that's a parisian theater director or a real estate mogul in dubai.

the times when he appears to have the most fun with clothing are when he steals a pair of sunglasses from his human dinner (!) and when he's pretending to be rashid. in other words, when he's explicitly performing for an audience. "real armand" is still a mystery.

(i may write more about armand's dubai wardrobe later, but for now, you can find all of my iwtv costumes posts on this tag!)