#but watching more recent scenes makes me realize why folks like them

[alpaca-clouds]

Musing about Dreamworks

I have recently rewatched a lot of old Dreamworks stuff and I realized something: The way a lot of Dreamworks stuff breaks with the hero'e's journey is actually a really good thing.

If you watch Dreamworks movies and compare it with Disney or even Pixar, there is the quite obvious difference that for the most part Dreamworks heroes and heroines are underdogs, while Disney heroes most of the times are not. It is also the reason I think that a lot of queer folks found themselves in a lot of the Dreamworks stuff early on. I for sure can say I did. It is super easy to read a queer subtext into quite a few Dreamworks movies.

Compared to Disney there is also the fact that Dreamworks seemingly never felt the need to use their protagonist's marginalizations, when there, as a way to advertise. It was simply something that was there...

But there is this other big thing.

Disney movies for the most part very clearly follow the Hero's Journey, but in a way that they are so very married to the Status Quo. You know, often in the Hero's the Hero returns home - which Disney usually takes as "the hero returns to the Status Quo". The hero changes, but the world around them doesn't. Because Disney usually says: "The world as it is, is alright."

I could probably go into the depth of the MCU here, but to stay with animation, let's talk about Disney's one real underdog story: Aladdin. The central conflict arises in the first place because Aladdin is of a much lower status and hence cannot court Jasmin. This is basically what leads to the inciting incident and everything. So, the solution in the end is? Well, Aladdin gets a free pass. But in general there is nothing much changed about the class structure of the world.

Meanwhile almost all Dreamworks movies involve the world around the heroes changing. In Shrek the world has to learn to accept ogers. In Kung Fu Panda more than anything it is Shifu who needs to learn the lesson. In Megamind the way that the populus of Metro City treated Megamind was the issue. And most notably probably How to Train Your Dragon, where the vikings needed to learn to work with the dragons.

One can almost make the argument that Dreamworks movies in general reject the status quo. In fact, heroes that want to re-establish the status quo will need to learn that it actually was not a good thing. Be it the animals in Madagascar returning to the zoo and finding it was not at all what they remembered, or be it Puss in The Last Wish learning that his status quo (him having the many lives) was not good for him.

I can very much say that starting in my teens, when I became more interested in animation, I always liked Dreamworks Animation better than the other animation studios in the west. And yes, I quite early learned about the queer readings of Shrek for example. And I was able to well realize that Dreamworks was better in a lot of their messages than Disney was (and clearer).

But I actually never pinned down, why Dreamworks felt so much more progressive until I started to think about this recently. That Dreamworks actually allows for the world around the heroes to change and in some cases address systematic oppression.

And don't get me wrong. Like from a production side and behind the scenes, there is still a lot wrong with Dreamworks as well. They absolutely tried their best together with Disney to keep down the pay for animators and stuff. There was definitely also some cases of discrimination and bad conduct. But just from the side of what the movies themselves say? Yeah, no, I see myself a lot more in the Dreamworks stuff than anything Disney ever made.

[remyfire]

The canoe life truly is lonely, but alas it is the life I make for myself. And I think you're absolutely right about how and why there is such a variety of different ships here! The rules are different during a situation like war, and the broad cast of characters plus the variety of recurring characters means there are so many different ways to push people together and have it make sense. Like I once had a friend ask who my main Hawkeye ship was and my response was that I never totally understood the term "fandom bicycle" until him and I think that also has to do with that vibe of anything goes. There are so many characters he interacts with and has a connection with that like... why *not* test those limits a little bit, you know?

I'm glad you enjoy the Mulcahy thoughts! And yeah I think his faith helped him get through the war mentally intact, but war also opened his eyes to a lot of things, to the point where I feel like a big realization like that isn't far off once he gets home. From working with so many people from so many different walks of life, he learns to see the world in a broader sense than just his Catholic worldview, and I think that makes him ripe for an epiphany of sorts. And GOD how could I forget about Trapper's names too? Like it certainly seems like he came from a Catholic family even if he no longer believes it himself, and I'd like to know where his undoing came into play. I also think he deserved more screentime with Mulcahy, I think the two of them would have given us some very fun scenes.

YESSSS all the love in CAVE!!! I can't even coherently put into words everything I felt while watching that episode because GOD it was all so much in the best way possible. I honestly never would have even thought of jealousy until you just mentioned it, because BJ so clearly cares so deeply about them both! And just the thought that BJ brought Hawkeye the little cup of comfort because he knew his friend was struggling, and then the way Hawkeye passes it immediately to Margaret before getting it back because he helps others every chance he get and he knew she needed it too! That honestly got me directly through the heart, god, I love them. CAVE was also such a good episode for the furthering of Margaret's friendship with the rest of the camp, in my opinion. For the first several seasons she wanted to always be in control and had kind of a "better than you" mindset that made her very unpopular with everyone else at camp. But watching her evolve past that has been so lovely and deserved! She's wonderful, and I think she could have some great relationships with the rest of the camp if she just allowed herself to. And this episode showed that so well!

I did have the thought recently that this show honestly is so timeless. There are obviously things that date it, but so many of the attitudes and feelings just transcend time. It sucks that we understand the negatives of course, but it's also just fascinating that everything else kind of makes sense as well. I'm not sure if I'm wording this the best, but so much of it feels modern, you know? It's just as good now as it was in the 70s, and I think that's a really powerful thing to be able to do with media. The prevalence of online communities to be able to meet other fans just makes it all the better.

(And no worries! Definitely make sure you're taking care of yourself. I hope things get better for you soon!)

Truly my favorite thing is that Hawk is the perfect fandom bicycle not just because he has protagonist syndrome, which makes it easy for him to be the center of every web, but also that he just. Cannot keep his hands off, his mouth shut, and his desire to be bred silent. Buddy what are you doing. Writers what were you doing. It's fucking delightful. I need that man at the center of as many cuddle piles as possible.

You're gonna activate my Trap brain if you're not careful, oh dear. Just that one-off line, "My folks wanted me to become a priest." There's so much tucked in there for me. Clearly I'm not supposed to read too deeply into any of these one-liners, but it says a lot! He's got all those names. I would say that one of them is probably a confirmation name, but he's also got it attached to his initials to the point that it's on his footlocker, so maybe it's not! Maybe his parents slapped him with the full range of names. Does that mean he has another secret confirmation name? Why would he hold onto a confirmation name to the point that it's on his luggage? So many questions. Trapper I am opening your skull and peering inside. There is no escape.

And Margaret, dear Margaret. A friend of mine watched The Nurses for the first time the other day and it instantly made my mind flash forward to Temporary Duty and her conversation with BJ and Charles near the end of it. "Did you ever offer me a lousy cup of coffee?" to offering the coffee to someone herself to having it handed to her unrequested in CAVE. What a cute little unintentional through line that ended up being.

She's a character that I'm scared of letting myself dig too deeply into because I know she will inevitably take control of me and I will never escape hsfdf like I am so compelled by everything she does to try to get just one shred of respect, one ounce of control over her life over the course of the 1940s and '50s, and the pain she reckons with every day as she realizes that wresting the power out of the hands of others isn't necessarily the best way to find it. That's another epiphany I'd love to see, kind of related to what we've been talking about with Mulcahy and having to come to terms with the fact that his faith is causing irreparable colonizing harm. Would be nice to see Margaret recognize that she's been taught that the only way she can have respect and control over her life is if she kicks other people down under her feet, and...hmm...maybe the Army in fact taught her the bad way...

[levyfiles]

I honestly think it would do Watcher a lot of good to hire a professional Social Media Manager and Marketing Manager. They all have a lot riding on this company.

They also need to work on getting actual sponsorship opportunities. We have Pretty Historic, why not reach out to some make up brands to partner with? For Worth a Shot you telling me no alcohol brand would have wanted to slap some branding in there. I know they want so badly to be above BF but they need to realize that if you want to run a corporation and entertainment company you NEED to diversify and sometimes do some more grown up corporate stuff. And you can do that without losing soul and heart.

They’ve also really dropped the ball on the merch for some reason? Like why didn’t Worth a Shot, the newest AYS and TMS get any merch drops? Why release the Camp Watcher shirts WEEKS after the episode?

Also I’d really like to see them actually bring light to the folks behind the scenes. Let me see more TJ, Mark, Brittany, Kate, Katie, etc. Hell they should be on the website with a little profile. Do some social media spots of those who make the magic which would be a big middle finger to Buzzfeed. Which I think is another reason that they need maybe a more seasoned social media person to be honest. Because like…we’re getting memes, jokes about Stranger Things and the Professor’s Death weird TikToks that feel like Shipping fancams.

I think that maybe they should be consulting with maybe the Try Guys who have been running a successful solo company for a while now. Because honestly I think if Watcher doesn’t shape up it might not last a decade.

I agree with a lot of this especially about the merch situation. I don't want to get into my depth of disappointment regarding that because it's a whole other kettle of fish

BUT

I think that the current work on Watcher's socials does effectively speak to an audience and it's deeply necessary to give Watcher a lasting campaign of influence online because Youths are gonna Youth. The Stranger Things thing was a bad look imo but that's beside my point. My issue is that there needs to be balance. Putting someone who is already working their butt off to make their in-jokes happen and succeeding into the position of all-around fan engagement management is going to let a lot of stuff fall through the cracks. The merch issue, the Patreon issue and the lack of perks for higher tiers notwithstanding. All of this stuff sours your relationship with fans and it should be apparent by the slow decline of their patrons since they appeared to have peaked at 4k before dropping again.

I was recently reading a rant from another fan in a private space saying they want to share Watcher stuff with friends but being a bit older, the socials are not for anyone older than 25 to follow. This is not a failing on the part of their social media manager because she's doing what they hired her to do but they need to hire someone to work next to her to do something that diversifies the reach via marketing. And mostly, both people need to be in LA. Their social media game wasn't anywhere as hot as it was when Simone was in LA, I can't even lie. Having someone around who just knows when to pull out their camera and document boosts fan engagement so much, I'm surprised they haven't buckled down to make that a normal thing.

The Try Guys actually had a trypod episode where they interviewed their social media manager. If you can find it and give it a watch, you'll understand very very quickly why marketing is non issue for them and the Try Guys barely have to lift a finger to plan that stuff. It's almost all her direction. It's a lot of work but she has a team as well.

Idk, I think it just aggravates me more because it's become apparent they are doing really well and they're making huge strides better than any company that started the way they did but I don't want them to waste it acting like they need to keep plates spinning with a small team. You've got the resources! Use them!

[geekgemsspooksandtoons]

A man or a slave

My “Magnum Opus” for Bioshock Rebirth. A Bioshock AU I had first developed in 2020, it went through different visions. This is something @atlas-slut-of-the-people has read before. Edit update @fishtankinhouse in case they ever come back. And I did think about tagging one certain character that appears at the end, along with others. But I don’t feel like it.

I have talked about I have well, gave up on Bioshock Rebirth. Yet, it also seems like I have taken a BIG BREAK from it. Because I’m not in the biggest Bioshock mood now. 

I wanted to share something from the AU I feel very proud of. And it was my take on the “WYK” scene. A scene that many people think can only work in a video game. And I REALLY tried to use it in a different way. Despite a friend of mine saying it’s still the same. So, be warned in case, it includes spoilers from the first Bioshock game.

What you will about to read is a RAW and unedited draft of writing. But I did just copy and took out the last part that included Archie’s interaction with Brigid after this scene. Which also included Atlas’s betrayal. The first part I had thought about editing, but I’ll leave it as it is. Because I had wondered if I should leave Archie in a makeshift Big Daddy suit, or his regular jacket and clothes. And feel like I would want to change aspects about what Ryan is talking about when concerning the cargo ship Archie was on.

But this whole scene was important to me. Because this scene would make or break the main story. I’d like to confirm the reason I made text when characters speak is to make it easier for readers to read so they wouldn’t get lost.

Again, this is unedited and raw. I want you all to read this. If there are any questions, I’ll answer them.

This passion project in a way, died out. I have wondered of returning to it recently. I may not. But this is a series I still love. I hope you folks enjoy what I wrote here.

Be warned...this is dark and...again, RAW with some of the shit said in here. And it’s not just swearing. It’s mainly shit Ryan says here. And fuck, I tell myself I had Ryan go all War for Cybertron Megatron (The video game that is) in certain parts you’ll see.

“Did you know that on the surface, I once bought a forest. The parasites claimed that the land belonged to God and demanded that I established a public park there. Why? So that the rabble slack-jawed under the canopy, and pretend it was Paradise earned...you know what I did when congress moved to nationalize my forest?

...I burned it. I burnt it to the fucking ground” - Ryan.

“Why are you even telling me this?” - Archie. 

“Because I have wondered if I should simply destroy my city and make sure no one can have it. Not even Atlas, and not even you. But what’s the point? You would likely stop the self-destruct sequence anyway. But watching you...made me think a lot. And I realized something as I watched you overcome my defenses and endured so much. I actually admire it.

A man stands against all odds. A slave becomes a coward and destroys his most prized possession so others can’t have it. Like a child. Destroying my city would just prove a point. It’s needless. There’s a time to build. And a time to destroy. But I won’t be destroying it. If a man knows he’s going to die and there’s no way he can escape death, then why cower...that’s what a parasite does. I’d rather die a man...

And there’s you...as you walk to my office. Dressed up as if you were a solder in armor. You believe in something strongly. We all shaped by our experiences growing up. Our ideals are forged by what we endure. Mine was in Soviet Russia. And yours was America...among the poor...among the Parasites...

You believe in an ideology that is the root of all wickedness. And you're a slave even if you don’t fully realize it. You really believe you’re doing this for the people? For yourself as well? While I admire you for everything you’ve endured, you still keep going. You’re stubborn as I am.

...but I hate you so much. I hate you more so than Fontaine and anyone else that went against me. Because you are the reason why I built Rapture. You’re no better than the pervert who can rapes young women, or a soldier ordered to kill a family of witnesses. You’re no different...you never were the moment you set your foot into this city” - Ryan.

“Can you just shut the fuck up?” - Archie.

“Alright...in the end. All that matters to me, is me. And what matters to you, is you. That’s the nature of things. If you’re expecting us to fight for the future of this city like two angry apex predators, fighting to become the new king? With all of Rapture watching us? You’re wrong. I know you can easily kill me. And fighting you is meaningless. 

Instead, as I put on a live feed for all of Rapture to see what happens between you and me. I’d rather talk like men. Real men. Because I know there’s one thing I want to discuss with you before I die. And after that, you’ll be wanting to commit suicide and realize I was the right the whole time.

And...you’ll learn about your parents...come now Mr. Wynand. The war is almost over” - Ryan.

Archie makes his way to Ryan’s office, determined to finally meet the man in person. The one that dreamt of this city, and the one that made it fall. Through the speakers, Ryan tells his troopers to stand down, to leave the area. They’re all confused, but they go along with his order. Especially after learning and witnessing their captain’s near-death experience with this man. They rather not get in this young man’s way. He walks up the stairs to the office, Rapture Central Control. He holds his AK in his right hand, the Wrench in his belt, the righteous anger coursing through him as he slowly goes up the stairs. But before he enters, the city is given a live feed from Ryan’s office. And bear witness to what is about to happen.

Archie finally enters the office and sees Ryan casually golfing. The office was filled with Luxe Deco furniture and fittings. There was even a small bar with a bunch of alcohol bottles on the wall behind it. Along with windows showcasing the city itself. But also, a bust of himself. This man was really full of himself. Despite all of the mess Archie has made in Rapture recently. Ryan doesn’t give a damn. “I’m glad you finally made it” he tells him as he continues to golf. “Like I said, I’m actually impressed with how far you’ve made it. But now, the soldier has overcome my final defense. Thinking he’s on some righteous mission. I guess good soldiers do follow orders. Am I right?” he tells him. His rambling only caused Archie to stand. Ryan then takes out a golf ball from one of his pockets. He begins to speak again. “Do you believe in predetermined destiny Mr. Wynand?” Ryan asked him as he examines the golf ball. “What about fate?” he asked again as he looked back at him.

Archie gave no answer. He just stared at Ryan. Their eyes locked. “No answer?” Ryan said, still waiting for a response. “What about the difference between a man and a slave? Your viewpoint that someone’s birth doesn’t define them?” he asked another question. But still no response. He sighed in annoyance at the fact he wasn’t given an answer. After that, he looks at the golf ball again.

“Are you seriously just talking to me right now about this?” Archie asked him. Ryan looked at him. His face had not changed.

“Are you actually trying to talk to me about this crap after everything you just tried to pull? After everything you’ve done...you’re still going on your philosophical bullshit. The reason I’m not gunning you now right now because I’m not going to murder an old man who just couldn’t get along with the world because of his stupid mindset. I’d rather wait for you try to do something so I can make it fair for you. Or maybe you could off yourself instead” - Archie.

“Wow...you are...still acting so stubborn. You’re like...a rebellious teenager who just can’t understand anything” - Ryan.

“How about you huh?! Because I’ll be honest. Your city as a concept is fine” Ryan looked a little surprised the moment he heard that.

“Maybe if you put in some rules, and actually treated people with respect. And make sure that Fontaine asshole was caught earlier. None of this would be happening right now. But even before ADAM was discovered. You built it on a foundation that would’ve never worked! And I’m going to make sure the world knows what you did down here!” - Archie.

“I’m not like the parasites” - Ryan.

“You ignorant piece of shit! You’re one of the biggest reasons why this society fucking failed! Your so-called dream caused the deaths of so many people because you couldn’t grow the fuck up!” - Archie.

“You don’t know how the real-world works do you?” - Ryan.

“Motherfucker I’ve been in combat! I’ve seen how the world works! You’re just like my commanding officer! You and him are like every asshole that has this survival of the fittest attitude! When you’re the reason why people die in the first place, you fucking piece of shit!” Archie grabs one of the chairs, throwing it at the alcohol bottles, breaking many of them, the beer falling to the ground. Ryan just stands there, seeing the bottles break and the alcohol on the floor.

“DO YOU EVEN REGRET ANYTHING YOU’VE DONE?!” Archie asked him. Ryan simply stared at him, he actually started to wonder. He looks at the golf ball again and then sighs.

“You know...Bill and Sullivan were right. Fontaine was right. Lamb was right. Sinclair was right. Hell, even you’re right. They all saw it coming. And I was stubborn to see it. My talk about the Great Chain and many things. And because of my actions, my ego, my city...is a shell of its former shelf. Maybe...Ayn Rand wasn’t a good source for inspiration. Maybe she was wrong...about a lot of things”. Ryan explains to him.

Feeling a little sympathy, Archie asks Ryan an important question.

“Do you regret everything you’ve done?” - Archie.

Taking only five seconds to respond. “No...I don’t regret a damn thing” - Ryan.

Upon hearing that, the anger came back even more.

“You know, when I was spending a weekend at the Adonis with Diane. She mentioned about bearing my child. I didn’t consider my legacy until that time. It was before things got worse. You know, I actually had my security intercept the cargo ship you were on, to find you. But the crossfire caused the ship to sink, and you made it difficult to find you. Yet I believed you would’ve been a rightful heir...turns out I was wrong. You...are everything I hated about the surface” Ryan tells Archie, before he pathetically throws the golf ball at Archie’s chest. It bounces off of him. Archie just simply stands there. Stunned by what he just heard as Ryan then stands on the golf club with his right hand and crossing his legs. Just both of the men staring at each other.

Archie drops his gun, speeds walks towards Ryan. Finally grabbing him by his suit. Enraged by what he just heard. With Ryan not being afraid of what was happening.

“You justified Little Sisters existing! You used Elizabeth as a lab rat and leverage! You left the lower class to rot or become Splicers! And everything with your security! You hate me because I’m everything you hate about the surface?! YOU ARE THE KIND OF PERSON I HATE! YOU AYN RAND MOTHERFUCKER!” - Archie before throwing Ryan at his desk. “YOU”RE NOT A MAN!”

“Would you kindly calm down?” - Ryan tells him. Archie stops in confusion when he hears that.

“Familiar phrase? And...did you consider me...not a man?” - Ryan.

“You’re a fuckin idiot if I’m going to be your surrogate son! Why do you and Atlas keep saying that!? What kind of fuckin phrase is that?” - Archie.

“You really don’t think I’m a man?” Ryan says as he gets up.

“You’re not” - Archie.

“Well...I think it’s time I show you something” Ryan says as he walk towards to a side of his office that’s been in complete darkness, turning on the lights, and revealing something...awful.

What Archie sees confuses him. A bunch of pictures and papers on the wall and a desk. The pictures of people including Ryan, Jasmine, Fontaine, Suchong, Tenenbaum, and a young man that looks similar to him. And then another set of pictures with an unknown Polynesian man, and two twins. He looks at the desk, grabbing papers that list information concerning someone named Subject WYK. Details about tests, mental conditioning, and other things. Such as the plans for Code Yellow. Including the subject’s birthday. Which being January 15th. He closely studies them.

“...what is all this?” he says as he continues through the papers.

As Archie looks through the papers. Ryan picks up some sort of audio diary from another desk. He plays it.

1. “Date December 12th. Advanced deployment, Lot 111 Dr. Suchong/Client Fontaine Futuristics. Subject WYK is now a year old. Fifty-eight pounds. Now, the subject is about eighteen years old. He’s fit, but I consider the results disappointing. But hey, Lot 111 worked. And the other result being that Plasmid testing did well. If the subject were to take too much ADAM...he’ll be fine. No worries of the subject becoming a Splicer. Unless maybe he overdoses. I’m not going to risk it. He has a huge resistance to becoming a Splicer” - Suchong.

He then grabs another and plays it.

2. “Date. June 7th. WYK testing...is that your puppy? She’s very pretty” - Suchong.

“Thank you Papa Suchong” - Subject WYK.

“Break her neck for me” - Suchong.

“What?” - Subject WYK.

“Break that sweet puppy’s neck for me please” - Suchong.

“No...I don’t want to” - Subject WYK.

“Would you kindly break that puppy’s neck?” - Suchong

“No...no” The subject starts tearing up as the puppy yelps out before a crack is heard.

“Ah...that’s good...very good” Suchong says as the sounds of the boy tearing up is heard. “Oh, grow up will you?” Suchong tells the subject.

And another.

3. A disappointed sigh is heard. “Date...March 15th. Somehow...Subject WYK has been kidnapped. I don’t know how. It seemed impossible. He could’ve have escaped by himself. Fontaine...*He chuckles*...he was losing his shit. All that money wasted...but hey.

Fontaine’s like every conman. He acts like a boogeyman...but this happens...I think what makes it worse, he wanted me to order a kill switch where the subject’s brain tells its heart to stop. And just in case, a cure for the mental control plasmid...so no one can use the subject against him...he didn’t want me to tell Tenenbaum...which is fine...but the subject is gone” - Suchong.

And one more recording.

4. “So...Fontaine’s dead...Tenenbaum’s somewhere else...it’s just me. Working for Ryan. He pays well. Pays a lot more than Fontaine actually. And I’m just making sure I keep the Big Daddies, Little Sisters, and Plasmids going...and Point Prometheus is mine...

You know...whatever happened to that kid...Subject WYK...he wasn’t a person. Wherever he’s at now...hopefully someone put the poor bastard out of his misery. And his mom still thinks we put her kid up for adaptation. I still find that hilarious...honestly...whatever we did to that kid is much worse than what we did to Elizabeth” - Suchong.

Archie is confused yet horrified by what he had just heard. Ryan puts away the recordings.

“I had only found out recently Jasmine bared my child. She donated the embryo to Tenenbaum and Suchong, hoping they will make sure the baby is healthy and put into adoption. I found out Booker lied about her involvement to protect her. Yet...over time, I decided not to care because it was too late.

But here’s the one question I want to ask you...who do you think kidnapped Subject WYK?” - Ryan had asked him. “You know what else is interesting...your name is of German origin...did you know that?”

Archie soon finds papers that details Subject WYK’s original preprogrammed life. A young man named Jack Wynand living on a farm in Kanas with his parents. But Jack would be in “Stasis” until he was needed. Making him a backup plan if Fontaine ever needed him. Including with a picture of him in a sweater and...his wrists.

“You know...I think it’s best you read this. This will explain what happened to my son” - Ryan hands Archie a piece of paper. Archie slowly takes it and reads it. To his shock...it confirms his worst fears.

It details his life. Two loving parents that were lost at sea in a boat house, a high school graduate, a fake birth certificate with a high school diploma. Including that that these twins stole money and teleported him to Florida. But also, that these twins were the ones to kidnap Subject WYK. And all of these were written by the first person he trusted in Rapture...

Brigid Tenenbaum. She also wrote she stopped the mental conditioning from working the best she could.

During this whole reveal, Archie doesn’t mutter a word. Only in shock by this discovery. As he tries to collect his thoughts of everything he had read, seen, and heard. He drops the papers; his hands only shake after what he had just read. Almost like he was about to possibly cry. But he kept himself from trying to.

“No...none of that is real...I’m real...I was born in Florida, I graduated high school, my parents were real, my mom was real, my name’s not Jack it’s Arc-” Archie was interrupted as he was struck on the left side of his head by the golf club’s handle.

“Don’t you dare try to deny it! Don’t you dare!” Ryan said before he struck him across the face with the handle again, resulting in Archie going down again. "Do I need to personally tell you myself?! To get through your meathead brain! You are a byproduct of MY CITY!” He struck him across the face again. “You were a FUCKING BACKUP PLAN!” he stuck him again. “I am your REAL FATHER! Your real mother IS A WHORE!” and stuck him again. Archie was now laying on the ground.

“You’re not a person! You’re an abomination! But the fact you have the ability to make choices now makes it EVEN WORSE!” He kicked him across the face. “You’re just like the soldiers that murdered my aunt and uncle! The men that drove my family out of my home! The men that believe they are doing the right thing! You have been helping people BEYOND REDEMPTION! People that never valued your life! People that need to be killed! YOU WERE NEVER SPECIAL!” Ryan yelled out to make sure he got what he was saying.

"LOOK AT YOUR WRISTS!” Ryan yells to Archie. At this time, Archie is on the ground, in pain. He slowly crawls away from all the information in the corner. He gets on his knees in the middle of the room. After that, Archie then slowly looks at his covered wrists, taking down the sleeves of his jacket, looking at his faded chain tattoos.

Really looking at it and suddenly remembering a quick glimpse of memory where the tattoos weren’t faded, but still fresh. After that...nearly everything started to come back. These tattoos he got weren’t the result of a stupid dare he did when he was younger. They symbolized something. He was branded. A reminder to him of what his place was. What he was supposed to be. So many thoughts coursing through his mind.

“Do you want to know what separates a man from a slave? It’s not money or power. A man chooses. A slave obeys...and you know what you are? Even though you are my son, and I wanted you back. But you...are my greatest mistake. You are everything I hate about the surface. You represent what I hate the most. Altruism” - Ryan.

Archie just looks at him in shock.

“You’re not special...you’re actually the worst kind of special. You’re no different than the Little Sisters, the Splicers, the Big Daddies, or even Elizabeth. You proved that even with free will...you’re still a slave” - Ryan. 

“Blindly followed orders, believed in something that wasn’t real. And you contributed to the problem...and you weren’t brainwashed...you were fulfilling what you bred to do...but let’s test that if you really have any agency” he continued. And Archie slowly got up.

In the span of only for a few minutes. Archie’s world was completely destroyed. All of it, because this man revealed to him the horrific truth of what he was in a cold way. A LIVING WEAPON.

After explaining to him his real birth and childhood. With the city of Rapture watching them through the live feed. Ryan walks towards Archie and gives him the golfclub he hit him with earlier. Archie grabs it slowly.

“I’m going to give you two choices.

One. You drop the golfclub, you walk out of here. You leave me to be either killed by the rebellion or the Splicers. To be judged by the citizens themselves. Giving me a proper punishment. If you choose this, you truly are a man.

Two. You brutally beat me to death with that golfclub like a rapid animal. Because you’re enraged by every injustice I’ve done. And what I just revealed to you.

There’s no proper punishment. You get what you want. But you deny the city’s vengeance upon me. But the worst part is this. If you make this choice. Even with your own free will. But considering your life’s purpose. You prove to me you’re still Fontaine’s bitch. That you aren’t a person...you’re still a slave. If you can’t restrain yourself from killing me, then you prove my point.

That you’re just a weak slave who can’t restrain all that anger.

We all make choices. But in the end, our choices make us...now...would you kindly make a choice” - Ryan.

Confused, conflicted, but soon engulfed with rage unlike he’s ever felt before in his life. Even knowing this is what Ryan wants, to manipulate him into killing him, to prove his point. But after this week, and everything he’s been through. The pain, the trauma, and the lies. Ryan’s face doesn’t change. Looking like a stern and disappointed father. He stands there ready for his son to make his decision. Prepared to take whatever Archie does. Fully believing enraging his son to make the decision he wants.

Shaking the golf club, and soon starting to tear up. Archie screams in anger as he raises the club and finally swings it at the left side of Ryan’s head. No screams of agony from Ryan, as he hits the ground, but still trying to get up. He just looks at his son in genuine disappointment. Even with his head bleeding.

Archie then screams and hits him in the head again, now multiple times at such a fast rate. Angrily screaming as he clubs Ryan’s head at an inhumanly fast rate. Focusing all of that pent up anger he’s had at the injustices, the unnecessary deaths, the troopers, Atlas, and even Ryan himself were all being unloaded. All live on that Rapture feed as every person watches him beat Ryan to death. And with Ryan not uttering a word. Not even giving a damn. Taking every hit to the head like what he would consider a real man.

With one last strike as Archie gives one last enraged scream, the breaking of a skull is heard.

Andrew Ryan was dead. The club had broken and was stuck in his head. He finally did it. The Rapture Civil War was won. Ryan’s tyranny was over. But Archie knew what just happened. Ryan proved his point that even without the mental conditioning. Ryan won. Archie finally completed his purpose in life. And all Ryan had to do was to mentally break his own son.

Looking at the handle of the golf club he still held. Fully realizing what he had just done by his own choice. He dropped the handle, looked at the ceiling, and Archie gave one final rage educed scream. Almost like an animal roaring, filled with anger and somehow agony. The scream heard and seen on the live feed spread through all of Rapture. With Archie unknowingly making it seem like a roar to everyone. 

The people still in Olympus Heights watched it, the people in Apollo Square. Any place with a working tv. The Splicers in any area they were in, they were in shock and aw at the moment. The “Demon” had killed the king. Rebels witnessed it; troopers had witnessed it. All in shocked by what just happened.

He picks up his gun, slowly walks towards Ryan’s desk, sitting down in front of it. He looks at Ryan’s corpse. Still retaining tears in his eyes, fully taking in everything that just happened. He wasn’t thinking straight. He looked at the gun, making sure if it still worked in case. After that, he looked at the wall of pictures again. Particularly the one of Jack. He finally decided to do it. He slowly put the gun below his chin, and ready to pull the trigger and he closed his eyes. Fully believing if he kills himself. That all the pain will go away. He hesitates, he’s still wondering if he should do it. Until the sounds of footsteps surprise him, and familiar hands carefully grab the gun. He opened his eyes and looked towards his right. It was Elizabeth with the Little Sisters behind her.

He didn’t know what to say. All he could do was look at Elizabeth’s eyes, who was close to tears. She was holding the rifle. She wanted to grab it out of his hands. To not let him end it like that. No words were said. But if Elizabeth’s eyes could speak, and even the children. They were saying, “Please. Don’t do it”.

After only five seconds, he slowly pulled his finger away from the trigger, and slowly let it go. With Elizabeth carefully putting it on the ground and pushing it away from them. In a matter of seconds. Elizabeth, and the children gathered around to hug him. With Elizabeth softly crying. But still trying to be reassuring. After everything they’ve been through. With all of the goodness and happiness this one man brought them. They weren’t going to allow him to do something so drastic. He risked his life for them, he was there to comfort them. It was time for them to do the same. He deserved it after everything he had been through. And right now, he was embracing the love they gave him. With Elizabeth sneaking a kiss on his right cheek.

In this moment, he was grateful they came in and prevented him from making a horrible mistake. Their comfort was what he needed the most.

[bakugoukatsuki-rising]

Bakugou Katsuki - Rising

So I told someone a while ago I’d be writing an essay on Bakugou’s lines from 284, and I’m keeping true to my word. If you’re wondering which lines, well my friend, these lines;

So this, to me, is one of the most emotionally packed pages of these recent chapters. For one, it shows us that Bakugou has always been watching Deku, the same as Deku has been watching him. Since they were kids, probably from the age of 4, Bakugou was able to tell Deku never thought of himself first, it was always what he could do to help and protect other people with no regard to his own safety or well-being. 

“He’s always been like that.” 

How would Bakugou know Deku has always been this way if he wasn’t paying attention to him? It goes beyond his bullying in Middle School, because he’s watched Deku stand up for other’s his entire life. The very first scene of the manga is Deku protecting a child from Bakugou and his group of misfits, despite being quirkless, and essentially helpless. 

Despite being scared, and knowing he didn’t have the strength to take on those boys, he still stood his ground and did what he could to protect the other kid. Bakugou witnessed that first hand, since he was the aggressor. He was the one Deku was protecting someone from.

There was no way Bakugou wouldn’t remember something like that.

We know he remembered how Deku extended his hand to him when he fell in the stream, even though Bakugou was fine and didn’t need any help. Deku still waded through that water and even risked possibly getting himself hurt, to reach out to Bakugou and make sure he was alright. 

Now, I am going to point out that the stream incident definitely happened before the scene of Deku protecting that boy since it’s evident they’re older in that scene, but it was presented first (literally the first panel of the entire manga), so it takes precedent. 

Then we have the big one, which is the Sludge Villain incident, and Deku’s biggest show of self-sacrifice probably to date within the manga, since he was quirkless and would have certainly ended up dead if All Might hadn’t managed to power up. Even with the times he’s wrecked his body using OfA, he at least had some kind of fighting chance because of the power, but with the Sludge Villain, he had nothing. He was just throwing himself out there in hopes, by some miracle, he could do something to save his friend, even if it meant losing his life in the process. 

Another instance of Bakugou witnessing firsthand the self sacrificial nature of Deku. Throughout the manga we’re given these instances, and the next big one is Bakugou’s kidnapping. Now, he didn’t see Deku’s fight with Muscular, but he did see the aftermath, he saw that ruined body running at him full force with no care to the damage done to himself, and even before that, he saw Shoji carrying him while Deku continued to plan out their plan of rescue, like his entire body wasn’t a crumpled mess. 

Time and time again, Bakugou has been witness to Deku’s behavior, to this self sacrificial nature. The scene above is the first real time we see Bakugou acknowledge it. He tells Deku to stay back, he knows if he continues trying to fight looking like that, he’s going to die. I’ve seen other translations and I believe in the anime he says something to the context of “Don’t come, Deku.” Which, either way you look at it, it gives the same impression of Bakugou trying to protect Deku in that moment. Because he knew if there was an opportunity for Deku to reach, he would have fought until there was nothing left of him. 

“And now that he can do so much more...”

This line is important because it is Bakugou acknowledging Deku’s current strength with OfA, but it is also his confession of worry because he knows who Deku is, and what this means for him. If Deku was reckless and willing to sacrifice himself when he was a 4 year old child with no quirk, well now that he has the strongest power essentially in existence, that means certain death. There is nothing stopping him from completely destroying himself, and we saw a brief example of that when Deku fought Muscular, though not even close to the level he was going at Shigaraki, and what Bakugou was actually getting to witness during this chapter and 285/286. 

I use the above image because it kind of shows how bad off Deku was, which is far worse than when he fought Muscular, let me remind you. That scene is in chapter 285, after he’s essentially destroyed both of his arms hitting Shigaraki probably upwards of 10 times with 100% OfA. 

Remember, Bakugou has been watching all of this from the ground. 

“Something doesn’t feel right, it makes me wanna keep him at arms length.” 

Well ya know, I don’t really blame you for feeling that way, Bakugou, I wouldn’t feel right if the kid I knew my entire life was willing to die at literally every turn without thinking for a split second about himself, either. It’s a little strange, but that’s what makes Deku the unstoppable force that he is, because he has the drive to save people no matter what. Now if he could master his power and depend on other’s, it would be even better, because then maybe he wouldn’t have to kill himself trying to protect people.

But seriously, that line shows Bakugou's uncertainty about getting close to Deku, because that kind of behavior is scary. It's intimidating. To just...throw your life away for the sake of someone else, that's gotta be scary to see someone do, and Bakugou has witnessed it over and over because of his closeness to Deku.

Now for the big one.

"Back then, I ignored my own weakness...so I ended up bullying him."

There's the kicker, folks. The real development we've all been waiting for.

I do want to point out that when Bakugo was 4, he didn't realize he had weaknesses like that. He was honest to God just a bratty kid that probably thought Deku was weird for caring so much about people despite, essentially, being useless to them. Because what could Deku do? Nothing. He couldn't help anyone because he was quirkless, but he still tried, and that's what affected Bakugou so strongly.

So strongly, in fact, that he never forgot it for a single second.

From 4 years old all the way up to 16 years old. 12 years. 12 years Bakugou Katsuki was witnessing Deku's self sacrificial nature. Again and again he watched as this boy who had nothing, continued to fight for something, and then he was granted power, terrifying power, and now Bakugou is left to wonder how the fuck any of this could have happened. Because if Deku had just stayed quirkless and accepted it, maybe, just maybe, he would stop that self sacrifical bullshit. Maybe he would see himself a bit more.

But then he was given OfA, and all of that hope was gone. Now he was given a power meant to take on the greatest evils and every person before Deku had died for the cause, so why would it stop with Deku, who was already ready to get himself killed to protect someone else when he was like 14 years old?

The scenes we have of Bakugou acknowledging Deku's behavior, and acknowledging his own behavior, it's such a raw scene. It takes a lot to acknowledge you've done wrong by someone else. It takes a lot of strength to sit back and recognize those ugly parts of you, and here Bakugou is, doing just that. And he isn't doing it for some self righteous get me off, either. He's doing it because he genuinely cares about Deku's well being, and he always has.

It never came out the right way, and he sees that now, but that doesn't mean the concern wasn't there. He just didn't know the right ways to express it, but as things have gotten more serious and now Deku is truly risking his life for this cause, he's come face to face with it. He can't hide from it anymore. The more OfA develops, the more Deku is going to put himself out there, and Bakugou isn't going to sit around while he kills himself when he could just learn to ask for help.

This stretches all the way into 285 and Bakugou's sacrifice, because he saw Deku about to end up seriously hurt or worse, and he knew he couldn't let that happen. Of all the years spent endlessly tearing himself apart for other people, Bakugou knew he needed to show the other in some way he didn't have to do it like that. He didn't have to fight alone.

That, and it was part of his atonement. It was a piece of his apology to Deku, to show him that he valued him, and he was willing to put his life on the line for someone, for him.

Bakugou didn't think when he rushed out to save Deku. It was instinctual, like breathing. He saw someone he cared about in danger, and his body moved on it's own. That, from the angry brat we get in chapter 1, is a beautiful showcase of perfect character development and growth. If you take into account everything I've discussed throughout this, it should be easy to realize or at least see a bit of Bakugou's perspective, and his thought process when dealing with Deku.

It never justifies any of his past behavior, but it gives us clarification, and then allows us to appreciate his thoughts and actions in 284 and 285 even more.

[ceruleanchillin]

5 Day Stay

| Or, Angel down bad for a week |

Angel x F!Reader

Warnings: language, infidelity, Angst (?), lil bit chili spice at the end

Mon:

Angel felt he was too young to consistently feel so bone-tired, yet that’s how his day had been ending for weeks now. Sometimes it was all he could do to get off his bike and make it to the door, only to have to rest his head against it to prepare to make it to the couch and collapse.

Tonight was one of those nights, and he wanted to be dead to the world until it dragged him back into it.

It was the smell of mixed spices that hit him first. It felt like he was in suspended animation, and slowly being released as different things started to register to him.

His TV was on, someone was rummaging through his kitchen, and music played faintly from his desk. Thinking back to the last time an unwanted guest was in his kitchen, he placed a hand on the holstered knife fastened to his back.

The fridge door closed, and you appeared in the window, eyes focused intently on whatever you were cooking on the stove.

He exhaled, feeling like complete shit. It only spoke to how weary his mind was that he could forget you were staying with him for the next week. Especially after the conversation that led to it.

“I don’t know Angel…really I can afford a motel for a few days.”

“Here? Rusted-through pipes will be the last thing your landlord is worried about when you bring back bedbugs and shit.”

Your eyes had widened at that, but still you brought up the thing that had been chained to your hesitation. “I mean….do you think it’s ok to do this? After we…Nails..Ang-“

He remembered a flash of irritation, more so at himself than you, when you said that. “Yes querida, fuck. If you’re so scared, I most likely won’t even be there the way things are going. Nails is out of town til’ next weekend…”

“Relax Ignacio.” you had cut your eyes at him, and he’d felt his dick jump like it did whenever you gave him attitude. “I’m just not trying to be a problem.”

Your voice calling his name brought him to the present. He caught the last part of your statement, that you didn’t know he’d be back.

“Yeah, we got in earlier than expected.”

“While you’re standing there like a weirdo, let me shame you real quick. How does a man in his thirties still have the kitchen of a frat boy?” You leaned on the sill of the divider. “You’re lucky I already knew you were sad in the kitchen. I had to bring my own tagine.”

He stepped into the kitchen, his stomach coming alive with interest. “One, I don’t know what that is, two, I can’t help it if the kitchen isn’t my preferred room of work.”

He peeked over your shoulder, but the unique pot kept him from seeing what you were making.

“Neither is the bedroom, unless that work is piling up dirty laundry.” you stuck your tongue out at him and turned back to your simmering dish.

“Ha ha. Dinner and a show, she does it all folks!” he collapsed at the table, the day catching back up with him. “Should put your ass on the club’s payroll. End the cashflow problem real quick.”

You turned to him, concern etched on your face. “I heard from Hank about that…sorry. I know now isn’t a great time for that at all.”

Things got awkward like they always did when you referenced the recent changes of his life. He wasn’t sad about getting another chance at fatherhood, this one more tangible than the last. However, he wasn’t entirely sold on everything he’d accepted along with it, and he was pretty sure you at least suspected that. It threw the previously comfortable confusion that was your relationship off track when it was touched on.

“No, it’s not.” was all he could manage.

It was quiet for a beat, the simmering of the food and quiet Neo Soul the only sounds.

“Well,” you started, turning off the burner. “At least you don’t have to eat like a ‘we got food at the house’ meme for once.”

He laughed, a genuine and needed laugh. “Ok, you know what? Keep talking about my pantry stocking skills, and I might take it personally.”

The rest of his night went that way. Anytime you and Angel got together, things were just…easy…better. You spent the evening eating in front of the TV (Angel getting all the way to thirds for what turned out to be olive chicken and roasted potatoes), trading jokes, and going over the finer points of Golden Girls. Angel learned you took it very seriously, and mocked you for being “old”.

It wasn’t until you were nodding off, and he was left with his own thoughts, that he realized he hadn’t enjoyed coming home this much since he moved in.

Tues:

Angel had dreamed he’d been back in his childhood home, but as a grown man. There was music coming from his parent’s room, and when he got to the doorway, his mom was at her dressing table. She hummed along to the soulful seventies music and smiled at him from the mirror. She said something, but he couldn’t make it out, and woke up in the frustration.

He jerked up from his position on his stomach, and slowly came to. With a grunt he wiped his hand down his face, glancing at his phone to find it was six in the afternoon.

It then occurred to him the music wasn’t just in his dream, it was coming from his bathroom. He got off the couch and followed the sound.

“Hey coma head.” you grinned at him from where you were doing your makeup.

He shook his head, trying to let go of the last vestiges of the dream, and how eerie the scene before him was.

He focused instead on the nightmare of products and alien looking tools surrounding you.

He kind of liked the mess, even if he couldn’t see the counter anymore.

“Hey hurricane Ulta.”

You made a face that was a cross between being amused and suspicious. “You sleep in your jeans and buy your shirts in pack form. Don’t act like you know what that is.”

He made a face of mock offense. “That’s so classist.”

This time you paused completely in you what you were doing and twisted your body to meet him. “Uh oh…let me find out you’re actually learning something from EZ.”

“Angel Reyes can know something about something, damn.”

You laughed, lowering your hands from where you’d been lining your eyes to avoid a mistake. “I’m only teasing you Angel Reyes.”

“Looks like you plan on teasing more than me. Some clown is gonna get his hopes and tiny dick up for nothing.”

“There’s this new club in the city that Belinda’s getting us into. It’s bad luck to buy your own drinks on the first night at a new place.” you adjusted the bodycon mini-dress for emphasis. “You doing anything?”

“Club shit.” he started picking through the products, sniffing them every so often. “Then I think I’ve got a call with Nails at some point.”

“You think?” you popped his hands when he got too close to the good stuff, or the things you were using currently.

“Yeah..I think.” he shrugged, only realizing how short he sounded when you winced.

He didn’t know why he got so annoyed when she was brought up around you. He wasn’t like that with anyone else, and he knew you were only trying to support his incoming changes.

“Ok..”

Awkward silence settled in before he found the words to break it.

“Why do you wanna know? You want me to be that clown?”

“Never.” you pinched his cheek, tone pure saccharine jest.

He muttered in Spanish, stepping around you to the toilet.

“Angel!” you exclaimed.

“What?! It’s my bathroom, I have to piss.”

“You better never make me angry Reyes, I could end your whole Casanova game with ease."

Wed:

“You holding on a little tight there mami!” Angel called over his shoulder with a laugh. “You said go fast."

“Shut up!” you giggled, but he wasn’t lying.

You’d asked Angel to take you to work on his bike since even though you spent so much time with bikers, you hardly got to ride one. You were going to the same place anyways. He had been all too happy to shake up his commute, but your speed challenge took it over the top.

He didn’t know how you were up so early, he personally felt like the bags under his eyes were like a PEZ dispenser. You’d gotten in at two am, and still got up with him at eight.

He loved watching you in the morning, you managed to be cheerful without being obnoxious, and it worked better than coffee for him.

He loved how much he was learning about you.

As he pulled onto the street beside the cafe you’d asked him to stop at, he felt your arms uncoil from around him. He may have pretended to shift just to make you pause and hold him a few seconds longer, but he wasn’t going to acknowledge that.

“I didn’t scream, and I’m not shaking, so you still have to buy my breakfast.” You unclipped your helmet, grinning the whole time.

You looked so pretty to him, with the sun hitting your eyes and hair just right. He could catch you at just the right moment, and you’d look so gorgeous, he struggled to believe you were real.

He cleared his throat, afraid his voice would crack if he didn’t. “Fair enough, come break my pockets then.”

You laughed, squeezing his chin and pointing out his pout. “You don’t even have to tell me once sir, I know my worth.”

Once inside, he trailed after you to the counter, using your head like an arm rest when you reached it. “That’s good.”

“Boy!” You swatted his hand away, and it was his turn to laugh at your adorable pout.

“New bet,” he stepped around you while the customer ahead of you wrapped up. “If I get your entire order just right, you buy lunch.”

“Deal.” you leaned on the counter, eyebrow raised at him in challenge.

Angel knew the best part of his day would be watching your expression go from smug to shocked out of the corner of his eye. He nailed every pastry, the iced coffee, and their preparation with ease.

The simultaneously impressed and amused barista looked to you for confirmation. She got a shocked nod in response.

“I know my worth too mama, so don’t skimp on lunch.”

“Fair enough.” You shook off your shock as you repeated his earlier words and shrugged. “Can’t complain I guess. I trained my work husband too well.”

He scoffed loudly, and the two of you went back to swapping smart ass barbs while he tried to ignore the lingering dip his stomach did when referred to him as “husband”.

Thurs:

Angel was a grown man, with years of grown man experience, yet he was sitting on the edge of his bed feeling like a teenager again.

The end of your stay was nearing, and every time he thought about you going back home, he felt weird. He was pretty sure that’s why he’d been a little snappy and annoyed easily at the club the past couple days. He just wasn’t ready to delve into that too much.

Regardless, he had to admit you had some growing effect over him. All morning, while he should’ve been resting and preparing for a charter visit, he was fighting off hard-ons thanks to you.

“Can I borrow your kitchen for the day Angel?” He mimicked your voice in a nasally mocking tone. “I’ll save you some when I’m done baking.”

He’d thought nothing of it when you asked the night before. Really didn’t even feel like you had to at that point.

He realized why when he saw that the desserts you were making for your friend’s brunch were elaborate as hell. The effort took all your attention, and unfortunately for him, his too.

You were baking a lot more than dessert and didn’t even know it.

Now he was hiding in his room, fighting off arousal he knew wasn’t appropriate. You weren’t his and he wasn’t yours.

That didn’t change the fact that you in a short silk lounge set, singing in French (how the hell did you know French?), doing domestic things in his home, did it for him.

He ran a hand over his hair, still damp from his cold shower, and forced himself to finish getting dressed. He had to be ready to face a room of dangerous bikers and prove his patched in worth. He couldn’t be thinking of weird little fantasies and parallels to his parent’s marriage.

He must’ve zoned out again, because you startled him enough to almost make him hit his wardrobe.

“Oh my god Angel try this! I think I did magic.” You excitedly thrust a red cookie his way.

Angel took the offered treat, and found it was a red velvet cookie. “It’s fucking good mi dulce.”

“Really?” You looked so hopeful, so beautiful, that he would’ve lied if the situation called for it.

“Yes, but you know you kill it in the kitchen.” He turned away to put on the flannel he’d fished out.

Now you were in his personal space, smelling amazing, and all his senses were under attack. He couldn’t trust Angel jr. at the moment.

“Baking is different. It’s a whole thing for me...I go all in.”

“I noticed your little Broadway production in my kitchen.” He kneeled down, pretending to look for his shoes as something to do while you were there.

“Don’t shame me.” You pressed your foot into his back, gently pushing him. “It makes for better results.”

‘shit.’ He cursed mentally at the contact.

Luckily, he heard you turn to leave the room. “Oh, EZ said to tell you to hurry up or pick up your phone.”

He rose up once you were gone and checked his phone. Sure enough, he had several missed calls and texts from Gilly, Coco, and EZ. He cursed aloud this time and finished getting ready, determined not to get distracted again.

Of course, his boys having to physically come in and get him when he did just that destroyed that promise.

Fri:

It had come down to the last night of your stay with him, and what he thought was a favor to a good friend, turned out to be more for his benefit.

The hell with the club seemed so far away when he was home now, and he’d laughed more times that week than he had the previous few months total.

Tonight though… Tonight had him so in his head he didn’t know if he was coming or going.

You, sensing something was going on with him, had invited EZ and Felipe to dinner. He didn’t know how you got the latter to agree, his dad had never even been in his home before, but you did it. It went over a hell of a lot better than the last time they tried it too.

The missteps that reared their head when his family tried to talk to each other at length were mitigated by you. You were the perfect buffer, able to get them to engage with you and then each other.

He saw his family in an unfamiliar, but favorable light. His father was actually enjoying his time with him in his house. He knew that night wouldn’t have happened if not for you.

Now, as he distractedly dried the dishes you’d washed, listening to you hit all of the high notes in Loving You, it hit him.

‘She should be my wife’ the thought came so quick, and was so loud he almost jumped, confused if it came from him or someone else.

“Hey dishwasher-less!” you nudged him with your hip. “Move those hands.”

“Why can’t we be a thing?” he blurted.

You dropped the silverware you’d been washing, eyes wide and focused on him. “Um..excuse m-…what?”

He knew that wasn’t the most tactful way to introduce his thoughts to you, but it was his way. Fuck…he didn’t even understand them fully himself.

“You heard me querida,” he put the dish down on the counter, turning to you. “When I stayed with you that weekend that my head was all fucked up-“

“Angel.” your tone made it a warning, but he kept going. He was never afraid of a challenge.

“I was inside you so much that weekend I forgot that’s not how I came in this world. I can’t believe I’m saying it out loud, but I felt home cause I was with you-”

“Stop it!” you hit the sink, rattling the contents.

“Fuck that!” he shouted back, startling you both. He stayed silent for a moment before speaking in a calmer tone. “Fuck that. Why can’t we talk about it? Why couldn’t we talk about it then?”

You didn’t say anything, but he saw your chest heaving with adrenaline, and realized you were just as affected by the conversation as he was.

“You just decided it didn’t matter and put it in this space we can’t touch now. It’s all fucked up!”

“Because,” you hissed. “If you remember, it was all over that Adelita chick, and I don’t know what kind of hold she has or had over you, but it was deep.”

He cringed at that, and turned his attention to the light fixture over your head, unable to meet your heated gaze.

“Whatever feelings I have for you Angel, I put them away in a place where I can still be your friend and keep things in perspective.”

“Feelings you have for me?” he latched on to the lack of past tense, hopeful.

You inhaled sharply. “You are having a baby and just got engaged. What is wrong with you?”

“Nothing..I mean a lot, but nothing to do with this. I know-“

“I know,” you pushed away from the sink and reached up to cup his cheeks. “That you’re scared Angel. You’re scared, because you’re gonna take two steps you’ve never taken before at once, and you’re trying to sabotage it.”

He shook his head, taking your hands from his face and holding them tightly in his own. “No..mi dulce, no. I’ve been struggling with this all week, longer if I’m being honest. Tonight sealed it.”

You snorted humorlessly, looking around the kitchen as if something in the room would help you get through to him. “I cook you some big boy meals, and treat your speakers to some musical taste, and you’re ready for vows?”

“Don’t put this all on me. Tell me you don’t feel it. Right here and now, to my face.”

He watched your expression soften, and let you put one hand back on his face, your thumb gently stroking his cheek. “Ok, I can’t do that, but I also can’t just fall into a situation with you either.”

He scoffed and shook his head. “We both know we didn’t just fall into anything. We sat here and let it build and didn’t say shit, and now I have to. This week just made it too real not to.”

He placed his forehead to yours, his own hands cupping your face. “Please…”

He watched you have an internal battle by your changing features before you finally leaned into him. The moment you did, his lips were on yours.

He knew it was more than just a kiss a few seconds in. Everything he’d felt that the previous week was alive and confirmed between you too. He could feel you telling him you had moments like his own.

He palmed your thighs under your sundress before grasping them tightly and lifting you up. He placed you on the counter while you two separated for air. Your chests heaved in unison, and neither of you had to say you wanted the other touching you again before it happened.

He gripped your hair, tilting your head back for access to your neck. The smell of vanilla and cocoa butter surrounded him as he worked his mark all over your skin.

Your legs wrapped around his waist, and you pressed yourself against his jeans.

He hated he couldn’t feel the heat he knew was emitting from your core through the thick material of his jeans, and slid his other hand up your thigh to your panties.

Your entire body twitched when he ran his fingers over you through the thin cloth. It wasn’t just hot it was soaked.

“You need me that bad mami?” he pulled away from your neck, satisfied with his work, and beginning to work at his jeans.

“And quick.” you breathed into his ear, your tone and the sensation making him shudder.

The ache against his jeans didn’t need to be told twice to find its way into your heat. He slid your panties to side and pressed his thumb against you. You jumped, whimpering your need again, and he pulled your panties way from you.

You’d gotten them around one ankle before he was inside of you, and they were no longer your focus.

You clung to each other so tightly there’d be evidence on both of you.

In the quiet, he wondered if your mind was racing with the same thoughts that his was. What now? How do we get this again?

He pressed kisses to your cheek just as he started to move. You inhaled, your nails sliding down his back. Not quite catching the skin, but enough to set him on fire all the same.

He mapped out a rhythm by your whimpers and how you grasped at him until he crafted the right one.

This was the conversation he’d needed. Every thrust from him, every cry from you, every bit of give and take to heighten the other’s pleasure. The two of you were admitting that everything that was between you was deeper, realer than you’d wanted to admit. He loved you, and you loved him, and you were engraving that on one another.

The flirtation, the way you could be yourselves around each other, the heatless jabs. Good friends was always a ruse.

Your face was buried in his neck, and when he felt dampness he knew came from your tears, he hiked your legs higher, moving deeper.

You cried out so loudly it echoed in the kitchen, drowning out the soft crooning of an eighties songstress.

“I know baby, I feel it too.” his voice was choked by the threat of tears of his own.

He’d never been here before. Not with Adelita, not even close with Nails. He was terrified. Terrified for it to end because he never felt so good. Terrified for it to end because it might never happen again.

“Angel..” your voice sounded so small, but it was strong enough to anchor him back with you. “I’m close, I’m so close.”

“Let go,” he encouraged. “Let me have it querida.”

Your body seized up with your release, his name the only thing he caught in your unintelligible babble.

You clenched up repeatedly in the aftershocks, and that drug him over the edge with you, biting your shoulder.

His vision tunneled, pinpricks of pleasure traveling up and down his spine. Your hands smoothed up and down the area, and he realized it was because he was shuddering.

He gripped the counter for support, pulling back slowly. He was searching for a way to ask if he’d changed your mind, but the act hadn’t made words for his thoughts any easier to find.

It didn’t matter, before he could even speak you stopped him. Your eyes were glazed over with tears that had nothing to do with pleasure this time.

“That was all that I can give you Angel. It’s not right, none of this is, but it’s all I can give you.”

AN:

Am I the only one who wishes she had reference photos for their home/club layouts? Lol, it’s such a weird non-factor thing, but still. From memory, I’m pretty sure Angel only has one bedroom though.

No shade, no hate but this was partially inspired by how over Nails Angel looked when she was putting her back into it….🥴

I played with a few canon-timeline things + knocked the dust off my smut writing ability (I’m going under my humiliation rock now, no calls plz)

[lokiondisneyplus]

Natalie Holt's timeline was turned upside down last fall when she landed the highly-coveted composer gig for Marvel Studios' Loki series on Disney+.

"My agent got a general call-out looking for a composer on a Marvel project," she tells SYFY WIRE during a conversation over Zoom. "So, I didn’t know what it was. It was [described as] spacey and quite epic ... I sent in my show reel and then got an interview and got sent the script and then I realized what it was for. I was like, ‘Oh my god!’ It was amazing ... Loki was already one of my favorite characters, so I was really stoked to get to give him a theme and flesh him out in this way."

***WARNING! The following contains certain plot spoilers for the first four episodes of Loki!***

Imbued with glorious purpose, Holt knew the score had to match the show's gonzo premise about the Time Variance Authority, an organization that secretly watches over and manages every single timeline across the Marvel multiverse. The proposition of such an out-there sci-fi concept inspired the composer to bring in uniquely strange sounds, courtesy of synthesizers and a theremin.

"I got my friend, Charlie Draper, to play the theremin on my pitch that I had to do," she recalls. "They gave me a scene to score, which I’m sure they gave to loads of other composers. It was the Time Theater sequence in Episode 1. The bit from where he goes up the elevator and then into the Time Theater ... I just went to town on it and I wanted to impress them and win the job and put as many unusual sounds in there and make it as unique as possible."

The end result was a weird, borderline unnatural sound that wouldn't have felt out of place in a 1950s sci-fi B-movie about big-headed alien invaders. Rather than being turned off by Holt's avant garde ideas, Marvel Studios head honcho Kevin Feige embraced them, only giving the composer a single piece of feedback: "Push it further."

Holt admits that she was slightly influenced by Thor: Ragnarok ("I loved the score for it and everything"), which wasn't afraid to lean into the wild, Jack Kirby-created ideas floating around Marvel's cosmic locales. Director Taika Waititi's colorful and bombastic set pieces were perfectly complimented by an '80s-inspired score concocted by Devo co-founder, Mark Mothersbaugh.

"To be honest, I tried not to listen to it on its own," Holt says of the Ragnarok soundtrack. "I didn’t want to be too influenced by it. I watched the film a couple of times a few years ago, so yeah, I don’t think I was heavily referencing it. But I definitely had a memory of it in my mind."

After boarding Loki last September, Holt spent the next six months (mostly in lockdown) crafting a soundtrack that would perfectly reflect the titular god of mischief played by Tom Hiddleston. One of the first things she came up with was the project's main theme — a slightly foreboding cue that pays homage to the temporal nature of the TVA, as well as the main character's flair for the dramatic. "He always does things with a lot of panache and flair, and he’s very classical in his delivery."

She describes it as an "over-the-top grand theme with these ornate flourishes" that plays nicely with Loki's Shakespearean aura. "I wanted those ornaments and grand gestures in what I was doing. Then I also wanted to reflect that slightly analog world of the TVA where everything has lots of knobs and buttons ... [I wanted to] give it that slightly grainy, faded [and] vintage-y sci-fi sound as well."

"I just wanted it to feel like it had this might and weight — like there was something almost like a requiem about it," Holt continues. "These chords that are really powerful and strident and then they’ve got this blinking [sound] over the top. I just came up with that when I was walking down the street and I hummed it into my phone. There’s a video where you can just see up my nose and I’m humming [the theme]. I came home and I played it."

As a classically-trained musician, Holt drew on her love of Mahler, Dvořák, Beethoven, Mozart, and most importantly, Wagner. A rather fitting decision, given that an actual Valkyrie (played by Tessa Thompson) exists within the confines of the MCU.

"I would say those flourishes over the top of the Loki theme are very much Wagner," Holt says. "They’re like 'Ride of the Valkyries.’ I wanted people to kind of recall those big, classical, bombastic pieces and I wanted to give that weight to Loki’s character. That was very much a conscious decision to root it in classical harmony and classical writing ... There’s a touch of the divine to the TVA. It’s in charge of everything, so that’s why those big powerful chords [are there]. I wanted people almost to be knocked off their socks when they heard it."

With the main theme in place, Holt could then play around with it in different styles, depending on the show's different narrative needs. Two prime examples are on display in the very first episode during Miss Minutes' introductory video and the flashback that reveals Loki to be the elusive D.B. Cooper.

"What was really fun was [with] each episode, I got to pull it away and do a samba version of the theme or do a kind of ‘50s sci-fi version of the theme," she explains. "I can’t say other versions of the theme because they’re in Episode 5 and 6…or like when Mobius is pruned, I did this really heartfelt and very emotional [take on the theme] when you see Loki tearing up as he’s going down in slow motion down that corridor. It was cool to have the opportunity to try out so many different styles and genres. And it was big enough to take it all. It was a big enough story."

The other side of the story speaks to the old world grandeur of Loki's royal upbringing on Asgard, a city amongst the stars that eventually found its way into Norse mythology.

"I went to a concert in London three years ago and I heard these Norwegian musicians playing in this group called the Lodestar Trio," Holt recalls. "They do a take on Bach, where they’re kind of giving it a folk-y twist … [They use] a nyckelharpa and a Hardanger fiddle — they’re two historic Norwegian folk instruments. I just remembered that sound and I was like, ‘Oh, I have to use those guys in our score.’ It seemed like the perfect thing. I was like, ‘Yes, the North/Norwegian folk instruments.’ It just felt like it was the perfect thing for his mother and Asgard and his origins."

That folk-inspired sound also helped shape the music for Sylvie (played by Sophia Di Martino), a female variant of Loki with a rather tragic past. "Obviously, we’ve seen in Episode 4 what happened to her as a child," Holt says. "I just feel like she’s so dark. She’s basically grown up living in apocalypses, so she has that Norwegian folk violin sound, but her theme is incredibly dark and menacing and also, you don’t see her. She’s just this dark figure who’s murdering people for a while."

And then there were all the core members of the TVA to contend with. As Holt mentioned above, fans recently lost Agent Mobius (Owen Wilson), may he rest in prune. We mean peace. What? Too soon? During a recent interview with SYFY WIRE, Loki head writer Michael Waldron said that he based Mobius off of Tom Hanks's dogged FBI agent Carl Hanratty in 2002's Catch Me If You Can.

"There’s this thing that he loves jet ski magazines," Holt says. "I had this character in my head and then when I saw Owen Wilson’s performance, I was like, ‘Oh, he’s actually a lot lighter and he plays it in a different way from how I’d imagined.’ But I was listening to Bon Jovi and those slightly rock-y anthemic things. ‘90s rock music for some reason was my Mobius sound palette."

Mobius is pruned on the orders of his longtime friend, Ravonna Renslayer (Gugu Mbatha-Raw), after learning that everyone who works for the TVA is a variant who was unceremoniously plucked out of their original timelines. A high-ranking member of the quantum-based agency, Renslayer has a theme that "is quite tied in with Mobius and it’s like a high organ," Holt adds. "It doesn’t quite know where it’s going yet. But yeah, we’ll have to see what happens with that one."

Wilson's character isn't the only person fed up with the TVA's lies. Hunter B-15 (Wunmi Mosaku) also became disillusioned with the place and allowed Sylvie to escape in the most recent episode

"Hunter B-15 has this moment in Episode 4 where Sylvie shows her her past, her memories. I thought that was a really powerful moment for her," Holt says. I feel like she’s such a fighter and when she comes into the Time-Keepers and she makes that decision, like, ‘I’m switching sides,’ so her theme is more like a drum rhythm. I actually kind of sampled my voice and you can hear that with the drums. I did loads of layers of it, just like this horrible sliding sound with this driving rhythm underneath it. So, that was B-15 and then her softer side when she has her memory given back to her."

Speaking of the Time-Keepers, we finally got to meet the creators of the Sacred Timeline...or at least we thought we did. Loki and Sylvie are shocked to learn that the red-eyed guardians of reality are nothing but a trio of high-end animatronics (ones that could probably be taken out by a raging Nicolas Cage). Even before Sylvie manages to behead one of them, something definitely feels off with the Time-Keepers, which meant Holt could underscore the uncanny valley feeling in the score.

"When they walked in for their audience with the Time-Keepers, it was like this huge gravitas," she says. "But you look up and there’s something a bit wrong about them. I don’t know if you felt that or if you just totally believed. You were like, ‘Oh, this is so strange.’ I just felt like there was something a little bit off and musically, it was fun to play around with that."

Holt is only the second solo female composer to work on an MCU project, following in the footsteps of Captain Marvel's Pinar Toprak. Her involvement with Loki represents the studio's growing commitment to diversity, both in front of and behind the camera. This Friday will see the wide release of Black Widow, the first Marvel film to be helmed solely by a woman (Cate Shortland). Four months after that, Chloé Zhao's Eternals will introduce the MCU's first openly gay character into the MCU.

"I just feel like it’s an honor and a privilege to have had that chance to be the second woman to score a thing in the MCU and to be in the same league as those incredible composers like Mothersbaugh and Alan Silvestri. They're just legends," Holt says. "Another distinctive thing about [the show] is that all the heads of department are pretty much women. Marvel are showing themselves to be really progressive and supportive and encouraging. I applaud [them]. Whatever they’re doing seems to be working and people seem to be liking it as well, so that’s awesome."

Holt's score for Vol. 1 of Loki (aka Episodes 1-3) are now streaming on every music-based platform you could think of. Episodes 1-4 are available to watch on Disney+ for subscribers. Episode 5 (the show's penultimate installment) debuts on the platform this coming Wednesday, July 7.

Natalie isn't able to give up any plot spoilers for the next two episodes (no surprise there), but does tease "the use of a big choir" in one of them. "Episode 6, I’m excited for people to hear it," she concludes. "That’s all I can say."

[wistfulrat]

a 4-part rec list of my fave drarry fics - the thrillers, dramas, soft bois, and wankbanks getting me through 2020′s shitstorm

[ for my fellow fledgling drarry stans! the drama list is here and, well. like i didn’t initially intend to go off in the mini-reviews beneath every rec but it’s just that you can't nOT yell about drarry as classic literary foils!! also it’s my dumb sideblog so i decided there are no rules and i get to be annoying about good writing.

but rly, the whole premise of the drarry pairing is shaped by this genre and if the ~serious world of serious published writers~ weren’t absolute cowards, they would admit that drama fic authors have contributed more to the genre than the average shit you can find at your local chain bookstore. so that's that on thAT. & if you love a fic here, don't forget to follow the authors, leave kudos & comments on their work, send them nice msgs bc they do all this shit for free xoxo ]

part 2: dramas

mood: for when I need emotional catharsis and maybe 7 hours to sob/brood about loneliness, the cost of love, & the perpetual fear of being truly known

includes: angst, hurt/comfort, reconciliation fics. it’s cruelty o’clock folks and someone is about to say/do something Fucked Up that they can’t take back. but don’t worry!! there will be a Reckoning feat. hamlet-worthy monologues, ugly truths, unbridled rage, trauma, insecurity, and just a fuck ton of tears!! but maybe even tender apologies and mended things.

(Un)wanted by @aibidil​ - 36k - E | Ginny's pregnant, then she's not and Harry's single. Harry, again with no family, doesn't know what to do with this turn of events, or how to find a new life—post-war, post-Ginny, post-abortion—in which he belongs. He doesn't expect that life to include dancing to the Backstreet Boys with Hermione and Draco Malfoy. A story of finding belonging in the unexpected. | --- can a fic be tender and unflinching at the same time? bc this story strikes that balance rly well and for a piece about unwantedness, it is incredibly humanizing. ginny holding her own, draco being gentle but not letting harry play victim, hermione calling harry “hazzah” and just the way this friendship insists on the validity of found families even when harry is spiraling?? and you’re forced to consider that no one has the monopoly on fucked-upness and that doesn’t absolve us of the ways we hurt each other but it means that everyone has the same potential to be better after being broken. goD JUST READ IT, OKAY.

Blood Magic, the series by @houseofhebrideanblacks and @thestralsofspinnersend 335k - E “Later that night. . .Draco wondered at the depths of magic, its breadth and scope. The ways in which life pervades and eludes death, the ways in which they endure all manners of small and large deaths within their lives.” -- if you don't read any other fic on this list, i hope you read this series bc holy shit it’s breathtaking. harry’s a recovering addict, draco’s recovering from abuse, and in a cottage within the forbidden forest begins an unlikely partnership as the boys take up the tedious work of healing. there are thestrals and everyone's in therapy. there are whole chapters of cottagecore drarry. it's a beautiful exploration of how we bare the immensity of loss against the miracles of birth and regrowth. 

Ship of Theseus by GallaPlacidia - 18k - T “A ship in a full sail, a ship in a state of decay, a ship that had been rebuilt, slightly different. A repeating cycle. “What makes the ship the same?” asked Harry. “I don’t know. There must be something in it that lasts across the changes.” -- DO YOU KNOW HOW THIS QUOTE LIVES RENT FREE IN MY SAD, SAD BRAIN. DO YOU KNOW HOW I LOSE SLEEP THINKING ABOUT THE FUCKING SHIP OF THESEUS. it’s a memory loss fic and everything is so unFAIR. you want to murder harry sometimes bc he’s such a shiT and you suffer through the ways he questions desire, penance, redemption, true love. and by the end, you want to believe in those golden slumber lyrics: “once, there was a way to get back home” 

Yours to Keep by @dracoismytrashson​ - 135k - E i love the university setting, i love getting to see harry and draco’s first forays into a real LGBTQ community, the class and race structures outside of the wizarding world. i love that this is the context in which they’re allowed to confront the shittiness of PTSD, anxiety, depression etc. as they come together and fall apart against each other’s traumas. it makes the ending feel earned af. “Baby, we’ve been easing into it for a decade.” -- my god this line

Away Childish Things by @letteredlettered​ - 153k - T  this fic is devastating. like, completely forget whatever reticence you might have towards a de-aging fic and read this. the de-aging premise allows the author to cut through the ways harry and draco hold each other at a distance and you end up with these stunning moments of clarity where they’re truly seeing each other for the first time. and suddenly everything makes sense. i won't spoil it here but there’s a scene towards the end where harry is talking to hermione and ron about realizing the first time he felt what its like to be loved and I fucking SOBBED. an all-time fave fic about learning how to belong.

Had To Be You by @lettersbyelise​​ - 59k - E a genuinely excellent slow burn about absolute fucking morons who refuse to express their mutual love over the course of literal years?? HOW MANY TENDER MEET-CUTES DO 2 GAY IDIOTS EVEN NEED. a car ride a bookshop a street corner -- when harry met sally is my enemy. but you know what? this fic is masterfully written, it’s an epic tale of unexpected friendships and the inability to say the things we feel. also its very much also a soft boi fic if not for the Major Fuck Up that pushes it into drama territory for me. so worth the turmoil tbh.

Hurricane by phrynne - 120k - E auror partners terrified of love. it’s a fic about walls - where the emotional landscape of this fic is occluded by dishonest words so you feel the tension play out in hollow voices, shuttered looks, emptied eyes. it’s like watching two ppl get flayed alive in slow motion and everything is SHIT for a little. it’s mean, it’s ugly, it doesn’t let you give the characters an out when they’re being cruel - to each other and to themselves. but harry and draco are two violent forces hurling toward each other’s walls and the inevitable reckoning comes and it’s so very worth the ending. the hospital bed scene to rule all hospital bed scenes.

Returning Tides by @zigster-ao3​ - E  “Is my timing that flawed? Our respect run so dry? Yet there's still this appeal That we've kept through our lives” --those fuCKing ian curtis lyrics in the summary!! p a i n. why do i put myself through getting-back-together fics knowing full well i’m gonna be Sad As Hell during the not-together portion of the story?? we are all unfortunately hoes for heartache. anyway this fic is beautiful. draco’s a dad and recently widowed, harry has a thestral reserve, the settings here are stunning. a story about grief and love that lingers.

A Piercing Comfort by @talithan - 44k - T “There is no objective scorecard. There isn’t anything that a person does that tips the balance from ‘deserving’ to ‘undeserving’, or vice versa. A ‘deserving’ person will not run out of worthiness after a set time of happiness and have to then go about working to deserve it again. And an ‘undeserving’ person does not have to suffer at length before having the opportunity to be ‘deserving’.” -- the heart of this fic. harry’s in therapy, facing depression, and learning how to accept love he doesn’t think he deserves. (also draco is harry’s therapist but yes, that power dynamic is handled ethically-well imo and addressed in the author notes I promise!!).

Borrowing Courage by @xx-thedarklord-xx​ - 70k - E |After years of being a Magical Artist and painting for other people, Draco decides it’s time to paint for himself for once. The secrets pile up as he tries to unravel the mystery of his relatives but the only thing he didn’t count on was having to go to Potter of all people for approval.| --god i love this fic. the thing about drarry here is that they never mean to hurt each other but they do. they do and draco’s trying to do the right thing and he wants so badly for good family but harry’s never rly stopped grieving sirius and it’s this whole unintended mess of festering wounds forced to heal. everyone needs a hug. also ron/blaise pairing and ron+draco’s friendship here is everything!!

Reparations and the sequel, Foundations by Saras_Girl - 320k - E | Harry is about to discover that the steepest learning curve comes after Healer training, and that second chances can be found in unexpected places.| -- incredible. harry and draco’s dynamic as healers, the cast of original characters, the boys learning what it means to trust each other, draco building a rehabilitation center, harry falling in love with him, and “meus fabula est mei ut dico: my story is mine to tell.”  i cry

The Ties that Bind by phoenix_writing (not on ao3) - 61k - T | Upon Andromeda’s death, Harry and Draco are given custody of Teddy. Their lives will never be the same.| -- harry’s got major abandonment issues and he’s just trying to be a good co-parent with draco but everyone is being the woRST and you want to murder them on behalf of harry. but then, the boys learn to listen to each other and god it all becomes so tender. also harry has a gay panic. things are awful but it all works out. -

[part 1: thrillers | part 2: dramas | part 3: soft bois | part 4: wankbanks]

[tcm]

Reframing Films of the Past: An Interview with TCM Writers

All month long in March, TCM will be taking a look at a number of beloved classic films that have stood the test of time, but when viewed by contemporary standards, certain aspects of these films are troubling and problematic. During TCM’s Reframed: Classics in the Rearview Mirror programming, all five TCM hosts will appear on the network to discuss these issues, their historical and cultural context and how we can keep the legacy of great films alive for future generations.

Also joining in on this conversation are four TCM writers who were open enough to share their thoughts on their love of classic movies and watching troubling images of the past. Special thanks to Theresa Brown, Constance Cherise, Susan King and Kim Luperi for taking part in this conversation. Continue the conversation over on TCM’s Twitter.

What do you say to people who don’t like classics because they’re racist and sexist? 

KL: There are positive representations in classic Hollywood that I think would blow some peoples’ minds. I always love introducing people to new titles that challenge expectations. 

That said, anyone who broadly slaps a sexist or racist label on a large part of the medium’s history does a disservice to cinema and themselves. That mindset keeps them ignorant not only of some excellent movies and groundbreaking innovation but history itself. 

I think people need to remember that movies are a product of their time and they can reflect the society they were made into a variety of degrees - good, bad, politically, culturally, socially. That’s not to excuse racism or sexism; it needs to be recognized and called out as such for us to contend with it today. But it’s important for people who say they don’t like classics for those reasons to understand the historical context. In particular, we need to acknowledge that society has evolved - and what was deemed socially acceptable at times has, too, even if sexism and racism are always wrong - and we are applying a modern lens to these films that come with the benefit of decades worth of activism, growth and education.

SK: I totally agree K.L. For years I have been encouraging people to watch vintage movies who keep proclaiming they don’t like black-and-white films or silent films. For every Birth of a Nation (1915) there are beautiful dramas, wonderful comedies and delicious mysteries and film noirs. 

 These films that have racist and sexist elements shouldn’t be collectively swept under the rug, because as K.L. stated they shine a light on what society was like – both good and bad. 

CC: First off, fellow writers may I say, I think your work is amazing. I'm continually learning from the talent that is here, and I am humbled to be a part of this particular company. Similar to the prior answers, for every racist/sexist film the opposite exists. Personally, classic musicals attracted me due to their visual assault, creativity and their unmistakable triple-threat performances. While we cannot ignore racist stereotypes and sexism, there are films that simply are "fantasies of art." There is also a review of evolution. In 20 years, what we now deem as acceptable behavior/conversation will be thought of as outdated and will also require being put into "historical context."  What we collectively said/thought/did 20 years ago, we are currently either re-adjusting or reckoning with now, and that is a truth of life that will never change. We will always evolve.

TB: I would say to them they should consider the times the movie was made in. It was a whole different mindset back then. 

Are there movies that you love but are hesitant to recommend to others because of problematic elements in them? If so, which movies? 

TB: Yes, there are movies I’m hesitant to recommend. The big one, off the top of my head, would be Gone With the Wind (1939). The whole slavery thing is a bit of a sticky wicket for people, especially Black folks. Me, I love the movie. It is truly a monumental feat of filmmaking for 1939. I’m not saying I’m happy with the depiction of African Americans in that film. I recognize the issues. But when I look at a classic film, I suppose I find I have to compartmentalize things. I tend to gravitate on the humanity of a character I can relate to. 

KL: Synthetic Sin (1929), a long thought lost film, was found in the 2010s, and I saw it at Cinecon a few years ago. As a Colleen Moore fan, I thoroughly enjoyed most of it, but it contains a scene of her performing in blackface that doesn’t add anything to the plot. That decision brings the movie down in my memory, which is why I have trouble recommending it.

Also Smarty (1934), starring Warren William and Joan Blondell, is another movie I don’t recommend because it’s basically about spousal abuse played for comedy, and it did not age well for that reason.

SK: Breakfast at Tiffany’s (1961): Audrey Hepburn is my favorite actress and I love her Oscar-nominated performance as Holly. I adore Orangy as Cat, as well as George Peppard and Buddy Ebsen, who is wonderfully endearing. And of course, “Moon River” makes me cry whenever I hear it. But then I cringe and am practically nauseous every time Mickey Rooney pops up on screen with his disgusting stereotypical performance as Holly’s Japanese landlord Mr. Yunioshi. What was director Blake Edwards thinking casting him in this part? Perhaps because he’s such a caricature no Japanese actor wanted to play him, so he cast Rooney with whom he had worked within the 1950s. 

CC: I cannot necessarily state that I am in "love," but, a film that comes to mind would be Anna and the King of Siam (1946). It is an absolutely beautiful visual film. However, Rex Harrison as King Mongkut requires some explanation. 

Holiday Inn (1942), and the Abraham number...why??? Might I also add, there were many jaw-dropping, racist cartoons.

How did you learn to deal with the negative images of the past? 

KL: I often look at it as a learning experience. Negative images can provoke much-needed conversation (internally or with others) and for me, they often prompt my education in an area that I wasn’t well versed in. For instance, blackface is featured in some classic films, and its history is something I never knew much about. That said, seeing its use in movies prompted me to do some research, which led me first to TCM’s short documentary about blackface and Hollywood. I love how TCM strives to provide context and seeks to educate viewers on uncomfortable, contentious subjects so we can appreciate classic films while still acknowledging and understanding the history and the harmful stereotypes some perpetuated.

SK: It’s also been a learning experience for me. Though I started watching movies as a little girl in the late 1950s, thanks to TCM and Warner Archive I realized that a lot of films were taken out of circulation because of racist elements. TCM has not only screened a lot of these films but they have accompanied the movies with conversations exploring the stereotypes in the films.  

CC: As a Black woman, negative images of the past continue to be a lesson on how Blacks, as well as other minorities, were seen (and in some cases still are seen) through an accepted mainstream American lens. On one hand, it's true, during the depiction of these films the majority of Black Americans were truly relegated to servant roles, so it stands to reason that depictions of Black America would be within the same vein. What is triggering to me, are demeaning roles, and the constant exaggeration of the slow-minded stereotype, blackface. When you look at the glass ceiling that minority performers faced from those in power, the need for suppression and domination is transparent because art can be a powerful agent of change. I dealt with the negative images of the past by knowing and understanding that the depiction being given to me was someone else's narrative, of who they thought I was, not who I actually am.

TB: I’m not sure HOW I learned to deal with negative images. Again, I think it might go back to me compartmentalizing.

I don’t know if this is right or wrong…but I’ve always found myself identifying with the leads and their struggles. As a human being, I can certainly identify with losing a romantic partner, money troubles, losing a job…no matter the ethnicity.

In what ways have we evolved from the movies of the classic era?

KL: I think we are more socially and culturally conscious now when it comes to stories, diversity and representation on screen and behind the scenes, which is a step forward. That said, while there's been growth, there's still much work to be done.

SK: I think this year’s crop of awards contenders show how things have evolved with Da 5 Bloods, Soul, One Night in Miami, Minari, Ma Rainey’s Black Bottom, The United States Vs. Billie Holiday, Judas and the Black Messiah and MLK/FBI. 

But we still have a long way to go. I’d love to see more Native American representation in feature films; more Asian-American and Latino stories. 

CC: There are minority artists, writers, producers, directors, actors with the increasing capacity to create through their own authentic voice, thereby affecting the world, and a measurable amount of them are women! Generally speaking, filmmakers (usually male) have held the voice of the minority narrative as well as the female narrative. I agree with both writers above in the thought that it is progress, and I also agree, more stories of diversified races are needed. 

TB: One important way we've evolved from the movies made in the classic era by being more inclusive in casting. 

Are there any deal-breakers for you when watching a movie, regardless of the era, that make it hard to watch? 

KL: Physical violence in romantic relationships that's played as comedy is pretty much a dealbreaker for me. I mentioned above that I don't recommend Smarty (1934) to people, because when I finally watched it recently, it. was. tough. The way their abuse was painted as part of their relationship just didn’t sit well with me.

SK: Extreme racist elements and just as KL states physical violence. 

Regarding extreme racist elements, D.W. Griffith’s Birth of a Nation (1915) is just too horrific to watch. I was sickened when I saw it when I was in grad school at USC 44 years ago and it’s only gotten worse. And then there’s also Wonder Bar (1934), the pre-code Al Jolson movie that features the Busby Berkeley black minstrel number “Goin’ to Heaven on a Mule.” Disgusting.

I also agree with KL about physical violence in comedies and even dramas. I recently revisited Private Lives (1931) with Norma Shearer and Robert Montgomery based on Noel Coward’s hit play. I have fond memories of seeing Maggie Smith in person in the play when I was 20 in the play and less than fond memories of watching Joan Collins destroying Coward’s bon mots.  

But watching the movie again, you realized just how physically violent Amanda and Elyot’s relationship is-they are always talking about committing physical violence-”we were like two violent acids bubbling about in a nasty little matrimonial battle”; “certain women should be struck regularly, like gongs”-or constantly screaming and throwing things.  

There is nothing funny or romantic about this.

KL: I try to put Birth of a Nation out of my mind, but S.K. did remind me of it again, and movies featuring extreme racism at their core like that are also dealbreakers; I totally agree with her assessment. I understand the technological achievements, but I think in the long run, especially in how it helped revive the KKK, the social harm that film brought about outdoes its cinematic innovations.

CC: Like S.K., Wonder Bar immediately came to mind. Excessive acts of violence, such as in the film Natural Born Killers (1994). I walked out of the theatre while the film was still playing. I expected violence, but the gratuitousness was just too much for me. I also have an issue with physical abuse, towards women and children. This is not to say I would not feel the same way about a man. However, when males are involved, it tends to be a fight, an exchange of physical energy, generally speaking, when we see physical abuse it is perpetuated towards women and children.

TB: I have a couple of moments that pinch my heart when I watch a movie. It doesn’t mean I won’t watch the movie. It just means I roll my eyes…verrrrry hard.

-Blackface…that’s a little rough; especially when the time period OF the movie is the ‘30s or ‘40s film.

-Not giving the Black actors a real name to be called by in the film (Snowflake…Belvedere…Lightnin’). I mean, can’t they have a regular name like Debbie or Bob?

-When the actor can’t do the simplest of tasks, i.e. Butterfly McQueen answering the phone in Mildred Pierce (1945) and not knowing which end to speak into. What up with that?

Are there elements they got right that we still haven’t caught up to? 

KL: I don't know if the pre-Code era got sex right (and sensationalism was definitely something studios were going for) but in some ways, I feel that subject was treated as somewhat more accepted and natural back then. Of course, what was shown onscreen in the classic era was nowhere near the extent it is today, but the way the Production Code put a lid on sex (in addition to many other factors) once again made it into more of a taboo topic than it is or should be.

One thing I particularly hate in modern movies is gratuitous violence, and it perplexes and angers me how America weighs violence vs. sex in general through the modern ratings system: films are more likely to get a pass with violence, mostly landing in PG-13 territory and thus making them more socially acceptable, while sex, something natural, is shunned with strictly R ratings. Obviously, there are limits for both, but I think the general thinking there is backwards today.

CC: The elegance, the sophistication, the precision, the dialogue, the intelligence, the wit. The fashion! The layering of craftsmanship. We aren't fans of these films for fleeting reasons, we are fans because of their timeless qualities.

I'm going to sound like a sentimental sap here, ladies get ready. I think they got the institution of family right. Yes, I do lean towards MGM films, so I am coloring my opinion from that perspective. Even if a person hasn't experienced what would have been considered a "traditional family" there is something to be said about witnessing that example. Perhaps not so much of a father and a mother, but to witness a balanced, functioning, loving relationship. What it "looks like" when a father/mother/brother/sister etc. genuinely loves another family member.

I was part of the latch-key generation, and although my parents remained together, many of my friends' parents were divorced. Most won't admit it, but by the reaction to the documentary [Won't You Be My Neighbor?, 2018], the bulk of them went home, sat in front of the TV and watched Mr. Rogers tell them how special they were because their parents certainly were not. We don't know what can "be" unless we see it.

[duchezss]

Buckle in folks cause I’m about to put more effort into this than an english assignment Presenting Why Jurassic World Camp Cretaceous is actually an amazing show

Now what defines the term amazing you might ask? I’m talking about a show that goes above and beyond in plot, characters, storytelling, and overall experience. Nowadays most adult shows don’t meet my standards much less a kids show so if that gives you an idea how good this show is stop right now and go watch it if you haven’t. Spoilers ahead ofc but as an aspiring film major I will be diving into just about everything I love and this is gonna get long. 

For your convince I will start with a simple bullet point list and then extend on them below, so if you only wanna see the big points and not my thoughts behind them this first parts for you. 

Black mc 

Diverse main cast (4/6 are poc) 

Actual plot lines and a lot of suspense 

Very dark for a kids show 

Complex characters that develop 

Fits in with the main Jurassic World series beautifully 

Body language and facial expressions are top tier 

Have genuine relationships (platonically and/or romantically) between all of the main 6

Phenomenal camera angles and use of special effects 

Great with details 

Amazing VA’s 

Continuity 

So the nose dives begins 

Black mc: To some people this might not matter that much but holy cow this is so important and such a big step. The people complaining are just weird middle aged white people, like do you know how big of an impact a black mc can have on young black children. It’s so important and it makes them feel happy because someone actually looks like them. Clear evidence of this was Into The Spider Verse (which is also an amazing movie oml). Come to think of it the only black mc I think I’ve ever seen in an animated kids show is probably Static Shock (also an amazing show ily). Somehow representation has got swept under the rug in this day and age which is ironic really, but this show does an amazing job with tackling that and I love it. 

Diverse main cast: I can’t think of any recent kids movies/tv shows, live action or animated, that have this much representation. In animation is also very easy for the show runners to make a character poc and then have a white VA, but jwcc is quite the opposite. Honestly the characters look so much like their VA’s that something tells me the animation team based the characters off them and not the other way around. Not only that but their names actually match with their ethnicities. So for reference or just anyone that doesn’t know, Ben and Brooklynn are white, Sammy is hispanic, Darius is black, Kenji is asian, and Yazmina is middle eastern. Sammy’s last name is Gutierrez, Yazmina’s is Fadoula, Kenji’s is Kon and Darius’s Bowman. Gutierrez is a common last name in Mexico and Latin America in general. Fadoula is found throughout upper Africa and the Middle East, Kon is rare name of Japense origin, and Bowman is a common last name among black folks in the US. So not only do they have a poc cast, voiced by poc people, but all the characters have realistic names. Not to mention they are very good on skin tone in the show, personally I think Yaz should’ve been just a bit darker but hey I’ll take it and run. 

Actual plot lines: This seem like stating the obvious but work with me here. Most kids and even adult shows have a very episodic format, there’s nothing wrong with that per say but having a plot and conflict build up and having little things matter is much more satisfying in my opinion. Most kids shows have some conflict but its very PG which is also fine that’s what it’s meant for. But every once in a while you’ll find a show that had plot wise beyond it’s years and those are the golden ones. Easily and rightfully the most famous is Avatar the Last Airbender or ATLA. This show to this day is still one my favorites and truly nothing will ever top it, but in my years of watching kids shows after it jwcc might just be second. We can argue all day about what’s the best and it’s truly a matter of opinion, but to me atla and jwcc just achieve such a level of complexity that 99% of kids and even adult shows don’t reach. 

Very dark: While this might not be exactly the best for kids it’s great for an olderish audience. Honestly it having a much darker element makes the show enjoyable for all ages while still keeping it chill enough so that children may watch. But come to think of it it’s hard not to make a show about dinosaurs dark, the show runners do a wonderful job at keeping it intense and exciting, but still kid friendly, and to me thats incredibly impressive. Not to mention since the show isn’t afraid to go dark they can do more (such as ben’s “death”, the hunters etc) which makes it go from good to great. Reminds me a lot of atla and I know I keep mentioning atla but know that is the biggest compliment ever. atla is easily the best animated/kids show of all time so the fact that a bring it up so much is huge. There have been shows in the past that have tried to replicate what atla (such as voltron..) and it just hasn’t worked. I think this show nails the boundary between too dark and not dark enough. 

Complex characters: Oh yes. If there’s one thing I love more than an ensemble cast it’s a cast that grows and develops as the series progresses. Sure the main 6 might start off as typical character tropes (Darius the super fan, Yaz the loner, Sammy the extrovert, Ben the underdog, Kenji the arrogant, and Brooklynn the influencer.) but they become so much more than that. I’d say at least half of them are completely different people between the 1st episode and the latest one. An easy example being Ben and Kenji. Ben started off as a naive, timid, and terrified person and has become confident, independent, and brave. Kenji started off as arrogant, selfish, and apathetic person and became compassionate, driven, and concerned. All of them have had some sort of change even if it’s not super dramatic and that’s important. It makes the storytelling better because they grow as they go. 

Fits in with JP/JW beautifully: In terms of shows connecting to movies this has gotta be some clone wars level s-tier stuff. Personally I have never watched clone wars but my sister has and she always raves about how well this show connects to the movies, and from what I’ve seen I completely agree. A youtube channel by the name of Silverscreen Edits actually put together the scenes from every time they overlap, mainly in S1 but also the cold open from Fallen Kingdom. I’d advise you to watch it because it’s just incredible. The show runners nail ever detail of these scenes and it truly feels like you’re watching the same scene from a different perspective. The set up is beautiful and I cannot rave enough about how amazing it is, my favorite easily being the dome scene because of all the small details. Not to mention this show actually connect JW and FK because it shows us that the cold open was 6 months later while the rest was 3 years later. Quite honestly I had no idea these two scenes were that far apart from each other, I thought the opening was from a years or two later not 6 months, so this show really connected the dots between these two movies and made them flow together much nicer. And I love all the countless references too old and new JP/JW movies. Overall this show is a great addition to the franchise. 

Body language and facial expressions: You might be thinking to yourself, hmph that is a really odd point to make, let me tell you it’s not and I’ll explain why. When analyzing films I usually tend to stick to live action because one of my favorite parts of films is how characters react to things, and we animation we really don’t get that. Most of the time even if shows get this complex they won’t use both the way jwcc. What impressed me so much was how amazing they are at this, the animation team seriously needs more praise. Jwcc is great at facial expressions which I will say other animated shows know how to do as well, but they are also so amazing at body language which is rare rare when it comes to animation. It’s because it’s so hard and often times it just doesn’t fit, but they do an amazing job with this and it makes the characters feel so life-like. When a character is sad or closed off their shoulders hunch, when they feel scared they stiffen up and cover their ears (which is another detail I love so much, I never realized till this show that hardly anyone ever covers their ears and it makes a lot of sense because these dinos are very loud) and when they feel hopeless their shoulder sag and their head drops, do you see what I mean? You can quite literally tell what these kids are feeling and thinking without them saying anything that is so impressive and it makes the show that much better. It makes it easy to analyze and if it wasn’t clear around I love to do so. 

Genuine relationships between all of main cast: I will not budge at this point at all, gonna say it right now if you disagree argue with the wall. I might have some bias on this but one, if not my favorite, part of any media is an ensemble cast. It’s something I actively seek out, and when I say ensemble cast I don’t mean a trio, I mean a full cast, my favorite being 6 but 4 or 5 will do. So when I found out this show had 6 main characters I was immediately interested. Not only because I love ensemble casts but I also wanted to see how they handled it. Ensemble cast are so rare because they are extremely hard to do and do well. I will even criticize atla on this. At one point they had 6 main characters and they never elaborated on more than a handful of the duos and just focused on the group as whole. But this is typical and easiest to do without giving up individual character development so I get that. But jesus christ jwcc does a phenomenal job with this, and I mean phenomenal. Out of the 15 different duos you can get between 6 characters then have elaborated on 11 of them, and it could easily be more this is just from memory. I might make a post elaborating on this specifically because it’s just amazing. This time they take to flesh out these relationships truly makes them feel like a unit and a family, instead of just a group of people all working towards the same goal. This is easily the most impressive and rewarding of any of the points on this list in my opinion. (coming from #1 squad lover right here)

Camera angles and special effects: This shows downfall for some was that it had strange animation, honestly it never bothered me and since I’ve watched dragon prince and rwby, it’s clear that bad animation never stops me from watching a show. But I think people just won’t give it a chance, because when you do you’ll see it’s actually very good. To me the coolest part of the animation is the dinos. They look incredible and so so similar to the cgi used in JW. That’s hard to do so more claps for the animation team I love y’all. They also have to work around the PG side of this show and do a great job at implying what happens but never actually showing what happens. This is all angles, not to mention they do a great job at showcasing the park and the scenery so that magic from the movies really translates to the show. Finally my favorite scene of the show from an avid slow mo lover has got to me when Ben falls of the monorail (idk why it is cause he’s literally my fav and I was so upset) The scene is just beautiful and the set up before hand makes it that much more heart breaking. The use of slow mo is amazing I literally cannot rave about this scene enough. It builds so much suspense and they used just the right amount, to much and the scene would move to slow, and to little the scene would be to fast. I need more great scenes like this in S4 (idk if I want the angst that comes with it too I’ll get back to you)

Details: To me details, in any show in general, is what makes it go from great to fantastic. An example of this is Harry Potter, something that hooked me into this franchise was how much small details mattered and it’s the same with jwcc. There are so many throw away lines that end up coming back and all us are hitting ourselves for missing it. Such as Ben saying early on he knows where the tracker beam is and when he “dies” and the crew can’t find it it shows how important he was. Those are details I love to see. Or the three dinos, one of which Sammy released, coming back all season. Of course toro as well and he always kept his burns. Not to mention the animation team always kept Ben’s scar in and I think that’s an important detail because he shaped who he is. Keep up the good work animation and writing team because I love what you’re doing with this (also I’m 90% sure the compass is another one of these details I’m calling it rn) 

Amazing VA’s: Honestly VA’s in general do not get enough credit and they really should. But these 6 are pretty amazing let me tell you. If I’m not mistaken Ryan Potter (Kenji’s VA) is the only one with a notable history of voice acting as he played the title character in Big Hero 6. (fun fact I had no idea and when I found this out I quite literally screamed). But the others have also done things as well, most of it being live action though, and voice acting is much different. Honestly I just need to make a post about the various roles they’ve had cause looking into this has been an experience. Anyway all of them do such an incredible job with this ahh. I think the times where you can really tell how different they all are is when they lash out. This happens quite often and honestly it’s expected, I mean they’re 6 teenagers in a stressful environment of course they’ll last out. But all of them have such a different way of doing it, Darius is hopeless, Kenji is nervous, Yaz is emotional, Ben is harsh, Brooklynn is stern, and Sammy is level headed. Usually everyone lashes out the same way so the fact that they’re so different in just one aspect shows you how good they are. Each character is so individual and all of them have different goals and morals which is not only realistic but it makes way for conflict which is always interesting. 

Continuity: Now this could arguable go with details but it’s slightly different so I’m making this a separate point. Continuity to put it simple it basically not have the show be episodic. Honestly that completely what I expected from this show because that how most kids shows are. In this show the plot not only progress each episode but so do the characters and their trauma. Most of the time the plot will progress but anything bad that has happened to the characters will not show and is hardly talked about (COUGH VOLTRON). To me it’s something that has to be addressed because if the characters don’t grow what was the point of it. And they’ve shown that characters grow based on the events that happen and I love that. Another thing about continuity is when show runners stick a pin in something and actually go back to it (COUGH RWBY). Jwcc is amazing at this and make a point to bring back just about everything that gets sidelined in the first place. It’s so impressive and make the show that much more enjoyable. There have been countless times where I get so caught up with the pins that shows just leave there and it makes me so mad, but jwcc is good at for the most part because of course some things will slip through. But they always get back to the important things. 

The conclusion: Overall this show is phenomenal and if my essay hasn’t convinced you I’m not sure what will. The show is amazing at storytelling and plot and the lovable main cast makes it that much better. It is so much better than a good chunk of kids shows and honestly part of me wishes it was rated PG-13 cause I really wanna see that. But they do an amazing job and keep it kid friendly enough while still discussing mature topics. It’s the next atla to me and something that many kids shows now days try to be and fail. It’s impressive and complex and truly one of the best shows I’ve ever watched. Film major mara out, and if you actually read all of this ily mwah. 

[fyeah-bangtan7]

RM: “I hope I’m on my way somewhere”

There are two gears in his life that RM shifts between: when he has to pick up speed as the leader of a worldwide hit-making group, and when he makes his way back home and slowly cracks open some artist’s catalogue. Let’s take a look at the time in between, at the young artist’s journey to seek out his own canvas.

Do you still work out? Your stature looks very different. RM: It’s been around one year? Since I started doing it four times a week without fail. It’s like my lifeline. (laughs) Since, if you exercise, your body gradually improves. I like to feel like I’m doing something and getting better. If you look at other people posting their progress, you can see their bodies change dramatically, but I’m not very strict about my diet, so it’s not like that for me. (laughs) Still, I can feel my frame changing bit by bit.

I saw in the “ARMY Corner Store” video uploaded to YouTube for the 2021 FESTA celebration of your eighth anniversary that your life is focused on doing work and making appearances these days. Has following that repetitive routine led to any changes in your life? RM: My daily routine has become very clear-cut. Now that it’s been exactly a year since I started doing this mid-last year, I kind of think, So is this how people live? I have to go to work and come home, then there’s things I need to do there, and things I have to keep up with like exercise. And same for checking out exhibits. And so I thought my nature itself has changed a lot over the course of a year, but I don’t know whether it’s good for me as a creator.

Why’s that? RM: There was so much that happened with BTS, but with the current situation, sometimes it felt like those things were just things happening on my phone. When I’m listening to other music or watching something I’ll sometimes think about how I would do it, but my life is what it is right now, so I can only draw on things from my own life.

In that case, how did it feel to keep up the energy for your Grammys performance and for everything related to “Butter”? RM: I was really happy that we added one more thing to our list of accomplishments. I think our team really needed the work itself. It made me realize we still have things left to achieve. And I want to thank ARMY above all others for making all of this possible. I’m Korean, so I’m no stranger to finding joy in accomplishment. (laughs) It was really satisfying and nice. It would’ve been better if we got a Grammy, but so what if we didn’t? In the end, getting it means you have one more trophy at home, and after that your daily routine repeats.

How was writing the lyrics for “Butter”? Your performance with SUGA works to kick the energy of the second half of the song up a notch, but I also think, strikes a balance to improve the song as a whole. Your short rap feels like a fusion of American pop and BTS’s distinctive style. RM: That’s the part I spent the most time on. Even though the song’s in English, I thought we should make it feel like our own, so we kept the original but put a little of our own flavor in at the end.

I felt that fine-tuning turned out well. It’s short, but I think it would’ve been a very different song without that part. RM: It’d feel like something’s missing if it weren’t there, right? (laughs) I felt like we absolutely had to have it in there. There’s something different about us from American pop stars. Our DNA is different.

How was making “Permission to Dance”? You can count on one hand how many BTS songs have a message as positive as in that song. RM: Right. They talked about putting some rap in “Permission to Dance” while we were working on it, but we said it would never work. I have more fun when I’m singing and dancing than anything else. I think this song was one of the few times that I felt like I was just having fun while singing and dancing on it. It feels amazing to give into the song with your whole body and just laugh instead of thinking about it too much. I think that’s the power of the song. I wasn’t stressed preparing for it like I was with “Butter.” When it came to “Butter,” I had to think about what we should show off and how I could do that. I’m always careful not to be a problem within the group dynamic. But I didn’t really have to worry about that with “Permission to Dance.” Honestly, I felt like I only needed to add just a dash of the enjoyment I felt.

After the unimaginable continued success of “Dynamite” and “Butter,” this song feels a little more laid back. RM: Oh, this is really fun. Just like that. And there’s a line in the lyrics that says, “We don’t need to worry / ’Cause when we fall we know how to land.” The message is universal, but you could say it’s also something BTS has been saying all along.

You talked about “2! 3!” on “ARMY’s Corner Store,” saying, “2015 to 2017 was a tough time for us and our fans.” Were you able to say that because you ended up knowing how to “land”? RM: What I do can be thought of as a sort of business—a person-to-person kind of business. That’s why I want to be as honest with ARMY as I can be, almost obsessively so. They say it can’t happen in the world of K-pop, and there’s an aspect of good faith to that because I don’t want to worry the fans, but I want to tell them about the things we’ve been through as much as I can. Another reason I talked about those times was that I wanted to pay off my debts to a lot of people. To pass over this story like it never happened would be like saying “that’s not us.” And because it’s in the past. I think that, since it’s in the past, and since we’re doing all right now, and since those days were clearly necessary, I think we have to be able to talk about just how difficult a time that was.

It feels like that was something you wanted to convey to your fans, too. RM: Sometimes we’re artists whose souls are full to our very cores, sometimes we’re meticulous office workers, and sometimes we’re part of the hyper-patriotic “do-you-know club.” We’re many things all at once—that’s why we talked about persona and ego. It’s sort of painful and lonely to want to talk about these things to this extent, but I guess that’s who I am. I want to express myself in full.

Would you say that the song “Bicycle,” released during 2021 FESTA, shows who you are as a person? You talked about your everyday emotions using a bicycle as a metaphor. RM: I’ve faced a lot of pressure while making music throughout my life to move ahead a little more or make music that stands out better, from minor things like my rap technique to bigger things like trends. I wanted to be good at rapping and I wanted some recognition. In that sense, you could say “Bicycle” is somewhat defiant. I wanted to release a song to celebrate FESTA, but the subject matter is really important to me specifically. Bicycles hold an important place in my heart, so that’s just what I ended up writing about. The song’s something like a compass, telling me where I’m at right now, I feel like. My present-day life is the input, so that was going to end up being the output one way or another.

There’s a part in the lyrics where you say, “When you’re happy, it makes you sad.” I imagined you riding your bike and contemplating your life. RM: My feelings kind of go to extremes whenever I ride my bike. My personality used to run to both extremes sometimes, but it also comes back to me again on its own when I ride a bike. When I ride my bike, I’m free from the pressure of the things I’m supposed to feel and think about. I don’t care if people recognize me, and that’s the closest I get to feeling free, mentally and physically—when I’m riding fast and feeling like I’m up on a cloud.

In my case, there’s a big bookstore in my neighborhood, and there’s times when I’ll walk all the way there by myself and think over what kind of person I am while choosing which books to buy. Somehow it makes me think of that. RM: I read a book by Lee Seok Won from Sister’s Barbershop recently. He was contemplating why he likes bookstores. He remembered how not only is it noisy, but everybody’s staring at their books and not looking at anyone else, and there’s a kind of freedom in that. I really sympathize with that. So I make time to go to the bookstore and spend a little more time reading.

I end up talking to myself just by looking at all the book covers at the store. In a way, it’s contemplation on contemplation, but it seems to be an especially necessary time for you. RM: I think I’d be pretty bored without it, since I’ve been too sheltered lately. Read! Work out! Go to galleries! Ride my bike! (laughs)

So writing “Bicycle” was an experience that you had to go through anyways, even though we’re not sure where you’ve come from, where you’re at now, or where you’re headed to. RM: Exactly. It was exactly that kind of milestone of a song for me, and I think I kept that in mind to some degree when I released it for FESTA. I agreed to do something at first, but then I asked myself what I should do and that came to mind immediately: Let’s just do something about bikes.

Even the music has deep connections to all the music you’ve ever listened to, from folk to the hip hop and Korean indie scenes. RM: You’re right. I drew on music from the people who’ve had an impact on my life—artists I’ve been listening to lately, like Elliott Smith and Jeff Buckley, and groups like KIRINJI.

It’s interesting how the end result is a song whose style is difficult to attribute to any one era. Neither the sentiment nor the sound is retro, nor do they reflect current trends. RM: I, and our team, are, you could say, at the forefront of pop, so after I made “Bicycle” we wondered whether we should go with it. But that’s actually why I ended up doing it this way instead. Because that’s what my life looks like right now. It’s good for me just to get to know myself this way, but I don’t want to trap myself, either. On the other hand, I’m interested in artists from all around the world who are totally different from me. There’s even people who make music on a whim and who don’t care about the genre whose music I’m interested in now. It’s—how should I say this? Anyway, I’m at some place in my life, I guess. (laughs)

Last year, in an interview with Weverse Magazine, you said, “I’m just 27 in Korean age.” I think “Bicycle” might be your own response to that statement—the song of someone who grew up listening to Drake in Korea. RM: You got it. Exactly. Drake’s the one who made me think I could sing, too, back in 2009 (laughs) and that’s what brought me all the way here. In the past I wanted to do something just like Drake—he influences Western music as the musical style he’s after changes. But because I don’t live my life the way they do, I can’t make the exact same music as them.

And for that reason, I figured it’s the kind of song that would end up on the playlists of people like you, as it has a style that can express that sort of person’s overall feelings more than any specific genre can. RM: That’s how it usually turns out eventually. I sometimes think this way: Can’t I put “Bicycle” on the same mixtape as some songs that are made totally off the cuff, like I just talked about? I wish I had that kind of flare or image when I made songs, but nowadays I’m really slow at making them. I can’t think of lyrics as well as I used to, either. I have more avenues to absorb new things, and yet the output coming from inside of me is ridiculously limited, and extremely slow. They say there’s plenty of stories of artists from the past going up to their canvas and being unable to pick up their brush and screaming, “Who am I?” That’s sort of how I’m feeling. I’ve been working on a mixtape since 2019, but I haven’t finished that many songs.

Well, maybe it’s because the direction you want to take with your lyrics has changed. That is, that you’re trying to express the ideas you’ve built up inside yourself, instead of your experiences or social commentary. RM: That’s why I can’t write lyrics as fast as I used to. I don’t know what I’m doing, so I have no choice but to just write first. And that’s why I think Yoongi is such an amazing person. I mean, how does he make that many songs, and so well? Maybe it’s because he takes a producer’s point of view, but I can’t do that. Not only am I jealous, but I also think the starting point when I’m making music has to be the lyrics. I just—I hope I’m on my way somewhere. But that’s how I always feel (laughs) so when I listen to my stuff from two years ago now, it already sounds old.

You’re featured on eAeon’s “Don’t,” which boasts impressive lyrics as well—lyrics that start with the color of waves and end with an image of pebbles. It seem like it’s your interest in art that allows you to keep developing such visual images. RM: I can’t say for sure, but it’s likely a strong reflection. I had seen an article where an artist said that pebbles are the perfect form: a rock worn down over and over in a series of incidents and coincidences, made into some round shape in the end. It said the artist collected pebbles for a long time, saying pebbles are so perfectly smooth without any edges, although they’re neither perfect circles nor ovals. Also, I absolutely love Lee Qoede. I saw a quote in a book about his art: “Let’s become entangled. Let us stand united. Let’s not argue. And let’s become pebbles in the new leadership narrative of my country.” He wrote it in a letter while he was working during the country’s liberation period. I thought it was, what, a very modern way to express things, for someone who lived through the chaotic political circumstances of 1948 to want to become a pebble. I felt like his words still have meaning—like they live on. I guess those two artists’ use of the word “pebble” made a very lasting impression on me.

I was impressed how the relatively large waves give way to the image of small pebbles, and then you end the flow with lyrics like, “Don’t take that name away, the one only you know,” and “I hate being just any wildflower,” about a small presence that is defined by others. RM: Yes, it was fun. I once thought how people’s relationships are like crashing waves, and I think that mixed together with my thoughts about pebbles and it came out all at once. There’s a sentence I wrote down a long time ago while I was thinking by the sea. I thought, Is there any color in the waves? When people talk about waves crashing in, what waves are they talking about? The blue waves, or the white waves? I went completely overboard with emotion when I was thinking that (laughs) but again, that’s just me. So I wrote this one sentence—“I wonder what color the waves are”—and listened to the music eAeon gave me, and it sounded to me like fog rolling over the ocean. It was really easy to start writing the lyrics since the sensory perception of that sentence overlapped with what he gave me. It was a so-called “aha moment” (laughs) and whenever that happens, the lyrics come out of me all at once. It only took about an hour and a half to write the lyrics. I thought of more lyrics later on, but I ended up sticking with the first ones.

What are you looking for that you’re thinking that much? RM: In the end, it’s really important for me to ask about who I am, and I want to express who I found myself out to be, but I’m having a really difficult time because I don’t know if what I found is right. So for now, “Bicycle” is also the result of collecting the selves I found who I think represent the best of me. Even while making a song like “Bicycle,” I have to convey—how do I put this? It’s just about me, this kid from outside the big city—an essence that I can’t get rid of, I guess. I can’t let go of the kid who used to perform in Hongdae. It’s not really something I want to express or hold onto; it’s my essence, so I don’t really have a choice. (laughs)

You’ll just ride your bike, anyhow. RM: Exactly. Exactly that. (laughs)

© source

[lilydalexf]

Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Audrey Roget

Audrey Roget has 10 fics at Gossamer, with some different ones at AO3, fanfiction.net, and her website. You might know her from her very good fics or as part of Musea, a collective that all wrote fic and posted X-Files fic recs. I’ve recced some of my favorites of her stories here before, including Three Times Dana Scully Didn’t Go to San Diego for Christmas and The Shirt. Big thanks to Audrey for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)? A little, yes. Not so much by folks who were around in those days. I sometimes go hunting for beloved stories from the early years, both those I read and loved, and those I never got around to. I am always delighted to hear that later generations of fans have stumbled across my stuff, especially since I haven’t posted anything new in a number of years. It’s fantastic that both years-long fans and new ones are out there continuing to rec fic from all eras, and to maintain archives for fans yet-to-be born. What do you think of when you think about your X-Files fandom experience? What did you take away from it? What did you take away from your experience with X-Files fic or with the fandom in general? It may sound corny, but the main thing I think of, and the thing that has ultimately been most valuable and lasting, has been the friendships. The feeling of having found a tribe – not just of TXF fans, but of other people who could be as enthusiastically engaged as I was (if not more so) with fictional stories and characters – was mind-blowing. Since I was a kid, I had often mulled over the books/movies/TV I loved and speculated internally about what happened off the page or off-screen, or created new stories for characters in my head. But, except for an elementary school phase where I and my two BFFs regularly played Charlie’s Angels, I hadn’t engaged in that kind of gleeful immersion in a fictional world with others until TXF fandom. My involvement in fandom followed pretty quickly from getting hooked on the show, so for me, it’s all one big ball of experiences. Even as my interest in/involvement in fandom has waxed and waned over the years, I’ve been lucky to remain friends with wonderful people who I originally connected with as fellow fans.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)? What got you involved with X-Files fanfic?

My initial entrée to the fandom was through fanfiction. I didn’t get interested in the show until mid-season 5. Around the same time, I read an article in a zine called Might (co-founded by Dave Eggers) about this thing called fanfiction that people would write and publish online. At first I thought it was satire or a joke – the fic cited involved Wilma Flintstone and a polished sabre tooth, as I recall – but then realized this was an actual thing. So I figured that a show then at the peak of pop culture must have fanfiction, and I went looking. Early on, I scrolled atxc on a daily basis and downloaded stories. But I didn’t engage in discussions about the show on Usenet, since I only knew how to access it with my Earthlink email client, and I didn’t want to post using my real name.

Later, I set up a pseud address with Yahoo and subscribed to a couple of email fanfic/discussion lists, and stayed subscribed to those for years. There was also a period in there somewhere – of maybe only a year or so, when I think about it – when I’d often nerd out into the wee hours with other fans via IM chat groups. That was around the time the small writers’ collective Musea was founded, and we were active for several years after the show’s initial run. In the early aughts, I followed many authors to LiveJournal and eventually set up my own account and stayed involved in fandom that way, until it mostly dispersed as well. What was it that got you hooked on the X-Files as a show? In a word: Chemistry. I had casually watched a couple of episodes during the first four seasons, but I’m not a huge sci-fi/horror fan at heart, and the story lines didn’t immediately grab me. But I happened to tune into The Red and the Black in 1998, and BOOM. For the first time, the intense layers of emotion and attraction between Mulder and Scully really struck me – and then of course, upon further viewing, I realized it was unmissable, an essential element in the fabric of the show. As a wise woman once said, a switch had been flicked. Mulder and Scully’s magnetism was like nothing I’d ever seen, and though I eventually came to appreciate the storytelling, humor, production values, and other components that made the series so successful, watching those characters interact has always been what kept me coming back. Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files? I was part of a list-serv discussion group for The West Wing for a while, which was a fun melding of character and plot analysis with political discussion. Later, I got into the House, MD fandom, again mostly as a fanfic reader/writer. I was finding that other fandoms, unlike TXF, were more dispersed, the networks of people structured more loosely, if at all. There were fanfic and discussion communities on LiveJournal, and fanfiction.net was the other main hub for posting and reading, but if there was anything centralized like Gossamer, Ephemeral, or the Haven, I never found it. Within all those fan communities, as in TXF, there were partisans for various characters and pairings, and flame wars erupted over plot developments that outraged this faction or that. One main difference was that those other shows had larger, ensemble casts and more varied subplots. So on one hand, there was more opportunity to explore back stories and multiple perspectives. In House MD in particular, there were several entrenched rival shipper camps, which were about equally grounded in canon, rather than TXF’s central ship. I was less into TWW fic, but my impression was that readers were less militant about their pairing preferences than TXF or House fans. Who are some of your favorite fictional characters? Why?

I was deeply fascinated by Greg House for several years. (And the love-hate chemistry between him and Lisa Cuddy was a strong draw for me.) House MD came early in a wave of TV shows centered on anti-heroes, and Hugh Laurie brought amazing complexity and thoughtfulness to the character.

Philip and Elizabeth Jennings (The Americans) are a lethal pair of antiheroes. The inherent moral conflict of a sympathetic narrative from their POVs, and the global political conflict they embody was TV catnip for me. The internal struggles at the hearts of those characters were so exquisitely written and performed, they completely fascinate me.

The West Wing felt so much like a show created specifically for me. I’m especially fond of story arcs and scenes that centered on CJ Cregg, Charlie Young, and Josh Lyman. Though I loved Martin Sheen’s human portrayal of Jed Bartlet, the fact that he was the President always made him a little untouchable in my mind. But CJ, Charlie, and Josh were basically hard-working functionaries who were ambitious and idealistic and funny and flawed, and they spoke to me. What is your relationship like now to X-Files fandom? Do you ever still watch The X-Files or think about Mulder and Scully? Do you ever still read X-Files fic? Fic in another fandom?

I do continue to think about Mulder and Scully and watch episodes somewhat often. I’ll sometimes run a favorite episode as background when I want something comforting on. I read TXF fic pretty regularly, which can inspire me to go back and watch a particular episode or story arc I haven’t thought about in years. Just recently, I started listening to The X-Files Diaries podcast (@XFDPodcast, @admiralty-xfd), and that’s a fun dive into the characters, and how other fans react to and interpret episodes.

Every once in a while, a TV show or movie – and more particularly, the characters – will grab my attention and make me curious about how fanfic writers have interpreted the original material. Random example, I saw Singin’ in the Rain for the first time in a theatre a couple of years ago, and the chemistry of the three leads sent me to AO3 as soon as I got home. I also loved the first season of Mercy Street and found some well-done stories in that fandom. I usually peruse the Yuletide gifts every year and have been amazed by the sheer variety, creativity and cheekiness of the output. There are a bunch of other shows I’ve followed faithfully, and sought out fanfic – Broadchurch, The Killing, Agents of SHIELD, Elementary, The Good Wife. Although I’ve found some well-written stuff in those fandoms, I’ve rarely gotten the same charge from them as reading TXF fic. Do you have any favorite X-Files fanfic stories or authors?

syntax6 (@syntax6) – Universal Invariants/Laws of Motion. I’d also shout out to syn’s Hunter fics, too – well worth reading even for those who have never seen or particularly loved the show itself.

JET – I re-read Small Lives Awake every year around Thanksgiving time. Other annual holiday re-reads: Revely’s The Dreaming Sea and Jordan’s Through the Fire (both set at Halloween).

Amal Nahurriyeh’s Casey universe – the rare post-col fic that felt hopeful, made extra intriguing by a kick-ass original character. [Lilydale note: the series starts with Machines of Freedom and has lots of additional fics and snippets.]

Prufrock’s Love – Finding Rokovoko was genuinely terrifying and tender.

melforbes (@melforbes) – Seaglass Blue is a recent favorite, lyrical and bittersweet.

These are just a few (apologies to those that didn’t come to mind immediately). Fortunately for readers, there’s an astonishing number of authors who have written in TXF fandom whom you can depend on for a good yarn, insightful character study, and/or ingenious “fixes” where 1013 went awry.

What is your favorite of your own fics, X-Files and/or otherwise?

Probably the two set in my own (former) backyard of Southern California: Enivrez-vous and Ravenous. I’d first read the Baudelaire poem that was the source of the former’s title back in university days, so I was tickled to be able to use a few lines as an epigraph. Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online? It’s not out of the realm possibility. I’d meant for “Three Times Dana Scully Didn’t Go to San Diego for Christmas” to be followed up with “And One Time She Did.” In fact, the idea for that never-finished story was what inspired “Three Times” in the first place. I have a couple of scenes sketched out and – unusually for me – even know exactly how to end it. Every year, November rolls around, and I think I should finish and post it…maybe in 2021?

Where do you get ideas for stories? Sometimes it’s from my environment. “Enivrez-vous” and “Ravenous” describe places that I’m fond of, that made me want to place Mulder and Scully there. “What Not to Wear” has that element too – I set it in Memphis as a tribute to a great trip there with a sister Musean. But WNTW was also inspired by a kink challenge in a years-ago LiveJournal thread, so sometimes ideas come from fandom discussions or even other fanfics. In the House MD fandom, a fic by another writer made me want to continue the story, and the author kindly allowed an authorized sequel. What's the story behind your pen name? I wanted my pseudonym to sound like it could be a real person’s name – or at least, maybe like a romance writer’s pen name – rather than an online handle. I also wanted to use a slightly obscure fictional character, to amuse anyone in the know. I had long had a bit of an obsession with Whit Stillman’s 1990s film trilogy, which started with Metropolitan; the 3rd installment, Last Days of Disco, came out the same year I started down the TXF rabbit hole: 1998. The central heroine of Metropolitan – who is mentioned in or makes a cameo in the other two – is Audrey Rouget, a lover of Austen and, eventually, a book editor. I altered the spelling of the last name as a nod to every writer’s companion, Roget’s Thesaurus. Do your friends and family know about your fic and, if so, what have been their reactions? I have a few close friends – from outside TXF fandom – who know that I’ve written fanfic. I don’t know if they know my pseud; if they do, or if they’ve ready any of the fic, they haven’t said so to me. They are fannish sorts themselves, but not really TXF fans. A smattering of other friends and family members know or could intuit that I’ve been a fangrl on some level for years. My boss, whom I’ve known for about 3 years, recently mentioned off-handedly that she was really obsessed with TXF “back in the day,” and I am DYING to know if she got involved in fandom, but don’t think I’ll ever work up the courage to ask.

Is there a place online (tumblr, twitter, AO3, etc.) where people can find you and/or your stories now? Most of the X-Files stuff continues to be generously and steadfastly archived by Forte at The Basement Office. The House MD stories and some TXF things are at fanfiction.net; same for AO3. If ever post anything new, it will probably go to TBO and AO3. I really ought to get it all together in one place, one of these days…

(Posted by Lilydale on April 6, 2021)

[itsclydebitches]

RWBY Recaps: Volume 8 “Dark”

Welcome back, everyone! Can you believe it's been six weeks already? I can't. Something something the uncomfortable passage of time during a pandemic as emphasized by a web-series.

But we're here to talk about RWBY the fictional story, not RWBY the cultural icon. At least, we will in a moment. First, I'd like to acknowledge that shaky line between the two, growing blurrier with every volume. A sort of good news, bad news situation.

The bad news — to get that out of the way — is that we cannot easily separate RWBY from its authors and those authors have, sadly, been drawing a lot of negative attention as of late. This isn't anything new, not at all, but I think the unexpectedly long hiatus gave a lot of fans (myself included) the chance to think about Rooster Teeth's failings without getting distracted by their biggest and brightest production. There's a laundry list of problems here — everything from the behavior of voice actors to the quality of their merch — but as a sort of summary issue, I'd like to highlight the reviews that continue to pop up on websites like Glassdoor, detailing the toxic, sexist, crunch-obsessed environment that RT employees are forced to work in. A lot of these websites requires a login to read more than a page of reviews, but you can check out a Twitter thread about it here. 

Now, I want to be clear: I'm not bringing this up as a way to shame anyone enjoying RWBY. This isn't a simplistic claim of, "The authors are Problematic™ and therefore you can't like the stuff they produce." Nor is this meant to be a catch-all excuse for RWBY's problems. If it were, I'd have dropped these recaps years ago. I'm of the belief that audiences maintain the right to both praise and criticize the work they're given, regardless of the context in which that work was produced. At the end of the day, RT has presented RWBY as a finished product and, more than that, presents it as an excellent product, one worth both our emotional investment and our money (whether in the form of paying for a First account, or encouraging us to buy merch, attend cons, etc.) I'll continue to critique RWBY as needed, but I a) wanted fans to be at least peripherally aware of these issues and b) clarify that my use of "RT" in statements like, "I can't believe RT is screwing up this badly" is meant to be a broad, nebulas acknowledgement that someone in the company is screwing up, either creatively (doesn't have the skill to write a good scene) or morally (hasn't created an environment in which other creators are capable of crafting a good scene). The real, inner workings of such companies are mostly a secret to their audiences and thus it's near impossible for someone like me — random fan writing these for fun as a casual side hobby — to accurately point fingers. Hence, broad "RT." I just wanted to clarify that when I use this it's as a necessary placeholder for whoever is actually responsible, not a damnation of the overworked animator breaking down in a bathroom. Heavy stuff, but I thought it was necessary (or at least worthwhile) to acknowledge this issue as we head into the second half of the volume.

Now for the good news: RWBY has reached 100 episodes! For any who may not know, 100 is a pretty significant number in the TV world because, when talking about prime time programming, it guarantees syndicated reruns. Basically, networks don't want audiences to get burned out with a show — changing the channel when it comes on because ugh, I've seen this already, recently too — and 100 episodes allows for a roughly five month run without any repeats, making it very profitable. RWBY is obviously not a television show and doesn't benefit from any of this (hell, modern television doesn't benefit from this as much as it used to, not in the age of streaming), but the 100 episode threshold is still ingrained in American culture. Beyond just being a nice, rounded number, it is historically a measure of huge success and I can't imagine that RT isn't aware of that. Regardless of what we think of RWBY's current quality, this is one hell of a milestone and should be applauded.

All that being said... RWBY's quality is definitely still lacking lol.

Our 100th episode is titled "Dark" — keeping with the one word titles, then — and I'd like to emphasize that, as a 100th episode, it definitely delivers in terms of plot. There's plenty of action, important character beats, and at least one major reveal, everything we'd expect from a milestone and a Part II premiere. The animation also continues to be noteworthy for its beauty, as I found myself admiring many of the screenshots I took for this recap. There are certainly things to praise. The only problem (one we're all familiar with by now) is that these small successes are situated within a narrative that's otherwise falling apart. It's all good stuff... provided you ignore literally everything else surrounding it.

But let's dive into some examples. We open on Qrow starting, awoken by the thunder outside. Robyn has been watching him and makes a peppy comment about how none of them will be sleeping tonight, followed by a more serious, "Sounds bad out there." Yeah, it does sound bad, especially when they all know — thanks to Ruby's message back in Volume 7 — that this is due to Salem's arrival. I think a lot of the fandom has forgotten that little detail because people often discuss Qrow as if he is entirely ignorant of what is going on outside his cell. Even if we were to assume that he's forgotten all about the pesky Salem issue (the horror of Clover's death overriding everything else, perhaps) he still knows that Tyrian is running loose in a heat-less city with a creepy storm going on and, from his perspective, the Very Evil Ironwood is still running the show. So it's bad, which begs the question of why Qrow (and Robyn, for that matter) hasn't displayed an ounce of legitimate worry for everyone he knows out there. Thus far, their interactions have centered entirely around Qrow's misplaced blame and Robyn's terrible attempts to lighten the mood, despite the fact that a war is raging right beyond that wall. It's another example of RWBY's inability to manage tone properly, to say nothing of balancing the multiple concerns any one character should be trying to juggle. Just as it rankles that Ruby and Yang don't seem to care about what has happened to their uncle, Qrow likewise doesn't seem to care about what might be happening to his nieces. When did we reach a point where these relationships are so broken that someone can be arrested/chucked into a deadly battle and the others just... ignore that?

So Robyn's otherwise innocuous comment immediately reminds me of how badly the narrative has treated these conflicts and, sadly, things don't improve much from here. We are thankfully spared more of Robyn's jokes when Qrow realizes that what he's hearing can't be thunder. A second later, Cinder blasts through the wall — called it! — and Qrow instinctively transforms. 

The only downside to this moment is that the whole ceiling falls down on Qrow and the others because APPARENTLY these cells don't have tops on them. Seriously. As far as I can recall we don't see the stone breaking through the forcefield somehow and this looks pretty open to me.

If it is... you're telling me these crazy powerful fighters who practice landing strategies and leap tall buildings in a single bound —

— can't just hop over this mildly high electric fence to get out? Qrow can't just fly away?

We're, like, two minutes in, folks.

We transfer to Nora's perspective as she wakes up, seeing Klein giving her the IV. He tells her not to worry, that "you and your friend are going to be just fine." What friend? Penny? Klein went upstairs prior to Weiss hugging Whitley or Penny crash landing outside. I had thought them bursting through the door with another unconscious friend was the first time he learned what the big bang outside was, but apparently not.

Penny is, obviously, a mess. While I now understand the choice to make her blood such an eye-catching color when that's crucial to the Hound's hunt, I still think it looks strange visually. Like someone has taken a copy of RWBY and painted over it. It doesn't look like it fits the art style. More than that, it implies some rather complicated things about Penny's humanity, especially in a volume focused around her being a "real girl." Real enough for Maiden powers, but with obviously inhuman blood that isn't even referred to as "bleeding." Penny "leaks" instead.

Toss in the fact that she's literally an android who is made up of tech — recall the running gags about her being heavy, or it hurts to fist-bump her, to say nothing of keeping things like multiple blades inside her body — yet Klein says that her "basic anatomy" is the same and he can "stitch up that wound."

I'm sorry, what? Whatever Penny looks like on the inside, it's not going to resemble a human woman's anatomy, and Klein might be able to stitch the outer layer of skin she's got, but that won't do anything to fix whatever metal bits have been broken underneath. Penny isn't a human-robot hybrid, she's a robot with an aura. Penny has knives in her back, rockets in her feet, and a super computer behind her eyes. When our clip introduced that Klein would be the one to help Penny, my initial reaction was, "Seriously? He's a butler and a doctor and an engineer?" But RWBY didn't even try to get away with a Super Klein explanation, they just waved away Penny's very obvious, inhuman anatomy. Yeah, I'm sure "stitching up" an android wound is just like giving Nora her IV. I hope the surgical sutures he used are extra strong!

In an effort to not entirely drag this episode, I do appreciate that Whitley is allowed an "ugh" moment about the non-blood covering his shirt without anyone calling him out on it. That felt like the sort of thing the show would usually try to make a character feel guilty about and I'm glad that, for once, he was just allowed to be frustrated without comment.

Then the power goes out and May calls, which raises questions about what state the CCTS is in and when scrolls are available to our protagonists vs. when they're not. But whatever. She's checking in because she just "saw another bombing run light up the Kingdom" and —

Wait. Bombing? Salem is bombing the city? I know we've seen explosions in the sky, but I'd always just attributed that to evil aesthetic. Why does this dialogue sound like it's from a World War II film and not a fantasy sci-fi show about literal monsters launching a ground attack?

May looks pretty against the sky though. I like her hair color against that purple.

I'm admittedly grasping at positives here because we finally return to her "You have to choose" ultimatum and — surprise! — May has pulled back completely. Ruby says that once they've helped Penny, "We'll...we'll do something!" which is once again her avoiding making a decision. Ruby still refuses to choose, instead falling back on generic, optimistic pep talks. They'll figure out how to stop Salem later. They'll think about the impact of telling the world later. They'll choose who to help later. Ruby keeps pushing these problems into the future where, she hopes, a perfect, magical solution will have appeared for her to latch onto. When that continues to not happen, others pressuring her to actually do something and stop waiting for perfection — Ironwood, Yang, May — she panics and continues stalling for time. Wait an episode and the narrative supports her in this.

Because initially May was forcing Ruby to decide. Now, May enables her desire to keep putting things off. "Don't beat yourself up, kid. At this point, I don't know how much is left to be done." That's the exact opposite of what May believed last episode, that there was still so much work and good to do for the people of Mantle. This is precisely what the show did with Yang and Ren's scenes too, having people call Ruby out... but then return to a message of, 'Don't worry, you're actually doing just fine' before Ruby is forced to actually change.

None of which even touches on May calling her "kid" in this moment. That continues to be a convenient way of absolving Ruby of any responsibility. When she wants to steal airships or Amity Tower, she's an adult everyone should listen to, the leader of this war. When the story wants to absolve her of previously mentioned flaws, she becomes a kid who shouldn't "beat herself up." I said years ago that RWBY couldn't continue to let the group be both children and adults simultaneously, yet here we are.

So that was a thoroughly disappointing scene. Ruby gets her moment to look sad and defeated, listing "the grimm, the crater, Nora, Penny" as problems she doesn't know how to solve. Note that 'Immortal witch attacking the city I've helped trap here' isn't included in that list. Ruby is still ignoring Salem herself and no one in the group is picking up where May left off, challenging her to do more than wring her hands over things others are already trying to take care of: Ironwood is fighting the grimm, May has gone off to help the crater, Klein is patching up Nora and Penny. Ruby, as one flawed individual, should not be expected to come up with a solution to everything, but she does need to stop acting like she can come up with a solution to everything when it matters most (office scene) and rejecting others' solutions when they ask for her help (Ironwood, May).

If it feels like I'm dragging the flawed, traumatized teenager too much, it's not in an effort to ignore those aspects of her identity. Rather, it's because she's also the licensed huntress who wrested control from a world leader and violently demanded she be put in charge of this battle. Ruby, by her own actions, is now responsible for dealing with these problems, or admitting she was wrong and letting others take the lead, without purposefully derailing their plans. She doesn't get to suddenly go, "I don't know," cry a little, and get sympathetic pats.

But of course that's precisely what happens, courtesy of Weiss.

During this whole scene I kept wondering why no one was celebrating Nora waking up, especially when Ruby outright mentions her. Have they just not noticed given all the Penny drama? Because Nora absolutely woke up.

Aaaand went back to sleep, I guess. What was the point of that POV shot? No worries though, she'll wake up again in a minute.

Willow arrives and announces that they can fix the power (and Penny) using the generator at the edge of the property. I'm convinced RT doesn't actually know what a generator is because the characters are acting like it's some super special device that only richy-rich could possibly have. Whitley says that it's the SDC executives who have their "own power supply" and that it's "extremely unfair." Now, don't get me wrong, a good generator powering large portions of your house can run you 30k+, but you can also get one that plugs into your extension cord and powers your fridge for a couple hundred. There's absolutely a class issue here, just not the one Whitley and Weiss seem to be commenting on. They make a generator sound like the sort of device that only a politician-CEO could possible have and it's weird.

Likely, it sounds weird because it's a choppy way of getting Whitley to bring up the wealth disparity so he can then go, 'That's right! We're crazy rich with a company housing tons of ships! We can use those to evacuate Mantle.' Awkwardness aside, I do like that the Schnee wealth is being used for good purposes, but... evacuate where? To the city currently under attack by a giant whale? In a RWBY that wasn't determined to demonize Ironwood, this would have been a great plot point during the office scene instead, with Weiss offering her services to Ironwood, even if the group decides that a continued evacuation still isn't possible.

Instead, we get it here from Whitley. Do I need to point out the obvious? That Whitley is the MVP of this episode? He's done more good in an HOUR than the group has managed in a year. Give this kid some training and make him a huntsmen instead.

We're given a (very pretty!) shot of the shattered moon because it wouldn't be RWBY if we weren't continually reminded that gods once wiped out humanity before destroying part of a celestial body... and absolutely no one talks about that lol.

Blake's coat might not make any sense for her color scheme, but it does make her easy to spot as she and Ruby run across the grounds. Oh my god, they're actually doing something together! It only took eight years. They even get a lovely talk where Blake admits how much she looks up to Ruby, despite her being younger, and once again I'm struck at how much more I would have loved this scene if it had appeared elsewhere in the series. It is, indeed, as sweet and emotional as all the RWBY GIF-ers are claiming... provided you overlook that this is the exact opposite of what Ruby needs to hear right now. She doesn't need to hear that she's more mature and reliable than her elders when she's functioning under a "We don't need adults" mentality. She doesn't need to hear that not knowing what to do is totally fine, not when that led to her turning on Ironwood, despite not knowing how to stop Salem. She doesn't need to hear that "doing something" — doing anything — is a strength, because Ruby keeps avoiding the big problems for smaller ones she's comfortable with, like standing by Penny's bedside instead of deciding between Mantle and Atlas. Blake's speech is heartfelt, but it's a speech that suits a Beacon days Ruby who is having some doubts about her leadership skills, not the girl whose impulsive — and now lack of — actions is having world-wide repercussions. Everyone is babying Ruby to a staggering degree. It's like if we had a med show where the doctor is standing by the bedside of a coding patient, fretting between two treatments. 'Don't worry,' their colleague says, patting their shoulder. 'I've always looked up to you. You'll do something when you're ready' and then they continue to watch the patient, you know, die.

Also: who does Ruby look up to? Everyone talks about how much they depend on and trust Ruby, but who does Ruby look to for guidance? A number of her problems stem from the fact that she has rejected the advice of everyone who has tried to help her improve: Qrow, Ozpin, Ironwood, even Yang. Ruby is presented as the pinnacle of what to strive for in a leader, rather than a leader who has only been doing this for two years and still has a great deal to learn.

Anyway, they get the generator on and the Hound shows up.

I am begging RT to just make RWBY a horror story. All their best scenes the last three years have been horror I am bEGGING —

Anyway, while Ruby waits to be eaten we cut to Willow and Klein, the former of which is reaching for her bottle, pulling back, reaching again, all while her hand shakes. This is good. This is what we should have gotten with Qrow. Which isn't to say that their (or anyone's) addiction should be identical, but rather that this is a far more engaging and complex look at addiction than what our birb got. Willow tells us that she doesn't drink in the dark despite bringing the bottle with her; tries to resist drinking when she's scared and ultimately fails. Qrow just decided to stop drinking after decades of addiction, seemingly for no reason, and that was that. Why is a side character we only met this volume written better than one of the main cast?

Blake manages to call Weiss about the Hound and she asks if Whitley can handle the airships without her. I mean, I assume so given that Weiss is looking at the bookshelves while Whitley does all the work lol. He makes a teasing comment about how he can if she can handle that grimm and she comments that they still need to work on his "attitude."

No they don't. Weiss stuck a weapon in her kid brother's face. Whitley made a joke. Even if Weiss' comment is likewise meant to be read as teasing, it's clear that we've bypassed any meaningful conversation between them. That hug was supposed to be a Fix Everything moment even though, as I've laid out elsewhere, it didn't even come close.

We cut back to Ruby getting thrown through a wall into the backyard and the Hound creepily coming after her. She's freaked out by this clearly abnormal grimm and Blake is weirdly... not? "It's just a grimm. Just focus!" Uh, it's obviously not. Have we reached the traumatized, sleep-deprived point where the group is sinking into full-blown denial? I wouldn't be surprised. They've been awake for like... 40+ hours.

Because the Hound knocks Ruby out with a single hit. Just, bam, she's down. "Focusing" is not the solution here.

Weiss calls to warn the others about the grimm, telling them to stick together. Willow (understandably) starts freaking out and flees the room (classic horror trope!). Klein is left alone when Penny wakes up with red eyes. Oh no!

Don't worry. You know nothing meaningful happens.

She shoves Klein before (somehow?) resisting the hack, her Maiden powers going wild in the process. Just when it looks as if Penny might cause some serious damage, Nora wakes up, takes her hand, and says, I kid you not:

"Hey... no one is going to make you do anything you don't want to do... It's just a part of you. Don't forget about the rest."

Okay. I want to re-emphasize that I love hopeful, uplifting, victory-won-through-the-power-of-love stories. Istg I'm not dead inside, it's just that RWBY does this so badly. I mean, what is this? It has similarities to the character shouting, 'No! Resist!' to their mind-controlled ally, but this is not presented as a desperate, last-ditch effort by Nora. She just speaks like this is the most obvious truth in the world. If you don't want to have your mind taken over... just don't! It's that simple. The problem definitely isn't that Watts has changed her coding and has implemented a command she can't override, it's that Penny has forgotten about the "rest" of her personhood.

And this works. Granted, not for long, but we leave Nora having successfully calmed Penny down and until her eyes unexpectedly go red again scenes later, we're left assuming that this is a permanent solution. That, imo anyway, is taking the Power of Love too far, overriding the basic reality of Penny being hacked. It’s not a personal failing she must overcome, it’s an external attack. I would have rather had Nora react to the scars she saw on her arm, or have a moment with Klein, or get some love from the group. Not a wakes up, falls asleep, wakes up again to save Penny with a Ruby level 'Just ignore reality' pep-talk, then back to sleep again.

So Penny isn't attacking her allies, or mistakenly hurting her allies with wild Maiden powers. Not that the group doesn't have enough to deal with, but still. Weiss arrives to help with the Hound and attempts a new summon, only to fail when two minor grimm burrow up into her glyphs. I really enjoyed that moment, both for the wing visual and the knowledge that Weiss' glyphs can fail if you break them somehow (which makes sense). Also, I just like that she failed in general? Weiss is, as per usual now, about to demonstrate just how OP she is compared to the rest of the team, so it was nice to see her faltering here.

The Hound tries to make off with Ruby and Blake does an excellent job of keeping it tethered. Ruby finally wakes, only to realize that the grimm is actually after Penny since it's staring at her power up through the window, no longer trying to escape. Moments like this remind me that there's someone on RT's writing team that knows what they're doing, at least some of the time. The assumption that the Hound is after Ruby as a SEW, the surprise that it's actually Penny, realizing it holds up because Ruby is covered in Penny's blood and Blake is not... that's all nice, tight plotting. More of that please!

The Hound drops her and Ruby's aura shatters when she hits the ground. I want everyone to remember this moment as an example of how strong the Hound is. The group may be tired, but unlike YJR they've been sitting around in the Schnee manor for a number of hours, regaining strength. We saw the Hound hit Ruby twice — once through the wall and once to knock her out — and then she falls from a not very high distance for a huntress, yet her aura is toast. That's the level of power and skill the Hound possesses. Decimating YJR, knocking Oscar out, same for Ruby, avoiding Blake and Weiss' hits, soon to treat Penny like a ragdoll. Just remember all this for the episode's end.

Blake tells Weiss she'll take care of Ruby, you go help the others. Yay breaking up the duos more! Bad timing though as the new acid-spitting grimm pops out of the ground and Blake is now left alone to face it.

Weiss re-enters the mansion, knowing the Hound is somewhere nearby, but not where. Suddenly, Willow's voice sounds through her scroll with an, "Above you!" which... doesn't keep Weiss from getting hit lol. But it's the thought that counts! Willow has accessed the cameras she's set up throughout the manor, watching the Hound's movements, and I have to say, that is a WAY better use of her separation from Klein than I thought we were getting. I legit thought they'd have Willow run away in a panic, meet the Hound, die, and then Weiss could be sad about losing her mom.

It does say something about RWBY's writing that this was my knee-jerk theory, as well as my surprise when we got something way better.

The Hound runs off, uninterested in Weiss, and she asks Willow to keep tabs on it. It heads for Whitley next (also covered in Penny's blood) and very creepily stalks him in the office with a, "I know you're here." Whitley is seconds away from being Hound chow before one of Weiss' boars pin it against the wall. He runs, then runs BACK to finish deploying the airships, before finally escaping assumed death. Goddamn this boy is pulling his weight.

I assume all these ships are automated then? I hope someone takes a moment to call May. Otherwise it's going to be super weird for the Mantle citizens if a fleet of SDC ships just show up and hover there...

I don't entirely understand how Weiss saved him though. She's nowhere to be seen when Whitley leaves and he runs a fair distance before he and Willow encounter Weiss again. We know her summons don't have to keep right next to her, but are they capable of rudimentary thought, attacking an enemy — and an enemy only — despite Weiss being a couple corridors down and unable to see the current battlefield? I don't know. In another series I'd theorize that this was a deliberate hint, a way to clue us into the fact that Willow, someone who we currently know almost nothing about, had training in the past and summoned the boar herself. Weiss and Winter certainly didn't get that hereditary skill from Jacques. Hell, we might still get that, Weiss reacting with confusion next episode when Whitley thanks her for the boar, but I doubt it. That scene with Ruby and the Hound aside, the show isn't this good at laying groundwork and then following up on it.

Case in point: Weiss says, "I didn't forget you" to Whitley after he gets away from the Hound, the moment trying to harken back to her promise to Willow. Key word is "trying." Because she absolutely forgot him! Weiss threatened and ignored Whitley until he proved his usefulness. I also shouldn't need to point out that, "Don't forget your brother" does not mean, "Don't let your brother die a horrible death by abnormal grimm." Weiss acts like her saving him is a fulfillment of her promise, rather than just the most basic of human decency. And also, you know, her job.

So that part is frustrating. The entire Schnee dynamic is a mess, from Weiss making a joke of her father's arrest, to Willow (presumably) fixing their relationship by putting a hand on her daughter's shoulder. Okay.

Then Weiss cuts off the Hound by summoning a giant wall of ice. My brain, every time this happens:

YOU COULD HAVE FIXED THE HOLE IN MANTLE'S WALL.

Moving on, Blake's fight against the acid... thing has some great choreography, including Blake using her semblance which we haven't seen in AGES. 

I really like the fight itself, just not what Blake is shouting the whole time. "I need you, Ruby! We all need you!" This has really gotten ridiculous. Ruby is presented as everyone's sole savior despite failing time and time again. It's not that I don't think Blake as a character should have faith in her leader, it's that I don't think the writers should be crafting a story where everyone puts their unshakable hopes in an untrained, disloyal, impulsive 17 year old. I mean, Ruby is currently unconscious, yet Blake is acting like if she doesn't wake up — she, as an individual, if Ruby Rose does not re-join this fight — then all is lost. If Ruby doesn't save them, no one can. Which is, of course, absurd on numerous levels. Blake doesn't need the passed out, aura-less Ruby right now, she needs the still very healthy Weiss pulling out multiple summons and an ice wall! Use your scroll and call for backup again.

But of course, Ruby wakes up and kills the new, terrifying grimm with a single hit. It's a preview of what's to come with the Hound and it's just as ridiculous here as it will be there.

Speaking of the Hound, am I the only one who thought this was... cute?

I can't possibly be the only one. That head-tilt is exactly what my dogs do and my brain instinctively went, "Aww, puppy!"

Murderous puppy.

The Hound realizes none of the Schnees are who it's looking for and runs off. Penny, meanwhile, has been fully taken over because, well, that's just what's convenient now. She resists long enough keep Amity up, then succumbs, then resists to apologize to Ruby, then succumbs, then resists because Nora asked her to, then succumbs once it's time to knock her out. If RWBY was willing to commit to consequences, Penny would have been taken over and that was that. The characters would need to deal with whatever outcome happens as a result. Instead, the show very carefully avoids any of those pesky consequences by having Penny successfully resisting at key moments, despite no explanation of how she's managing that.

She shoves Klein again (Klein is having a Bad Time) and starts walking down the main steps. When Whitley wants to know where the hell she's going, Penny mechanically responds that she must "Open the vault, then self-destruct." I suppose the change Watts made was the self-destruct order? Ironwood obviously wants the vault open, though not necessarily Penny's death. Think what you will of his moral compass, she's a damn powerful ally — a research project, perhaps — and a Maiden to boot. At the very least, her death may give the powers to someone even worse.

God, please don't let them have brought Penny back and made her a Maiden just to kill her again.

The Hound arrives though and, as said, knocks Penny out. We're back to square one with her, then. Note though that this attack is near instantaneous. She grabs its hands one second, is hanging limply the next. Wow, the Hound sure is a terrifying antagonist!

Not for long.

"That's enough," Ruby says and one-shots it with her eyes.

Now, I want to talk for a moment about the implications of that line. "That's enough." Obviously Ruby is #done with this situation and emotionally unwilling to let the Hound kidnap Penny (congratulations, Nuts and Dolts shippers), but there's a meta reading here as well. Not intentional, but glaring to me nonetheless. Basically, the idea that the Hound has, from a plot perspective, done enough. It has served its singular purpose. It kidnapped Oscar and now it dies. Never-mind how insanely powerful we've established the Hound to be, never-mind how Ruby's eyes also work or don't work according to whether anything of actual import is on the line. From a plot perspective "that's enough" and the Hound can be disposed of instantly. It got Oscar and gave us an episode of filler creepiness. Move along now.

The idea behind Ruby's eyes isn't bad, but the execution absolutely is. RT has undermined a huge portion of the stakes by giving their protagonist an instant kill-shot that always works precisely when she needs it to. Starting with the Apathy, we have yet to get a moment where Ruby's eyes fail to save the day when she really needs them to, no matter how incredible the challenge. The Hound was very intentionally written to be a grimm outside of the group's current power level. It thinks, it talks, they literally can't touch it. This creates the expectation that the group will need to grow stronger — or at least become smarter — in order to surmount this new obstacle, yet Ruby's eyes undermine all of that. The group hasn't grown in years, the show just makes enemies weaker as needed (Ace Ops), or has Ruby pull out her eyes as a trump card. It wouldn't be that bad if we'd at least gotten a good battle out of it, one where the group gets close to defeating the Hound on their own, but needs Ruby's eyes to finish it off. Instead, she literally walks up without any aura, announces to the audience that this antagonist's time is up, and blasts it out a window.

Granted, Ruby's eyes don't completely finish it. The Hound pulls itself to its feet and we see this.

Yup, that's a guy and yup, those are silver eyes.

I would like to issue a formal apology to the "It's secretly Summer!" theorists in the fandom. I mean, I still think it would be ridiculous (and at this point highly improbable) that Ruby's dead mother has actually been a grimm mutant this whole time, just hanging out in Salem's realm while she waits for the plot to start before attacking the world, and then sends some no-name faunus dude after the group instead of their leader's mother for extra, emotional torture... but you all were definitely right about the “It's a person” part! I... don't know how I feel about this. Admittedly, it seems to be a logical continuation of the other grimm-human hybrids we've seen — namely Cinder and Salem herself — and it finally explains why Salem wants Ruby alive (even though it actually doesn't because WHY did she want more SEWs for Hound grimm when she wasn't even attacking back then? And already has all these other insanely powerful tools??), but at the same time, it feels like it's complicating a story that doesn't need further complications. The group fights monsters and has an immortal enemy. You don't need to add 'Some of those monsters are secretly human' to the mix.

It doesn't hurt that this twist is giving me Attack on Titan vibes, which, ew. A dark time in my fandom life, folks.

The Hound staggers a few steps before Whitley and Willow dump a suit of armor on it. That's all it takes to kill the most dangerous grimm we've ever seen: a single flash of silver eyes and some heavy metal. This also wreaks havoc with the implication that Salem wants SEWs alive because they create such powerful grimm. Obviously not. I mean yeah, normal huntsmen are going to have serious  problems, we’ve seen that this volume, but any other SEWs nearby will take a Hound out instantaneously. For a villain with so many other powerful abilities — immortality, magic, endless normal grimm, her nifty soup — Salem would be much better served just killing SEWs straight out. Clearly, creating Hounds isn't worth the effort.

The Hound leaves some bones behind and Ruby collapses to her knees, overcome with the knowledge that this was once a person. Again, uncomfortable Attack on Titan parallels.

We finish our premiere with Cinder clearing away rubble to reveal Watts. Honestly, I like that we ended on this because her rescue is hilarious. She just slings him over her shoulders like a sack of potatoes and blasts off with her magic fire feet. Fantastic.

Note though that with this scene we've seen almost everything from the clip and the trailer. What's to come in the rest of Volume 8? No idea. Outside of Winter leading the charge with the bomb, we got it all here.

Time to update the bingo board!

I'm crossing off "Introducing new grimm that are quickly abandoned." Between the Hound and acid-dude both falling to a single blast/cut from Ruby, we've more than earned this square.

It doesn't look as if we'll get another Watts-Jacques team-up now that he's left, but you never know.

Maria's got me worried. I feel like her Yoda fight against Neo is the one thing she'll be allowed to do this volume, but given that we didn't see anyone except Ruby's group this episode, we don't yet know whether the story is now ignoring her and Pietro, or if they'll re-appear in another episode like YJR.  

Qrow is free. Will he get a drink before trying to murder Ironwood? Perhaps.

Still no bingo :(

All in all, the episode was by no means horrible. I think there were lots of horrible parts, but also some legitimately well executed moments, fun action, and scenes that I can easily imagine as squee worthy if you lean back and squint. Everything is comparative and in the growing collection of bad RWBY episodes, this one isn't securing a top slot. Which doesn't mean I think it's good, just... not as bad as it could have been and primarily only bad due to long-running problems, not things this specific episode has done. That's my bar then, so low it has officially entered the underworld.

Still, RWBY is back and a part of me is eager to see where this volume takes us, for better or for worse.

Until next week! 💜

[Ko-Fi]

[glitterytidalwavedragon]

Expanding into my other Fandoms (I’m gonna have to take a stance) Read the whole thing please.

One of my oldest and most beloved anime is Inuyasha. As of late I have been binged watching the hell out of it as I am getting my BFF into different anime shows. We are really close to entering the Yashahime part of the series, and she asked if I planned to write fanfiction involving the one character which made me even watch the show as a 10-year-old.

Sesshomaru

The first episode I ever watched involved this aloof, entitled dog fighting his brother over the sword in their father’s grave. Specifically, it was part 3 of that whole episode series were Kagome pulled out the sword. I at the time had 3 dogs of German Sheppard/wolf hybrid, they were MASSIVE dogs, fell in love with the big white fluff that was Sesshomaru’s demon form. I use to sneak staying up and watch the show faithfully to see the goodest boy as it was only on at 11pm EST on adult swim. Which meant it was bad and I was breaking the rules, I felt like a rebel.

Now I hesitated answering that question. She has no idea of what is in Yashahime, she is being careful not to spoil it so I told her I didn’t know. Recently, to find out what the feel is for Sesshomaru content, I looked into the tag on tumblr…

OH MY GOD.

Sesshomaru’s tag is FLOODED with hate. Like every four post, there is hate, distain, and attacking happening. As someone who watches Yashahime, I quickly knew why.

Sessrin.

Even now I sigh. And I sigh HARD. I am not for, nor am I against the Sessrin train. Same for the Sesskagu train. I think both sides need to look at things on a logical prospective. I plan to do just that. I know I will get hate from the either side and maybe some support as well. But if I am going to do anything in this fandom (as I like doing ships and reader inserts) it will come up.

So, like my Kaiba post, and my Sebastian Heel post, I will use my research skills as well as my COLLEGE DEGREE WHICH HAS BOTH ART AND MEDIEVAL HISTORY labelled on it to explain why this progression in the story is normal to anti-Sessrin fans and why this isn’t a crime by story standards nor should we look at it as a crime.

AS WELL

Explain to Sessrin fans why it is so weird for non-shippers to see it play out and why so much hate formed.

As I let out another sigh, we shall begin. Let’s start at an historical prospective. (Links at the bottom).

PLEASE READ THE WHOLE THING! I’LL BE ABLE TO TELL!

~~

I will start with the information I can access right away.

While finding charts on the life-span of common folk in 1590’s Feudal Japan is rather difficult, Ancient.edu states that the average lifespan was about 50. To put this in perspective, the average lifespan of Europeans at the time was somewhere between 40-45 with the latter being rare. Since most of us reading are not from Japanese descent, I will through Europe in this first.

If we look at the same time frame of 1590, we are looking at most of Western Europe had now entered the age of Renaissance. According to sources from Learning Resources in association with the National Gallery of Art, marriage was not what TV drama’s from HBO or Hulu depicted. By today standards they would be a crime, as the average age for marriage of an adult female was age 14…

The reasoning behind the young marriage age had multiple factors. First being, females were considered an adult once they were menstruating. Birthing also proved to be fatal, and since the lifespan was at best 40 and 45 if they were lucky, there was really no room to wait. Also Europe at the time had became hugely focused on making sure blood lines were legitimate, meaning to ensure the girl was a virgin, the moment she was able to reproduced she was married off. Those they married were not young teenagers either. Most marriages, a man would be in their thirties, and had probably multiple wives as women died more than men when not counting the battle field.

To make matters worse for the Renaissance Lady, these marriages would leave many young males unable to marry and if their husband died in battle, well, unfortunately they were not seen as desirable. This was due to the idea of a ‘free woman’. Should the girl not have a father, brother or uncle to return to as they too died, a widow had her freedom. But that freedom came at a cost. She would be assumed to have slept around, and in many writings, such as the Canterbury Tales, where Geoffrey Chaucer writes about a Window on a pilgrimage to the Holy Land survived her five husbands and the men in her family. In short, she was made to be a slut and to be looked down upon as no man controlled her.

The point of talking about Europe is because that is something most of us Non-Asian or Japanese people consume and like to paint in large romantic brush strokes of knights and magic. Honestly, reading G.R.R.Martin Song of Ice and Fire, he uses this model as we see the Queen of Dragons, Danny start off at age thirteen shortly after she had her first menstruation.  

Now let’s look at Feudal Japan.

As stated before, the lifespan was around 50 years. In some populations, this was even shorter. Nagaoka, Hirata, Yokota and Matsu’ura’s on demographic data at the Yuigahama-minami area in Kamakura, Japan and found both male and female remains that suggested life expectancy to have ended around age 24-25. This was largely due to living conditions and public health. In areas like these, it would make the most sense to marry and repopulate quickly as the expectancy of life was half the national average at the time.

To my frustration, I could not find a clear marriage age for Japanese women at the time of the edo period. HOWEVER, where there is a will there is a way. I took a look at famous Lords or Daimyo’s of the time. The average age of marriage of their wives was between 12-14. Much younger than I expected, but it made sense considering this is a time where war ran the show and marriage was strictly about political gain. One of these Daimyo’s was Masamune Date, who was also 13, but then as he got older took concubines who became considerably younger than him as he became older. The goal was to have as many children as possible for hires and for political marriages to gain power.

Now lets look at Inuyasha the MANGA

Lets get the manga timeline proper here. The whole adventure took place in 11 months, a month shy of Kagome’s 16th birthday. Doing a few estimations, Rin would have travelled with Sesshomaru about 8-9 of those months. But before we get into the relationship, lets look at something the ANIME made a huge mistake with in the beginning and tried to fix as the story went on.

For some reason I could only fine gifs for the Early appearances of Sesshomaru so bear with me.

Early appearances in the manga

 ^ He was so fickle and a trickster then...

Now early apperances in the anime.

Later appearance in the manga

Laster appearance in the anime

Notice the issue here? 

Sesshomaru was CONSIDERABLY younger looking in the start of the manga. In the anime, he started off looking like an fully adult male. But as the anime went on, they tried to make Sesshomaru look younger with subtle changes to his jaw line, eye size, and his height. Yeah, his height had changed. They made him shorter.

While in the manga, we see this young-teen looking demon, slowly mature over 11 months to look like he is in his later teens and by series end, closer to being in his late teens or twenty. Yes, art changes over time, but the anime went a reverse route. I can only guess they spoke to the author of Inuyasha about her ships, as they did Drama CDs, and realized the mistake that was made in making him more mature than he was.

You can’t tell me he doesn’t look closer to his manga self in the final act, because he does.

Since we are on the topic of the anime, lets be clear. The anime timeline and manga timeline are very different. The story in the anime (in the English) suggests that OVER a year has past since Kagome started her journey. They try to fix this in the final act, but it was still so muddled as previous seasons are to be taken as cannon. This could have been due to an translation error in the early production when the anime no longer had anymore manga material to reference. But whatever the case, for English viewers the time the group spent together felt much longer.

So now we come to the heart of the issue.

Because of the mistakes of the anime, a lot of anti-sessrin see the relationship as father daughter. I’ll be honest, watching the anime and solely the anime as a teenager and as an adult (as the manga was on hold for a very long time due to author’s health. I was in college when it finished.), I too thought it was just a father-daughter relationship and Jaken the nanny who got punched all the time. In fact, the English took hard liberties with Kagura, as the English dubs often do with characters, and made it very clear her feelings for the demon lord and Sesshomaru very much recognized them (though he never responded). Even in her death scene, it felt as if he was saying good bye to a friend more than love interest. But who really knows, as there are things that point otherwise.  When another demon mock’s Kagura’s death, Sesshomaru gets super pissy.

The manga did also play with this fact when it came out in English, idk if the wording or message is different in the Japanese. Translation errors happen a lot even in todays releases, look at Kuroshitsuji.  So of course most anti-sessrin’s did not see this coming in Yashahime when Rin was named mother. In fact it felt like a betrayal as we were sure Sesshomaru had no romantic feelings.

Then there was the Kohaku/Rin mashup that was hinted left and right. The English anime, with its overly dramatic and blunt emotions made it appear one way. That in the end the two kids would probably be married. Then the anime as a whole made Sesshomaru older than intended. I can see why and understand how this became a problem.

On the other side of that coin.

If you followed the dub, seen ‘Swords of an Honorable Ruler’ and read the manga… Sesshomaru was not fatherly to Rin at all. In fact, Jaken picked up all of that leg work. Rin worried for Kohaku, but clearly loved Lord Sesshomaru. Sesshomaru cared about Kagura but he almost CRIED when he lost Rin.

We have to remember that Sesshomaru and Rin’s relationship must have been very hard for the demon. While we never see his mental process expect for a few rare times, we have to remember he hated humans. In the movie, he blamed a human for the early death of his father, Sesshomaru killed without mercy. It made sense that he wouldn’t be fatherly to Rin as her just being there should have caused countless inner conflicts. Hell, he even says his father’s weakness was humans, and look who picked up that trait.

Sesshomaru was designed to, someday, walk in his father’s footsteps. So sess/rin, not a surprise. Also when you see it in a historical perspective, Rin having kids around age 15-16, makes sense. In fact you could argue he waited too long for the time period.

We also need to look more at the manga when concerned with Yashahime. 8-9 months is all Rin travelled with him and he was like hold up, and left her at the village because he KNEW she needed to come to her own conclusion. That no matter what she picked he would live with and protect her. Unconditional love on his end. She cannon wise spent YEARS living with humans and MONTHS with Sesshomaru. Again, by manga standards of cannon.

Now I can already hear the screaming about age and what not. Some sources say Sesshomaru is over 900, by the rule of thumb, if we look at anime and movie releases, we have Sesshomaru being over 500 with no define age and Inuyasha around 270 years old being more pinpointed due to the movie. Just by going by ANIME CANNON. Kagome and Inuyasha, you have a 15 year old with a 270 year old man. If you say being pinned to the tree doesn’t count, then you have 220.

Also, here is something very interesting. In the episode where Inuyasha meets the unmother, he tells her, thinking it was his mom, she died when he was very small and we have flash backs later in the series of him being small running from demons. Demons clearly age much slower than humans, even half-demons. Inuyasha can be 270 but mentally and physically be 15, the same logic works for Sesshomaru, who in the manga is not much older than Inuyasha.

In the manga, there wasn’t any grooming, in the anime, there was a ton of mess-ups but no grooming.

Would this fly in todays world? HELL NO! NO, its gross, she’s a kid. Stop.

I know any fanfic I write will lean heavily on the side of father/daughter because that is what I grew up seeing on the screen. I can’t think of Rin as an adult because years of seeing her as a cheerful little girl. It’s like seeing G.O.T Arya about to have sex for the first time in season 8… I remember when she was a kid on the show. It was way to weird and I had to look away until it ended. But that’s my 2021 mentality.

But Inuyasha is not taking place in 2021. Feudal Japan is a whole other era with its own beliefs, morals and way of life. Those who understand this have nothing wrong with them. They just understand history.

Also, just to bang some nails in…

Anyone remember Bleach? Remember the MOST accepted couple was Ichigo and Rukia…. Rukia who was hundreds of years old and Ichigo who was 15… or Ichigo’s mom who was a teenager and his dad also hundreds of years old.

Most of this also boils down to Sesshomaru being a dude. As in reverse roles in animes its accepted and they don’t have the same historical context. Inuyasha is based off of historical context of Feudal Japan.

We need to stop spreading hate. We can’t accept some forms of literature because its European fantasy but bash other fantasy based literature for doing the same thing.

Sure, its weird for those who were use to seeing the father/daughter dynamic. Yes, there are extreme sessrin fans who post really questionable illegal content when they decide to leave Rin as an 8-year-old…

But this wasn’t ever meant to be perverted. The story was meant to make sense on a logical and historical base.

I hope everyone takes the time to read this. I love Inuyasha, I love Sesshomaru. I am just sick of seeing so many people fighting over what should be the revival of a beloved series. While yes, there is still room for sess/rin not being a thing, until it is stated otherwise, why hate each other? This fandom will only lose people by doing this. Calling people names or accusing them of illegal endorsement can hurt someone these days over social media.

Tumblr allows you to block tags. You don’t have to read anything or watch anything you don’t like. We gain nothing from attacking each other but can lose so much by doing so. Fanart, really good fan fiction, friends, ideas, sharing fond memories. Both sides have the right to feel as they feel, but no right in hurting each other.

A fandom is meant to bring people together. Not start a war…

Thank you.

https://onlinelibrary.wiley.com/doi/abs/10.1002/ajpa.20402

http://www.italianrenaissanceresources.com/units/unit-2/essays/husbands-and-wives/#:~:text=Marriage%20not%20only%20reflected%20order,to%20ensure%20the%20bride's%20virginity.

https://www.ancient.eu/Canterbury_Tales/

https://www.ancient.eu/article/1424/daily-life-in-medieval-japan/#:~:text=Just%20as%20Japanese%20people%20today,in%20Western%20Europe%2C%20for%20example.

https://en.wikipedia.org/wiki/Date_Masamune

https://en.wikipedia.org/wiki/Megohime

[twh-news]

Loki' composer on how her MCU score reflects the main character's flair for the dramatic

By Josh Weiss

Natalie Holt's timeline was turned upside down last fall when she landed the highly-coveted composer gig for Marvel Studios' Loki series on Disney+.

"My agent got a general call-out looking for a composer on a Marvel project," she tells SYFY WIRE during a conversation over Zoom. "So, I didn’t know what it was. It was [described as] spacey and quite epic ... I sent in my show reel and then got an interview and got sent the script and then I realized what it was for. I was like, ‘Oh my god!’ It was amazing ... Loki was already one of my favorite characters, so I was really stoked to get to give him a theme and flesh him out in this way."

***WARNING! The following contains certain plot spoilers for the first four episodes of Loki!***

Imbued with glorious purpose, Holt knew the score had to match the show's gonzo premise about the Time Variance Authority, an organization that secretly watches over and manages every single timeline across the Marvel multiverse. The proposition of such an out-there sci-fi concept inspired the composer to bring in uniquely strange sounds, courtesy of synthesizers and a theremin.

"I got my friend, Charlie Draper, to play the theremin on my pitch that I had to do," she recalls. "They gave me a scene to score, which I’m sure they gave to loads of other composers. It was the Time Theater sequence in Episode 1. The bit from where he goes up the elevator and then into the Time Theater ... I just went to town on it and I wanted to impress them and win the job and put as many unusual sounds in there and make it as unique as possible."

The end result was a weird, borderline unnatural sound that wouldn't have felt out of place in a 1950s sci-fi B-movie about big-headed alien invaders. Rather than being turned off by Holt's avant garde ideas, Marvel Studios head honcho Kevin Feige embraced them, only giving the composer a single piece of feedback: "Push it further."

Holt admits that she was slightly influenced by Thor: Ragnarok ("I loved the score for it and everything"), which wasn't afraid to lean into the wild, Jack Kirby-created ideas floating around Marvel's cosmic locales. Director Taika Waititi's colorful and bombastic set pieces were perfectly complimented by an '80s-inspired score concocted by Devo co-founder, Mark Mothersbaugh.

"To be honest, I tried not to listen to it on its own," Holt says of the Ragnarok soundtrack. "I didn’t want to be too influenced by it. I watched the film a couple of times a few years ago, so yeah, I don’t think I was heavily referencing it. But I definitely had a memory of it in my mind."

After boarding Loki last September, Holt spent the next six months (mostly in lockdown) crafting a soundtrack that would perfectly reflect the titular god of mischief played by Tom Hiddleston. One of the first things she came up with was the project's main theme — a slightly foreboding cue that pays homage to the temporal nature of the TVA, as well as the main character's flair for the dramatic. "He always does things with a lot of panache and flair, and he’s very classical in his delivery."

She describes it as an "over-the-top grand theme with these ornate flourishes" that plays nicely with Loki's Shakespearean aura. "I wanted those ornaments and grand gestures in what I was doing. Then I also wanted to reflect that slightly analog world of the TVA where everything has lots of knobs and buttons ... [I wanted to] give it that slightly grainy, faded [and] vintage-y sci-fi sound as well."

"I just wanted it to feel like it had this might and weight — like there was something almost like a requiem about it," Holt continues. "These chords that are really powerful and strident and then they’ve got this blinking [sound] over the top. I just came up with that when I was walking down the street and I hummed it into my phone. There’s a video where you can just see up my nose and I’m humming [the theme]. I came home and I played it."

As a classically-trained musician, Holt drew on her love of Mahler, Dvořák, Beethoven, Mozart, and most importantly, Wagner. A rather fitting decision, given that an actual Valkyrie (played by Tessa Thompson) exists within the confines of the MCU.

"I would say those flourishes over the top of the Loki theme are very much Wagner," Holt says. "They’re like 'Ride of the Valkyries.’ I wanted people to kind of recall those big, classical, bombastic pieces and I wanted to give that weight to Loki’s character. That was very much a conscious decision to root it in classical harmony and classical writing ... There’s a touch of the divine to the TVA. It’s in charge of everything, so that’s why those big powerful chords [are there]. I wanted people almost to be knocked off their socks when they heard it."

With the main theme in place, Holt could then play around with it in different styles, depending on the show's different narrative needs. Two prime examples are on display in the very first episode during Miss Minutes' introductory video and the flashback that reveals Loki to be the elusive D.B. Cooper.

"What was really fun was [with] each episode, I got to pull it away and do a samba version of the theme or do a kind of ‘50s sci-fi version of the theme," she explains. "I can’t say other versions of the theme because they’re in Episode 5 and 6…or like when Mobius is pruned, I did this really heartfelt and very emotional [take on the theme] when you see Loki tearing up as he’s going down in slow motion down that corridor. It was cool to have the opportunity to try out so many different styles and genres. And it was big enough to take it all. It was a big enough story."

The other side of the story speaks to the old world grandeur of Loki's royal upbringing on Asgard, a city amongst the stars that eventually found its way into Norse mythology.

"I went to a concert in London three years ago and I heard these Norwegian musicians playing in this group called the Lodestar Trio," Holt recalls. "They do a take on Bach, where they’re kind of giving it a folk-y twist … [They use] a nyckelharpa and a Hardanger fiddle — they’re two historic Norwegian folk instruments. I just remembered that sound and I was like, ‘Oh, I have to use those guys in our score.’ It seemed like the perfect thing. I was like, ‘Yes, the North/Norwegian folk instruments.’ It just felt like it was the perfect thing for his mother and Asgard and his origins."

That folk-inspired sound also helped shape the music for Sylvie (played by Sophia Di Martino), a female variant of Loki with a rather tragic past. "Obviously, we’ve seen in Episode 4 what happened to her as a child," Holt says. "I just feel like she’s so dark. She’s basically grown up living in apocalypses, so she has that Norwegian folk violin sound, but her theme is incredibly dark and menacing and also, you don’t see her. She’s just this dark figure who’s murdering people for a while."

And then there were all the core members of the TVA to contend with. As Holt mentioned above, fans recently lost Agent Mobius (Owen Wilson), may he rest in prune. We mean peace. What? Too soon? During a recent interview with SYFY WIRE, Loki head writer Michael Waldron said that he based Mobius off of Tom Hanks's dogged FBI agent Carl Hanratty in 2002's Catch Me If You Can.

"There’s this thing that he loves jet ski magazines," Holt says. "I had this character in my head and then when I saw Owen Wilson’s performance, I was like, ‘Oh, he’s actually a lot lighter and he plays it in a different way from how I’d imagined.’ But I was listening to Bon Jovi and those slightly rock-y anthemic things. ‘90s rock music for some reason was my Mobius sound palette."

Mobius is pruned on the orders of his longtime friend, Ravonna Renslayer (Gugu Mbatha-Raw), after learning that everyone who works for the TVA is a variant who was unceremoniously plucked out of their original timelines. A high-ranking member of the quantum-based agency, Renslayer has a theme that "is quite tied in with Mobius and it’s like a high organ," Holt adds. "It doesn’t quite know where it’s going yet. But yeah, we’ll have to see what happens with that one."

Wilson's character isn't the only person fed up with the TVA's lies. Hunter B-15 (Wunmi Mosaku) also became disillusioned with the place and allowed Sylvie to escape in the most recent episode

"Hunter B-15 has this moment in Episode 4 where Sylvie shows her her past, her memories. I thought that was a really powerful moment for her," Holt says. I feel like she’s such a fighter and when she comes into the Time-Keepers and she makes that decision, like, ‘I’m switching sides,’ so her theme is more like a drum rhythm. I actually kind of sampled my voice and you can hear that with the drums. I did loads of layers of it, just like this horrible sliding sound with this driving rhythm underneath it. So, that was B-15 and then her softer side when she has her memory given back to her."

Speaking of the Time-Keepers, we finally got to meet the creators of the Sacred Timeline...or at least we thought we did. Loki and Sylvie are shocked to learn that the red-eyed guardians of reality are nothing but a trio of high-end animatronics (ones that could probably be taken out by a raging Nicolas Cage). Even before Sylvie manages to behead one of them, something definitely feels off with the Time-Keepers, which meant Holt could underscore the uncanny valley feeling in the score.

"When they walked in for their audience with the Time-Keepers, it was like this huge gravitas," she says. "But you look up and there’s something a bit wrong about them. I don’t know if you felt that or if you just totally believed. You were like, ‘Oh, this is so strange.’ I just felt like there was something a little bit off and musically, it was fun to play around with that."

Holt is only the second solo female composer to work on an MCU project, following in the footsteps of Captain Marvel's Pinar Toprak. Her involvement with Loki represents the studio's growing commitment to diversity, both in front of and behind the camera. This Friday will see the wide release of Black Widow, the first Marvel film to be helmed solely by a woman (Cate Shortland). Four months after that, Chloé Zhao's Eternals will introduce the MCU's first openly gay character into the MCU.

"I just feel like it’s an honor and a privilege to have had that chance to be the second woman to score a thing in the MCU and to be in the same league as those incredible composers like Mothersbaugh and Alan Silvestri. They're just legends," Holt says. "Another distinctive thing about [the show] is that all the heads of department are pretty much women. Marvel are showing themselves to be really progressive and supportive and encouraging. I applaud [them]. Whatever they’re doing seems to be working and people seem to be liking it as well, so that’s awesome."

Holt's score for Vol. 1 of Loki (aka Episodes 1-3) are now streaming on every music-based platform you could think of. Episodes 1-4 are available to watch on Disney+ for subscribers. Episode 5 (the show's penultimate installment) debuts on the platform this coming Wednesday, July 7.

Natalie isn't able to give up any plot spoilers for the next two episodes (no surprise there), but does tease "the use of a big choir" in one of them. "Episode 6, I’m excited for people to hear it," she concludes. "That’s all I can say."

[kaizokuou-ni-naru]

Some Reasons I Love One Piece

So I set up a poll to ask what I should do for my 4000 follower milestone, and something like 85% of the responses to my poll said you wanted me to do a compilation of stuff I love about One Piece! So hell yeah, get ready for me to talk about pirates for way too long (a sentence that could also serve as an accurate blog description).

Before that though, lemme just say- thank you all! Seriously! When I started this blog I figured I’d be extremely lucky to end up with like a thousand followers, and now I have four times that and it just keeps growing, which just constantly baffles and amazes me. I adore every one of you, and you’re providing me something fun and productive to do in quarantine, and I love you for that.

Anyways! Let’s talk good shit.

Let’s start with Luffy. The whole story starts with him, after all.

I love Luffy, just as a character. He’s one of my favorite protagonists in anything, ever, when ordinarily protagonist characters don’t really appeal to me all that much. I genuinely think he might be my favorite character in One Piece now that I sit down and really think about it. I love how unconventional of a main character he is- he actively shuns the idea of being a hero and is in fact the most chaotic neutral motherfucker on the planet, and yet he’s so friendly and loyal and fun that you straight up can’t not love him both in-universe and out. 

I also love the Strawhats just in general, both as a group and individually. Found family is one of my all-time favorite story tropes, and they do it better than like, the vast majority of stories out there. They’re all so completely unique from each other and play off each other so well and they really do feel like a family. I love how often Oda just shows them fucking around and hanging out. (One of my only gripes with post-timeskip is how much time they spend split apart.) I think it says a lot about them that I struggled so much when someone asked me to rank the Strawhats a few months back and had to rearrange the list like four times. I just!! Love them all!!

One of my favorite things about One Piece is that it’s the story of Luffy’s rise, and that it occurs in a world that’s so solidly scaled and well-developed that all progress he makes actually feels tangible and impactful. Some of my favorite moments in One Piece are the ones where we can see how far he and the crew have come and see other people’s reactions. His reappearance at Sabaody after the timeskip is my favorite scene in the manga, full stop. His entrance at Marineford and all of the Decks of the World cover stories delight me for the same reason.

Speaking of the worldbuilding, god it’s so good? I think one of the greatest potential strengths of a long manga is that its just got so much time to establish and build on so much information, and sometimes that leads to mangaka kind of tying themselves in knots with too much lore and explanation, but Oda just fucking nails it. 

I recently read a conversation during Zou where the Strawhats are talking to Inuarashi, Nekomamushi and the Wano folks about all their mutual acquaintances on the Roger Pirates- Brook asks about Crocus, Franky mentions Tom, etc- and I had a moment where I realized how in pretty much any other series all those connections might seem contrived, but in One Piece it works so well. So much time has been dedicated to establishing all these facts and characters and connections over years and hundreds of chapters that when they do come together, it just feels so satisfying. 

Like, at Twin Cape Crocus mentions he was a ship’s doctor and then mentions Roger as the Strawhats leave, at Thriller Bark we find out he’s Brook’s friend, at Sabaody in conversation with Rayleigh we find out for sure which ship he was a doctor on and that he joined them to look for Brook’s crew- and it all just falls together so nicely. One Piece is maybe the strongest series I’ve ever read in terms of how it establishes its characters and concepts and how they all fit into the world and cross over and connect with each other. The world of One Piece is huge, but it also feels so alive and interconnected, and that’s just wonderful. 

I love how hopeful One Piece is. I was talking to a friend a couple months ago who doesn’t watch it, and she kind of dismissed it as ‘a show where nobody dies.’ Which- setting aside the fact that that’s just not fucking true- my first response to that was, “So?” I think it’s nice that we can all know for pretty much certain that the Strawhats will achieve their dreams in the end. There’ll be a happy ending, and Luffy’s going to be Pirate King, we’ve known that from the start. The fun is in seeing how they get there. 

Aside from a few specific cases, I also really like how Oda does his character writing just in general. The female characters in One Piece generally get a bad rap, largely from people who haven’t watched the show and judge it on the (admittedly exaggerated) artstyle, but fuck if I haven’t seen such a widely varied and developed and flawed female cast writing-wise since- I don’t even know. Oda does a really good job of giving his characters, both male and female, unique and memorable personalities, which is super fucking impressive considering just how many there are. Similarly, I’m impressed by how new characters are introduced without getting repetitive or annoying, and very often those characters are really fantastic. I could talk about all the different One Piece characters I love and why, but we would legitimately be here all day. 

I also love how unlike a lot of long-running series like this, characters don’t just go away when their time in the spotlight is done. In just about any other series, characters like Buggy and Coby and Crocodile would just be gone and never to be heard from again after they’ve served their purpose. Instead you have the stupid clown villain from the second arc becoming a fucking shichibukai several hundred chapters later, and it makes sense in the context of the story! The whole concept of the cover stories works really well towards this aspect of One Piece, letting us see what all these other characters are up to without taking attention off the main story. This fits in with the interconnectedness I mentioned earlier, too. 

And I like how (and I know there are people who will argue this, I have had them in my inbox, but I do not care) One Piece has stayed so strong for so long. I’ve mentioned before that both of my favorite big arcs are pre-timeskip- Alabasta, for the civil war storyline and great supporting cast and villains, and W7/Enies Lobby, for the epic emotional highs and lowers + ANOTHER great supporting cast. But like, I’ve been enjoying the more recent arcs just as much! Honestly, now that I’ve finished Dressrosa, I think it definitely ranks up there among my favorites as well, for how chaotic and fun and high-stakes the whole thing felt when I was binging through it. I’m only a few chapters into Whole Cake Island so far but it seems very promising, and I’m really excited to get to Wano from what I’ve seen of it.

I haven’t even really touched on the art yet, either. I know the artstyle turns some people off of the series, for how kind of cartoony it is sometimes and how different it is from most other series, but honestly I just love it. I wasn’t sure about it at the start but it grew on me very fast. Hell, I have a whole tag (which I should use more) dedicated just to appreciation of pretty panels.

And the action scenes in One Piece are so fun and expressive and creative and almost always at least a little silly just by the nature of Luffy’s powers. I don’t think I’ve ever been bored during a One Piece fight. And the splash pages are frequently just breathtaking. I’m a writing person, not an art person, so I’m bad at putting this kind of thing into words nearly as well, but- yeah. One Piece Art Good. (My friend Narramin also has a really, really good series of posts about how great the visual storytelling in OP is starting here that I highly recommend, if you’re interested.)

Finally, I think my favorite thing about One Piece is that it’s all one story, start to end. I kind of touched on this above with the worldbuilding thing, but you can see what a ridiculous degree of thought and planning Oda has put into his story, and how well everything comes together. It’s the main aspect that got me to give One Piece a try in the first place- I heard how good and thought-out the long term storytelling is, and I just eat that shit up. I don’t think I’ve ever had the level of trust in a creator to handle and end their story satisfyingly that I have in Oda. It’s a good feeling.