#every episode my mind opens a little and i learn cool fun facts

[trashworldblog]

the joyous whimsy puppet history provides is unmatched

[weebswrites]

Hello! You probably have a lot of requests right now so I apologize for adding on to it.

Would it be possible to request the brothers (+Solomon) comforting an MC that’s just super stressed with school and just life?

Recently, school for me has been..to say the least, mentally exhausting and there are just countless nights of crying or pulling all nighters cause I’m so behind (2nd quarter cause I started school rather late, it’s complicated). I’m so sorry for ranting about this. But yeah could I just request it to be super fluffy? If you end up writing this, thank you so much! Stay safe <3

The Demon Bros & Undatables: Comforting a Stressed MC

Lucifer

• He wasn’t sure how to comfort you when you first arrived in the devildom, but after a few weeks spending time together he picked up your comfort activities and items

• So when he heard you crying in your room late one night, a night he knew was the night before a big exam you’d been studying like crazy for, he knew what to do

• He went to the kitchen and grabbed a comfort snack and your favorite drink, stopping by his room to get a blanket that smelled like him before gently opening the door to your room

• You sniffled and wiped your face, turning to see who it was

• “Lucifer, hey. Sorry, I didn't mean to wake you up”

• “You didn’t, my love. Here” he wrapped the blanket over your shoulders and placed the kitchen Items on your desk, close enough for you to reach them but far enough if you couldn’t eat then you wouldn’t feel forced. He then walked to your bed and grabbed your favorite stuffed animal, placing it in your lap and kissing the top of your head

• “What can I do to help” his voice was soft, and the two of you spent the night cuddled in bed, sitting against the wall as he quizzed you on facts until you both fell asleep (he set an alarm so you wouldn’t miss your exam, don’t worry)

Mammon

• Gift-giving love language, despite his constant urge to sell your things

• So whenever you’re stressed over schoolwork, he picks up an extra shift at Hell’s Kitchen (secretly) and brings you a coffee / your energy drink of choice and a little trinket he saw that made him think of you

• Your desk has accumulated quite a pile of these little gifts, and when you look up at them it fills you with a familiar warmth that only his affection can give you

•  He has the best timing with these too, whenever you feel yourself getting overly frustrated you hear a knock at your door or see your D.D.D. screen light up with a text from him

• He also gives incredible shoulder massages? You had no idea, but when you’re hunched over one night and feel his hands straighten your back and start kneading the sore muscles in your neck you swear your soul left your body

Leviathan

• He’s a great listener and will let you vent to him any time, anywhere

• He doesn't sleep much anyway, so when you text one night that you’re coming over because you need to blow off steam he likes the message and prepares a blanket and stuffed animal for you to squeeze

• Bonus: he got a stuffed animal just for you to take your anger out on, a little bit so you wouldn’t squeeze one of his Ruri-chans, but also because he loves you

• He greets you with a hug, every time. Nights that you were especially fed up you’d collapse in his arms, crying or yelling or anything to just get the frustration out

• He holds you close and once you get it all out he whispers words of affirmation in your ear, always knowing exactly what to say to comfort you

Satan

• If anyone knows how to relax, it’s Satan

• So whenever you need to cool down you head to your favorite brother’s room (or the library. usually the library.) to seek refuge from your work

• The two of you are like soulmates, so whenever he sees you he can instantly tell how you’re feeling and what you need

• And no matter what it was, a hug or space to just be alone or literally anything, this man will get it for you

• He helps you study a lot too, the two of you worked well together so having him quiz you or help you come up with ways to remember things always made you feel more confident about what you were learning

Asmodeus

• Will draw you a warm bath whenever you’re too overworked, filling it with soap of your favorite scent and lighting a few candles for around the tub

• He gives you space if you need it, but if you want to keep studying from the comfort of the bath he’ll help you

• Unless he notices that you’re too overwhelmed and working yourself past exhaustion. Then, he bans you from studying while you’re together (which he promises won’t be long, but he always makes sure it’s long enough for you to rest)

• Pulls out all the stops to make you feel the comfort you need and deserve, even giving you a gentle scalp massage as you fight off falling asleep in the tub

Beelzebub

• Food is the way to his heart, but he understands that isn’t the same for everyone

• So he takes time to learn about what things make you happy, what things to avoid, and more

• When you drag yourself to his room late at night, exhausted from studying late and crawl under the covers with him, he knows what will help you

• He kisses the back of your head while pulling your body softly against his, and hums one of your favorite songs from the human world until you’re asleep

• You wake up the next day together, and he treats you to whatever you want for breakfast, making sure you eat enough to fuel your body for the day

Belphegor

• Knows the power of a nap better than anyone

• So when your head is falling over your textbook, he doesn’t hesitate to pick you up and carry you to bed

• “Belphie! No, I need to study. I’m good I promise” you reassure him, but the yawn that follows instantly negates everything you’d said

• “Sure, MC. Then for me, let’s nap together. It’ll be so nice” he lays you in bed and cuddles you, “all warm and comfy in bed, how can you not love this” but you can’t even respond because you’re already asleep

Diavolo

• mfer would just excuse you from the class /hj

• But if he couldn’t, he’d take you to his office and pamper you with anything you wanted

• Or if you just wanted to collapse in his bed and sleep for more hours than he thought was possible for a human to sleep, he’d absolutely let you

• Anything at all for his favorite human

Barbatos

• Knows how to comfort Diavolo, but when it comes to humans at first he doesn’t know what to do

• So you tell him what you need when you’re drained, and he remembers

• You knock on his door late one night, mid-yawn as he opens the door

• He wraps your tired body in a warm blanket, fresh from the dryer, and pulls up your comfort show. He turns on your favorite episode and snuggles next to you on the couch

• “Let me know if you need anything, MC. I’m here”

• “Thank you, Barbatos”

Solomon

• Like Levi, he’s an amazing listener. So whenever you need him to be there, he’s listening actively and making sure you know your frustrations are heard

• But he’s also good with distracting you from your studies, so sometimes you take a break to watch a movie the two of you had been meaning to watch for a while, or get lunch somewhere

• You get to pick, unless you want him to, and no matter what you do he makes sure you completely forget about the books waiting for you back home

• Lets you sleep in his room whenever you want, and most exam weeks you basically move into his room. It’s a win win situation, he gets to spend time with you and make sure you’re giving your body what it needs, and you get a home away from home to study in (and the company of your favorite human)

Simeon

• When you need a break from your studies, Simeon will read you a bit from whatever writing he’s working on

• His voice is possibly the most comforting thing in the world to you, and hearing him tell stories he’s written just for you gives you a sense of comfort that could cure anything

• If not that, then the two of you hop in bed and turn on whatever you want to watch to take your mind off your studies

• But your favorite thing to do was to tackle him into bed and cuddle, tangled together and just talking about anything and everything that wasn’t school

Luke

• You bake something together or go to the park, or anything really

• As long as it’s fun and lighthearted, and with Luke, you know he’ll bring a smile to your face and help you forget about your stress for a bit

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

A/N: Thank you for sending this in anon, and dw abt ranting <3 If you ever need to get it all out feel free to send me a message or anon ask and I’ll just delete it or whatever you’d prefer. I’ve been super drained recently as well so writing this was really therapeutic :’) I hope you’re having a good day so far and that this helps you feel better

Also sorry if some of these were shorter than others, I too am struggling with burnout

[eldritchqueerture]

Hello! This is a project for @summer-in-the-archives-event that I worked on with @horizonindigo! We came up with the idea together and based our individual works around the poem I wrote, included in the fic. You can find their absolutely amazing art here!!

I freaking loved working on this one and I got more and more excited as we progressed. I also surprised myself with the poem itself a bit, definitely didn’t expect it to end up quite as cool, if I may say so myself. It was incredibly fun to write.

Big shoutout to @sunflowers-and-frogs for beta reading, I love you bestie <3

I would like to thank all the mods that made this event possible! It’s my first time taking part in anything like this and it was really, really fun, so THANK YOU <3 Love you guys :3 Anyways, enough of my rambling kdfjgkjsdfg

Rating: Teen And Up Audiences Archive Warning: No Archive Warnings Apply Category: M/M Fandom: The Magnus Archives (Podcast) Relationship: Martin Blackwood/Jonathan "Jon" Sims | The Archivist Characters: Martin Blackwood, Jonathan "Jon" Sims | The Archivist Additional Tags: Hurt/Comfort, Canon-Typical The Lonely Content (The Magnus Archives), Kissing, Excessive Tea-Making, Set in Episodes 159-160 | Scottish Safehouse Period (The Magnus Archives), Poetry, Love Confessions Warnings: self-esteem issues, typical Lonely content, discussions of free-will and determinism, graphic kiss

Summary: As Martin fights the remnants of the Lonely's influence on their ride to Daisy's safehouse in Scotland, he focuses on his feelings for Jon to keep him tethered to reality. He watches Jon be himself in the safety of the cottage, share these small intimacies of domesticity and the words come to him as a poem weaves itself into the pages of his notebook...

He feels the taste of salt in his mouth, as he looks out of the car window at the rapidly falling away landscape, covered in the darkness of the night. He feels Jon’s presence next to him, focused on driving but glancing every so often at him with concern. Martin feels like he should say something, somehow fill the silence that has befallen them, but no words ever find their way to his mouth. He stays quiet, watching the trees pass them by, trying to ignore the anxious churning in his stomach. He’s always been pretty good at filling awkward silences with chatter; at least before the Lonely. Now… he can’t help but feel bothered by Jon’s presence, even though he did all of this for him, even though this is what he’s wanted all this time; it’s like a splinter, prickling at his mind, almost causing him physical discomfort. He swallows and feels the salty taste on his tongue; he discards the thoughts and tries his best to breathe through the discomfort, instead focusing on the sensation of Jon’s warm hand on his.

Martin used to be the warm one; he’d always been generating heat and his mind goes back to the early days in the Archives when the basement was cold in the winter and both Tim and Sasha used to gravitate towards him with their respective cups of tea during breaks. Now his whole body is cold, the chill of the ocean breeze and fog having settled in his bones so deep he thinks he’ll never feel warm again. The thought isn’t sparking any emotions in him though. It’s just a thing that he’s learned to accept, just as the fact that he’ll always be alo—

“Do you want me to put on some music?” Jon asks with another one of his glances. Every time, he raises his eyebrows a bit, and tilts his head to the side; Martin expects the concern in his eyes, but he sees something else there as well. He’s been afraid to put a label to the expression for the fear he’s reading him wrong, but the bolder part of his mind tells him it’s fondness.

Jon’s hand is warm, and his thumb grazes the skin of his palm just a little, as if not sure he’s allowed to. Martin looks down at their hands and feels warmth spark in his stomach; he smiles.

“I’m sorry I’m—I’m not really good at the whole, uh… small talk thing,” Jon adds with a flush, turning his head back to the road. “I should probably be talking about something, though, to, uh… to keep you here. I suppose.” He visibly cringes at his words.

“It’s—It’s fine, Jon,” Martin chuckles, and Jon relaxes, fixing him with a quick smile of his own. “I’m just… you know.” He looks down at their hands again and has a brief feeling they belong to someone else. Not him. Never him. “I’m not quite… out of that. Yet.”

Another look of concern. Martin feels heat prickling at his cheeks and he’s a little bit glad, because at least it’s a feeling. He interlaces their fingers and looks out the front window.

They spend the ride in relative silence. Jon tries a couple more times to start small talk and fails; they stop at a gas station at one point and Martin takes out his notebook when Jon disappears inside the station to pay for gas. He flicks through it and his eyes stop at an unfinished draft; he started writing it shortly before Peter took him down to the Panopticon, but he’d only managed to get a few first lines down. Despite still feeling the cold in his bones and his mind being clouded by the remains of the fog, words come to him, and he starts scribbling. He continues to do so even when Jon comes back with tea and an assortment of snacks, blushing just a little bit when Jon shoots a curious look at the notebook. He doesn’t ask and Martin is thankful for it. He’s not the sort to show his drafts to anyone, especially to the subject he’s writing about.

It’s 1am when they arrive at the cottage; they’re both exhausted and they quickly take their bags inside and lock the door. The cottage is small and practical, just Daisy’s style; it’s also quite dusty from months of abandonment. Martin yawns as he opens one of the bags to get the essentials. They should leave unpacking and cleaning for the next day.

He hears Jon’s footsteps on the wooden floor coming back from the initial run of the house and he turns to tell him that, but the somewhat sheepish look on his face stops him in his tracks. Has he ever seen Jon look sheepish before?

“So, uh, obviously this was Daisy’s safehouse when she was, well… Avoiding people,” he says, not meeting Martin’s eyes.

“I hope ‘avoiding people’ doesn’t mean killing them in this context,” Martin snorts, not sure if he’s entirely joking. The humour is lost on Jon, however, as he looks at him confused for a moment before he processes Martin’s words.

“Oh, no, no, I-I don’t believe she, uh… She just slept here.” Jon shifts awkwardly. “And that means there’s uh, there’s only one bed.”

Martin’s eyes widen and his lips form a little “Oh”.

“Of course, if you’re not comfortable with sharing, I can just take the couch, you need some proper rest and I’m used to running on low sleep” —Jon averts his gaze as he speaks. He grabs his bag and walks over to the couch, and Martin wants to stop him talking and just say that they should share the bed, but his voice seems to have left him at this crucial moment. He just stares as Jon places the bag on the couch and looks back at him, aware of the silence. “Martin?”

Martin swallows, a familiar cold freezing his toes. He feels the damp sand underneath his bare feet and a chill runs down his spine. He blinks and tightens his grip on the bag he’s been holding. This is real, he is real, Jon is real.

“You need good rest too,” he finally manages to say, and he’s surprised by how clear and normal his voice sounds; it makes Jon relax a bit. “We should share the bed, if-if you are comfortable with that.”

A small smile appears on Jon’s lips and a warm feeling fills Martin’s stomach again; he knows the smile is for him.

“Okay,” he says softly and picks the bag up.

They manage to keep the awkwardness of it to the minimum; they’re both very tired and at one point it just doesn’t matter anymore. Jon hands Martin a separate blanket and he pushes the disappointment down into a void inside him where he keeps feelings to come back to when he’s alone. It would be foolish of him to hope for cuddling since they haven’t talked about anything yet.

He expects to fall asleep as soon as his head touches the pillow, but he finds himself awake in the darkness after goodnights are said (Jon’s voice sounds so soft and tender Martin has forgotten all about his earlier disappointment). He’s laying on his back, eyes closed, and he feels Jon’s presence on his right. His breathing is steady, not yet slow enough to indicate sleep, but calm and relaxed. Martin peeks out through half-lidded eyes – he hasn’t gotten used to the darkness as much yet, but he can see Jon laying on his side, facing him, his eyes closed and his hair loosely framing his face. One of his hands rests close to his head on the pillow. Martin blinks, fully opening his eyes now and smiling softly. As his vision clears, Martin notices Jon frowning ever so slightly, and he wonders if the faint lines between his eyebrows smoothen when he’s asleep.

“Is watching people sleep a usual activity for you?” Jon whispers with amusement as he opens his eyes and Martin gasps with surprise and looks away, feeling heat prickle at his cheeks.

“Wha—uh, no! No, of course no—Sorry, I—” He rambles, and he thinks he might just die from embarrassment when he hears Jon laugh quietly.

“It’s fine, Martin.” He shakes his head with a sigh. “Really. I-- Sorry, I thought a joke would, um… lighten the mood somewhat.”

Martin risks a look at him and wonders if the red on his cheeks is visible through the darkness. Jon looks at him with that expression again, something Martin would very much want to classify as fondness if it didn’t feel so impossible. But now that he thinks about it… Would it really be thatfar-fetched? Jon had gone into the Lonely just to get him out. Would he have done that for anyone else? Martin rolls his eyes at himself in his mind, of course he would. He did go into the Buried, and it was for Daisy, a person who has threatened him multiple times, kidnapped and almost killed him. If Jon was ready to lay down his life for her, out of all of them, it shouldn’t be surprising he would do the same for his assistant; it says nothing about his feelings on the matter.

Martin’s memories of the Lonely are hazy. He remembers the cold, the dampness, and the loneliness. He remembers his thoughts, the lonely ones, and how they felt both alien and familiar at the same time. He remembers the comfort, the feeling of fitting in, but also the pain and the fear, just before they were numbed by the cold and the fog that made him forget. And then suddenly, Jon was in front of him, looking at him with desperation on his face, tears in his eyes glowing with a green light. Was it Jon calling for him, or just the Beholding?

“What are you thinking about?” comes Jon’s voice and Martin realizes he’s been staring into the air for a while. He blinks and looks back at Jon.

“Uh…” He searches for words before he gives up on trying to come up with an excuse. His voice is quiet when he speaks. “Why did you do it?”

Jon blinks at him a couple times and rises to lean on his elbow, to better look at Martin.

“What do you mean?”

“The Lonely,” Martin says, not meeting his eyes. Jon is wearing a blue t-shirt with a logo of a band Martin doesn’t recognize; the shirt is loose and it uncovers one of Jon's shoulders which would probably be distracting if Martin’s mind wasn't chilled by the remnants of the fog. “Why did you come for me?”

Even without looking at him, Martin sees Jon’s forehead ripple. A while passes as Jon searches his face and the thought that he shouldn’t have asked starts creeping up to Martin’s head. Shouldn’t have brought any attention to the subject, he should just be glad, he should—

“I care about you, Martin,” Jon says in a very gentle and quiet voice, like he’s afraid anything louder would take away the meaning of his words. Martin looks up at Jon and the hint of that intense blush from before makes it back to his face. “You’re… You matter to me. You will always matter to me.”

Martin can’t stop a small smile appearing on his face and Jon mirrors it.

“Thank you,” Martin whispers, feeling a warmth settle in his chest, finally driving the cold away.

“Anytime.” Jon lays his head back down and settles back with the right hand near his face. “Sleep well, Martin.”

Martin closes his eyes contentedly and he curls up on his right side, facing Jon, as if trying to keep this warm feeling from escaping his chest too soon.

“You too, Jon.”

---

Martin wakes up alone in an unfamiliar bed, the smell of foreign covers filling his nostrils and for a second he panics. He opens his eyes and the memories come back to him; their late arrival at the safehouse and laying down to sleep next to Jon.

He sits up, looking at the space Jon had occupied. It’s vacant now, just the curled up covers he left behind, but it manages to bring a blush to Martin’s cheeks, nonetheless. It feels so… intimate to know that they slept next to each other. It makes him feel warm and cosy.

Martin gets up and goes to the bathroom before he finds Jon in the kitchen. He’s humming quietly as he finishes cleaning the table and he looks up when Martin enters.

“Good morning, Martin.” He smiles and Martin’s afraid he’s going to melt. He takes a quick look around and notices that their sparse kitchen supplies are mostly unpacked, and the kettle is already on the stove.

“How long have you been awake?” He asks; some of the shock must have made it to his voice because Jon looks amused.

“Two hours or so. I’ve always been a morning person.” He shrugs and finishes cleaning the table. “Tea?”

A smile lights up Martin’s face and he gets swept up by the familiarity of the activity, while Jon busies himself with fixing up some breakfast. As both of them work in the kitchen, Martin notices the casual brushes of their skin and touches of the shoulders. He doesn’t know if he’s doing it consciously or if it just happens naturally, but he knows that Jon’s open demeanour is drawing him closer than before. He wonders if he’s been like this ever since he woke up from the coma, and there was just no one to appreciate it.

The morning is relaxed, the casual conversation flowing a lot smoother than the day before, and after breakfast they set out to clean the whole cottage and go down to the village to buy some actual supplies. The village is small, but the local shop provides all the essentials they need; for a moment Martin forgets about everything outside of that village and shopping for groceries with Jon, as if this is their life now, in the Scottish Highlands, living together in a cottage. They talk about cooking dinner, and the cows they passed on the way, and Martin thinks he could get used to that.

The bubble bursts when they finish up and Jon decides to call Basira. She picks up after a while and updates them on the absence of both Jonah Magnus and Daisy. Basira says she’ll send some statements up to them when the Institute stops being an active crime scene, and a shadow passes over Jon’s face. Wrapped up in a conversation about their taste in dinner dishes, it was almost too easy for Martin to forget food isn’t the only sustenance Jon needs. He finds it easier to forget things ever since the Lonely. They walk back to their cottage in silence, Martin grabbing Jon’s hand as soon as he lets go of the phone.

When they get back, Jon declares he’s going to take care of unpacking and cooking, and even though Martin knows Jon to be stupidly stubborn, he’s surprised by the strictness with which Jon insists he sit back and relax. Martin doesn’t really complain; he’s spent his entire life caring for others and, to be honest, it does feel rather good to be on the receiving end for once. He watches Jon from the couch for a while, before he takes out his notebook and looks over the poem he wrote in the car.

Wisps of mist conceal my eyes

A lone indulgence to lose one's face

And soothing a part inside that cries

With chilling sadness and numbing grace

The steadfast rhythm of waves ashore

As ocean breeze leaves a taste of salt

The words forgotten, erase what I swore

Until I hear your voice once more

I wondered many times what it might be

That we finally took to calling "us"

What would be left if we broke free

Of dread and horror's eternal grasp

The Eye looms aloft, ever-present dread

Watching all, eternal lids apart

You made your choice unaware you were led

By strings of web, against your heart

Jon starts humming under his nose in the kitchen as he cuts something on the board; the water in the kettle boils slowly and fills the air with a quiet whistle. Martin smiles while shooting a subtle glance at Jon; he seems to notice his gaze and falls quiet, but a smile lights up his face when he sees the fondness on Martin’s face. For all this talk about Jon “losing himself” in the role of the Archivist, this seems as human as you can get. Martin never favoured the approach the other archival staff took to the knowledge of the significance of Jon’s position, and he often wondered how they could look at him and see a monster. Of course he made bad decisions, but so did everyone. They’ve seen or read about so many avatars giving into the powers that fed them and yes, maybe Martin is biased, but Jon was nothing like them. They’ve all been caught in this huge web of statements that turned real; the more they struggled to break free the more tangled up they became, and it wasn’t Jon’s fault that he ended up in the centre of it. He knows Jon tried to make right choices every step of the way. Can you really blame a human being for failing to completely resist something that’s beyond mortality and human reality? One way or another they ended up here, together, and yes, maybe the Eye and the Lonely are still looming as very tangible threats, and Jonah Magnus is nowhere near being stopped, but at least they’re together now. Martin remembers thinking the Unknowing was the endgame, the last chapter of this horror for them, and he remembers the hopelessness of their story getting a bad ending that essentially pushed him into the Lonely; now he feels a different kind of an end approaching – he dares to be hopeful. Maybe everything works out in the end? Maybe, if they were safe and happy, it wouldn’t actually be the end of the world.

Martin looks down at his notebook and starts writing, sticking the tip of his tongue out in concentration.

What is a monster? Where is the line

That would separate us from the world

All I know is our paths align

And we together can battle the cold

You cut through the curtains of mist and See

The green glow fades when our eyes meet

My lips form a soft and quiet plea

To be loved has never felt so sweet

To be loved is a new feeling for me

I only know how to love from one side

But with you I hope we can once be free

Maybe ignore the whims of the tide

Although I know we're not nearly through

I taste and savour your voice, your breath

If only for a moment, we can start anew

And I will follow you even to death

As he stares at the last word of the finished poem, his hand with the pen hovering over it, he registers that his eyes have watered a bit. He blinks the tears away quickly as Jon sits down on the couch next to him, looking at him with a gentle worry. Martin looks up at the two mugs of tea he’d placed on the table.

“Did you make tea?” He asks with mock bewilderment, and Jon scoffs at him.

“I know how to make tea, Martin.” He nudges him with amusement, that gentle worry not quite gone from his eyes. “What are you writing about?”

Martin falls quiet, pressing the notebook to his chest in a knee-jerk reaction.

“Thought you didn’t like poetry,” he huffs out a laugh that’s only a little bit self-conscious. Jon shrugs, reaching out for his mug and taking a sip.

“I don’t understand it. And yes, I have been known to dislike it at times, but… Maybe I could be swayed to give it another shot.” Jon rolls his eyes fondly and looks at Martin out of the corner of his eye, a look that says ‘for you’. Martin grins, heat pricking at his cheeks once again.

“You see, i-it’s all about emotion.” He places the notebook gently on his lap face down and reaches for his own mug. “You w-want to put all of your emotions into words in a-an artistic way, that has a rhythm and, uh, and feels alive. And you want your, uh, your readers to feel that, that emotion through your words.”

Jon listens attentively and his eyes aren’t leaving Martin’s face; at one point Martin gets distracted by it and forgets where his explanation was going. Jon’s gaze has always been intense, in different ways throughout the time they’ve known each other. At first it was judgemental, the gaze of his boss, full of unmet expectations; then it was piercing, watchful and suspicious; as time passed, it seemed to gain more and more weight of the Beholding, something Tim always complained about. After Martin had joined Peter Lukas, the rare glances he got from Jon were full of yearning that Martin didn’t understand at the time; didn’t want to understand. Now, it’s that gentle fondness, interweaved with something intangibly sad and Martin feels an urge to hug him, to bring him close to his chest and never let go; to bury his face in Jon’s hair and protect him.

They move to place their mugs at the table at the same time and snort, amusement quickly turning into a fit of laughter. Jon throws his head back a little with it and Martin wonders if he has ever seen him laugh so openly before. He didn’t think it was possible for him to fall in love with the man even more, but once again, his heart proves him wrong. He stares at him with a lovestruck expression and thinks they should really talk about it. Martin doesn’t know where to start though and Jon seems to be thinking in a similar direction because his expression shifts into gentle seriousness.

“Martin, I…” He starts and bites his lip. “I need to apologize.”

Martin straightens a little; it’s not exactly what he expects.

“I—The way I used to treat you…” Pain and guilt flash through Jon’s face as he looks away for a moment to gather his thoughts. “It was not okay. None of it was okay. And I’m—I’m really sorry for that. It doesn’t—I know it doesn’t change anything that happened, but I” —he sighs. “I really am sorry. I hope I can, somehow, uh… somehow make it up to you.”

Martin reaches for Jon’s hand, and he looks down in surprise; Martin sees his eyes start glistening.

“I’m sorry for everything that happened to you.” He continues in a whisper and his eyes are locked on their touching hands. “I’m so sorry about the Lonely. I’m sorry that you’re trapped in all of this with me, and I would understand if you decided to leave—”

“Jon.” Martin squeezes his hand and Jon’s eyes shoot up to look at him.

“I’m sorry, that’s not an apology,” he sighs again. “I just… I’m sorry, Martin. About everything.” His other hand grips Martin’s. “I’m glad you are still here. I’m—I’m so glad, you d-don’t even know,” he laughs.

“I think I do.” Martin smiles gently. “Thank you for saying that. I’ve—I've forgiven you for a lot of it a long time ago. A-And the rest just isn’t your fault.”

Jon frowns.

“The Lonely was always there,” Martin shrugs. “Peter Lukas was just… a catalyst, I think. But now I have you.” His finger grazes the outside of Jon’s palm and his heart flutters in his chest when he sees that small smile appear on Jon’s face. “And you can’t be blamed for Elia—Jonah’s games. We’re all just… a bunch of people who didn’t know what was going on until it was too late.”

Jon’s eyes fall as he nods slightly.

“He’s still up to something,” he says quietly.

“Figures,” Martin laughs bitterly. “But we’re here now. And frankly, I don’t really want to think about him when we’re finally…” The word ‘together’ gets stuck in his throat, as if it would breach this fine line of ambiguity they’ve drawn between themselves. Jon seems to fill it in and his eyes land back on Martin.

He’s never wanted to kiss him more than he does right now. Jon's eyes are wide and glistening with something that looks suspiciously like hope, and his fingers gently graze the outside of Martin's palm. Warmth spreads in his chest and his eyes flutter a little, not breaking the eye contact. He wants to pull Jon close to his chest, to run his fingers through his hair and feel his breath on his own skin. To really feel like he's there, next to him, with him.

Before he can follow through with any of that, something sizzles in the kitchen, loud in the silence, startling them both.

“Food!” Jon chuckles slightly before he jumps to his feet and rushes to the kitchen, while Martin snorts and follows him. Jon stirs the pan with curry and sighs with relief when he sees it's not burned. He turns down the heat anyway and checks on the rice.

“Jon, this smells amazing,” Martin says, peeking into the pan with cheese and spinach. “I didn't know you could cook.”

“Well, contrary to the popular belief I was a functional human being. For a while,” Jon snorts and leans against the counter to look back at Martin. “It's Palak Paneer, my grandma taught me when I was a child.”

“It looks fantastic,” Martin grins, and Jon rolls his eyes in mock exasperation.

Even though the moment's lost, the remains of the feeling can be felt between them as they prepare the plates and take the food to the table. They easily fall back into usual chatter and, as soon as they’re finished, Martin jumps to wash the dishes. Jon relents after extensive affirmations from Martin that he's alright and he can definitely take care of a couple dishes in the sink, and he drops onto the couch with a content sigh instead.

Martin finishes up with the dishes and dries his hands on a towel.

“Do you want some tea?” He asks and hangs the towel back on the rack. When there's no response, he turns to the couch. “Jon?”

Something sinks in his stomach when he sees that the object that consumes Jon’s attention is the poem he’s finished; he scratches his neck, as his cheeks take on a pink tinge. “Oh…”

He walks up to the couch, unsure, trying to gauge Jon's reaction. His face seems tense, he squeezes the notebook in his hand so hard his knuckles go white, and his eyes are focused at one point on the page.

“Um... Jon?” Martin asks weakly, his heart drumming in his chest so loud he's sure both of them can hear it.

Jon jumps to his feet, startled, and looks up at him with eyes wide, like a deer in the headlights. Martin instinctively raises his hands in a placating gesture, as Jon registers his presence, looks down on the notebook in his hands, and quickly puts it on the table as if it stung him.

“Martin, I’m sorry, I didn’t mean to look, it was just there and—”

“Hey, Jon, it’s alright!” It’s maybe a little not alright, since the poem is nothing short of a love confession and a wish Martin had no right to assume would ever be true, so Jon reading it is less than ideal. Martin rushes to gently place a hand on Jon’s shoulder but when he recoils from the touch, Martin withdraws his hand, cursing everything about himself.

“No, I, uh…” Jon runs his hand through his hair, eyes darting between Martin, his hand, and the notebook frantically. “I shouldn’t have— uh, it’s—it’s your private business, what you write about, so—”

Martin is sure he’s tomato red on the face by this point and hopes against hope that the afternoon light filtering through the curtains obscures it just a little. Jon, on the other hand, doesn’t have the embarrassed blush that usually darkens his cheeks; instead he breathes fast, his hands shaking ever so slightly. Martin sees him hunch just a little, making himself smaller.

“Um, yeah, I, uh—” He starts fidgeting with his fingers. Did the idea of—of love frighten Jon so much? He was stupid to leave it out in the open and now Jon knows, and it’s not how he feels, so he hates him… “I’m sorry.”

Jon’s eyes snap to him, his eyebrows furrowed in confusion.

“For what?”

Martin huffs out something like a pained laugh.

“Th-That’s not exactly how- how I wanted to tell you.” He wrings out his hands and shoots Jon a pleading look. What’s done is done and the only thing he can hope for is for Jon to let him down easy and never speak of this again.

“Tell me?” Jon looks down at the notebook again and there’s the worry again, stark on his face. He breathes out, slowly, and looks at the floor. “I don’t—I don’t even want to think this is a possibility…”

Martin doesn’t need to imagine what it would be like to be stabbed, if he wanted to - he’s pretty sure the acute pain of his heart shattering in his chest is close enough. His mind tries to catch up to the emotions, slow them down just a bit, because something seems off, and isn’t this a weird way to reject someone you must have known had a crush on you? But his throat tightens with the swell of pain and shame and Martin blinks away the tears welling up in his eyes.

Jon sighs and plops down on the couch, hiding his face in his hands and pushing his glasses up to his forehead.

“We d-don’t have to talk about it, if—if you don’t want to,” Martin says quietly. He sits down next to Jon, careful not to touch him in any way, and puts his hands between his knees.

Jon lets out a bitter laugh.

“Isn’t that what they—the Web would want? Just… mindlessly follow, go with the flow until something… irreversibly bad happens?”

Martin turns to Jon with a frown.

“Wh—What?”

Jon looks at him with something glistening in his eyes and Martin can see the lines of pain and misery written on his face like they belong there.

“The web,” he says faintly. “Strings of fate. I—” He lets out a breath. “Was I just being manipulated this whole time? Was I ever really—Did I ever have a choice?”

“Jon... what are you talking about?”

“You—You said I was...” He reaches for the notebook and points at a verse with his finger. “’Made your choice unaware you were led by strings of web against your heart.’ How—W-Why did you say this?”

Martin stares into Jon's green eyes with concern, yet parts of his heart start to weave themselves back together. However confused and worried Jon seems to be, none of it is directed at Martin; he looks at him with desperation, almost pleading, and he realizes they’ve been having two different conversations at the same time.

“Oh-Oh, God, Jon, I-I didn't mean—I just, it's a-a metaphor, just that, you know,” he takes a breath. “It does remind me of a web, the-the way we got caught up in Elias' plans.” He looks down, his cheeks burning as he remembers why Jon would get caught at this specific phrase. “I'm sorry for, uh, using that, it was just the first thing that came to my mind and—”

Jon exhales next to him and Martin risks a look up. The uneasiness isn't gone from his face but he relaxes just a little bit, enough to stabilize his breathing.

“I'm sorry for this… this whole thing, Martin.” He gestures at nothing in particular and it's his turn to look at the floor, as if it's all of a sudden the most interesting thing he's ever seen. He starts fidgeting with the notebook. “I'm just—What if it’s true?” His voice goes higher at the question and he closes his eyes. Martin squeezes his arm. “What if I am just... Just a puppet? An inhuman, helpless puppet in the hands of—Of some spider pulling the strings?”

A tear rolls down Jon's cheek and Martin grabs one of his hands. It’s small and still shakes a little; he tries to put all the protectiveness he feels into this small gesture. Jon doesn’t recoil this time, instead taking a moment to watch Martin’s hand clasp around his.

“Jon,” Martin starts softly. “You're still you. You're not some—Some spider puppet that can't make choices.”

“But what if—”

“You've made a choice to go into the Lonely for me.” Martin bumps their knees together lightly and Jon looks up at him. “I don't suspect any webs would need me alive to push you into it. It was You.”

Jon looks him in the eyes and Martin barely stops himself from reaching up to his face to wipe away his tears.

“Or it just makes us think that we have a choice but are ultimately helpless against fate and everything we do is determined by intricately crafted circumstances,” Jon whispers. “Maybe free will is a lie.”

Martin blinks.

“Jon...”

“Maybe I was never able to stop it. Any of it.” Jon’s voice grows more horrified and even though his eyes are directed at Martin's face, he seems to be looking somewhere past him. “Maybe nothing we try to do really matters.”

“Jon.” Martin’s voice gains a bit of force, even though he feels all but sure. “What do you see?”

Jon frowns. “What?”

“Look at me and tell me what you see?” The force is gone; the sentence sounds more like a feeble suggestion than a request, but Jon's eyes refocus on Martin's in a frown of confusion.

“What do you mean?”

“We're here now,” Martin says quietly. “And yeah, maybe our decisions are all predetermined or whatever. I still think it matters that we try. I think our experience matters. And you're not a-a monster without free will, Jon. You care about people, and you’ve sacrificed a lot for other people. You've made your own choices and, no matter if they were good or bad, they were still yours. And I think that matters.”

Jon blinks at him for a moment, then his shoulders slump with a sigh and he interlaces their fingers. Martin doesn’t miss it and he feels warmth in his chest.

“I've always been afraid of—of my will not being my own anymore,” he confesses quietly. “Of, uh... of not knowing the difference.”

“I get it,” Martin nods. “If it’s any consolation, I see a lot of Jon in you still.” Jon looks up at him with surprise and Martin gives him a half smile. “I see a very changed Jon but it's still Jon.” He strokes Jon's palm as his heart picks up the pace. “The same Jon I've first fallen in love with.”

Jon exhales softly, his face caught in a soft surprise, and Martin smiles around the dull ache in his chest.

“You don't have to say anything. I'm sure you've known for a while, but I just... I wanted to say it.”

With every second that passes in silence, however, Martin's cheeks grow hotter, and he concludes that this might have been a mistake.

“I-I'm sorry. M-Maybe I shouldn't have said that, I… I don't want things to get weird or anything, so, uh, we can, we can just forget—”

“Martin.” Jon says his name in a soft and kind of inquisitive way that makes his heart bounce around and transforms the ache in his chest into swirling butterflies again. Martin looks up and Jon’s head is tilted to the side, his face still wet with tears, but he notices something hopeful glitter in his eyes. “I love you too.”

Martin frowns, suddenly wondering if he isn't dreaming. Is Jon really saying what he thinks he is? Did he hear correctly? Maybe he misheard—

“I have for a while,” Jon's voice is still quiet and soft. “I didn't want to say anything because I thought it was too early after the Lonely and you might not feel this way anymore, but...”

Martin swallows, acutely aware of how loud his heartbeat is. He squeezes Jon’s hand and smiles slightly.

“I... I didn't know,” he whispers, not trusting his voice to cooperate.

“As soon as I woke up from the coma, I wanted to tell you,” Jon says. “I thought I was too late; that it took me too long to stop denying the feelings I had because I didn’t know how to deal with them, and I'd missed my chance.” He laughs bitterly.

“So that’s what it was about,” Martin whispers, as Jon's actions towards him throughout his time as Peter Lukas’ assistant start falling into place. Jon looks at him with a frown, so he adds, “The ‘let's gouge out our eyes and escape'.”

Jon scrunches up his nose and clears his throat.

“Yes, well. Yeah.”

Martin chuckles quietly.

“I don't think I would have lasted in the Lonely if I understood then. But then again. It didn't really matter in the end. It didn't help.”

“But it was your choice,” Jon echoes Martin's words from before and their eyes meet again.

“Yeah. It was my choice.”

They stare into each other's eyes for a moment, losing track of time, before Jon smiles slightly and looks back at the notebook.

“I really am sorry for not asking your permission, though,” he says. “I got so caught up in the metaphor I didn’t even finish it.”

Martin blinks, the warmth from his chest spreading to his cheeks again.

“D-Do you want to?”

Jon smiles softly, this new smile that Martin has only seen in the past couple of days, always directed at him.

“If you’d let me.”

Martin needs to look away, unable to handle the affection in Jon’s eyes. He mumbles an ‘okay’ with a smile that’s not entirely under his control and gets up.

“But I am making that tea whether you want it or not, waiting for someone to finish reading something is a torture.”

He hears Jon laugh as he heads back to the kitchen.

When he comes back with two steaming mugs, Jon is waiting for him with a smile and his nervousness dissipates with his next words.

“I like it,” Jon says. “Apart from the, uh, web metaphor, obviously. It's hopeful.”

“Y-You do?”

Martin swallows; the pleasant tingling in his stomach is back. He places their mugs on the table and reaches out to join their hands again. Jon intertwines their fingers immediately and caresses the outside of Martin’s palm with his thumb.

Jon looks down at the verses again and smiles softly, almost sheepishly, a familiar blush darkening his cheeks.

“I—I don't know if there would be anything for us outside of. You know. The fears and all that,” he grimaces. “At least, for me. But, uh…” He looks at Martin again with a hopeful expression that makes Martin melt a little, and he gently caresses Martin's cheek with his free hand. “I really like the thought of it.”

Martin's brain might be short-circuiting at this moment and all of his thoughts take form of fuzzy static.

“Me too,” he says, suddenly breathless. Jon's hand rests cupping his cheek and, are they a bit closer than they were a second ago? Jon's gaze slides down Martin's face to his lips and he feels he might faint right there and then. He doesn't, instead gathering up his courage to take a breath.

“Can I kiss you?” Jon asks first and Martin feels his lips form a grin.

“Please,” he breathes out; the next second their lips meet, soft but urgent, desperate and sick of waiting. Martin's hand dives into Jon's soft hair, fingers scraping the delicate skin of his head and earning him a low sound from Jon's throat. They pull each other closer and find a rhythm to lose themselves in for just a moment; the sensation of Jon's tongue swirling in his mouth, of his slender fingers on his cheek and his neck, the pressure of his body against his chest; all of it making Martin dizzy with happiness.

Martin pulls away when his lungs painfully remind him breathing is still a necessity and he opens his eyes to look at Jon – His soft lips, his nose, his pockmark scars, and his eyes, green yet with no trace of Beholding in them. He takes him in whole, with all of his flaws and all of his virtues, and he feels seen in return, seen by the man he loves and who loves him. The weight of it all hits Martin like a crashing wave and he pulls Jon in for a tight embrace.

“I love you,” he whispers against his shoulder, and he feels Jon's arms tightening around his torso.

“I love you too, Martin.”

[thebrightsessions]

Entertainment Spotlight: Leeron Amiel

Leeron Amiel voices the character "Michal" in the The AM Archives partner series, Order and Chaos. While she was born in the United States, Leeron, much like her character, proudly celebrates her ties and roots to the country of Israel. She grew up there from the age of 3-12. It makes playing this role and being a part of this story all the more of an honor! Before moving to Los Angeles, she received a BA in theatre from Columbia College Chicago. In LA she has studied with Anthony Meindl and with The Imagined Life acting studio. A Gryffindor, Leeron is engaged to fellow Bright Sessions' actor, Andrew Nowak (also a Gryffindor). They are both parents to their cat, Tonks.

What types of scripts and characters are you drawn to?

Ohhhh man THIS question! Okay so, just like the amazing Michal, I am drawn to powerful, strong female roles. I consider myself a strong female 'type' and boy do I LOVE playing that. Like I loooooove being angry in scenes. Or maybe I just love arguing. Either way, scripts and roles when I get to assert power attract me, and in all ways; like, who doesn't love to yell? But I also love the strong, silent type. One of my dream roles is Emma in Betrayal. And if I could play Olivia Benson in everything, then I would. I also just love being the badass, and I love period pieces. So, I suppose all that means I tend to be drawn to mostly dramas. However, what a lot of people don't know about me is I also really really love doing comedy and have always been told I should do more. I think in this genre I am drawn to the outrageous, as well as the witty. Love me some big acting, sassy goofy roles.

Can you share a story from your career so far that stands out to you as a defining moment?

The one story that comes to mind is how I booked my first co-star. It was August 2018 and I had gone through a huge transformation that summer. As every actor knows, the industry can really get you down. After years of what felt like little success, I decided to step away from acting for the time being and pursue a doctorate in psychology. To do this I had to take some prerequisites at my local community college. I was all signed up and excited about the new journey, but there was still a sense of loss about moving away from acting for a bit. Then, on my FIRST DAY of class I got an audition for the TV show, S.W.A.T. (for a Hebrew speaking role of all things!) I was going, "Oh my gosh, yes, of course, universe - you WOULD send this to me now." But I said to myself, "You know what, you have school ahead of you, you're not going to give up on that. So, what have you got to lose by auditioning? Just go, see what happens." So, I went in with no expectations. I didn't feel pressure to book the job. I was kind of just there for fun and then...I booked it! It was a huge lesson for me about many things. First off, I learned the true importance of a relaxed, playful audition. When I took the pressure off, I was open to be myself and just do my thing. And it worked. And secondly, although I still plan to pursue school, I now know that I am good enough for this industry and should I choose to come back to it (by which of course I mean WHEN, because let's be real - once an actor, always an actor), I will have a lot more hope and excitement.

Did anything stand out during your re-listen of this AM Archives episode that you didn’t notice when recording it?

When re-listening to Order and Chaos it just brought back what I felt when I was recording it. I just remember thinking like, "Wow, this was only 4 episodes and yet there is SO MUCH depth to these characters and these relationships." The feeling that truly struck me this time is how much I just wanted MORE. And I'm not just saying that because I (not so secretly) want a whole podcast about Michal and Percy and the foreign "AMs," BUT. I truly felt like this story and these characters were so well developed for such a quick glimpse, that the listener just couldn't help but want to know more. It's a huge credit to Meghan Fitzmartin who is basically a genius and did such an outstanding job developing these characters.

What’s a fun fact about you that most people don’t know?

I am scared of fish. Especially big ones. Like, they seriously freak me out. It is a real thing, it is called Ichthyophobia and I don't know why I have it. It wasn't always a thing - I would say probably the last 10 years or so - but not when I was a child. Anyway, my fear is not that they are going to do anything to me (although that thought is terrifying) but they just creep. me. out.  They just look so gross and move so weird with their mouths and they don't have eyelids and just blehhhhh. Okay, I'm freaking myself out, I need to stop. Fear of fish. That's my fun fact. So if you ever get the chance to take me somewhere, let it not be the aquarium ;)

Can you share your favorite piece of fan art?

From @thefigureinthecorner​. I so love that Marcus said he made Michal look like one of his aunts because honestly....she looks like ME and my entire family, including all MY aunts! So cool to feel like he could envision me and the sense of cultural pride that both Michal and myself have through my voice.

Thanks for taking the time, Leeron! Give Order & Chaos, Chapter Four: Tabula Rasa a relisten right here.  

[geometricalien]

OKAY I finished Life is Strange True Colors and it's time to give my hot trash opinions that no one asked for :) (spoilers will be below the cut)

I avoided almost everything released about this game because I did not want any spoilers whatsoever and I think that served me well.

I also came in with an open mind, I gotta say I was weary since deck nine had all of the control and I didn’t particularly like before the storm that much it was fine though.

All that said True Colors was beautiful. It has excellent graphics, compelling characters and side plots for each character, the power system was new and cool. I wasn't sure how being an empath would translate but it worked well in mechanics, was epic, and suited the theme of not just the game but Alex.

I played for about 10 hours Thursday with some breaks to stretch and get food. So needless to say, I was having a great time.

It has excellent sets and even though the power mechanics are exactly the same each time it's still fresh and creative in how these emotions can shape the world around them.

This is just a personal nitpick nothing actually important, the town is a fictional Coloradan small town and as someone who grew up in a neighboring state with similar small town/mining/outdoorsy communities- or visiting them- the town buildings were fantastic! I loved main street, I've been in towns with that exact same style. But the flower bridge and the deer were just... a tinge over the top, it felt like you were trying to sell "Paradise" way too hard. But besides that I loved the towns vibe!

I felt... a little burnt out being able to play all of the chapters at once, I think part that made the lis community so strong was that it had time to build and react to the episodes together. It gave us time to theorize and make fancontent. Versus binge gaming and shot like a bullet into the air, done too quick. I don’t feel as connected to the characters because I’ve only been with them for 14 ish hours vs months

NOW THAT BEING SAID- the pacing was good, it gave us the reins being able to free roam the map at nearly all times and it never felt like we were being dragged down

Overall, True Colors is a great addition. Had amazing voice acting graphics, characters, and themes. I definitely recommend checking this game out

Spoilers now abound:

Going back to an earlier comment- almost all scenarios where you used Alex's power in depth were fresh and interesting. My favorites being Ethan, Charlotte, and Eleanor. I bring this up because Duckie's was the most dull- which you could say matches because he is normally the life of the party so... feeling empty or dull makes sense for him. But then Pike’s was also similarly lacking in environment, so it didn’t feel as fulfilling

I loved loved loved episode 3. The larping was so much fun and I was tickled with the turn based fighting. I especially loved when Ethan made the world come to life, my heart lifted in pure joy.

The two main romance interests are... interesting. Ryan's insight and caring nature drew me to him the instant we met while Steph sort of came off... as separated? But as we became friends with them both it became super hard to chose. And at the end seeing their reactions to the bomb drop showed so much characterization. Steph's ride or die and Ryan (in my playthrough) just had someone challenge his entire life view of course that's hard to take in within 30 seconds. I got that religious gay trauma, I get it.

This is where I feel spacing out the episodes could've also helped with our fondness of characters. After Ryan didn't believe me I didn't want to pursue him anymore, my affection was weakened

However I chose to forgive both Ryan and Jed despite feeling like I missed the character development to reasonably make that decision. I understand this entire game is shadow work for Alex and it is growing her emotional intelligence by miles but I think I would have preferred more sign postings from the game saying "hey bc of your choices you are growing" which wasn't really true because-

Alex was suppressing her sadness, fear, and anger from her traumatic youth. So in episode 5, reliving all of those moments were the chance to level up in emotional intelligence. It felt odd to learn exactly everything at the very end but again it's okay because she was suppressing just like Jed which made her able to understand his emotions and walk him through them

TALKING ABOUT THAT TALK WHO GOT GIFS??? I NEED TO SEE HER EYES GLOWING AND FLICKERING WITH COLOR

I loved the parallel/bookendings of chapter 1: Side A and chapter 5: Side B, I'm a sucker for that shit

It's obvious that alot of care and heart was put into this game, it has layers and the more you peel back the more it reveals thematically

Now I got to compare it to my biggest criticism of LiS and Before the Storm, and ultimately the reason why I love LiS2 more than either of them. Does your choices actually matter?

LiS? No. The game ended with an ultimatum that made all of your choices in the end not matter and LiS is sold as a "your choices actually matter" type of game so seeing that be a load of malarkey always puts a bad taste in my mouth

Lis:bts? No. It's a prequel. I can admire the idea of "life may be futile but make the most of it" while you can and that definitely encompasses Rachel's side of bts. But that doesn’t negate the fact that this is more a game with a straight plot than LiS

LiS2? YOU GOT 4 ENDINGS AND YOU CAN ONLY CHOSE 2 AND ITS NARROWED DOWN TO HOW YOU PLAYED THIS GAME- THATS WHAT I CALL A CHOOSE YOUR OWN ADVENTURE/YOUR ACTIONS HAVE CONSEQUENCES

True Colors? I think TC lies somewhere between LiS2 and LiS in this aspect. Its definitely very railed, I think in every one you will get Jed to confess, so it depends on how you go about convincing him, romancing, and deciding your future to... well... decide your future. I can't fault it. It left it up to the player to decide and to not be screwed over by our previous choices (cough cough) and that is the crowd pleasing choice.

So, in the sense that it all feels very railed until the last 15 minutes when they spin us on an ice rink and say "freestyle baby"- it's fine. I'm not mad about it. But it does make me wonder what would've happened if we don't have any of the committee members on our side? Would we leave town effective immediately? Would the truth even have gotten out? Because if that's true... I would bump it up in the "does your choices matter?" 

You make choices and those choices have consequences, sometimes out of your control. That's what LiS2 perfected and what I want to see more in this franchise. 

[gunterfan1992]

Interview with Half Shy (the songwriter of “Monster”)

For the last few months, I’ve been collecting information for a second edition of Exploring the Land of Ooo that will also cover the production of Distant Lands. This means that I’ve started to look into the new songs that we have been graced with this year, and this of course includes “Monster,” the beautiful track from the masterpiece that is “Obsidian”. And so I reached out to the song’s writer, Half Shy, who was kind enough to chat with me via email about the songwriting process!

(Photo courtesy of Half Shy)

In many ways, Half Shy is living the creative Adventure Time fan’s dream: She got asked by Adam Muto himself to write a song for “Obsidian” after he heard her music through Bandcamp! (I’ve dabbled in fan music before, and the fact that someone from the show might listen to it just blows my mind.) What an opportunity; I am so excited for her!

Since a second edition of my book won’t be coming out until after all the Distant Lands episodes air, I thought it would be best to share my Half Shy interview now. Read on for the fascinating behind the scenes story of how Half Shy and “Monster” came to be..

GunterFan: What is your origin story? How did you get involved in music, and how did the Half Shy project come to be?

Half Shy: I’ve been making music pretty quietly since I was in high school with a keyboard and guitar. I played one or two shows a year after college when I could find a friend or my brother to get up on stage with me, but I don’t really have that performer gene in me naturally. I get too much in my head and forget what the lyrics are to the song I wrote, or what the next chord is. Total brain freeze. So that whole experience is a bit of a mental drain. It’s something I think I’d like to dig into and figure out, but right now I’m really enjoying the time writing.

Even playing a song for my friends I still get pretty nervous. That’s where the name Half Shy comes from. I’ve always been interested in making things that by their nature draw a bit of a spotlight, but at the same time, I am just really quite nervous about the attention.

I recorded my first songs under my old name Hey V Kay in my bedroom and started putting them up online one at a time. When I got enough I thought about packaging it up into an album, but then got really distracted by learning how to fix up motorcycles and going to automotive tech school. When I eventually got back around to it I named the album Gut Wrenching.

After a few years I realized that I didn’t want the day-in-day-out life of a mechanic, I just wanted to know how to fix cars for myself and to have that knowledge in my back pocket. I got back into making music but grew frustrated at the process of writing and recording songs. I felt like I wasn’t able to capture the ideas I had in my head. Like trying to draw on your computer with a mouse. Doable, but it’s not going to come out like you’d hoped.

So these last couple of years I’ve focused more on learning the technical aspect of it, from the initial ideas and lyrics, to the recording and mixing. During that process I put out Bedroom Visionaries, and while writing I happened upon the name Half Shy in an old Thesaurus which felt instantly right. Learning all of that has been fun, I even went as far as to create my own book to solidify a daily writing routine (lyricworkbook.com). All that has been a bit of a tangent from actually making much music though. I should be getting my books in December from the press so I’m really looking forward to getting back into making more music instead of dealing with printing presses, setting up websites, and sourcing ribbon suppliers.

GF: What is the story behind "Monster"? How did the show get in contact with you?

HS: I keep a log of “Song Starters” with neat things I’ve heard in the world, and I would look through it every now and then and notice just how many came from Adventure Time. Eventually I thought well, I have to make a song about this show that just keeps breaking my heart. It was around the time I was nearly done with the first [Adventure Time-inspired] song “In My Element” that I got an email from Bandcamp saying “someone bought your album (Bedroom Visionaries).”

I get maybe one or two of these a month at most so I love to go in and say hi to the person and say thanks, be curious about who they are, [and] what they’re all about. Turns out it was Adam Muto, the executive producer of the show. (I asked and he has no idea how he happened upon my stuff. He guessed that I must have tagged something #adventuretime and he just happened to see it.) So I sent him an email saying, “Hey wow thanks for checking out my tunes. Also... holy crap you’ve made the best show I have ever seen in my life.” [I] played it real cool like. After finishing up writing my second [Adventure Time-inspired] song “Betty” I couldn’t help but fangirl real hard [and I sent him another message saying], “I’m sorry this is probably awkward, but I really love your show and I wrote these songs about it.” He was incredibly kind and shared them with his Twitter Universe, and a while after that I got a random email from him saying basically, “Hey, I’m working on this thing I can’t talk about, would you be interested?” I was like… well you know I’m pretty busy working at a sign shop so I’m gonna have to pass on this once in a lifetime opportunity (J/K. Obviously I fan-girl squealed and said yes immediately).

We chatted a bit about what the project was going to be and the direction. He mentioned there [would be] two Marceline songs in the special, [and he asked if I] would I be interested in giving the love song a try? Trying real hard to suppress my instant imposter syndrome I was like, “Yea, totally I’d be into giving that a shot!” So I read through the story and loved the idea of the dragon mirrored in Marceline, thinking through how they’ve both built up a protective shell, how she grew tough for a reason, but now she can open up and be vulnerable with PB.

From there I wrote the initial demo with the first two verses mostly intact and we went back and forth a few times editing it down into the final version. I recorded the final parts for the show in my little home studio in Seattle.

GS: When you were writing the song, what emotions, thoughts, or ideas were you channeling? Was there any sort of memory of event that you were trying to artistically "catch" or "recreate" with the lyrics or music?

HS: As far as channeling an emotion, generally I’d say just the experience of existing as a human. It can be so hard to open up and be vulnerable. I can remember that feeling even as a young kid—getting really excited about something and having someone completely trash it or look at you like, “Why are you so interested in that? It’s dumb.” [It causes us to grow] a little more weary to share ourselves because we know that hurt and embarrassment. The pain of being misunderstood is something I think a lot of us can relate to. Then having to decide whether to keep sharing those vulnerable parts of yourself or think, “They’re just not going to get it, I’m going to get hurt, so why bother?” and then stop putting yourself out there. You lose a lot with that thick armor though. You might feel protected, but you’re not feeling a whole lot of anything else other than the weight and chafing of it (I had a whole lot of armor-related metaphors that I didn't end up using.).

I struggle with this in songwriting too. I’m not the bolt-of-lightning type. There are pages and pages of cliches, total garbage, bad jokes, and cheesy lines that I have to get through in order to get to something that I am excited to put out there into the world: “Here I did this thing, I know it’s a little (this or that), but I made it... What do you think?” It’s hard to open yourself up to hearing the other end of that question.

I filled about 5 little pocket notebooks just thinking through the story, ideas, and trying to get this song right. I wanted it to feel familiar and honor the past songs of the show ([e.g.,] using the ukulele and referencing a few of the familiar chords from “I’m Just Your Problem”) but also be pretty open and vulnerable and different for [Marceline]. [I wanted to] show that she’s going through some tough emotions but also figuring herself out and growing.

GF: I feel like “Monster” is, at its core, an ode to the “Bubbline” ship. How do you feel about your song being intimately connected to one of the most famous LGBTQ+ relationships in animation? Do you have any general thoughts on Marcy and PB, Bubbline, etc.?

HS: Oh, I’m a total fan girl of Bubbline. The whole story of how Rebecca Sugar and Muto slowly morphed it into this deeper relationship is just great. As a part of the LGBTQ community myself it really means so much to see the representation of characters like yourself portrayed in an intelligent way. Growing up I was too young to fully understand what was going on but I saw Ellen getting cancelled, and [I] heard people around me saying they’d never watch her show again after she came out. That stuff sinks in as a kid and so to have these characters who are not only intelligent, but funny, complex, and unapologetically strong who also happen to be queer is really great. I love that the story here isn’t about their orientation, but that they’re people struggling with how to be open and vulnerable in a relationship.

It feels like something sci-fi and animated shows do so well—to show that ridiculousness of limiting who a person should and shouldn’t love. Marceline is a 1000+ year old half-demon/vampire and PB was born from the Mothergum of an apocalyptic radioactive world, but you’re going to get hung up on them loving each other? It sort of brings it into perspective in a really interesting way.

GF: Do you have any other thoughts about the experience that you'd like to share?

HS: Just how lucky, thankful, and honored I feel to be a part of my favorite show, writing a song for one of my favorite characters. It’s also incredibly cool how the people on the show are so willing to connect and collaborate with their fandom. Everyone [on the production crew] was very open and a real joy to work with.

I’d like to give a huge “Thank you!” to Half Shy for agreeing to participate in this interview; she really was quite amiable! If you’d like to hear more of her music, check out her website and her Bandcamp. You can also follow her on Instragram here and on Twitter here. And of course, here is Half Shy’s awesome video of “Monster”.

[shadowed-dancer]

My Thoughts on the New MHA Opening and Ending

I have thoughts, and I will share them because oh boy if I don’t get this out I’m gonna explode

Vague Spoilers for the manga (up to chapter 258 and vigilantes) because I discuss the upcoming arcs, but I don’t discuss any major plot points in detail. Still, proceed with caution if you’re anime only

Keep in mind, this OP and ED will cover the Endeavour Agency Arc and the MVA Arc, so I will be judging them accordingly.

First, the OP

This is a good OP... in theory (that’s going to become my catchphrase for this post). It’s nice to look at and flows pretty well, but my biggest problem is that it doesn’t do it’s job. An OP is supposed to be a sort of... summary (?) of the Cour it plays for. That means any cool plot points, emotional beats, and important characters should be featured in some way, shape, or form. We’ll talk about that more later, but first let’s discuss the music.

The song is really good. I have a feeling it will continue to grow on me as I listen to it more often, but yeah my first impression is that the song sounds great. My only complaint about the music itself is that it ends kind of abruptly (I noticed this is the JT opening too). The previous openings used to have a bit of instrumental to “play us out” and lead us to the end card, but this one feels like it ends very suddenly and unnaturally.

As for the visuals...

Yeah alright I’ll admit, the visuals are stunning... in theory. I appreciate the variety in backgrounds and colours, it makes the OP really interesting to look at. This was actually one of my biggest problems with the JT Opening, it all took place on the training grounds, so there was no variety (everything was metal tubes with a blue sky, with only 3 shots set somewhere different). I appreciate the style of this OP.

But like I said, that’s only in theory, as in, through screenshots these are all pleasing to look at. The pacing of this OP is wild, and I truly don’t know who to blame for this.

That sunset shot above? It lasts approximately 12 seconds, zooming in every few to make it seem like something is happening (when in reality it’s still the same poses, angles, etc). While there’s nothing wrong with a nice, drawn out shot, it becomes irritating when compared to the pacing of the rest of this op.

At the 41 second mark, we are given the shot above. It has flowed directly from the previous sunset scene. We still have not moved away from the image of the trio (aside from the opening shot and the title card) yet we’re approaching the halfway mark of the OP.

The next shot is the MLA, which lasts about 5 seconds. Ok, perfect. Not too long, but also not short enough to be confusing. It cuts away a little fast once the dude on the far left appears, but does anyone actually know who that is? No, seriously, I’m asking. I don’t remember his name and he’s not on the wiki, so I can only assume he’s not important. Therefore, it’s not all that bad if the shot cuts away shortly after he comes into frame. The audience is able to take in the scene without having to pause...

... And then the problems start

While this shot is fine in theory, it pans up fast and  cuts away quickly. You know how hard it was for me to get this screenshot? Really hard. You want to know why I struggled so much? Because, due to the timing of the cut and the way it pans upwards, it’s almost impossible to pause on Dabi’s face. I literally had to go frame by frame to get it, because he’s in shot for so little time that naturally pausing is guaranteed to miss him.

When watching this in real time (without pausing) the cut away makes you feel as if you missed something because “something was there, I just couldn’t register what because now it’s gone”. Unlike Compress, who wears a very colourful coat you can recognize the entire time, Dabi’s pants are more blended into the background.

It also doesn’t help that this shot is literally composed to draw your attention away from Dabi until the last possible second. Due to framing, your eye is naturally drawn to the brightly coloured Toga in the foreground, making it super easy to miss Dabi in the back (until, of course, his bright face appears and contrasts against the background, drawing your eye just in time for the scene to change, leaving you to wonder who or what you missed).

I know this sounds like nitpicking, but this shot is the only group shot we get of the League, and is also the start of a seriously weird trend for the villains in this OP getting the short end of the stick.

Anyways, then we get what I’ll call “The Carousel Shot” in which every Class 1A kid shows up and poses dramatically, as if they were on a carousel. It’s a lovely sequence and I really enjoy watching it but... why is it in this OP?

Seriously, this is a genuine question. Class 1A barely shows up in the Endeavour Agency Arc, and NONE of the students are in MVA. This sequence (not counting the three boys at the end) lasts 8 seconds. Why is this much time dedicated to characters who are barely in the arc? (Unless Studio Bones extends their work studies into fuller plot lines which oh my gosh please don’t do that, or if they do, do it quick).

We then get what I call the “Oh God I Blinked And Missed Everything” sequence, which lasts 3 seconds (not including the longer, moving shot of Shigaraki at the end) and features NINE INDIVIDUAL IMAGES, none of which are related to each other. Not only is this 3 images per second, but the fact that they are all unrelated means you can’t even use previous information to fill in the blanks.

What do I mean by that? Well, imagine if I show you 9 images of various pro heroes posing. If I play that in 3 seconds you’ll absolutely miss some of them, but as long as you catch some you’ll still get an idea of what I’m trying to show to you. Your brain is able to fill in the gaps that “I recognized 4 pro heroes, therefore the rest must have also been pros” even if you didn’t register every single frame.

That doesn’t work if every frame features a completely different subject. The shots in this sequence vary so widely that it’s impossible to find a through line. Some feature multiple characters, some feature one, some are closeups, some are super far away, some are character’s we know, others are characters we don’t. It’s impossible to get a solid read on what you’re being shown.

Now, again, there’s nothing wrong with these super quick shots... in theory. The problem comes from the fact that these shots are the only indicators for some of the major themes that will be explored during this Cour (like Twice’s growth and young Shigaraki).

That being said, let’s move away from criticism and talk about speculation, because hidden amongst this sequence are two... interesting images.

This All Might one is very reminiscent of the shot in Chapter 257, where Aizawa and All Might have a conversation while staring up at the stars. However, this is technically the start of the “War Arc” (or the “prologue”, if that’s what you want to call it), so this might indicate that we’re going to get farther into the series than a lot of us guessed.

(Many people suspected we’d get to that cliffhanger at the start of the season (if you read the manga you know the one), but after seeing the pacing for JT a lot of us assumed we’d be lucky to even finish Endeavour Agency. It seems we’re back to the cliffhanger now though lol). 

This is another really interesting shot because it’s indicative of Shirakumo, meaning we might get to see Aizawa and Mic confront him some time this Cour (this also makes sense, since this confrontation technically happens before that All Might scene I mentioned in the previous paragraph).

But the cat specifically is a really strange addition. That cat is named Sushi and, correct me if I’m wrong, but I don’t think Sushi is ever mentioned in the main series. I think he’s only in Vigilantes.

This might just be a little Easter Egg for Vigilante readers, but I’m personally hoping that they’ll add at least a few Vigilante shots in there to really tug at the heart strings. I’d say I want a whole Vigilante episode but I don’t think they have the time (unless they really cram MVA, which I do NOT want).

I don’t have much to say about the last bit of the OP. The action shot between the 3 boys was nice, and it follows the sort of narrative through line they established from the early shot of them sitting at the sunset. I also like the shot of Endeavour fading in to replace All Might, even if it’s very simple.

But I want to talk about an overarching problem I touched upon earlier in that villain shot: the way the villains are handled in this OP.

This is a good OP... in theory. The problem is, it doesn’t represent half the arcs in the cour! Every shot of the League is so rushed that you can barely register that they were on screen before they’re gone.

I have no idea how many Episodes Endeavour Agency will take, but I’d assume 3 (4 if you count the Christmas episode). 12 episodes for this Cour minus 3 for Endeavour Agency = 9 episodes left. If we truly do get the prologue for the War Arc (and if we assume it’s only 1 episode) that leaves us with 8 villains episodes.

8/12 episodes (aka two thirds of the Cour) will likely be about the villains. And yet they’re pushed to the background so hard in this OP.

I want to dream, and I want to believe that this OP is going to magically change when MVA starts. The song fits super well, and I can imagine like an inversion of the OP but from the Villain side! Wouldn’t that be neat? Imagine right after the “it’s alright” part Shigaraki just freaking decays the title card... oh man that would be so cool. But, alas, I highly doubt they’d do that.

Side rant, but you know what was so fun about MVA in the manga? It’s that, for 21 chapters, we leave the kids behind and the villains become our protagonists. Suddenly Shigaraki is the one we’re rooting for, suddenly we’re learning backstories for everyone, and suddenly we find ourselves just as attached to the villains as we are to the kids. It’s an inversion that’s SO RARE to find, and I think many people (myself included) were hoping it would be reflected in the OP.

A big part of being the protagonist means featuring heavily in the OP, and a lot of us just wanted the villains to get that honour, even if only once. As is, the OP still treats them as the antagonists when... really they aren’t. Not right now, at least.

So yeah, final thoughts on the OP are that it’s good, it’s just not very representative of the arcs it’s supposed to cover. If this was just for Endeavour Agency, I’d say it’s actually really cool, but if we assume that this is what will play for the Villain Arc, then it simply doesn’t do it’s job. And it makes me sad to say that because, again, this OP is really well done.

If I had to rate it? Hmmm

If Studio Bones actually grants my wish and creates a different visual for the Villain Arc (while using the same song) and then this version only plays for the Endeavour Agency Arc and the War Prologue? I’d give it an 8/10. It’s really good, but it could use a few more elements that are clearly derived from the Agency Arc (ahem, Todoroki siblings).

But if this is the OP that will play for the entire Cour? a 6.5/10. It’s nice, but it’s not representative of one of the arcs it’s going to cover. And, unlike other arcs like Pro Hero or Summer Exams, the villain Arc is so important and takes up so much time that it honestly feels like a bit of a disservice.

Now for the Ending

I want to say that I appreciate how soft this ending starts. This cour will likely feature a lot of episodes that end on... heavier themes, and I think the sight of peaceful, falling raindrops is the perfect way to let the audience process their emotions before starting the ending in earnest.

The song itself is very nice, and I like that it’s a bit slower than the more recent endings.

(Side note, but the FUNNIEST moment in the entire series is when Sir Nighteye dies because it’s so emotional and everyone is standing around his bed in his heartwrentching silence, only for the ending to come BLARING IN out of no where. If you forgot how jarringly hilarious it was, go listen to the Eri ending and tell me that’s not the funniest thing this series ever did. Anyways yeah I’m glad that’s not gonna happen this Cour).

This ending is a bit all over the place in terms of it’s visuals, but honestly I think it works. Most endings usually have a theme tying them together (all the Class 1A girls, a fantasy AU, old photographs, planning a party, etc) but this ending’s theme is a bit harder to identify.

That being said, I think it’s just supposed to show everyone going about their day. It’s calm, it’s peaceful, and it’s just very sweet to think about

I like this shot. Actually, scratch that, I like this whole sequence. I enjoy anything that allows Class 1A to chill and have fun.

Hawks is featured quite heavily in this ending which, fair. He’s pretty important in this arc.

I really love the shot where Endeavour immediately switches to Hawks, I thought that was a lot of fun, and very good symbolism on how Hawks wants to be like Endeavour. I also love all the shots of Baby Hawks, because it’s adorable.

Something about this shot is just so cute. It’s the little domestic things like waiting for a bus that make this ending feel... idk the word, real? It shows a side of the characters that we’ll never see in the episodes, but we know have to exist.

Like yes, of course the kids have to wait for the bus. We never see it, but of course there are those moments of quiet. Agh, I love it.

The villains also make an appearance and I’m very happy about that (I’d love to see more of the villains just chilling around, I think they deserve it). I kind of wish they weren’t sitting in a dark room for the sake of being edgy, since I think it would be nice to see the villains just... sort of existing, but honestly it’s still a nice shot. I also like how this shot sort of mirrors the first one with Class 1A (someone coming in while everyone else is sitting and waiting for them).

That being said, as much as I love looking at Dabi and his stupid face (affectionate)... why is Dabi the one getting the closeup?

Mind you, endings don’t need to be connected to their Cours (they can be, like the Eri one, but they don’t have to be). But this ending does seem to be connected to the arcs it intends to cover, given all the Hawks appearances, the boys wearing their work study scarves, etc.

So, I ask again, why Dabi? Out of the six League members, we learn the backstory for four of them in this arc (Shigaraki, Toga, Twice, and we very briefly learn about Spinner). The only two left out are Dabi and Compress.

I can only assume they chose Dabi because he’s constantly in contact with Hawks, and therefore that makes him important? If the OP told us anything, it’s that Bones values the Endeavour Agency Arc over the Villain Arc lol...

... Oh my gosh please tell me that’s not actually the reason Dabi is focused on here BONES WAI-

Anyways, the ending comes to a close with Hawks watching over the kids and Endeavour. The relaxing time is done, it’s time for work studies.

Overall impression? It’s great. It’s hard to screw up an ending, so as long as you have something pretty on screen, it’s wonderful.

I’ll give this a 9/10

[evakuality]

Mia, episode five

1.  One thing Druck is super good at is these aesthetic shots.  This whole opening bit reminds me of the scene with Amira when she’s praying in her room.  Lots of beautiful shots of the room, curtains and stuff, which are just super pretty with a few hints of colour.  I dunno, this is just an aesthetic I like and I appreciate that Druck caters to me.  Mia is so cute, too!  Like both the way she looks and also how kind she is.  She still doesn’t really like Alex a lot (though you could see in that montage from the previous night that she’s warming up to him) but she still feels like she should leave things looking nice.  These little post-it notes are sort of cute too, and you can see that she thinks they’re sweet.  I don’t like this Bjorn though.

2.  Interesting that we get a clip specifically one week later.  I have no idea how that must have felt while this was live, and I’m really glad that I didn’t have to live through these long gaps in any of the things I did watch in real time.  This one was reasonably low key though, so maybe the wait wasn’t as agonising.  If you didn’t know who Bjorn is (I’m assuming the Niko character) then nothing in the last couple of clips would have felt all that alarming.  But Mia’s so flirty here - that one conversation at his house must have really charmed her.  Pity we didn’t really get to hear a lot of it because he still hasn’t charmed me!!  And actually that ‘show a montage of how things are going while a song and/or other conversation plays overtop’ is a huge thing Druck does, I think.  I feel like in some cases (Matteo and David after their first pool kiss moment, for example, or Hanna and Jonas breaking up) work quite well.  But here, I think we needed to hear more of Alex to actually believe that Mia would be this flirty with him.  For me, this is too big a turnaround from her very cold manner with him at the piano and an actual proper look at that conversation might have helped.  But also, I am super biased because William and so maybe a more reasonable person might like it okay.  This bit with Linn is weird.  Genuinely creepy, and I’m not sure why they’re setting her up to feel like this.  Maybe some sort of hint of the creepiness to come with Bjorn (I’m assuming it’s coming, anyway).

3.  I don’t get this bit with all the pictures at the school.  I assume it will become obvious later but I’m not sure what exactly they were trying to do with this.  You’d think they run the risk of having the whole Abi chaker clan thing shut down - if this happened in my school there’d be so much trouble.  A groups of kids once put post-its all over one teacher’s room and they got in SO much trouble for it, and that wasn’t obscene like this is.  This thing here seems so targeted at the Abi thing, using their plan specifically, that it feels like someone outside the group wants them not to be allowed to run their theme.  Or someone in the group who wants a different motto maybe.  I don’t know, but it feels very mean and very specifically directed at this group of people.

4.  Hmmm, I’m with Leonie on this one.  I’d be giving Carlos the super evil stare too.  It may be ‘funny’ to some of these people, but given that there are younger kids at this school (I assume, right?  They still have classes running for the smaller ones at the end of Matteo’s season, allowing their prank to go ahead) this is sure to go down really badly with the school itself.  I’m rolling my eyes at the ones who are outraged that the school is considering reporting it - what did they expect?  Also, surely they can figure out who was doing it - people were literally throwing handfuls of the pictures over the stairs.  Surely they could work out who it is.  It’s pretty clear that Alex still thinks this is funny and I’m losing patience with him.  Every time it seems like maybe he’s getting less gross he goes and acts like this again.  Bleh.  I’m not often rooting for Leonie and feeling for her, but wow today I really am.  This is shitty and she has a right to be angry.

5.  Ew, Alex, why are you stalking Mia again?  She’s made it pretty clear she’s not happy with you.  Turning up out of the blue like a creep isn’t a good way to go about winning her over again.  His ‘we were drunk, what can you do?’ is so... stupid???  They’ve lost money from this, the school is really angry, they could easily have some pretty bad consequences and he’s all ‘meh, it was a drunken prank’?  I know money isn’t an issue for him, but there are issues here beyond the money.  I’m also kind of annoyed that everyone keeps suggesting she’s upset because she’s jealous.  I’ll be really annoyed if the show carries on this way - this isn’t just a silly little prank, and people have every right to be angry and annoyed.  Diminishing it to jealousy isn’t cool.  Is Leonie also jealous?  The people who are angry and upset they’re being blamed and their money has been taken?

6.  I do love scenes where the whole girl squad is together.  They make me happy and I miss seeing them together so much.  But OMG, Alex is blackmailing Mia again????  I mean I guess it worked the first time so why wouldn’t he?  But this is seriously shitty behaviour.  Honestly, in clip one I was mildly starting to warm to him with the post-its and all, but he’s managed to speed run right back into ‘asshole’ category.  This was the problem in the og as well - William was such an asshole, that in order to make him likeable, we had to see a much more genuinely villainous character.  Alex is still super dislikeable and so we need someone ‘worse’ to make him look palatable, which I assume is coming.  We’re halfway through - we should like him by now.  I dunno.  Maybe some people do?  But he still has done nothing to make me think he’s nice or someone who Mia might be attracted to.

7.  Oh a long Friday clip?  Almost half the episode?  I guess it’s going to be a rough one for Mia then.  More reflections again - her whole face in the mirror now, but it’s surrounded by graffiti.  I’m always fascinated by the way mirrors and reflections work, and it’s fun to see Mia slightly obscured in her mirrors even now.  It’s not as disjointed as it was at the start but it’s not a fully clear reflection either.  I may not like the way Noora/Mia’s story goes but I do like some of these things which show the progress.

8.  I feel kind of sorry for Jonas, because that break up wasn’t his choice.  But seriously, he seems to be blaming this on Hanna a bit and like ????? He chose to make her feel small and unworthy through her whole season.  She’s allowed to try to figure herself out outside of him and his wants and needs.  Eh, I know he’s hurting and all, but that’s actually his issue and he shouldn’t be pushing it on her.

9.  This scene with Mia and Alex bothers me.  He still seems to have no idea why she might find his actions (selfish and self-serving and filled with blackmail) offputting.  ‘I fixed it, so we should totally be together now’ is such an immature and childish take on this.  These types of guys need to grow up and learn that they can’t just buy and/or coerce their way into whatever they want.  I like the way they decide to have Kiki walk past just as Mia has to choose whether to say she doesn’t want Alex or not.  It adds a poignancy to it and Mia obviously chooses to stick by her friends.  I do wish it felt more conflicting, like if Alex genuinely had changed or had shown he has depth or something it would be a bigger ‘wow she’s rejecting him for her friend’ but instead he’s still such an unpleasant character that I don’t care.

10.  I’m not sure why Mia does the brushing off of the makeup - I feel like it made more sense when Noora did it (I mean I watched it once a very long time ago so who knows, but my memory is that it was her way of trying to reject being ‘pretty’ and having guys liking her because it was messing her up).  With Mia, I don’t understand.  Someone help me out?

11.  I still don’t get what Mia sees in Alex.  Again, I know I have a really big bias against him because of William and I know it was always going to be tough for him to be someone I care about.  But even so, this feels like a huge whiplash when she says of course she likes him.  I’d get it if we’d seen any of his development, but every time he took a mini step forward he shoved himself right back into dislikeable territory.  Once again, I mourn the actual conversation between Mia and Alex.  This all feels far too fast, and the fact that this is suggesting his blackmail is all good is very worrying.  All the post-it notes in the world can’t make me think he’s nice enough to want to kiss.

Overall, I didn’t really like this one.  I feel like the pacing is still off; I don’t believe the speed at which Mia has fallen for him and honestly it hasn’t been very long since Kiki was with Alex and had her heart broken.  The fact that Mia even saw her and told him she doesn’t like him only to turn around immediately and change her mind is strange to me.  Mia has always come across as a caring person who tries to do the right thing and help out her friends.  That she has apparently no qualms at this point is difficult for me.  They’re acting the hell out of this, but I can’t buy it.  Unfortunately.  Sadly, because this is based on a very flawed original, I don’t think it’s going to make me enjoy these two.  There are things that I’m interested in seeing as we go forward but most of those have zero to do with Alex.

[beatriceeagle]

I'm more of a fantasy than sci-fi person, but consider my interest piqued. Why should I watch farscape?

Okay, the thing is, every Farscape fan’s pitch on Why You, Yes You, Should Watch Farscape ends up sounding very similar, and that’s because Farscape is a black hole that sucks you in and does things to your brain, and after you’ve watched it you are never, ever the same, which incidentally is basically the plot of Farscape.

I would summarize the basic plot for you, but that’s work, and luckily, the show’s credits sequence includes a handy summary that I will provide instead of doing that work: “My name is John Crichton, an astronaut. A radiation wave hit, and I got shot through a wormhole. Now I’m lost in some distant part of the universe on a ship, a living ship, full of strange alien life forms. Help me. Listen, please. Is there anybody out there who can hear me? I’m being hunted by an insane military commander. Doing everything I can. I’m just looking for a way home.“

So let me break down that monologue into its component reasons you should watch Farscape.

1) Some of the strange alien life forms are Muppets.

Farscape a co-production with the Jim Henson Company, and while there are many aliens played by humans in make-up, there are also a considerable number (including two of the regular crew) who are Muppets. By which I do not mean Kermit. I mean really gorgeous, elaborate works of art.

Also, even a lot of the humans-in-makeup aliens just look cool, and incredibly weird. Here’s an alien who appears in a single episode of season 1:

Not that there aren’t, you know, occasional Star Trek-style “these guys are just humans with weird hair,” or whatever, but in general, the aliens on Farscape look really alien. And that’s more than an aesthetic choice; it’s Farscape’s driving narrative principle. The aliens look alien, they act alien, they have alien values.

You know how a lot of sci-fi shows will have a stand-in for “fuck,” like Battlestar Galactica has “frak”? Well, Farscape has “frell.” And also “dren.” And yotz, hezmana, mivonks, loomas, tralk, snurch, eema, drannit, dench, biznak, arn, drad, fahrbot, narl. Some of those are swear words, but some of them are just words, never explicitly translated, that the alien characters will pepper into their speech, because, well, why should translator microbes be able to completely translate all the nuances of an alien culture? You’ll pick it up from context. One time, in passing, a character mentions that he’s familiar with the concept of suicide, but there’s no word for it in his language. I cannot emphasize to you enough how fleeting this moment is; the episode is not about suicide, we’re not having a great exchange of cultural ideas—at the time, the characters are running down a corridor in a crisis, as they are about 70 percent of the time—it’s just that the subject got brought up, and this character needed to talk around the fact that he literally didn’t have a word, in that moment. Things like that happen all the time, on Farscape.

Because more than anything else, Farscape is a show about culture shock. John Crichton is this straight, white Southern guy, at the top of his game—he’s an astronaut! he’s incredibly high status!—and then he ends up on the other side of the galaxy, where none of his cultural markers of privilege hold any meaning, where he doesn’t know the rules, where he literally can’t even open the doors. And he has to unlearn the idea that humanity is central, that he is the norm.

2) John Crichton, an astronaut, is pretty great.

A show that’s about a straight white guy with high status having to learn that he’s not the center of the universe could easily be centered around a really insufferable person, but one of the subtle things that makes Farscape so wonderful is that Crichton is, for the most part, pretty excellent. He has a lot of presumptions to unlearn because almost anyone in his cultural position would, but he’s also just a stand-up guy: compassionate, intelligent, open-minded, decent, forgiving, brave, hopeful.

And the galaxy tries to kick a whole lot of that out of him. It doesn’t succeed, mostly, but if Farscape is about anything other than culture shock, it’s about the lasting effects of trauma. How you can go through a wormhole one person, and experience things that turn you into someone you don’t recognize.

That’s kind of grim-sounding, but ultimately, what I’m trying to say is that Farscape is almost fanatically devoted to character work. Crichton is not the only character who sounds like he should be one thing and ends up being another. All of the characters—all of them, all of them, even the annoying ones—are complicated wonders. And you don’t have to wonder whether the events of the episode you’re watching are going to matter. They will. Everything that happens to the characters leaves a mark. Everything leaves them forever changed. Whether it’s mentioned explicitly or not—and often enough, it’s not explicit—the characters remember what has happened to them.

3) The living ship houses a lot of excellent women, among them the ship itself.

Ah, the women of Farscape, thou art the loves of my fucking life.

There’s Aeryn Sun, former Peacekeeper (that’s the military that the “insane military commander” hails from) now fugitive, currently learning the meaning of the word “compassion” (literally). She will break your fingers and also your heart. John/Aeryn is the main canon romantic ship.

There’s Pa’u Zhoto Zhaan, a priestess of the ninth level, current pacifist, former anarchist. Sorry, leading anarchist. She orgasms in bright light! (Oh my god, Farscape.)

There’s Chiana, my fucking bestie, a teenage(ish? ages in Farscape are weird) fugitive on the run from a repressive authoritarian state. Chiana is like a seductress con artist grifter thief who mostly just wants to survive so that she can have fun, damn it. Characters on Farscape do not really discuss sexualities (sex, yes, sexualities, no) and it would be fair to say that several of them do not fall along human sexuality lines generally, but I’m gonna go ahead and say that Chiana is canonically not straight.

Then there’s Moya, the ship herself, and it’s hard to get a straight read on Moya’s personality, since she mostly can’t speak. But she definitely has opinions, and things and people she cares about. And she moves the plot, though that gets into spoiler territory.

Past first season, further excellent women show up: Jool (controversial, but I like her), Sikozu (I once saw a Tumblr meme where someone had marked down that Sikozu would lose her shit when someone pronounced “gif” wrong, and that’s absolutely correct, and it’s why I love her), and Noranti (who is incredibly weird, and incredibly hard to summarize, but man, you gotta love her willingness to just show up and do her thing). Plus, there’s a recurring female villain, Grayza, who I could write probably multiple essays about. (I don’t know how you will feel about Grayza, as not everyone loves her, but I think she’s fucking fascinating, especially because she’s not actually the only recurring female villain. We also get Ahkna!)

(Side note: I should mention, here, that the cast of Farscape is really, really white. There is one cast member of color, Lani Tupu, but he pretty much represents the entirety of even, like, incidental diversity in casting for the series.)

Anyway, Farscape is full of awesome women, and also awesome and unexpected men, and it really enjoys playing with audience expectations of gender roles, generally. Literal entire books have been written about the way that Farscape fucks around with sex, sexuality, and gender. It’s a little weird because it was the late 90s/early 2000s, and sometimes that does come through, but Farscape’s guiding principle was always to try not to present American culture of the time as the norm, so like. It is not.

(An aside on Farscape and sex: Literally every character on Farscape has sexual tension with every other character. If you are a shipper, this is a Good Show, because no matter who you ship, there will not only be subtext, you will get a Moment of some kind. Multiple characters kiss the Muppet. Farscape is dedicated to getting into the nitty-gritty of the galaxy—I like to think of it as showing the guts of the universe—so a lot of the show is kind of squishy. They live on a biomechanoid ship, instead of androids there are “bioloids,” there’s a lot of focus on strange alien biologies, and lots of weird glowing fluids and things. I think the sex thing is kind of part and parcel of the larger biology focus: Farscape is really fascinated with how we all eat and evolve and live and die and, well, fuck. Which is in turn, kind of part of its focus on making everything really alien.)

4) Other stuff you should know.

Farscape as a whole is excellent, but it was kind of the product of creative anarchy—an Australian/American coproduction (oh yeah, everyone except Crichton speaks with an Australian accent) that was also partnered with the Henson company, whose showrunners were based in America but whose actual production all took place in Australia, and who was just constantly trying new things. So individual episodes can vary wildly in quality. It really takes off in the back half of season one, but no season is without a few off episodes.

It is extraordinarily funny, and I really think I haven’t stressed that enough. It’s one of the shows I want to quote the most in my daily life, but almost all of its humor is really context-dependent, and if you just wander around going, “Hey Stark? What’s black and white, and black and white, and black and white?” people look at you really funny.

It’s very conversant with pop culture generally (although obviously sci-fi  specifically, and Star Trek most specifically of all) and really enjoys deconstructing tropes, often to the effect of, “Well, Crichton really does not know what to do here, does he?” but sometimes just to be interesting.

There are also a lot of themes about science, and its uses and misuses.

The whole thing is fucking epic, and if you get invested at all, will take you on an emotional ride.

This show is weird. I know that that’s probably come across by now, but I think it’s worth reiterating as its own point: Farscape is so weird. Like, proudly, unabashedly, trying its hardest, weird. An amazing kind of weird.

If you’re into fantasy, you should know that there’s a recurring villain who’s just a wizard. Like, they don’t bother to explain it any more than that, he’s just a fucking wizard.

In summary: You should watch Farscape because it is a weird, wild, emotional, epic romance/drama/action/allegory full of Muppets and leather and one-liners and emotional gut punches and love, and if you let it, it will worm its way into you and never let go, which, now that I think of it, is another Farscape plot.

Send me meta prompts to distract me from my migraine!

[scullyverse]

Chicken and Cheese

Prompt by anon;

“It’s because I’m so attractive isn’t it?" - “I say this, and I cannot stress this enough, I find you completely repulsive"

Thank you so much for your prompt. I had fun writing this one with putting a bit of a humorous take on it.

Also available to read on ao3

Scully is struggling at work and Mulder takes her out for lunch to help her feel better.

Mulder/Scully || Miscellaneous || 2.5k words || Rating G

Sighing, Scully sunk back into her office chair, removing her glasses from off her nose in frustration, chucking them onto the desk. She as getting annoyed at herself with having to stare at the same few sentences over and over again on the paper in front of her, her head pounding, eyes unfocused. Since her cancer diagnosis she found it harder to read and write for long periods of time due to the strain it put on her eyes. They had returned from a case early this morning and had spent the majority of the rest of the day completing the relevant paperwork and reports. Though as the hours ticked on Scully could feel her eyes begin to protest and the pounding headache creeping up on her, getting more intense as she tried to push herself through it. Pinching the bridge of her nose she closed her eyes willing her eyes to focus again so she could just finish the little paper work she had left before she clocked out for the day. Scully wasn’t one to let herself be tardy on paperwork, and there was only a little bit left to do.

“I could finish it if it’s too much for you Scully”

Opening her eyes again, she looked across their single desk towards Mulder, his eyes staring right into hers, soft and kind. As much as she hated the way people looked at her now, like she was so fragile, Mulder didn’t look at her that way. From the moment she had gotten her diagnosis he had been there, steady and supportive. Sure she could tell his concern as always there, it crept up in his eyes every so often, but he wouldn’t treat her like she was glass that needed to be wrapped in bubble wrap in case it shattered. Mulder still treated her with the respect for her independence like he always did. It was a breath of fresh air.

“No, it’s okay. I just need a break for a few minutes, just a small headache” Scully gave him a small smile, hiding the grimace as another wave of pain hit her head. She wouldn't admit to him that it felt like her eyes were splitting inside her head because what she said was the truth. She had gotten used to the headaches and the blurriness of her eyes that came with it these past few weeks and with a small break she would be able to continue to finish the report she was working on. Besides it would have to be something she would have to learn to push through if she wanted to keep her job for as long as she could, it wasn’t like it was going to get any better. And she needed it because it kept her busy and not focusing on the fact that this cancer was killing her from the inside out.

Mulder put his own glasses down onto the desk, his report momentarily forgotten as he gave her a little smile in return, though it didn’t meet his eyes. He could tell she was in pain but he didn’t want to push her too hard. Scully had always been so independent and strong that the fact that she would eventually lose both of those things caused a frustrated tension to rest just below her skin that Mulder picked up on and his worry for her wouldn’t give her any comfort he was sure of that. So he would be there for her to keep a constant source of normality for her if she needed.

“We haven’t had anything to eat in a few hours, how about we go grab something?” Mulder looked at the clock on the wall and noticed it was way past lunch but they still had a little bit over an hour before they clocked out and they were both nearly finished their reports anyway. “We have some time to kill. It might help with the headache”

Scully nodded as she rubbed under her eyes. Maybe some fresh air would help her after they had spent the majority of the day cooped up down in their basement office. Even though she knew her headache wasn’t the result of low blood sugar she would go with him and eat if it helped to put his mind at ease a little. Mulder got up from the desk as he grabbed his suit jacket that was hanging over the back of his chair, putting it on, Scully standing up too, settling her pen down next to her report.

“Did you want to go to that little place on the corner? That has those mean sandwic-“

Mulder stopped talking when he heard a groan of frustration and looked up to see two small blood drops on the white pages of the report Scully had been working on. Looking up further he saw Scully quickly press a tissue to her nose, tilting her head back slightly. “Dammit” Scully muttered under her breath. Mulder wanted to rush over there to wrap her in his arms but he stopped himself. Every time he had worried about the nose bleeds in the past she would snap at him in anger. He now knew that she didn’t need his coddling. He would be there when she needed him and he would make sure he didn’t mess up the trust she had put in him but acting as concerned as he felt. Mulder just walked over to her side of the desk, pulling a couple of tissues out of the box next to her report and gave her one, her eyes dropping from his as she changed the tissues, pulling it away after she realised the blood flow had all but stopped. Mulder used the rest of his tissues to gently dab at the paper, making sure not to smudge her writing on the page. She would probably insist on re writing it now anyway, but he would try to get her to not worry about it. The drops hadn’t been big and it wasn’t as messy as when it had happened in the past.

Scully watched him with a tug at her chest as she gave her nose one more touch with the tissue to make sure it had stopped before she tucked the bloody tissues into her hand. “Let me just go wash up before we go. A sandwich would be nice” Excusing herself, Scully walked out of the office and into the toilet block at the end of the hallway, checking herself in the mirror to make sure she didn’t have any blood on her skin or clothes. When she was happy that she didn’t see any blood on her shirt, she quickly splashed some water on her face before she studied her appearance, cleaning up under her nose as she threw the dirty tissues into the waste basket under the sink and made her way back towards their office, Mulder standing outside holding her jacket in his arms.

“Your jacket my lady” Mulder outstretched his arm with a flourish. Scully rolled her eyes, a smile breaking on her lips at how much of a dork he was. This was how she liked it. He didn’t make a fuss over her like everyone else and just kept everything normal. It was what she needed. She knew that pushing her cancer under the rug to deal with later wouldn't be a viable option forever, but while she could do it she would. Going to grab her jacket she smiled a little more when he placed it on her shoulders, helping her get it on. Looking up at him with suspicious eyes he just patted her shoulders, lingering there a little longer than normal before he gave them a squeeze. He didn’t say anything, but she knows this was his way of making sure she was okay. Her smile warmed as she gave a nod, which was enough for him to nod in return and walk down the hallway, his hand on her lower back like always as he called the elevator.

“Please tell me you are actually going to order a sandwich this time? I know you love your salads Scully but their chicken and cheese is like an orgasm in your mouth” Mulder joked as the elevator dinged, the doors opening. Scully laughed as she stepped inside, pushing the button to the ground floor as she looked over to him, crossing her arms over her chest. “An orgasm in your mouth, really Mulder?” She tried to dead pan but couldn’t hide the smirk on her lips.

“I swear to god Scully.” Putting his hands up defensively he return her smile. “The way the cheese melts and that sauce they use is just heavenly”

The elevator doors dinged again as it opened to the hustle and bustle of the ground floor as they stepped out, walking side by side through the room on their way towards the exit, Scully just shaking her head slightly as he rambled on and on about the sandwich.

Stepping outside, Scully paused slightly as she closed her eyes against the sun, feeling another pulse of pain hit her eyes before she took a deep breath, sucking in the slightly cool clear air. Feeling a hand on her lower back once more, she opened her eyes as she looked up at Mulder, his sunglasses in his other hand in front of her. “Thanks” Scully whispered as she put them on, taking relief when the sun wasn’t so bright in her eyes. “Well I might just have to try this orgasmic sandwich after all”

Mulder broke out into a grin as they walked together to the little deli store on the corner. Once inside Mulder ordered them both a chicken and cheese sandwich, Mulder ordering a glass of soda for himself and a glass of water for Scully upon her request. Placing the sunglasses on the table, Scully removed her jacket and put it on the back of the chair as Mulder did the same before they settled down onto the table set for two. Once their sandwich’s arrived Scully watched as Mulder all but began to devour his first half. Looking down at her own she had to admit that it did look pretty amazing. Her stomach flipped with a little pang of nausea as another wave of pain hit her head. She didn’t really feel all that hungry after her little episode in their office, but Mulder had bought it for her so she would at lease try to eat a little bit, she was sure she could mange that. By the time Scully had brought a half of her sandwich to her lips to take the first bite, Mulder had already finished one half and was going to start on the second, a bit of sauce gathered in the corner of his lips.

Scrunching her nose up slightly, Scully began to eat her sandwich with an impressed hum of approval. It did taste pretty damn good, she just wished she was hungry enough to appreciate it more. Mulder looked at her and licked his lips, cleaning them as he raised his eyebrows. “It’s good right?” He said, swallowing his mouthful. “Orgasm in the mouth” He returned to his half as he watched her, watched how she only ate a few bites, barely getting through the first half of her sandwich before he could tell she mustn’t be feeling the best because her cheeks became a little whiter and her bites became slower and slower. He hadn’t realised he was starting until he felt the filling of his sandwich hit his plate and shirt with a noise. Looking down he gave a pout, seeing some white sauce on the front of his shirt. Grabbing his napkin he began cleaning up as Scully watched him with a smirk. “Are you always this messy around your dates?”

Mulder gave a laugh as he wiggled his eyebrows playfully, placing his napkin back down to the table, Mulder was pleased with himself that the evidence was mostly gone from his shirt now. “Oh come on Scully, I take you to this nice place, buy you an orgasmic sandwich and everything, still not good enough for you? So fussy” His voice was teasing as he looked down at his shirt with a satisfied gesture. “Besides you can’t even see that anything had happened no, couldn’t get any more cleaner for you.”

Chuckling, Scully put her sandwich back to her plate as she rolled her eyes, taking a sip of her water, her eyes falling to this shirt, still seeing the slight discolouration but decided to say nothing. Putting her glass back down to the table she raised her eye brow. “I’m so impressed” She sarcastic replied, her lips curling into a smile. “My mother would be so happy that I found someone so....able to clean himself.”

Mulder laughed as he took a drink from his soda, before he gave her a playful smouldering look, causing her to grimace awkwardly, a laugh escaping her lips, a little bit of colour returning to her cheeks. Mulder gave her a wink as he leaned forwards slightly. “You can tell me the truth Scully, why your mother would be happy” His lips curling into a smirk “...It’s because I’m so attractive isn’t it?”

Scully gave a sharp laugh before she pushed him back into his chair with a playful shove, her hand going to cover her mouth as she felt her shoulders shake as she laughed. Mulder fell back into his chair as he nodded to himself, his eyes twinkling with playfulness and happiness, seeing her laugh so carefree, especially after what had happened earlier. He would do anything to make her laugh. Scully slowed her laughter down to a giggle before she reached out to grip his hands, giving them a slight pat as she looked into his eyes, a sudden serious look on her face. “I say this Mulder and I cannot stress this enough. I find you completely repulsive”

Mulder felt his smile falter for a moment before he saw the same playful twinkle in her eyes as her face broke out into a grin. “I’m kidding Mulder....” She had seen the look of heartbreak in his eyes for a split second and she felt herself having to apologise in some way. “...I don’t find you completely repulsive” She joked as she sat back in her chair, her hands resting back in her lap and her lips in a soft smile, her headache and nausea returning slightly. Pushing her plate forward she gave Mulder a little tilt of her head. “Go ahead and finish mine, I’m full.”

Reaching forward to pull the plate closer he took note of the grimace in her eyes again and gave her a smile. “Thanks Scully. Are you sure you’ve have enough?”

Scully nodded again with a soft smile as she sat back in her chair, her stomach settling down a little bit at the thought of her not eating anything more. Her head ache throbbed again behind her eyes but it wasn’t as bad as it had been back at their office. It had been nice to get out and spend some time with Mulder away from the stuffiness of their office and without the pressure of a case. It was exactly what she needed.

“I’m sure”

[kidnappedbycartoons]

Thoughts on Lottie

I was debating between doing Lottie or Hope first. Because I like them both (Except when I was on Gary’s Route, I didn’t like Lottie at all). But I tossed a coin and now I’m doing Lottie.

The First Week:

I did not like Lottie. On the first episode of the first day, I thought she was alright. But then the rest happened. That snide comment she made when Hope went first on Truth or Dare and how she treated Priya on the first four days. I will say that I was kind of on her side when Priya grinded against Noah during the slime challenge, it was obvious that Priya was trying to stick it on him while Hope had her back turned. She was both insecure and felt the need to control everything going on around her because she couldn’t fathom that other people had their minds. That’s why she probably latched onto Hannah in the beginning. Hannah was naive, easily swayed, and wouldn’t argue with someone. All the other girls weren’t like that.

Now, with her and Rocco (I’m using the non-Gary route for this part, I will get into Gary later), she didn’t like him. At all. Even when they first got together, I’m sure of it. But she wasn’t going to say anything and let the girls know that her couple isn’t stable, which wouldn’t have been a problem it was the first week. But we also have to remember that she had kissed Gary on day three and was developing a little crush on him. She even asks MC how she thinks her and Gary would look as a couple on Day Five, so yeah, she didn’t care for Rocco. So when the whole thing with Rocco and Marisol happened, I think what upset Lottie more was that Marisol didn’t follow Girl Code and both of them went behind her back. She knew Rocco was talking to other girls, she just didn’t care. But they were snakey and that was the issue Lottie had with it.

However, how she treated Rocco after was uncalled for. Girl didn’t even like him like that, but she’s going to give him the silent treatment? Childish. And when she and Gary were making fun of the two on Day Eight, like why? And then when MC tells her what Marisol said, she gives that lame “I just don’t like it when it’s in my face”. Turn your head then! She’s dragging it out, probably because she liked being the center of attention when it comes to the drama.

And then with her and Priya on Day Four. She tried to bring MC into it and my MC didn’t care at all. Lottie was trying to gang up on Priya, but Priya wasn’t having that and that was upsetting Lottie. She wanted to win the argument, she wanted to be right, she wanted to have some sort of power over Priya. She’s insecure and shows that in terrible ways.

Day Nine Onwards:

After all of that, once she couples up with Gary, she is tamer. When Operation Nope happens, I don’t blame her for telling Hope. But to get upset because no one told her what was going on? This has nothing to do with you! She was feeling left out and I’ve always had the urge to use the option where I think it says “No one likes you”, but I never did so if someone used that, please show me her reaction. Because it’s lowkey the truth. Gary and Bobby are the only guys brave enough to couple up with her, the other girls could do without her, and she knows this.

When Chelsea drops the bomb about the kiss, I could understand why Lottie would have a problem. Chelsea said five sentences before dropping that bomb. And she felt cornered too. Priya was demanding an answer, Chelsea was just standing there talking about it, and MC is there to play peacemaker, so of course, she would target Chelsea and walk off. Though she does forgive Chelsea and Priya the next day if MC helps, I don’t know what happens if MC doesn’t, so she seems to be doing better and letting go of grudges.

She kind of takes a backseat if you’re not on Gary’s route, but when she and Gary go to the hideaway, her insecurities show up again. Gary says something about her hair in his sleep and she gets upset and then asks MC about her hair the next day. I need to know why she is like this. A part of me thinks that she was either bullied or something happened in her family life or one of her relationships. Someone messed with her confidence.

During Casa Amor, she has fun with Kassam for a bit and if MC says she wants to sleep with him on the first day of CA, Lottie lets it go and doesn’t try to claim Kassam. She goes back to her childish ways after the video comes out with having the girls try to kiss every guy in Casa Amor, but she doesn’t seem to really care. She does make some comments towards Chelsea during this time because she feels like Chelsea has no right to be upset and I think that is the old Lottie creeping up. Still, she sticks so that she can get back to Gary. Afterward, she is the one who comes up with the idea to figure out what Noah said and she seems to be proud of Hope and Noah reconciling and I think that was a nice moment. After this, she is tolerable. But then Hannah comes back and, you know what? Let me get into her and Gary.

Lottie and Gary:

When I wasn’t on Gary’s route, I thought they were alright. The two had some moments prior to them coupling up and I thought it was kind of ironic if they get together considering that Lottie said that Gary was too much of a lad on Day One. But you know how every other couple gets a moment where you can tell they’ve talked to each other? Like how Hope and Noah both wanted to get a dog, go to Bali, etc? Or when Marisol and Graham were talking about his mom’s crab or whatever happened with the fishes (Why is his whole personality fish)? Everything Lottie knew about Gary, we already knew. The nan, the cranes, we knew this. We didn’t learn anything new with them being together. Remember when Gary opened up about his issues with his body? Why wasn’t Lottie there? When Rocco opened up about his college years and depression, Gary and Bobby were there. It would’ve been nice to have Lottie there so we can see them as a couple. But she wasn’t.

Also, I don’t think they were compatible. Lottie is insecure and needs constant reassurance, and we see this when Hannah comes back. Lottie is worried because of the kiss and if Hannah holds a grudge against her. Not to mention, Gary checked Hannah out when she came back. Before that, Gary didn’t even wake Lottie up to tell her he was going on a date. Everyone playing knows that Lottie would’ve had an issue with that if she woke up and he wasn’t there, but luckily she woke up as he was leaving. And then after that, Gary was playing in the pool with Hannah (Along with whoever MC saves) and Lottie was watching that. And Gary doesn’t ever reassure her. He’s not that type of person. He just expects her to know that his head hasn’t turned and that’s a problem with anyone but especially Lottie.

Now, when MC is on his route, she is the worst. Even if MC doesn’t get with him on Day One, she thinks she has some sort of claim on him when MC couples up with him on Day Nine. Like? Y’all kissed one time, get over it. And she expects MC to give up on Gary because Lottie wants her to? That growth that she has off of his route is gone over here. But know what the worst part is? Bobby.

She is coupled with Bobby if you’re with Gary and it’s so sad watching Bobby develop a crush on her while her entire focus is on a man that doesn’t want her. The two of them even sleep together and imagine how Bobby feels knowing that this girl that he’s slept with was probably thinking of another guy, not just another guy but Gary at that, during the whole thing? And she’s not considerate about anyone’s feelings on his route? Everything is about her. That controlling thing is full force here. She literally tries to bully MC out of coupling with Gary. Bobby is stuck in a one-sided couple. All because she can’t move on from a guy that doesn’t want her! I could understand if Gary was leading her on, but he doesn’t. So what’s the reason? His route is so frustrating having to deal with her.

Lottie And The Girls:

We already know that she and Priya weren’t really friends. I don’t need to get into that again. But as for the other girls, I don’t think she had a friend in them unless your MC becomes one. And Hannah almost forgot about her.

She and Hope never really had any moments and as for her and Marisol, I feel like it was slightly one-sided. Marisol psychoanalyzes a lot and she has made some comments about Lottie, her and Gary, and more behind her back. If you’re on Marisol’s route, Lottie cheers y’all on. I’m pretty sure if Lottie was watching the show after it ends, she would have a problem with Marisol.

But for her and MC, they could either be enemies or friends. Obviously, if you’re on Gary’s route, I’m pretty sure it’s almost impossible for the two of you to be friends. Off, Lottie seems to respect MC’s opinions. She seems to think that MC is the only one in the villa that cares about her and bothers to check up on her. Like on Day Four after the fight with Priya or on Day Six after Marisol and Rocco’s drama. But here’s the thing. Unless Lottie is the one you’re closest with, she doesn’t check up on MC. Certain things like when MC is talking to her on the daybeds on Day Five is coded for whoever MC is closest with. When whoever you’re least closest to on that stupid girl’s day episode calls you a people pleaser, the one you’re closest to will stand up for you. But unlike Chelsea who has her own scenes where she checks on MC, Lottie doesn’t do that. This is lowkey a one-sided friendship. And Lottie probably likes it that way. MC keeps running after, checking on her and everything, but Lottie won’t do the same. She likes the attention, but doesn’t want to give the same effort. Matter of fact, and this could go for all of her relationships, she expects the other to give her whatever she wants but won’t do the same.

Hannah latched onto Lottie because she thought that she was cool and confident, which Lottie struggles with herself. But Lottie leads Hannah on the first three days, it’s not an equal effort. Yeah, Lottie was upset when Hannah left but that’s because she lost her sidekick. Now, she was stuck in this villa with girls who won’t do what she says so easily and that shows, especially on Day Four with Priya. She tries to stick her problems onto them, but they don’t bend so easily. That’s why she missed Hannah. We see that when Hannah came back on some impostor shit, Lottie was nervous. Remember when Hannah said “Not everything is about you” and left Lottie shook? Hannah came back on some little revenge tip and Lottie was shaking.

Final Thoughts:

Off of Gary’s route, she has potential for growth. There are seeds there, she just needs to water them. I like to think she starts working on herself after seeing how she was in the villa. She starts to become more secure and confident in herself and actually learns how to give up control.

Next up...is a wild card.

[d-criss-news]

Darren Criss acts as playwright when he writes songs. He’s far more confident, and certainly more vulnerable, when he allows himself to play the part. In such a way, songwriting opens up a whole new world that pulses with untapped potential. So much of what he has accomplished in 15 years resides in his willingness to expose himself to what his imagination and intuition have in store. He steps into a playwright’s shoes with considerable ease (just look at his resume), and always one to put on plenty of bravado, especially during our Zoom face-to-face, it’s the natural order of things.

“As I get older and write more and more songs, I really recognize that I’ve always preferred to write for another context other than my own,” Criss tells American Songwriter. He speaks with a cool intensity, gesturing emphatically to accentuate a sentence, and when you let him go, he’s like the Energizer Bunny 一 “I can tell by just how quiet you already are that you’re fucked,” he jokes at the start of our video chat. But he remains just as engaged and focused when listening.

He soaks in the world, taking astute notes about behavior and emotional traits he can later use in song. His storytelling, though, arrives already in character, fully formed portraits he can then relay to the world. It’s not that he can’t be vulnerable, like such greats as Randy Newman, Tom Waits, and Rufus Wainwright, who have all embroidered their work with deeply personal observations, it just doesn’t feel as comfortable. “I’ve always really admired the great songwriters of the world who are extremely introspective and can put their heart and soul on the chopping block,” he muses. “That’s a vulnerability that I think is so majestic. I’ve never had access to it. I’m not mad about it. It’s just good to know what your deal is.”

Criss’ strengths lie in his ability to braid his own experiences, as charmed as they might be, into wild, goofy fantasies. In the case of his new series “Royalties,” now streaming on Quibi, he walks a fine line between pointed commentary on the music industry, from menial songwriting sessions to constantly chasing down the next smash, and oddball comedy that is unequivocally fun. Plotted with long-standing friends and collaborators Matt and Nick Lang, co-founders of Team StarKid, created during their University of Michigan days (circa 2009), the show’s conceptual nucleus dates back more than a decade.

If “Royalties” (starring Criss and Kether Donohue) feels familiar, that’s because it is. The 10-episode show ─ boasting a smorgasbord of delightful guest stars, including Mark Hammill, Georgia King, Julianna Hough, Sabrina Carpenter, and Lil Rel Howery ─ captures the very essence of a little known web series called “Little White Lie.” Mid-summer 2009, Team StarKid uploaded the shoddy, low budget production onto YouTube, and its scrappy tale of amateur musicians seeking fame and fortune quickly found its audience, coming on the heels of “A Very Potter Musical,” co-written with and starring Criss. Little did the trio know, those initial endeavors laid the groundwork for a lifetime of creative genius.

“It’s a full circle moment,” says Criss, 33, zooming from his Los Angeles home, which he shares with his wife Mia. He’s fresh-faced and zestful in talking about the new project. 11 years separate the two series, but their connective thematic tissues remain striking. “Royalties” is far more polished, the obvious natural progression in so much time, and where “Little White Lie” soaked in soapy melodrama, the former analyzes the ins and outs of the music world through more thoughtful writing, better defined (and performed) characters, and hookier original tunes.

“Royalties” follows Sara (Donohue) and Pierce (Criss), two struggling songwriters in Los Angeles, through various career exploits and pursuits. The pilot, titled “Just That Good,” features an outlandish performance from Rufus Wainwright as a major player in dance-pop music, kickstarting the absurdity of Criss’ perfectly-heightened reality. As our two main characters stumble their way between songwriting sessions, finally uncovering hit single potential while eating a hot dog, Criss offers a glimpse into the oft-unappreciated art of songwriting.

In his own songwriting career ─ from 2010’s self-released Human EP and a deal with Columbia Records (with whom a project never materialized) to 2017’s Homework EP and Computer Games’ debut, Lost Boys Life, (a collaboration with his brother Chuck) ─ he’s learned a thing or two about the process. Something about sitting in a room with someone you’ve never met before always rang a little funny to him.

“You meet a stranger, and you have to be creative, vulnerable, and open. It’s speed-dating, essentially. It’s a different episode every time you pull it off or not. All the big songwriters will tell you all these crazy war stories. Everyone has a wacky story from songwriting,” he says. “I slowly realized I may ─ I can’t flatter myself, there are tons of creative people who are songwriters ─ have prerequisites to just put the two together [TV and music]. I’ve worked enough in television as an actor and creator. I can connect the dots. I had dual citizenship where I felt like it was really time for me to go forth with this show.”

But a packed professional life pushed the idea to the backburner.

Between six seasons of “Glee” (playing Blaine Anderson, a Warbler and lover to Chris Colfer’s Kurt Hummel), starring in “Hedwig and the Angry Inch” on Broadway, and creating Elsie Fest, a one-day outdoor festival celebrating songs of the stage and screen, he never had the time. “I was lucky enough to be busy,” he says. “As Team StarKid’s star was continuing to rise with me being separate from it, I was trying to think of a way to get involved again with songwriting.”

At one point, “Glee” had officially wrapped and his Broadway run was finished. It appeared “Royalties” may finally get its day in the sun. “I went to Chicago for a work pilgrimage with the Langs. We had a few days, and we put all our ideas on the map: every musical, feature film, show, graphic novel, and animated series we’ve ever thought of,” he says. “A lot of them were from the Langs; they were just things I was interested in as a producer or actor. We looked at all of them and made a top three.”

“Royalties” obviously made the cut.

Fast forward several years, Gail Berman’s SideCar, a production company under FOX Entertainment, was looking to produce a music show. Those early conversations, beginning at an otherwise random LA party, showed great promise in airlifting the concept from novel idea to discernible reality. Things quickly stalled, however, as they often do in Hollywood, but Criss had at least spoken his dreams into the universe.

“I finally had an outlet to put it into gear. It wasn’t until two to three years after that that things really locked in. We eventually made shorts and made a pilot presentation. We showed it to people, and it wasn’t until Quibi started making their presence known that making something seemed really appealing,” he says. “As a creator, they’re very creator-centric. They’re not a studio. They’re a platform. They are licensing IP much like when a label licenses an indie band’s album after the fact.”

Quibi has drawn severe ire over the last few months, perhaps because there is a “Wild Westness” to it, Criss says. “I think that makes some people nervous. Being my first foray into something of this kind, Quibi felt like a natural partner for us. If this had been a network or cable show, we would’ve molded it to be whatever it was.”

Format-wise, “Royalties” works best as bite-sized vignettes, charming hijinks through the boardroom and beyond, and serves as a direct response to a sea of music shows, from “Nashville” and “Empire” to “Smash.” “Those shows were bigger, more melodramatic looks at the inside base of our world. I’ve always been a goofball, and I just wanted to take the piss out of it,” he says. “This show isn’t about songwriting. It’s about songwriters… but a very wacky look at them.”

“30 Rock,” a scripted comedy loosely based around “Saturday Night Live,” in which the focus predominantly resides around the characters, rather than the business itself, was also on his mind. “It’s about the interconnectivity of the people and characters. As much of the insider knowledge that I wanted to put into our show, at the end of the day, you just want to make a fun, funny show that’s relatable to people who know nothing about songwriting and who shouldn’t have to know anything.”

Throughout 10 episodes, Criss culls the “musicality, fun, and humor” of Fountains of Wayne’s Adam Schlesinger and Max Martin, two of his biggest songwriting heroes, and covers as many genres as possible, from K-Pop to rap-caviar and classic country. While zip-lining between formats, the songs fully rely on a sturdy storytelling foundation ─ only then can Criss drape the music around the characters and their respective trajectories. “I wanted to do something where I could use all the muscles I like to flex at once, instead of compartmentalizing them,” he says. “I really love writing songs for a narrative, not necessarily for myself. I thrive a little more when I have parameters, characters, and a story to tell.”

Bonnie McKee, one of today’s greatest pop architects, takes centerstage, too, with an episode called “Kick Your Shoes Off,” in which she plays a bizarro version of herself. “She has her own story, and I’ve always been fascinated by it,” says Criss, who took her out to lunch one day to tell her about it. Initially, the singer-songwriter, known for penning hits for Katy Perry, Taio Cruz, and Britney Spears, would anchor the entire show, but it soon became apparent she would simply star in her own gloriously zany episode.

In one of the show’s standout scenes, Pierce and Sara sit in on a label meeting with McKee’s character and are tasked with writing a future hit. But they quickly learn how many cooks are in the kitchen at any given moment. Everyone from senior level executives to publicists and contracted consultants have an opinion about the artist’s music. One individual urges her to experiment, while another begs not to alienate her loyal fanbase, and then a third advises her to chronicle the entire history of music itself ─ all within three minutes or so. It’s absurd, and that’s the point. “Everyone’s been in that meeting, whether you’re in marketing or any creative discussion that has to be made on a corporate level by committee. It’s the inevitable, comedic contradictions and dissociations from not only rationality but feasibility.”

Criss also draws upon his own major label days, having signed with Sony/Columbia right off the set of “Glee,” as well as second-hand accounts from close friends. “There are so many artists, particularly young artists, who famously get chewed up and spat out by the label system,” he says. “There’s a lot of sour tastes in a lot of people’s mouths from being ‘mistreated’ by a label. I have a lot of friends who’ve had very unfortunate experiences.”

“I was really lucky. I didn’t have that. I have nothing but wonderful things to say,” he quickly adds.“It wasn’t a full-on drop or anything. I was acting, and I was spreading myself really thin. It’s a record label’s job to make product, and I was doing it piecemeal here and there. I would shoot a season [of ‘Glee’] and then do a play. I was doing too many things. I didn’t have it in me at the time to do music. I had written a few songs I thought were… fine.”

Both Criss and the label came to the same conclusion: perhaps this professional relationship just wasn’t a good fit. They parted ways, and he harbors no ill-will. In fact, he remains close friends with many folks from that time. So, it seems, a show like “Royalties” satisfies his deep hunger to make music and write songs ─ and do it totally on his own terms.

“I still say I want to put out music, and fans have been very vocal about that. I feel very fortunate they’re still interested at all,” he says. “That passion for making music really does come out in stuff like [this show].”

“Royalties” is Darren Criss at his most playful, daring, and offbeat. It’s the culmination of everything he has tirelessly worked toward over the last decade and a half. Under pressure with a limited filming schedule, he hits on all cylinders with a soundtrack, released on Republic Records, that sticks in the brain like all good pop music should do. And it would not have been the same had he, alongside Matt and Nick Lang, not formed Team StarKid 11 years ago.

Truth be told, it all began with a “Little White Lie.”

[himbo-buckley]

Sex, Intimacy and Buddie (better known as I have a lot of feelings about this show, some of which are related to the before mentioned topics) - Part 5

Hej alla,

hur cool att du är här! Vad kul!

(Kay, that’s it, all the Swedish I remember from two semesters of not really studying, so it’s probably also wrong, uups?)

(Still passed though.)

You guys! We made it! And please, do not imagine this read to you in a happy voice. I am sobbing. I already miss it!

(Also, if you do imagine how I might sound please consider due to several unforseeable circumstances of student exchanges in my youth I have a very weird mixture of British and American English, which basically translates to sounding like either of those doing a bad impression of the other accent - or you know, Australian.)

I’m really having a hard time finishing this meta because I loved doing it so much and I loved talking to all of ya’ll so much. This is a sad moment. (HEY, what if ya’ll came and visited my askbox and I get to discuss random stuff with you!)

Just a fair warning now, somewhere hidden in the middle: this thing is fucking long! We are talking longer than Season 2, so be warned!

Anyways, in case someone is new:

part 1 - part 2 - part 3 - part 4

And some general info:

This meta was supposed to be a lot shorter and only talk about how both Buck and Eddie use sex to distract their respective partners from whatever topic they actually wanted to talk about but since I decided to rewatch the show to make sure I don’t miss any such scenes, it has exploded a bit and taken on more topics

I should also mention that I am a Buddie shipper and while I tried, you will find several references and arguments for the ship in this Meta, not all of which necessarily call for a romantic pairing but just: These two are deeply connected and you cannot look at one without discussing the other and they are each other’s strongest emotional connection.

I should also preface this by saying that the whole of the 118 has some obvious intimacy / commitment issues except Bobby (which is sort of surprising) but *John Mulaney voice* we don’t have time to unpack all of that!

On another note I cuss a little in this Meta because my parents let me listen to TicTacToe as a small child and after that it never stuck that cussing is wrong so, uhm, parental supervision is advised or something

This Meta has FIVE parts. Season 1 and 2 make up one part each, while Season 3, due to something pesky called feelings and the fact that I can’t shut up, has been split in three parts: Part 3 aka Season 3A, which spans 3.01 - 3.10, Part 4 which spans 3.11 - 3.17 and this part which is officially only one episode - but still manages to be just as long. Yay! (Sorry.)

And now for the last time for now: part 5 (also called „You’re a godless, half-witted himbo, Evan Buckley, and I wish I loved you less so I could talk about it more“)

Episode 3.18:

My oh my, this episode.

I loved it but I also … didn’t.

It was way too much and at times felt a little rushed and the pacing was just weird.

I mean I loved the party but did we really need 5 min of it? Did we really need Josh’s storyline and Michael’s so randomly in the middle of the episode? Could we have gotten a longer apology scene? Why the weird phone call?

Let’s talks about all of that! (It’s why you clicked read more, right?)

Ya’ll, I gotta be honest, I am from Europe and I regularly go to places via train and while it’s better than a bus, I can’t see anyone falling in love with that! I am just gonna assume Abby did not go by train in Germany. Or Austria. Or Italy. Listen, I like trains just fine but man, do they not look like what we see here!

But also, as someone who has watched Community, the train lady saying „This isn’t Subway“ in an Episode where the human embodiment of Subway acts is very very funny to me.

I feel like I don’t have to point out how significant the cut from Abby saying „They stopped waiting for me a long time ago“ to Buck and Eddie discussing Chris is. Everyone has talked about it by now. But yes, it registered, as did the fact that Abby is dating a single father - while Buck is apparently basically dating a single father. But, you know, that probably means nothing! *chugs a whole bottle of wine*

The co-parenting was very cute and honestly I feel for Christopher and Carla and the firefam is Buddie does happen because they will try to out-protect each other and it will be glorious and also Chris might never get to leave the nest ever. That poor boy.

Sidenote: We as a fandom have not talked enough about Eddie’s reaction to Bobby yodelling and I think that’s very tragic of us. Because his reaction is the best, all: „Is he - should I - no, you know what, fuck it, Eddie, ignore this, that’s too much, you can not unpack all of this, just move on. Brush it off!“

Just watch his face ya’ll, it’s great! (He will be talking to Frank about this, I know it.)

Sidenote: Also Eddie in 3.15 / 3.15. / 3.17 / 3.18 > any other Eddie, and no, I do not take criticism. That boy has always been fine but the military hair cut or what ever is doing things to me as do his happy eyes and the smiles - my god, the smiles!

It does seem significant though the way the show focused so heavily on Buck’s reaction and - as it had been the case since „Eddie Begins“ - we basically don’t see Eddie without Buck and that’s weird. That feels pointed and important, the fact that after realising, who his family is, Eddie basically never leaves Buck’s side if they are at work.

Also the way Chimney and Bobby look at each other in between, yeah, again, making fun of Christopher’s dads! Like, even if you don’t read this as Buddie, you cannot not read this scene as somewhat confirming the „Buck is Christopher’s other parent“-thing. And I know I answered an ask on Tuesday(?) where I said he wasn’t really but yeah, he is getting there. The whole season spent a lot of time focusing on Buck’s relationship with Christopher and even if it isn’t about Buddie, I still think it will cause trouble in Season 4 if Eddie begins dating again, specifically Chris’ teacher.

I also need to talk about Eddie and control, because like I said in part 4 Eddie needs to learn to let go of Christopher a little which is what we see here happening, specifically through the lens of making Buck even more overprotective than Eddie to really cement the fact in all our minds that Eddie is trying to let his son have some freedom. I am so proud of him, you guys! He just signed up for the worst two weeks of his life, he will be dying on the inside out of concern and Buck will pester him every two seconds about whether or not Chris is fine. This is why these three haven’t been to Disneyland, ya’ll! Eddie wouldn’t be able to handle it without murdering either Buck or himself. I’m sorry.

And speaking of how the episode is cut:

One thing I love about 911 is the way it always makes me consider new character pairings and connections I myself would have never thought of, in the context of this episode: Athena, Josh - and Eddie.

And look, the Athena and Josh thing is daunting enough but you can probably still catch my train of thought, because both are recent victims of assault and the episode shows them dealing with trauma and confronting their attacker, even though in Athena’s case it was just theoretical. But now you’re probably wondering, okay, why Eddie?

Well, for starters, what the episode made me realise, whether on purpose on not through cutting from scene to scene is how many similarities there are between Eddie and Athena, both of them always trying to be in control, both of them more prone to violence / more okay with violence than the others, both soft underneath, both with a tendency to let anger take over, both considered to be extremely capable, both with an intense need for control, both straight talker.

And now I will obviously not pretend that letting your child go to sleep away camp for two weeks is similar too confronting your assailant who beat you up, but still: facing fears and letting go of control vs. finding different ways to regain control is the theme for these three in the episode (or this Season in Eddie’s case) and I like it.

I really like what they did with Athena in general in this episode, because, while I don’t think we will see her as a civilian in Season 4, I am confident they will address her trauma and PTSD - especially if they only do a short time jump of say three months and not jump all the way to January / February which is when it might air if we’re lucky.

And I do think the comparison between her and Josh is very nicely done as both characters did the whole brushing it off / moving forward / I am not fazed by any of it thing, as we as viewers clearly saw what utter bullshit this was.

Which of course connects nicely to Mr. „Brush it off and move on“ who has spent a whole season learning to not just move on but to talk about it. A lesson he might have learned? At least that’s what the episode made me think, from the way he came to Buck / the firefam to talk about Christopher and camp to the way he so clearly tried to get Buck to open up about Abby. Jup, that is some motherforking growth right there!

I also wanna say hi to Brooke Shields and say I hope we see her again, cause her character seemed interesting!

And I do appreciate Athena herself addressing the fact that she messed up a little by not calling for back-up right away. This is not meant in a victim blaming way, I just think Athena is very used to handling everything on her own and not asking for help and it is interesting to see how that changes, now that it has backfired on her once.

And now we are getting into the Abby of it all and if anyone reading this is anti Buddie or severely pro Abby this is the moment to either leave or scroll down some more, because ya’ll I won’t really hold back!

(I think.)

I wanna begin by saying, uhm, Abigail, honey? Can you not read what is written on Eddie’s and everyone else’s helmets? Yes, he is from the 118, it literally says so on like every article of clothing he is wearing, omg!

(Writers, do better, that made an already unlikeable character seem downright stupid.)

Now it is very interesting, that the first person we see Abby interact with directly from the main cast (I’m counting the phone call with Maddie as indirectly) is Eddie who doesn’t know who Abby is but who is close enough to Buck to know the second he sees her who she is. The episode spends just as much time focusing on his reaction to Abby as 3.15 did on Buck’s reaction and tbh that feels … fairly non platonic. Of course we can always go back to „Stuck“ and remember what Hen said about Tatiana but still. That was one scene, here we have several scenes highlighting Eddie’s reaction to Abby and just, what do you want me to do with this, Tim?

I mean, the meeting scene literally goes like this:

Eddie *talking to Abby* > cut to Buck, coming closer > Buck: „Abby?“ > cut to both Abby and *Eddie* > Abby: „Buck?“ while the camera is still on her and Eddie > cut to just Eddie’s face having a realisation > cut to Buck

That is some very extreme focus if we’re being honest.

Also her panic reminds everyone of Buck in 3.15, right? The way she is screaming, disregarding her own safety, all desperate to get to her fiancé. Yeah.

I like how Eddie lets them talk and then steps in when he realises Buck is too shocked and only then rushes off, nearly touching Buck. Too be honest I didn’t realise his hand didn’t make contact until I saw some gifs of the scene.

Also the way Oliver plays this scene? The whole scene is so painful and I love it a lot, his whole delivery is so very painful, from the way he says „We’ll find him.“ to the „Um, what’s his name?“ to the „No. Oh. Don’t worry about it.“ because you can actually see him go through all the emotions from devastation to being so very pissed off and then locking that shit down!

Listen, I know it was teased that Buck had to grapple between being a professional and his personal feelings and I think this episode is him being a professional, because this is Buck and Buck cares so for Buck being a professional means risking his life for some guy on the train, regardless of his promise and who he is engaged to.  

Sidenote: This episode really brought home why Eddie is a firefighter and not a paramedic, because his bedside manner is shit. „This is gonna hurt a little“. Way to downplay, dude!

Also, while I do love the idea of Buck getting to be Captain one day, I think this episode shows why he won’t be. Because even when he is being professional and having great ideas Buck still cares too much and is unable to make the hard decisions. Compare it to Eddie, who, yes, does say „If we have to choose“, but also is willing to make the choice. Because sometimes you have to. (And now I’m crying a little and oh my, this is why I do not work in any job that has me make such decisions because I could not imagine living with myself if I did.)

I do think however Buck did good, from the way he talked to Sam being his usual self and all.

I’m also such a fan of smart Buck and him standing up for himself with Bobby because he doesn’t get to do this often enough and because it is important for him as a character to learn to trust his own judgement and not depend so much on Bobby’s approval. So yay, my baby is growing up!

(Also, obviously Bobby’s worry was also about Buck and not just Athena, we’ve had half a season of Bobby doing the most to „protect“ Buck, mostly against his will, so I really like that Buck got to do the rescue his way in the end, because it shows growth on both sides.)

Now, Eddie and his dramatic reaction in this scene, first of all:

I wanna take a moment to remember the fact that Edmundo Diaz, my main man, my love, my absolute ray of grey sunshine, apparently lacks any kind of self-awareness - or he would stop acting all high and mighty around Buck because the second Buck is out of view he like, drops any pre-tense of having critical thinking skills or something akin to self-preservation and does the next thing that enters his bird brain no matter the consequences. So a moment of silence for Hen, Chimney and Bobby and all they had to go through in the 6/7 months between Buck getting crushed by a ladder truck and coming back to work, because Buck? They can at least make fun of. Or tell him: yo, bro, you being stupid!

You can’t do that with Eddie - because when Eddie does stupid he gone nearly die but like in a heroic way where he still ends up saving himself and you have to be impressed. Urgh, the nerve!

So, you know what, how about, Mr. Edmundo Diaz, you do not judge Buck for wanting to save people and risk his own life UNTIL WE HAVE FORGOTTEN ABOUT YOU CUTTING THAT MOTHERFORKING ROPE? Got me? Thanks. (I’m not mad, I’m just disappointed, dude.)

(But then again EVERY MOTHERFORKING CHARACTER ON THIS DAMN SHOW SUFFERS FROM CRAZY STUPID DISEASE and no, I do not take any criticism.)

Also I loved Eddie’s dialog and how clearly the whole thing about the promise slipped out if the way his hands closed are anything to go by (or was he imagining punching some sense either into himself or Buck because in both cases: Call Frank, Eddie!). Anyway the way he just left, like, „I can not deal with ya’ll’s stupidity, I am leaving!“ has me shook! That is the top tear entertainment I expect from my favourite show and I love them for it!

I do love how both Buck and Eddie are in protector mode in this episode, Buck with Sam and Abby and Eddie with Buck, especially because if we’re being honest, which we are (this is a safe space ya’ll), Eddie is the one being far more unprofessional! For his standards, of course.

But this is the closest Eddie has come to showing some form of violence since 3a viewed chronologically (because 3.15 happened mostly in the past) yet Buck is just being is usual too caring self. It’s telling and it’s interesting and I’m just gonna say one thing:

„No one is good when it’s personal.“ - because for Buck with Sam it isn’t really personal (though that won’t hit him until later) but for Eddie it kinda is because he is worried about Buck. (And now I did spell it out! But, oh well, I did say we were gonna do some Buddie right around here!)

Sidenote: what exactly was the meaning / reason of that phone call between Abby and her stepdaughter? We already knew Sam had children and from the was she was looking outside they could have had her just see Buck and step out of the tent to watch the rescue, so why do it this way I ask? Why this incredibly unnecessary phone call that felt so very awkward?

Also I am not gonna talk about that scene right now, because I get mad every single time!

So I will just leave a link to what I’ve said about this scene so far here *and* give you the notes I took on this scene:

ALWAYS READY TO DIE

godless heathen of a man he makes me so angry i hate him i hate this show I wanna leave

EVAN BUCKLEY LOOKS GOD IN THE EYES AND SAYS NAH BRO NOT TODAY

(It’s not like his suicidal tendencies are relevant to this meta anyways because like I said a few paragraphs ago: The whole firefam has them! )

Also, for the first time ever: here is a picture I took while watching the show because what are these two extras doing? Why are they touching like that? Who are they and will we see them again? Does my brain get easily distracted by completely unrelated things?

Anyways, the way Buck answers Sam „She’s down there waiting for you.“ when he asks for Abby and his „Good to meet you Sam.“ really brings home how none of his behaviour was about Abby and all about Buck being Buck. (And now I am angry at him again, urgh, THE NERVE! Selfless fucking himbo!)

I really liked that Sam knew who Buck was and that they got to have this little interaction where he probably reevaluated the whole night because that boy just risked his life for him, the guy marrying his ex-girlfriend, and has spent the whole night being so very nice to him and talking to him. Not gonna lie, Buck is a good guy through and through and Sam probably feels like shit now.

Also Eddie coming to stand in front of Buck - I know some people think it was out of protectiveness, which got me thinking:

Tbh at first I was convinced it was a camera angle thing? Because if Eddie stood behind Buck we wouldn’t really see him. Then I thought, so why choose this angle to film it? Obviously the set had to be built a certain way so was there no other way to do it? Also why was it even important, that we saw Eddie arrive like that, couldn’t they have just changed the angle after Abby was gone to get Eddie in the frame? Why was it important that we knew that Eddie was there and 1) was putting himself physically between Abby and Buck meaning 2) that when Abby leaves with her single father, Buck is left with his single father? Why does an episode that is supposed to give Buck closure focus so much on the reactions of his non romantic partner?

(Because tbh, even if they needed to find ways to use Ryan Guzman in this Episode without adding too many scenes, they could have done it with less focus on Abby. I say this as a Buddie shipper who does recognise how important the connection Buck and Eddie have as friends is: storyline wise Bobby would have made more sense in most of these scenes and Eddie could have been used in a different way.)

I’ll leave this scene with the very nice visual of Buck running back to the traincrash and Eddie following him. These two. Like magnets.

And a quick topic change, because I do wanna talk about Michael and Doctor Hale as well in this meta, one because I found them very cute and two because I’ve now talked to a few people about Ana and Eddie and while we by now know she will probably be in Season 4, I feel like we need to compare Michael and Doctor Hale vs Eddie and Ana. Because there is such a difference in the way these love interests where introduced.

Now, of course we need to realise that Eddie and Michael are fairly different characters and Michael has way less relationship related baggage than Eddie has which is why he goes after what he wants way faster (also, carpe diem, he just found out he won’t die). Also of course, there is no moral component to address in Michael dating some doctor vs. Eddie dating his son’s teacher, but still:

Michael and Dr. Hale had one scene together and it wasn’t even overly flirty and yet, we knew where it was heading, we felt the chemistry and everyone ended the episode saying: I ship it, more of that - which they did give us, just *one* episode later. They had some awkward moments, yet the show never left a single doubt in your mind where this is heading.

Now look at Eddie and Ana:

Sidenote: I do wanna say be kind to the character and no hate, especially not to the actress! Yes, she needs to be flashed out more; no, what we saw so far does not make me ship them; no, I do not mind if they dated a little.

First of all we learned more about Doctor Hale in the two short scenes than we did about Ana in four scenes. That seems deliberate.

Second, while we do realise Eddie thinks Ana is attractive from the get go she repeatedly shuts him down by pointedly saying „Mr. Diaz“.

Third, every scene between them - and I mean every single scene - is connected to Buck in some way:

In „Fools“ we cut from Buck saying he likes being single to Eddie doing parent-teacher conference and yes, meeting some other teachers first but also Ana, showing us that while Buck is fine with being single - Eddie might not be. Also, Carla’s „blue eyes“ line which is a little clown-y, so take it with a grain of salt that it could connect us to Buck

Then of course her next scene is Eddie getting in her face about Christopher being hurt. Later in the episode we see Buck reference this on a call, meaning either Carla or Eddie told Buck about it (I am leaning a little toward Carla making fun of Eddie in front of Buck and Eddie then having to come clean about all of it, because I cannot wrap my head about the idea of Eddie telling Buck about having a crush, I’m sorry.)

Her next scene is Eddie coming to apologise to her and she gives her speech about limitations - which we can of course connect to Buck and Eddie talking about Christopher and his limitations before that and then afterwards going skateboarding with them. (It does feel a little deliberate.)

And then of course we have „Eddie Begins“ and you guys, they could have very very easily have either Carla or Buck make a joke about Mrs. Flores and Eddie’s crush in the firehouse scene, but they didn’t! And then we do get to see her at the end where she has one whole line and Eddie barely looks at her and you know what happens? They have a child ask the same question Buck asked at the beginning, making us think of Buck. Like, it would have been enough to establish Eddie doesn’t feel like a hero if the question was asked only once - twice in the span of 45 minutes constitutes a callback, meaning we are supposed to think of the other scene and that means thinking about the other person that asked, which was Buck

And yes, once Season 4 premieres and we get Eddie and Ana in this epic romance because Tim Minear wants to be the next Rick Berman, I will go back to this meta and beat my own ass. Or something.

(Listen, her returning in Season 4 does not mean endgame or the end of Buddie, it just means Eddie might get a love interest. Tbh I actually think it could get us closer to Buddie and you know what, I’m just gonna link all my Ana Flores posts here here and here now so you can read all the other stuff I, alongside some other people, said on this topic, if you’re interested because none of this has a point right now.)

Now, let’s get into the meat of things and talk about *that* scene:

Was it a good apology? No.

Did Buck deserve better? Fuck yes.

Did he get closure? Yes.

Is the way that scene was done actually perfect? I mean, ya’ll, yes? A little?

Listen, this scene was always about closure and that’s what Buck got here and that’s what Buck needed.

Buck, who in Season 1 had described Abby as the perfect woman, needed it to go down like this so he could realise she wasn’t and he could finally let her go. And that’s what it was about!

Obviously looking at Abby’s character this episode does not make her look good, like not at all and I’d be very surprised if we ever saw her again. But looking at it from Buck’s point of view it was exactly what he needed. (Not what he deserved, but yeah, if this show was about what Buck deserved it would be a whole lot different and Buddie would be canon by now.)

One thing I really loved about the scene was the way it was filmed, with LA in front of us, Abby and Buck with their backs to the camera and us only ever seeing them in profile, because it was a  private moment and this sort of made you feel like you were intruding. Like you were listening in on a conversation and I liked that a lot.

Also I think her speech about losing herself through helping people is very interesting because it contrasts her to Buck. Buck found himself in helping others and lost himself when he was no longer allowed to do that and I think that is what she means when she says she would have lost herself with him again. Because Buck is selfless and he is so selfless he inspires others to be the same, except Abby isn’t but being with Buck she would need to be and that is a problem.

Look, if you’ve followed this blog at all or maybe just read part one of the meta you have probably guessed by now that I don’t like Abby. I found her character boring. I thought she overstepped all the time. I got so mad at her for the way she treated Buck in Season 1!

Because in 1.06 she *actually* complains about him being too thoughtful and scared of messing up while calling him a *toy boy*. The truth is, after 1.05 and their first meeting, Abby no longer takes him seriously. She hardly ever takes his feelings into consideration. The relationship, from Valentines Day onward becomes all about what she wants and what she needs and our Buck is the selfless idiot who gives her his all.

I mean, she never even talked to Buck about wanting to leave, just presented him with her decision and then lived her life and never thought about him again.

And like, I think she is wrong if she thinks she’d have lost herself with him again, because Buck was what showed her that she lost herself in the first place. He helped her on the path of self-aquaintance (I guess? I’m lacking the word here), but she is right if she means the relationship wouldn’t have worked.

Because one of them would have lost themselves, though I do think it would have been Buck and not Abby. After all, Buck was the one who gave everything up from the get go and yes, Abby helped trigger him finding himself alongside Bobby and the job and she did help him stay on that path in the beginning - but in the end it was never about her at all. It was about him and him alone and the amazing person he had always been.

And I think that is what Buck realises in the scene. Despite Abby ghosting him, he still looked at her through rose coloured glasses and with fondness, but here, he realises, oh, Abby isn’t perfect. Abby isn’t like the woman I made her out to be. Abby never really cared about me. And as much as that probably hurt, this is what Buck needed to let go of her!

He needed to see that Abby wasn’t the perfect woman so he could let her go - and find himself the perfect person, someone who reciprocates and doesn’t just take. (Am I crying?)

(And look, I am not saying he already found someone like that, someone who proved in this episode how much they care about Buck and his feelings and making sure he comes home every night to his family - I’m saying he found someone who is working on being that person!)

Let’s talk about Eddie and Abby for a second, again, okay?

(Bro, how did I just get to that topic? So random! *laughs in Buddie*)

When I watched the episode my second time to take notes, I wrote one that said ‚Abby and Eddie parallels / lawsuit‘ - and I gotta be honest I barely remember what I meant. But I did still produce some thoughts (just not sure if that was where I was going with the note, so if anyone has some other ideas, please share):

You know how Abby talks about losing herself when she is with Buck? Well, I know someone who lost themselves just this season because he wasn’t with Buck! (Jup, we’re back with the lawsuit, ya’ll really thought I wouldn’t bring this up? You guys! More than 20000 words and you still don’t know me!)

It’s a very nice parallel to have Abby talking about losing herself with Buck when we saw Eddie losing himself without Buck. Because while I think Eddie himself is a selfless person just like Buck, similar to how Buck needed Abby in Season 1 as a catalyst of change so to speak, Buck was the catalyst of change for Eddie.

I talked a lot in the other parts about Eddie having problems with voicing his needs and feelings - and now please once again look at his relationship with Buck. Because here he has been doing this, not from the get go of course, Eddie didn’t take one look at Buck and his whole life was turned upside down (that was Buck looking at Eddie), but I think Buck steamrolling through Eddie’s life helped Eddie find himself. Buck, from the get go, is a calm centre for Eddie, an anchor, even after he reconnects with Shannon. Buck is who he turns to in a crisis, who he trusts with his son, with having his back.

And I think in both cases - Abby and Buck as well as Eddie and Buck - the relationship is brought to the next level through Buck’s selflessness and willingness to help. But while Abby just takes it and doesn’t really see it as the gift it is and never fully lets Buck in, Eddie does the opposite. Eddie, whether knowing or unknowing, makes himself exactly what Buck needs: someone who puts trust in him, who treats him like an equal, who opens his home and his family to him. And he also tries (and this is a big thing considering who we’re talking about right now) to be there for Buck, to be his anchor just like Buck is his - which obviously works with mixed results, because one person, no matter how hard they try can never fix the problems of someone else alone. Believe me. I’ve tried.

And wow, did that get deep and fast! Damn ya’ll and I haven’t had a drop of alcohol in like 5 days. This show really gives me all the feels!

Now, to keep me and maybe ya’ll from crying I’m gonna change the subject and talk about something else, also known as the rest of the episode:

To go back to the start of the episode, Buddie really had some extreme couple / family vibes going on, especially with Christopher in the mix. It’s telling that they included a scene of Buck and Christopher specifically and it was to remind us once again that these two have a strong bond.
I won’t go all: Buddie confirmed, this is were we are heading, ya’ll! Because as you must have realised by now I am fairly cautious when it comes to this and am always fighting to keep my own clownery at bay, but I do have to say so far nothing in this show and Season 3B specifically has read as a red flag for me, disapproving the possibility or making me feel queerbaited. Now, maybe I am just very off in my intuition and they will change gear in Season 4, but well, right now I have some hope!
I also loved the scene of Christopher going to camp and the card which reminded me of 3.01 and also, Eddie looks so good here! And he came so far, letting his son go to camp and all!

Of course I would have loved to see Buck there as well, but one, that would have been a Buddie confirmed and we’re not quite there yet and I’m glad cause right now they aren’t fully ready (in show terms, fanfiction is something different), and two this proves what I said about Buck and Christopher being connected and him having parental / fatherly feelings toward the boy but like, not being his actual father yet! Buck loves Chris and Chris loves Buck and obviously he is part of the Diaz family - but he also isn’t.

(Also: I went to something like camp when I was 11 and you think both my parents brought me? Nah, son, they didn’t. My dad brought me while my mom made breakfast.)

Now, some sidenotes to round it all off:

Karen is a gift and I really hope we see more of her because omg, I wanna be her friend, I wanna be her wife, I wanna learn about life from her! She is awesome and I will never fully forgive Hen for cheating on her, like girly, Eva isn’t even close to Karen on any level?

And speaking of Hen, I love the subplot of Chim coming to terms with her potentially leaving and deciding to help her because he was who she really needed on her side - not anyone else. I’d write a meta on their relationship but tbh it’s so consistent and unproblematic, I really don’t know what to write except: goals about 10000 times. Which isn’t that different to me finding new ways to write THE CONNECTION, if we’re being honest but oh well! Now it’s too late to stop that!

I loved Athena getting spooked by Bobby showing up behind her when she was getting a drink - talk about this show finally addressing the trauma these characters go through! And it only took, oh well, about 35 episodes. Let’s hope that is the energy they bring into Season 4.

Now the apology scene with Bobby, I do hate how Buck is once again the one apologising and especially since it’s with Bobby but I do think it was a nice scene and a great callback to 3.01. Also this episode showed a lot of growth in Bobby and Buck’s relationship. Because after 3a was all about Bobby projecting onto Buck and making decisions for him based on what he thought was the right thing, this episode not only had Buck standing up to Bobby in a healthy and adult way (no lawsuit this time!) but also Bobby giving in and letting Buck make the decision even if he disagreed. That is some motherforking growth right here and Babe, I hope you are not to disappointed with me, but if they keep Bobby like this I might actually begin to see his appeal to people (still need him to suffer the consequences of his actions, though).

But to end on a great note:

Buck is doing okay and - most importantly - MADNEY BABY!!! You guys, we knew it was coming from the promos and all but I cried! I cried so hard! I am so happy for them! These two soft characters and their amazing, open, caring, trusting, adult relationship deserves all the luck in their fictional universe!

Whew, you guys! We’ve done it! And it’s longer than Season 2 (I’m sorry, are ya’ll surprised? This episode was a lot!)

I feel like I should write some form of conclusion to this whole meta and yet my words elude me. Here are the few I have for you though:

This meta began with the idea that neither Buck nor Eddie really knew how to be emotionally intimate with a person and instead used sex as a substitute. This is no longer true for either character.

Buck has learned through his relationship with Abby, that he can be both physically and emotionally intimate with a person and he has proven how this is still true in his reaction to Taylor and his relationship with Ali, what little we saw of it. Furthermore Season 3B specifically showed that Buck, while still afraid to open up to people, is trying. I do think Season 4 is heading toward some kind of romance for him and while I am praying to several deities I do not believe in and the universe itself that it is Eddie, I am not sure. I hope so. But never the less, my shipping aside, Buck has grown tremendously in the course of 3 Seasons and I am so impressed both with his character and the way the show has so realistically done it. I love him. Even more than Buddie I hope we get to see him truly happy in Season 4, happy and settled and learning what life actually holds for him because that kid could rule the world if he wanted to.
Now, Eddie: It’s funny, when I began this meta I felt more connected to Buck, I didn’t really see myself in Eddie, I barely had a grasp on his character at times. Now? Now he is my favourite, I love his greyness, his goodness despite his faults, the way he always struggles with himself to do better, to be better because it doesn’t come naturally to him, because it has been taught to him to do the opposite. And that is so impressive. I love the growth we saw in him, the evolution, the fight to be a better man than his own role-models and I love especially how all of this was motivated by and for his son. He truly loves him more than life itself and I am so impressed with 911 subverting something that feels like a very female storyline by giving it to a man.

But of course Eddie isn’t done yet and Eddie still struggles with intimacy and opening up but he is getting there. Through Frank and Buck and for Christopher he is fighting and he is getting there and I love that for him and about him! He deserves to be happy in Season 4 just like Buck, but mostly he deserves to be at peace with himself!

And I already talked at length about Ana and their potential and linked what I thought didn’t fit in here, so I will not bore you by repeating myself and just say: wait. Wait and see. Maybe the show will surprise us. Maybe it won’t. Maybe corona will kill us all before we have a chance to see Season 4. Maybe we are in the Matrix and the blue pill is a metaphor for being trans. Life is strange!

Also on a more personal note I wanna say thank you to everyone who has read and liked and reblogged and commented. I love all of you. Your support and trust in what I am saying has meant a lot and will mean just as much in the future and I do hope I get to do this again in like a year once they return!

(Also, not to sound needy but another reminder to please reblog and comment? Because I *am* actually writing this because I really wanna talk about the show and my feelings and your thoughts and you know, that can only happen if ya’ll do some reblogging)

(Or come to my ask if you are more comfortable being even more anonymous, I don’t judge - I NEVER ask question any other way!)

In diesem Sinne: hamma wieder was gelernt, recht herzlichen Dank für Ihre Aufmerksamkeit und auf Wiedersehen!

Also, of course, the tagging:

@chimbuckleys​ @angelcamael​ @greyhello​ @the-family-we-choose-118​ @ipleiade​ @sevensoulmates​

[wings-of-a-storm]

I imagine all of us had a scene in wtFock S3 that made the world stop for a moment with the realisation: ‘Oh my god, I think I just fell in love with this show and there’s no coming back now.’

For me that moment was the ‘Wow, that’s so expensive’ scene. I was minding my own business and that scene just pounced at me from relatively nowhere and stole my soul. Now, a week or two later, I think I’ve been able to figure out why it effected me so much.

Scenes that stood out as a wtFock newbie

#2. The Supermarket Metaphors/Exhilaration

The compliment

Oh my goodness, I love every single layer of the “Wow, that’s expensive” compliment!

At its most basic, it is a boy being silly with another boy, both of them having the time of their lives even though they’ve barely met. It’s a piece of classic, uncomplicated, dumb fun that makes me want to grin like an idiot with the characters. On that level alone, it makes for such a fun watch; a moment you can revisit many times when you want a chuckle.

Going one layer deeper, it is dumb fun that is so welcome because we know how much Robbe needs some classic fun that not only includes him but makes him the central recipient at a time when he’s feeling isolated from his broerrrs.

Going even deeper still, Sander’s choice of words “Wow, that’s expensive!” reads as a metaphor for how amazing he thinks Robbe is -- and it gets me giddy every single time. Sander is essentially saying ‘Wow, I think you are special and worth so much as a person.’ And I just want to melt at how sweet that is! Add Sander’s beaming, adoring grin to the mix and you have a scene that is toasty warm. I just love it so much!

The sound effects

The inclusion of sound effects from the device Sander is holding is honestly such a cherry on top in that scene. It is so clever to include them! That trill becomes its own metaphor, its own extension of Sander’s heart eyes. It sounds like winning a prize in a game, or like having a winning lottery ticket. To use that trill right before Sander makes his declaration, it feels like a representation of Sander’s feelings before he has had a chance to put words to them.

The happy giggle

Robbe’s shy, happy giggle after Sander compliments him… End me. No really, just end me. If Sander’s compliment and beaming smile feels like a toasty warm fire, then Robbe’s happy giggle is the marshmallow.

How good is it to see Robbe so happy! After after all the confusion, the loneliness, the feeling of being overlooked by his friends, and the relationship claustrophobia he’s trapped in, his little giggle is like a welcome respite from it all. And that is why when Robbe makes that giggle, I actually feel overcome with a profound gratefulness to Sander for not only making Robbe feel so appreciated and special, but for also giving Robbe one moment of uncomplicated joy. I just want to take Sander’s hands, look him deep in the eyes, and say: thank you.

Racing trolley, racing hearts: the great trolley symbolism

I think it is safe to say that you can find symbolism in so much of what they do with the trolley, including the blatant homage to Titanic. Everything is shot so fast paced to represent the exhilaration they are feeling in each other’s company. Racing hearts and all that. The part I want to focus on most though is the part at the very end, when Sander rides on the trolley with Robbe. It felt like the perfect way to express the climax of their shared giddiness.

Backing up a step, looking back at the supermarket clip in its entirety, their bonding starts off slow and halting, and then exponentially picks up more and more pace as they become more comfortable in each other’s presence, culminating in their world turning into just a blur of motion. If that isn’t the buzz of new friendship in action. Amazing.

The journey to exhilaration becomes even more lovely in context though -- especially with Sander in mind. We know Sander is already excited because he is able to actually talk to his moonlight crush (though this is only known in hindsight), but beyond even that, we get to watch the joy Sander feels at simply being able to share one of his great passions with someone else (however one sided at first). It is so relatable to have all this frenetic energy building up inside from a niche passion that has nowhere to go because there is no one to share it with in your friendship circle. And then it just explodes at the first chance it gets -- in this case, after hearing the opening notes of a Bowie song playing through the store speakers.

Sander is clearly so excited to be talking about Bowie with someone who is open to hearing it (Robbe even leans into the conversation and barely blinks), that he is actually transformed from a guarded, carefully engineered Mr Cool to someone so very open and unfazed by how dorky his own eagerness may seem. When someone is that unguarded with you, it comes with a level of innocence, trust and vulnerability that I think fast-tracks a budding friendship. It sort of sets the tone and creates a safe space for the second person to be a little vulnerable too if they wish, which is the core of any friendship, I reckon.

Sander is so eager, in fact, that before you even learn about his relationship with Britt, it seems pretty obvious that Sander doesn’t have much of an outlet for his passion (not that Britt has to share his passion, but she openly puts him down for it so…). But here is this cute boy who Sander already likes, actively listening to him talk about his favourite thing. You can see the natural high it gives Sander. And that is why I think it is so genius to demonstrate the mental exhilaration and momentum Sander is feeling through the action of him actually launching himself onto the trolley and propelling himself and Robbe down the aisle. In Sander’s giddiness, the aisle starts to feel more like a never-ending runway, where their momentum will launch them both into the sky at the end of it.

No matter how many times I watch that scene, I feel exhilarated from all the kinetic energy and blurring backgrounds. I feel as excited as Sander (and Robbe, who is hanging on for dear life in this hurricane of new emotion -- yet another metaphor, it seems). It’s just so well shot and so effective at replicating that rush of adrenaline for the viewer to experience too. Yep, we too are on a hurtling trolley leading to god knows where but unwilling to make it stop. ;)

Exhilaration that goes both ways

The last thing I love about this scene is how even it feels; how both boys are giving something back to the other and it isn’t a case of one person having the upper hand.

Sander makes Robbe feel special at a time where he feels isolated and wrong. Sander also gives Robbe a sense of connection at a time where his duties as a boyfriend to Noor has separated him from his broerrrs who are single and doing things without him because of it (whether subconscious or not. The broerrs may think they are being helpful by leaving space for Robbe to hang with Noor, but we get to see the bigger picture). That moment of connection to someone without any baggage feels like a lifeline for Robbe in that moment.

And then we have Robbe, who gives Sander an outlet for his immense passion with gentleness and no judgement. And of course Robbe also gives Sander a sense of connection on the start of a week-long trip with people he doesn’t really know while in a turbulent relationship with a girlfriend who undermines him/puts his humour and passions down in front of strangers.

I just love so much how mutually beneficial their friendship is for each other. It’s something you pick up on by the end of the same episode since Sander’s relationship with Britt is harsher than Sonja’s and Even’s, as is Robbe’s sense of (partially self-imposed) isolation from the broerrrs.

These two are so right for each other on this trip. :’)

(Whoops, this post got really long, but it isn’t one of my favourite scenes for nothin’!)

[raphianna]

So, a while ago, I re-watched a few Sanders Sides episodes, and some of them really made me think about the characters themselves and some ships. I, don’t know whether or not to count the Asides videos as a part of the true Sides episodes. I think they’re just cool, but important instances in Thomas’ life involving the Sides not truly canon to the Sides episodes. Sorry if I’m wrong.

I know I’m not the first one to give my opinion like this, how I feel on certain ships, so I’m sorry in advance if I’m basically saying things other people have already...

And I apologise if Prinxiety seems more... talked or thought about than others. This was at first just about Prinxiety, but then I started thinking on some other ships as well :)

Now I’ll be honest, before I ever fully got into the Sander Sides fandom and really knew who the characters were, I did sort of ship Prinxiety and Logicality, because those were the ships I saw the most when I started seeing Sanders Sides in my social feed. But I still was iffy about shipping them as I hardly knew anything about them.

However, when I started watching the videos once I found Thomas’ channel, I began questioning why Roman and Virgil(before I knew their names) were shipped.

Mainly because through the episodes that involved Roman and Virgil, whenever Virgil made an appearance, Roman always made his dislike of Virgil quite known. He never treated him nicely, gave him mean nicknames many times, and in general didn’t seem to want him there.

However, there was a nice moment between him and Virgil as cited in The Dark Side of Disney at 5:45 at the end card:

Roman: Okay, uh, how about Mulan? Virgil: There’s never a wrong time to dress in drag. Roman: Lion King! Virgil: There’s never a wrong time to dress in drag-- Both: --and do the hula! AAAAAAAAAAAAA

And this was BEFORE any character development between the two, so, there, maybe I could see them being frenemies or something like that.

Then there was the Accepting Anxiety videos. In the first video near the end, it was made painfully clear that Roman did not like Virgil as evident at 7:18, where Thomas pointed it out in flashbacks

That was redeemed in the second video, where at 7:11, Roman went through a character arc where he realised how important Virgil was to the group:

Roman: Anxiety, you’re... what pushes Thomas to rehearse and rehearse before performances. You are that nervousness that he feels right before going on stage, but just as he does so... you ease up. And... you let his excitement and passion for performance take over. I think that’s as good a sign as any that you’re willing to work as a team. And that you make us... better.

Which by then, I saw them as going from barely acquaintances to friends throughout videos as Roman tried to be more understanding and nice to Virgil.

In the most recent Asides video, it shows how much they care about each other- Roman sees that Virgil is nervous and tries using alternate, less direct ways to get the man’s attention at first. And when those don’t work, and Roman decides to give up, Virgil rushes out of his comfort zone to help Roman and give Thomas a chance.

But in the first Asides video, Roman says at 10:21:

Roman: Look, this is how I show my love.

After Logan points out he rigged the vote to watch Frozen, then made fun of it. I then saw people in the comments saying that Roman makes fun of Virgil, that means he could love him.

And I’m like... no... that, shouldn’t be how it’s perceived because that’s toxic. You wouldn’t want a friend that insults you around, much less be in a romantic relationship with you.

And it’s revealed in the Selfishness v. Selflessness Redux that Roman has low self confidence and needs someone to be there for him.

Sadly for me, that person isn’t Virgil. He tends to take insults directed at him lying down and even contributes to them. (’Less modest, more self-deprecating ... I talk bad about myself’; 9:47, Fitting In (Hogwarts Houses!))

I do not believe they would work together as a couple, especially with SvS Redux as the current video with so many issues unresolved and a lot of them feeling pretty down at the moment. But after working through their issues that they both have, sure, they could be a couple, but, I believe they could be closer friends more than anything.

Likewise, I don’t think Logicality would work, as both Logan and Patton have issues that need to be worked as well. I know this pairing is the second most popular in the fandom, but, from what I’ve seen, it just wouldn’t work.

Patton is controlling and a little forceful, even though he doesn’t mean to be. I saw this mainly in Learning New Things About Ourselves and Selfishness v. Selflessness. In LNTAO, Patton repeatedly tried to force Logan into doing something he didn’t want to do.

And in Selfishness v Selflessness, Patton was rather forceful and insistent that Thomas was a good person and could do no wrong. And yes, I am aware that in both cases, Patton was able to learn from these things and grow as a person.

But these instances show that Patton is very open and emotional. Whereas Logan is the opposite. He’s cold and can be distant, and only faintly expresses how he feels. The one that really stuck out to me was Logan saying how he wasn’t a joke, also in LNTAO.

With someone like that, you can’t pressure them to express themselves- that will only lead to hurting the person and maybe yourself as well in the process.

To me, this couple, if they got together, their relationship would have major bumps and problems. Logan has a hard time expressing and Patton has a hard time backing down- but if these issues were worked on, they’d be a nice couple I suppose.

I do however believe that Analogical and Royality would work.

For Analogical, this pairing works- it really does.

Not even speaking for Sanders Sides here for a minute, logic tends to calm anxiety down. I myself have used logic in midst of anxiety/panic attacks. It takes a while, but anxiety will listen to logic and ease up after a while.

Throughout the series, Logan and Virgil have never once really been rude to each other.

In fact, they rarely lash out at each other and help each other more than anything.

I’ve seen this mainly in My NEGATIVE Thinking, Fitting In (Hogwarts Houses!), the Moving On videos, and a bit of Dealing With INSTRUSIVE THOUGHTS.

In MNT, Logan in a sense made Virgil feel better about his ‘attempts’ at the debate. In FI(HH!), he agreed with Virgil’s concerns about standing out and seemed the most eager to help him. In the Moving On videos, he and Virgil were unspokenly working together, and Logan was the first to realise Virgil was having a panic attack and tried to help him. In DWIT, Logan helped Virgil understand that he was right and those dark thoughts didn’t have any true meaning to Thomas’ character.

There was also that bit in the Sanders Sides Q&A!, where Virgil said that Logan understanding reality comforted him. :)

I also did like The Sanders Sides 12 Days of Christmas! for Virgil gently explaining to Logan how insults work ^^

Logan is the rock that Virgil needs, and Virgil can give Logan a hand to know when he needs to take his time.

Their relationship would be a bit rocky at first, with both Logan and Virgil unable to really express the correct emotions. That being said, they are the two Sides able to best read the air and understand certain gestures. So when they open up, I think they’d be able to really understand each other :)

For Royality, in terms of how they treat each other, I really think this pairing would work. These two seem to be the Sides that show most emotion and seem to encourage each other a lot. And quite a few times, they wordlessly agree with each other.

I saw these things mainly in Am I ORIGINAL?, Growing Up, and Moving On Part 2.

In AIO, Patton was supportive of all Roman’s ideas and helped him feel better about not having an original idea all the time. In Growing Up, Roman and the others are reminded of Patton’s contributions to the group, and he has the biggest reaction in my opinion(’That is... Wow, I am ashamed of myself!’; 10:58, Growing Up) and both of them helped with the Mind Palace. And in Moving On, Part 2, Roman admitted that he might’ve been hurting Patton by holding onto the past. On a less sad note on the same video, I also liked that after Logan gave Patton his cat hoodie, Roman conjured puppies for him~

Of course, as it goes with all couples, they’d still have problems, as no one is perfect, but for me, they’d have the least problems.

I’m going to mention one more pairing: Remus/Janus. I, don’t know their ship name .-.

Truth be told, I don’t know how they’d totally function, since they haven’t truly interacted in front of us yet, but going by Dealing With INTRUSIVE THOUGHTS, and how they were portrayed there, I think they’d work.

Going by Remus’ song:

‘Speaking of honesty, recently a snake offered me a morsel from the tree of knowledge. He said, ‘You’re wanting to be more honest and be direct dealing with your issues? No longer will you deceive yourself about the ugliness within you.’ Neat!’, 7:54

This shows that Janus does care about Remus and wants him happy, and Remus appreciates the attention. Most likely because Janus is the only one who doesn’t view Remus as disgusting.

I think this ship could work, but have its ups and downs- mainly because picturing these two together, I’m just seeing a chaotic duo lol.

I’m going by all of the Sanders Sides videos in order, and as I said before, with SvS Redux as the current video, a few of these ships just would not work. But as the series progresses and the above issues are tackled, yes, these ships could work. Though I personally ship Analogical, Royality, and Remus/Janus.

I hope that I put an equal amount of thought into each ship after Prinxiety- I really tried to see every aspect of every possible relationship I listed and hope they’re all equally fair. I’m not by any means attacking any ship and I hope I don’t give off that impression- I was just listing my opinions on each based on how the series is currently.

Thanks for reading :)

[moonstruckbucky]

Come Over (3/7)

Summary: You’re new to New York City. Fresh out of post-grad and wanting a change of pace, and this change comes in more ways than one.

Pairing: Bucky Barnes x fem!Reader. Neighbor AU.

Warnings for Series: Fluff, angst, pining, the ush! Also, swearing, because nobody ever washed my mouth out with soap.

Notes: So I’ve daydreamed about a neighbor AU for an embarrassing amount of time, and I need something to get my creative juices flowing again. So, ta-da.

Series Masterlist // Main Masterlist

A month into your new life in New York, you feel more settled in. Your apartment doesn’t look like a warehouse piled high with boxes, and you’ve even spent some of your signing bonus on artwork to hang on the walls and a few plants to bring some life to the space. You’re even considering getting a cat.

At work, you frequently eat your lunch with not only Wanda and Vis, but the three other women on your floor. Maria, Charlotte, and Sarah are all mothers, so they don’t usually attend the girls’ night out you and Wanda plan every week, but they’re still pleasant to sit and chat with regardless. It’s made you feel even more at home at Stark Industries.

Speaking of, Tony is a riot, you’ve learned. You’ve come out of your shell a little more with each day you work for him, and it’s mostly in thanks to Tony’s easy-going personality. Though he’s clearly a workaholic on top of being addicted to caffeine (for anyone else this might’ve been a destructive combination but Tony seems to wield both extremely well), he feels more like a weird brother/father figure than a boss. He keeps most projects secret from you, but occasionally he’ll show you a new update or ask for your opinion as a consumer. You’re honest with him without kissing his ass too much about it.

Since he lives closer, Sam comes over a couple times a week to hang out with you and catch up on your favorite shows. He tries to bring Clint with him most times, but being neck-deep in a new case makes it hard for him to get away to visit. You settle for FaceTiming him during the week even though it isn’t the same.

It’s one of your weekly nights with Sam, who reclines in your new armchair with his feet up and an open beer in his fist. You’re catching up on Mindhunter with him, relaxed on the couch under a big fluffy blanket with your own beer. In between episodes Sam has been telling you all about the girl he’s been seeing, to which you demand you meet her for approval.

He rolls his eyes and asks, “Isn’t that my job?”

You scoff. “You’re my best friend, Sam, and as my best friend, I’ve got to make you’re taken care of just as much as you’re taking care of her.”

He grumbles under his breath but you can see a slight pinkness to his dark skin that makes you smirk in victory. A few moments of silence and then:

“So what about you and Neighbor Boy then? What’s going on there?” While your smirk drops, his widens. You take a long pull from your beer.

“Absolutely nothing, Sam.”

He snorts and gestures with his beer. “You have coffee dates almost every week!”

“He helps me put furniture together! There’s absolutely nothing but friendship there, I assure you.”

A doubtful look characterized by lowering of his eyebrows and pursed lips. A responding eye roll and scrunched up face, a silent don’t give me that look.

“Want another?” you ask, needing to busy yourself in order to keep your unusually attractive neighbor out of your head. Throwing the blanket off your lap, you stand up and accept the empty bottle Sam holds out to you.

If he notices that you take a little longer to fetch two more beers, he doesn’t say anything when you get back to the couch. He presses ‘play’ on the remote and the topic of your neighbor is dropped.

For an hour.

“So, you’re coming next Sunday for our football party right?” Sam asks.

Once a month during football season, Sam and Clint co-host a party at your brother’s apartment. You make your five-layer chip dip and Sam brings a massive amount of wings while Clint provides endless beer and a giant wrap-around couch that seats eight. (You’re still not sure how he fit the damn thing in his apartment.) To antagonize Clint and to make the day a little more fun, you and Sam always show up in your matching Patriots jerseys representing the McCourty twins.

“Of course I’ll be there! I never miss it!” you reply with an incredulous look. Sam holds up his hands.

“Hey, just wanted to make sure you didn’t have any new furniture that needed assembling that day.” He chortles when you chuck the throw pillow under your hip at him and nail him in the chest. “I’m kidding. Mostly. But, uh, I was gonna say, if you wanted to invite him, you could. Not as a date, don’t you throw that bottle! Jesus. Crazy. Just, Clint and I think he’s cool and it’d be cool to have another dude around.”

You watch him for a few moments, see no trace of his earlier teasing, and sigh and relax back into the couch. “I’ll think about it, okay?”

“All I ask.”

Sam, bless him, leaves you be about Bucky for the remainder of your evening together. When he’s gone, your mind can’t rest just yet, so you open up a new beer and put on a rerun of CSI. You’ll regret staying up so late in the morning, but for now, you let your mind get sucked into the emotional episode of Warrick’s funeral.

Regret is a bitter bitch, and the next morning it comes in the form of a prominent headache paired with under-eye bags your makeup barely hides. A three-hour binge of CSI definitely wasn’t your smartest move considering you’ve a fairly important meeting with Tony in about two hours. Hair tied back in a ponytail and makeup...done but slightly unsatisfactory, you slip into a black pencil skirt with a mustard blouse tucked in. Your feet slide into a pair of black pumps and you throw on a jacket to combat the cool October morning.

You know your face shows your exhaustion as you give yourself a final once over, but there’s not much you can do short of downing copious amounts of coffee. Tote bag slung over your shoulder, you head out of your apartment with a sigh. As you’re locking your door, the one next to yours opens, and Bucky steps out looking ten kinds of delicious in his running gear, tattoos on full display thanks to his tight tank top.

You grunt when he tells you good morning, chuckles good-naturedly until he sees your eyes. Then he’s frowning in concern and you’re almost desperate to do anything to wipe it off. Such a man should not be frowning.

“Did you get any sleep last night?” he asks, falling into step with you towards the elevator. You resist the urge to rub your eyes in order to preserve your makeup.

“Not really. Sam stayed till about ten and then I stayed up a little while longer. Guess I just couldn’t fall asleep.” To punctuate your sentence, a long yawn escapes. Bucky stands next to you in the elevator, close enough you can feel the heat radiating from him and it’s wholly distracting. “And I have a meeting in a couple hours and I’m not really sure how I’m going to get through it without dozing a few hundred times. Know anyone who can hook me up with a caffeine IV?”

He laughs, the sound echoing in the small space, and despite the warmth and your jacket you still suppress a shiver.

“I’m afraid not. Hey, do you have a few minutes? We can go get a cup now, if you want,” he offers, blue eyes boring into yours, and you nod before you can really think about it. His smile brightens up the entire elevator, and then he’s leading you with a hand on your back out into the lobby and finally out onto the street.

He takes you to a place between your apartment building and the subway, stands with his hands in his pockets as you both wait in line. Sam’s invite bounces around in your head, your nerves expressing themselves in the form of tapping your fingers on your arms, which are crossed over your chest.

Bucky and you order your respective drinks and he reaches into his pocket for his wallet. Your hand on his arm stops him, has him looking down at you with those depthless blue eyes.

“I’ve got it,” you say softly with a small smile. He opens his mouth, no doubt to protest, but you merely hand over some cash to the cashier. “You’ve helped me a ton this past month. Let me at least start paying you back with coffee.”

The blush that overtakes his face has your insides fluttering with giddiness. You have to bite your lip to keep back your grin, your entire body warming over the fact you’ve made this beautiful giant of a man blush. As the two of you stand off to the side and wait for your orders, you feel a small boost in confidence.

“Hey Bucky, I was wondering—” You’re cut off by the shrill ringing of his phone. He sighs and pulls the device from his pocket, and if you hadn’t been eyeing him so closely, you’d miss the slight downward twitch of his mouth.

“Excuse me just one sec okay?” he says apologetically. When he looks up at you, you know he means it and you nod. He smiles tightly and walks off down the small hallway that leads to the bathrooms, accepting the call with a hushed “Hi”.

You wait patiently until the barista calls your name and Bucky’s, and you grab both cups and sip lightly from yours while Bucky’s on his call. You can see him in the hall, shoulders hunched and free hand swinging about as he gestures. That pinched look is on his face again and you feel a faint tug in your gut that has you wondering if you’re close enough friends to ask.

Before you can decide one way or another, he’s pulling his phone from his ear and shoving it back in his pocket.

“Sorry about that,” he sighs, accepting the coffee you hand to him with a close-lipped smile. He takes a long drink from it, wincing a little at the burn, and licks his top lip. It’s horribly distracting for a minute. “What were you going to ask me?”

“Oh, um, I was just wondering if you maybe—oh shit.” A quick glance down at your watch shows you’re going to be late if you wait any longer. “I’m sorry, I’ve got to get going otherwise Tony’s going to kill me with his newest project. Um, I’ll see you later?”

Bucky’s blue eyes are slightly widened in surprise at your sudden departure. “Y-Yeah, definitely. Maybe you can tell me about this new project.” It’s said with a wink that tickles your insides.

“Maybe. If I’m not sworn to secrecy. Bye, Bucky!”

“Have a good day at work. And thanks for the coffee!” he calls out as you fly out of the cafe.

Your exhaustion only worsens as the day goes on. The meeting you’d sat in on was nothing short of boring—even Tony dozed off a few times, but only you’d taken notice because you were seated beside him and heard the tiny little snores. Your planner had been filled with new doodles of suns, clouds, flowers, and a tiny little witch in the margins. You’re still unsure why you’d been required to attend this meeting; you have a pile of things on your desk that could have been done in the two hours you sat uncomfortably in your chair, listening to the other tech geniuses go back and forth on new design ideas.

By the time it’s time for you to leave, you feel dead on your feet, which are cramping in your shoes. Your neck, shoulders, and back are also killing you due to sitting in your chair and hunching over the screen built into your desk. The subway ride home has you almost falling asleep, lulled by the gentle swaying of the car and the four hours’ sleep you got the night before.

It’s a slow climb to your apartment, and as you pass Bucky’s door you hesitate. You never did get to ask him this morning and so, because you’re too damn tired to be shy, you turn and knock three times on his door. From behind the wood you can make out a scuffle, and then the door is yanked open and your mouth runs dry.

Bucky stands before you, shirtless and gleaming with sweat. He’s breathless, that broad chest heaving up and down. There’s a smattering of dark hair across his chest and beneath his navel that disappears into the band of his shorts. The hair on his head is mussed, as if he’d been sleeping or hand run his hands through it.

“Y/N,” he gasps. Crimson creeps up his neck and across his chest, stains his cheeks as well as he avoids looking at your eyes. He glances over his shoulder briefly before turning back to you, eyes cast down at the neckline of your blouse. “Wha-What are you, um, doing here?”

“I, uh, wanted to ask you if you wanted to come to my brother’s with me for the football game on Sunday?” you ask in an equally breathless rush.

Bucky seems surprised by the question and is about to answer when a second, female voice calls from behind him, “James?”

A blonde head appears over his shoulder and the slender woman tucks herself under Bucky’s arm, looking equally as disheveled. You feel the color drain from your face even though it warms under the implication that you've...interrupted. There’s no question of what they’d been, or had about to have been, doing because the blonde’s hair is ruffled just like Bucky’s, her full lips red and kiss-bitten. Her blouse is untucked and unbuttoned.

You can’t take your eyes off her, nor she you as she lays a manicured hand on Bucky’s chest, a universal female power move that says he’s mine.

Bucky looks as awkward as you feel, shifting from bare foot to bare foot even as his hand rests on the woman’s shoulder. He clears his throat and gestures with his free hand to the woman, whose eyes have not left your form and are currently on their third sweep of your entire figure.

“Uh, Y/N, this is Sharon.”

“His girlfriend,” Sharon interjects. A sideways tilt of her lips that you know means no good. She reaches out with that manicured hand for yours and you shake it quickly, dropping it as if it’s burned you.

In a way, it has. It’s burned you so badly on the inside that you want nothing more than to duck into your apartment with your tail between your legs. You can feel the flames licking at your gut, sliding up your esophagus to singe your throat. It’s bitter, the burn, and it puts a pressure in your throat and behind your eyes.

“Sharon, this is Y/N, our new neighbor I was telling you about.” He won’t look at you, focusing instead on the blank wall just over your shoulder.

His sudden refusal to look at you pairs badly with your embarrassment, from both interrupting and for ever thinking you might have a chance, and you wish the floor would open up and swallow you whole.

Chapter Four