#for context: the last time these two competed against each other was back in the early days during the most whipped bracket.

[bl-bracket]

Horny on Main Round 3: Lan Zhan (The Untamed) vs Wen Kexing (Word of Honor)

[Submitted Reasons Under Cut]

Lan Zhan: "Man realized sex with Wei Wuxian was an option and immediately thought of nothing else for over a decade, instituted an "every day means every day" policy the second he got his horny little hands on him"

Wen Kexing: "this man has a constant stream of consciousness centered entirely around his need to fuck zhou zishu and he will make it everyone’s problem. even when zhou zishu is dressed like a homeless man he’s still spouting poetry about his waist and flexibility and how pretty he is"

[nightswatchdisbandmentera]

Thinking of the most prominent succession struggles in asoiaf and realizing that a good majority of them are not even because of some evil bastard usurping their trueborn relative. Alys Karstark’s dilemma is caused by her uncle wanting to forcibly marry her and steal her birthright. Renly is Stannis’ trueborn brother and yet he declares himself king despite Stannis being older. Euron is Balon’s trueborn brother and Asha’s uncle and yet look at what he did. Littlefinger wants to use a trueborn Harry Harding to take over Sweetrobin’s rights (though not so openly). And the Dance of the Dragons was between a trueborn pair of brother and sister. And if we are to see a repeat of it, it will be between a trueborn daughter of the last Targaryen king (Dany) and a trueborn son (Aegon) of the previous crown prince.

That’s what makes the whole “Jon was a threat to Catelyn’s children” argument so frustrating because people act as if Jon was a ticking time bomb that was going to blow at any minute, purely on account of him being a bastard. When historically, we’re given much more precedent for trueborn relatives to usurp each other.

This frustrating argument arises out of two problems:

ASOIAF stans are not engaging as critically with the text as they should be. Catelyn’s historical evidence lies in the series of Blackfyre Rebellions which happened after a legitimized bastard rose up against his brother. But context is key here. Not only were there several factors that led to this fallout (e.g., Daemon being given the conqueror’s sword Blackfyre, anti-Dornish sentiment not working in Daeron’s favor, Daeron himself being a suspected bastard, Daemon’s overall popularity, etc), but people ignore Bloodraven (a BASTARD!) who supported his trueborn brother’s claim during this series of conflicts. Daemon did not rebel because all bastards are inclined to treachery and all bastards bring evil to those around them. If any bastards raised near trueborns are a threat to the trueborn’s inheritance, then why not Bittersteel? Why not Shiera? Why didn’t other Stark bastards rebel against their trueborn siblings? Several factors led to the conflict specifically between Daemon and Daeron. Instead of taking Catelyn’s filtered history at face value, we should instead recognize that Daemon was given legal basis to push for his claim (after a series of events that symbolically recognized him as the worthy and true heir) as he was now a legitimized son, and succession struggles are, more oft than not, likely to happen between recognized legitimate competing claims. And here’s the thing, Ned Stark at no point indicated that he was going to give Jon legitimacy in the North. And he never indicated that he would give it to Jon over Robb. On the contrary, everyone knew that Robb was the heir. Robb was the one being given lessons, Robb was the one helping Ned attend to visiting lords, Robb was the one who would inherit Ice, etc. By Alys’ account in ADWD, preparations were being made for Robb’s future (NOT for Jon, who was largely ignored). There was no opportunity for Jon to pose any threat to Robb or his children because Ned did not give him legitimacy and he did not allow him to gain backing with the Northern lords. Aegon IV created Daemon and his subsequent rebellion(s), but Ned Stark did not do the same with Jon. Despite Catelyn treating Jon as a walking crisis center, there’s little evidence to the effect. In fact, we might as well say that Bran or Rickon or any of Sansa’s or Arya’s sons would pose an even bigger threat to Robb’s legacy than Jon would, you know given historical precedent and all that.

Treating Jon’s mere existence as one that inherently comes with dire consequences for “le poor trueborns” plays into bastardphobia, which is actually in world bigotry (and grrm considers Jon to be a marginalized individual on account of his bastardy). Saying that Jon is a threat to the Stark kids is saying that all bastards are threats to trueborns but like….so are the trueborns. History, actual hiatory, shows us that trueborns are a bigger threat to each other. But no one is saying “Bran is a threat to Robb’s kids” even though there is precedent. Bran is also getting a lordling’s education just as Robb is, and Bran is allowed to engage with the upper class on important occasions and gain visibility just as Robb is, and Bran is even expected to command his own castle and men (which would even give him ability to stake his claim). So why isn’t he a threat? Instead, Jon is the one who is singled out - because he’s a bastard. He’s being singled out because Catelyn said he should be singled out, despite there being little actual evidence to his supposed incoming usurpation. Which is ironic because the literal purpose of his story is to critique these bigoted views. Jon is just as honorable and good and kind as any other trueborn son, if not more so. And we have seen him sacrificing his own happiness for his siblings (e.g., the direwolf pups and refusing Winterfell because he will not usurp Sansa’s rights). It’s one thing for Catelyn to show ignorance, but we as readers should know better because we have a full picture and not only do we have an understanding of the history being cited by Catelyn (and what is being purposefully ignored), we also know Jon. So we should be saying, “wait no, there’s no indication that Jon is any more a threat than any one of Ned’s sons”.

It is understandable (but not justifiable tbh) that Catelyn is biased against Jon; he is the ever present product of her husband’s affair. But that’s just it, she’s biased. So she has a biased application of history. And she has a biased (and bigoted) view of Jon’s place in it. We as readers have a full picture though. So shouldn’t we be having more nuanced dialogue regarding this instead of taking her biased word for it?

[physalian]

Villain Power Scaling (It's over 9000!)

@sarah-sandwich ask and you shall receive

Quick! We wrote an insanely, unexpectedly successful one-off fantasy series! How do we top the villain?

A bigger, badder giant space laser

The villain’s secret jealous sister

The same power, but purple now

The True Mastermind you’ve never heard of

JK, they’re not actually dead!

When you choose to continue on a series and have already committed to possibly destroying the legacy of the characters who fought and died to save the world once by undoing it for money, you had better have a damn good story to tell.

So if you decide your new threat is any of the above, you have quite the uphill battle ahead of you, my friend.

What is Power Scaling?

Power scaling is the nature of the ability of the heroes and the villains to grow more competent over the course of the story via new skills, new powers, or more training. Protagonist’s first fight (that they win, at least) will generally be against a baby, tier-one mook and not up against the main antagonist (*cough* Force Awakens *cough*)

As the story progresses, the mook that was so scary and so hard to beat oh so very long ago will become unnamed cannon fodder in the climax of the story. Generally speaking, this is a linear event and the hero and the villain are constantly one-upping each other until they come head to head in the unavoidable final fight.

Sometimes, things run askew. Maybe the hero’s super special power that saved them last time was a fluke, possible only in those specific circumstances, or one-time use.

Maybe they have amnesia, or the being that gave them that power revoked it, or using it cost them too much. Maybe they got seriously injured in the last fight using it and can no longer go near it if they want to not get hospitalized. Maybe the super power was another character that won the final fight for them last time, but died in the process.

It doesn’t have to be linear, but if you’re going to regress your character without creating a “why didn’t you do what you did last time” plot hole, you will need an ironclad excuse.

So, feast your eyes while I summon the Supernatural fandom back from the dead.

What not to do, as told by Supernatural

This show was originally written to last five seasons and five seasons only. No matter how die hard a fan you are or were, you cannot escape this fact, and neither could the writers.

Season one villain: A demon and her demonic minions

Season two villain: Psychic demon children and Papa Demon Yellow-Eyes

Season three villain: OG Demon Lilith, and Dean’s ticking demon-deal clock

Season four villain: OG Demon Lilith and preventing the rise of Satan

Season five villain: Satan and some douchebag Angels

Then you have Ten. More. Seasons. trying to do better than Satan and the douchebag angels to… varying levels of success and stupidity.

The problem: Supernatural tried to be linear with their power scaling, focusing on ramping up the threat level to nonsensical ends while undermining the threat level of all who came before.

The other problem: Sam, Dean, and Cas never stayed dead long enough for any of these threats to matter.

What I mean is this: In making the threat of the season so impossibly strong, by threatening the world over and over again no matter how many times they save it, by never committing to killing your three most important characters, by never letting the world go a little unsaved in the end, you’re left with a story that *says* it’s bigger, badder, bolder, but is really just a rinse and repeat that goes blander and blander each time.

Coming off Satan and the Douchebag Angels to… Cas and Crowley conspiring over the souls of Purgatory and the unseen war in Heaven because they didn’t have the budget for that, without any of the thematic weight of *why* it was angels and demons? Talk about a loss of momentum.

I rewatch a grand total of one episode of season six, “The French Mistake”. I have lost all context for the plot surrounding this episode and it’s virtually independent of the rest of the season because Sam and Dean get transported into the Real World as Jensen and Jared and poke fun at each other for 52 minutes. This episode is timeless.

The show wasn’t a complete disappointment for the remaining ten seasons or it wouldn’t have lasted that long. It had good beats, but they shot their load in Season Five. After five whole years of buildup to this main event it never recovered.

Alternatives to Linear Power Scaling

Anyone who has or even hasn’t seen Dragon Ball should know that series is famous for infinite power scaling. There’s always someone stronger, always some new secret powerup to unlock with the power of Screaming, always some new Super Sayan color that we promise is more powerful this time, for realsies.

That show is so dedicated to the bit that it’s gone full circle to being loved, not despite it, but because it’s so ridiculous.

You did not write Dragon Ball. Do not do this.

Instead of the infamous clashing multicolored power beams, what other ways can you up the ante of this new threat after your heroes have conquered all they thought stood in their way?

Give a damn good reason why this villain, who is no different than the last schmuck, is unbeatable by the macguffin this time.

As stated above, there’s no need to make the villain More Powerful* if your heroes have lost the world-saving abilities that helped them last time.

2. Exploit the hero’s other weaknesses

More Powerful* is never as exciting as you think it is. Often times, especially in superhero sequels, the villain isn’t necessarily stronger, but the niche power that they do have finds the chink in the hero’s armor that they didn’t have to worry about last time.

3. Make the hero’s niche skillset completely irrelevant

This time, the threat might not be something they can punch or shoot or smack with a hammer. This time, it’s their reputation at stake, or the villain is un-punchable because they’re simply unreachable, causing havoc the hero is helpless to stop.

4. Make the issue not the villain at all, but the hero or their team

Maybe the villain is just a schmuck that would be beatable on any other day, but team infighting means that they make utter asses of themselves and the villain doesn’t have to lift a finger to win because they’ve taken themselves out.

This can get very dramatic like in Captain America: Civil War or the Teen Titans epside "Divide and Conquer". Or, to comedic effect in the Spongebob Episode "Mermaid Man and Barnacle Boy V" (the one with the International Justice League of Super Acquaintances).

Some would argue that the above options aren’t power scaling at all if it’s not linear, and that’s fair. You’re telling a story though—is your story going to be about the superpowers and how cool they are, or the people who wield them?

5. It’s not actually power scaling, it’s about stakes

Supernatural began to feel so stale because even though we were told the villain this time was bigger, badder, bolder, the stakes were always the same. OSP has talked about this, how threatening to end the world has a foregone conclusion of “never actually gonna happen” because what author is crazy enough to let the world get blown up and all their characters murdered?

Raising the stakes, too, is not linear. Last time it was the world, this time, it’s the life of the love interest, it’s someone’s sanity, it’s a ticking clock on a secret that’s about to go public.

That’s why the first five seasons of Supernatural were so engaging. Were Demons the problem every time? Yes. The Demons were causing the problem, but they were causing five different problems. It was finding and saving their missing dad, then it was uncovering the sinister plan of the psychic demon children, then it was trying to escape Dean’s deal, then it was trying to stop the rise of Satan, then it was trying to stop the apocalypse. It was not five seasons of demons trying to destroy the world.

The more personal the stakes, the more likely your audience will believe the hero could actually lose this time. That’s what will keep them engaged. Dean died at the end of season 3! They lost! There was no escaping that deal. Sure he came back in the pilot of season 4, but the entire 4th and 5th seasons are haunted by Dean’s PTSD and new pessimism about the world given what he’s seen and done in Hell.

6. Threatening the world without destroying a legacy

Covered in this post about timeskips and this post about sequels but it’s too important to not keep repeating.

So. The Star Wars sequels. Rain down your wrath like snow on a hot desert—these movies were a giant mess. The audience sat through six entire movies following the rise, fall, and redemption of one man who died to save his son and the galaxy.

Then, what, twenty years later, absolutely none of it mattered? New space Nazis are out for blood with the same equipment, same weapons, same soldiers, same reach, same motives. Within the theatrical release (because I am not paying money to buy content to do homework to understand a movie made for a layman audience) these movies undermined the legacy of the six that came before it.

It didn’t have to be a new galaxy-ending regime and the same rebels still rebelling for the same reasons—how the heck did they let another empire rise so fast?—it could have started small, inconsequential, and then the actions of the new cast then undermined everything Anakin worked for.

I feel like Mr. Incredible wondering why the world can’t just stay saved for ten minutes.

All of this is salvageable. End the world again if you want. There will always be bad actors out to do bad things, you can’t expect a utopia to last forever. But that bleak reality is for the real world, not fantasy. In fantasy, the sacrifice of beloved characters must matter. Otherwise, what’s the point of their story?

How do you do this?

Make the utopia the old characters died for last up until the new inciting incident, and make sure it’s the new characters’ fault, not just due to the passage of time

Make the villain threaten something other than their legacy

Make that legacy the banner behind which the new cast rallies, determined to make sure it wasn’t in vain

7. Or, burn the world down this time

Some of the best middle beats of a story feature a “did we just lose” moment a la Infinity War. The villain has won, fan favorites are dead, their home is in ashes, and now they’re not only starting from the bottom, they’re doing it with righteous vengeance.

Then the loss of the original character’s legacy *is* the tragedy, instead of a side effect. Then, in a way, they’re still part of the story, a ghost on the sidelines cheering on their successors, and we, the audience, are right beside them.

—

I have a shiny, fresh-off-the-press Insta @chloe_barnes_books now for this blog and my upcoming novel. Go check it out!

[shieldedbythunder]

conor bb! paris 2024 olympics are coming soon so imagine a thundershield au where steve and thor are popular olympic athletes for their respective nations (usa for steve and maybe one of the nordic countries for thor). not sure what athletic discipline they'd both be fit to compete against for the gold, but i'm thinking something that really shows off their perfect bodies like swimming, wrestling, weightlifting, or gymnastics.

YESSSS, I always enjoy athlete AUs for these two!!

For Steve, I LOVE to think of him in gymnastics - the perfect sport for being ripped and bendy. I mean

Look at him.

But with both him and Thor to consider, I think wrestling would be the best bet for them to compete in, especially with all that close body contact 😏. There'd be an instant spark watching each other train - Steve starts blushing thinking about Thor pinning him down, and Thor's eyeing Steve's ass without an ounce of subtlety, giving a cocky little smirk every time he's caught staring.

Not that Steve can't give as good as he gets. Thar night, Thor gets a couple of pics in his DMs of an ass to die for, perfectly framed in a jockstrap, with Steve saying they'll be a fair consolation prize for when he gets the gold. In response, Thor sends a POV picture of his body and the hefty tent beneath his bedsheets, grinning when Steve sends a pic of his jockstrap on the floor. They go on texting and sending increasingly risque photos for another hour or two before Steve finally invites Thor up to his room. To "exhange tips", as he later tells an icy looking Coach Fury with a perfectly innocent look.

The supposed anti-sex beds turn out not to be a problem - not when they have the table, the window-sill, the kitchen counter, the shower, the walls, and of course, the floor, where they have all kinds of fun applying their wrestling holds in a new context 😈

It's a close match when they finally get around to their final match. Even though they're both laser-focused on winning, they still wish each other the best, sharing a last little smile as they wait poised to begin wrestling. In the end, Steve just edges Thor out for the gold, but Thor's absolutely delighted for him and is still proud to get the silver. Besides, he's already got Steve's number and a visit to the states lined up to help improve his technique for their rematch 😉. The pics of them hugging after their match quickly go viral, with people already speculating about new sporting power couple, but for now, Steve and Thor are happy just kicking back in a hot tub with a glass of champagne, savouring their victories and their new relationship.

[afrobeatsindacity]

Rema, The Prince Of Nigerian music

Rema and Selena Gomez's "Calm Down" continues to shatter worldwide records as it advances its claim for 2023's Song Of The Summer, and indeed for every other season—it has in fact completed a year on the Billboard Top 100 chart, and even now continues to chart in the Top 20. And as its impact has been far reaching, so also have the accolades. The most recent of these came only a few days ago, when the song officially crossed 1 billion streams on Spotify, crowning it the first African song to reach this feat, and also one of the 500 most streamed music tracks of all time. Before this was the MTV Video Music Award ceremony, where a charismatic Rema received an award for the maiden 'Best Afrobeats Song' category. Before calling on his co-creator to say a few words of thanks, he paid homage to Nigerian music icons that paved his way to the world's biggest stages—names like Fela, pioneer of Afrobeat (no 's'); D'banj and 2Baba, prominent figures who ruled through the 00s; Don Jazzy and D'Prince, his mentors at Mavin and Jonzing, his record labels; and of course Nigerian music royalty Wizkid, Burna Boy and Davido.

It is fitting that he makes such acknowledgements at a time when he too is progressing towards a career of this status. Nigerian music's growth, like he succinctly put, has come slowly but surely off the back of these creators, so that now, "Calm Down"'s worldwide acceptance does not draw the surprise it deserves from the Nigerian audience; exploits of the last two years appear to have numbed its citizens to what is possible. Two years ago, Essence, the Wizkid-Tems sultry collaboration that got a Justin Beiber touch for its remix, was having its moment in the sun with each new step applauded by the country, and it is important for context that Rema’s song has already amassed five times as many Spotify streams as its predecessor.

For many, this moment was always going to arrive for Nigerian music, the day when we would no longer need tags like "For an African artist" to qualify a new win; we would compete with parity against music from anywhere in the world. And for a tiny subset of these believers, it was always going to be Rema at the forefront of the vanguard effecting this cultural revolution for Nigeria. For the artist, born Divine Ikubor, has always borne a mark of divinity.

After catching the eye of D’prince, CEO of Jonzing record label, via a cover of his song, "Gucci Gang" that he posted on Instagram, the Benin-based singer got an invite to come to Lagos for a proper audition, after which he was signed to Jonzing, a Mavin record affiliate. At the age of 19 he made his entry via a self-named EP, a Mavin tradition, that highlighted in only four songs what Rema was set to bring to the industry. His euphonious vocals were for many the biggest and most prognostic highlight, but they masked other crucial aspects of his artistry—the depth of emotion he channels on "Why", and his dexterity in balancing this beside the fast-spinning Afropop bangers, "Dumebi" and "Iron Man".

A few months later, he made his reprisal, but in a new apparel—Trap music. His Rema Freestyle EP projected speedy delivery, snappy trap beats and rhymes about money, as Rema displayed another aspect of his artistry. Most noticeable was his sparsity of romantic themes on the new project, the substance with which he propped up his earlier effort. His third project, Bad Commando, found the balance between these two extremes, placing confident statements of self-aggrandisation (Dem know say I be bad commando”, he sings on Bad Commando) side by side with affecting professions of infatuation (The moment I see you na up NEPA, he begins on “Lady”), while he switches between Trap and Pop on the production side of things.

Releasing this project meant it was a very busy debut year for the singer, and at the 13th edition of the Headies he was awarded the Next Rated award—earmarking him as the next big star. In January he picked up a similar plaque at the Soundcity MVP Awards, and together with his City People Award for Revelation Of The Year, these plaques underscored how outstanding his debut year was. In 2020, though, it was time for the next stage of music release strategy, and this time he worked by releasing singles, as he tried to establish his sound as a balance of his Afropop, Trap and Arabian music origins. His first effort of the year was the two single pack of "Rainbow" and "Beamer", and the latter was the significantly more successful song, featuring Jamaican producer Rvssian who incorporated traces of the Dancehall genre.

These songs, along with his June release, "Alien", were drawn chiefly from the Trap corner of his artistry, but to properly dominate a country like Nigerian, he would need to create for a dance-loving audience, and with his next two singles, the melodious, groovy "Ginger Me" and the explosive "Woman", he sought to do exactly that. With the latter, Rema’s material also took on a sultry turn—“I too like woman, me I no dey gboran”—that he reprised with his next single, the Don Jazzy–produced "Bounce". Already Rema’s profile was growing exponentially on a national level as he sought inroads into the global market.

2022, for Rema, was the time to crystallise this three-year dominance in Nigeria's industry into a recognisable global profile. He released "Calm Down" in February, melding Afropop, Arabian and Dancehall influences for a track that was still authentically Nigerian—"Girl you sweet like Fanta", he says, reworking a popular Nigerian children's rhyme into a missive of playful adulation—and yet lent itself to foreign acceptance. To advance its entry into foreign markets, a stroke of collaborative genius brought a Selena Gomez remix, pouring fuel into the fire of the song's momentum so that it sauntered into the next gear of its worldwide ascent. With this remix has come multiple broken records, a couple of awards (including one for Rema as Headies Best Male Artist), and certifications that continue to roll in by the day.

As Rema continues to break new grounds both historically and geographically,—as in his recently-completed Indian tour—the next sets of doubts will centre around whether he can extend this fame beyond "Calm Down", and insert himself properly in world stardom. But that should be no problem. A combination of his astute singing talent, evocative writing and undeniable star power should ensure Rema fulfils his promise as prince of Nigerian music.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images - image source: Instagram - @Scrdofme

[iwadori]

hello! I love your works so much! Can I request an angst to comfort scenario for #21 on your prompt list?

“It’s my fault for trusting you”

Feel free to use whichever character(s) you like!!

When the haikyu boys neglect you for another girl PT 3

Part One Part Two Part Three Part four Part Five

Word Count: 2.7K

Genre: angst,fluff

masterlist

Akaashi

You and Akaashi were beautiful people

Probably the most attractive pair of young adults that anyone can find

You were both top tier models in the industry

You always had a little rivalry between you but you always promised each other to never let it affect your ‘relationship’

“Beautiful darling, your beautiful” praised your photographer as you finished your shoot giving you air kisses on your cheeks. You thanked him and the rest of the staff and entered your dressing room sighing.

“Rough day?” Asked a voice, startling you a bit. You looked up to see your boyfriend, Akaashi Keiji sitting in the corner of your dressing room on a love seat.  

“Gosh Keiji you scared me” clutching your chest dramatically “But yes, the day has been tiring Fabio has really been overworking me lately” you complained. Akaashi walks towards you and gave you a peck on the cheek “Aww poor baby” he cooed mockingly, “but don’t worry ‘bout it Y/N your sucess will be all be worth it eventually” he says making you smile.

“and besides, you’ve got a shoot with me soon anyways” he winks, making you chuckle. You finished removing your make-up as Akaashi tells you about his shoot today and Bokuto’s (your fellow model friend) antics.  

You and Akaashi first laid eyes on eachother when you were both up and coming models, you both are under the same company. At first, both of your agents decided to make you spend time with each other to push the narrative of you being a couple anyways. However, since you and Akaashi had great natural chemistry it made your relationship great and made for a great photo too.  

As much as the public loved your relationship and the saucy photos you tend to make together, they also thrived of the slight rivalry you guys had together or the times when you guys bother shot with other people (since it was easy for a fan to make a new ship off of two people literally standing next to each other.)

You spent the next day having what you and Akaashi called a ‘rest day,’ you both specifically clear your schedules for every 2nd and 4th saturday of each month to not do any work-related for the day and just bask in each other’s companies (as you were both busy and barely got enough time to see one another.)

You watched multiple movies, made your own homemade cookies and dinner, had pillow fights, built forts. You both were having so much fun, until you both got a call...Just then, the vibe changed you went from your free-spirited fun selfs back into work mode.

Your agent told you that two brands *Insert big fashion designer brand here* and *Insert another big fashion designer brand here* were having some form of standoff. To be honest, you didn’t really care about the context of the shoot(s) in this case, as your agents call ruined your day. They wanted you and Tsukishima Kei, to do some competing shoots and promotional videos for their brand against the other designer.

After getting all your information from your agent, you go back into the living and see Akaashi sitting down thinking deeply about something. “What was your call about?” you inquire sitting down next to him.

“Oh just some silly designer brand competition thing.” he mindlessly replies, still thinking deeply.

“Yeah same. So what’s got you thinking all deeply then?” you ask

“My fellow model is going to be Kiyoko Shimuzu” he sighed, making you blink repeatedly before immediately saying “You can’t do the shoot”

Kiyoko Shimuzu was japans beauty. Everybody loved her, she’s been a model since she was a child everyone wanting a grasp on her looks. The guys wanted her, the girls wanted to be here. Kiyoko Shimuzu was a force to be reckon with.

The real problem at hand wasn’t her stunning looks, popularity and fame. It was her connection with Akaashi. Before Akaashi went big and met you, he was Kiyoko’s boyfriend (well ex-boyfriend now) and they broke up because of long-distance or something like that.

However, to you, Kiyoko’s feelings for your boyfriend have never went away. Whenever you guys bumped into each other at red carpet events or runway shows, she always seemed to linger a bit too long around your boyfriend, which definitely wasn’t to your liking.

Akaashi lifted up his head from inside his palms and looked at you as if you had grown another head. “What do you mean, ‘I can’t do the shoot’” he asked in disbelief

“I mean, you can’t do the shoot” you reiterated not understanding why he didn’t understand.  

Akaashi sighs before putting his face back in his hands to think, “Well I know you got to the shoot aswell Y/N who’s yours with.”

“Tsukki” You said nonchalantly say as if it was nothing, making Akaashi look at you again as if you were fully crazy before he had a chance to speak you cut him off saying “Don’t even start Akaashi.”

You and Tsukishima Kei, have best friends since you were kids. You weren’t romantic in any way shape or form, well at least you weren’t. Akaashi always claimed that that Tsukishima was in love with you, that you and Tsukishima were the perfect example of every ‘childhood friends-lovers trope’ ever, which to you wasn’t true. Everything between you and Tsukishima was and still is completely platonic which you can’t say the same for Akaashi and Kiyoko.

“You’re not doing the shoot” he says firmly as if he was your father.  

“Oh so you can do your shoot with your literally EX GIRLFRIEND, but I can’t do mine with my best friend... yeah make sense” you say standing up, astounded.

“Y/N chill, If you’re so adamant about me not doing it with Shi- Kiyoko, then I wont” he says pulling your arm down making you land on him “and you better not do it with ‘Tsukki’” he mocked.

“Okay so none of us are doing the shoots?” you ask looking up at him  

“Yup” he says  

“Pinky promise,” you joked sticking out your pinky in his face.

“Pinky promise” he agreed hooking his finger around yours.

For the next month it seemed you were booked busy, you barely got to see your boyfriend as his agent had him running around all of Japan and even had him booked in some places in Europe for this month. Of course, you missed him, but you understand how busy it can be doing your line of work. You’ve been quite busy too, doing the usual shoots and runways.

Although he was busy, Akaashi basically went radio silent on you. You still expected him to reply to some of your messages or at least call once or twice when he had the chance, since he must have 10 minutes of break time and that's the bare minimum.

It’s been two weeks since you last saw Akaashi (and that was on your saturday rest day) and you were expecting him to come over today so you could have another. Since of course, Saturday ‘rest days’ were basically a tradition for you and Akaashi before you even started dating.

You had no text from Akaashi explaining his lateness/absense, so you just figured he wasn’t coming putting a damper on your day. You spent the day lounging around and shoving your face with your favourite snacks and food.

You get a text from Tsukishima which read:

Tsukishima: 1 Image Attached  

Tsukishima: Looks whose boyfriend stumbled on set...

You didn’t respond as you were shocked at the sight you saw, the image was a picture of Akaashi and Kiyoko on set doing shots for the *insert the other rich designer brand* the shoot that you both agreed you wouldn’t do, which was also a LINGERE brand.  

You felt betrayed, you both agreed to not do the shoot and it’s not like you did do yours. You made sure to turn it down the day you made your agreement. And he skipped on your traditional saturday ‘rest day’ without even giving you any word of him not planning on arriving.

You didn’t know what to do, do you confront him about it? Or do you wait for him to approach you? Since he would plan on telling you about this right? You eventually messaged Tsukishima a ‘thanks’ and you decided how you were going to handle the situation. Pop up on Akaashi and Kiyoko at the photoshoot.

You knew where it was at, since you had the address already from when your agent first offered you the idea. You drove to the place in a breakneck speed, strutting in there like a woman on a mission (which you technically were.) You decided to wait in Akaashi’s dressing room, not wanting to cause a scene at the shoot which would be bad for yours, Akaashi’s and Kiyoko’s image and would be a waste of the time of the staff and photographer there.

Akaashi finally finished the shoot and entered his room with a sigh not realising that you were sitting in the corner of his room. “Did you have a rough time?” you ask mockingly making him jump and his eyes widen as you were the last person he expected to be there. “Why so shocked, you weren’t expecting me?” you still keep the same mocking tone in your speech.

“Y/N I-” He started  

“Y/N what?” You interrupted “Y/N I’m sorry for basically ghosting you for a month? I'm sorry for doing a shoot with someone who I know is still in love with me? I’m sorry for lying to you? I’m sorry for skipping out on our rest day with no explanation on where I am?” you stare at him as he stares back speechless.

“Oh, am I missing something?” you continue “Oh yes ‘Y/n I’m sorry for doing the shoot that we both agreed that we weren’t doing’” you sit down and wait for him to reply.

Akaashi puts his head down in shame, not really knowing what to say. Because of his silence, you roll your eyes and get up fed up with his lack of explanation. Before you fully leave Akaashi blocks your way with slight tears in his eyes “I had no other choice Y/N, I had to do all those shoots and travel other places with Kiyoko because sh-”

“Wait, that’s where you were?” you shout “Gallivanting around the country with HER!” you extend your arm pointing outside the door before you turn trying to leave again.

“N-No No Y/N you’ve got to listen to me” he said putting your hands on my shoulder “She has something, on me and I-I couldn’t I can’t get out of it. It’s deeper than just a simple shoot.” You were confused but you were so upset you just didn’t want to hear it so instead of listening to your boyfriend you decided to say “you’re so full of shit Akaashi” making him gasp at your coldness and the use of his last name. “ but hey I guess thats my fault for trusting you”

You finally left the room and went to go get a breather for a second with tears sparking in your eyes. You leaned against the wall and whispered “fuck” frustrated with the whole situation. Making you jump, Tsukishima said “you should go talk to him you know.”  

“What do you know Tsukki” he cringed at the nickname

“I know more than you Y/N, just go talk to him.” he said making you squint your eyes at him wondering what information he held.

When you walked back to Akaashi’s dressing room practicing an apology in your head. But you paused your arrival hearing Akaashi talking to the one and only, Kiyoko Shimuzu in his room.

“Let’s face it Akaashi, now that I’ve got this sex tape of us, I basically own you.” she said to him making your eyes widen.  

You decided the smartest thing to do was to pull out your phone and record as much as the conversation as you possibly could. Because you could already tell Akaashi was in a bind.

“The next thing I want you to do is...” she continued acting as if she was thinking “break it with Y/N!”

“No certainly not Kiyoko, you’re going too far.” he said making you smile internally that he still defended your relationship. “Me and Y/N are definitely NOT breaking up.”

“Akaashi are you forgetting that I have something over you.” she pulls out her phone and she plays a video, which you can only assume is the sex tape. You can hear a bunch of moans and groans which made your stomache ache.

Tired of hearing this, you burst into the room and say “What the fuck are you doing Kiyoko”  

“Oh Y/N how lovely for you to join us...” she said with a smile, “I was just discussing with your ‘boyfriend’ plans for our next shoots.”

“I always knew you were a bitch.” you say shocking your head at her.

“What do you mean Y/N?” she says with a fake smile, not knowing that you were listening in on your conversation “Actually Akaashi was telling me something he had to tell you... isn’t that right Akaashi.” you both looked over at him and he was scared and speechless.

“Oh you mean how you’ve been blackmailing him for the past two weeks...” you accuse  

“You have no proof of that.” She taunted  

“Oh do I..” you rebuttal then pressing play on the recording you just took watching as both Kiyoko and Akaashi look shocked. Kiyoko scurries out the room knowing she’s been caught leaving you with a triumphant smile.

You sit down, gesturing Akaashi to sit next to you. “Akaashi, I’m so sorry for not listening to you earlier I felt so betrayed thinking that you went agaisnt out agreement, but I guess I was just being a self-obsessed bitch” you say with you now looking down in shame.

“Y/N” he says with you still not meeting his eye “Y/N look at me” he lifted your chin up so you met his eye “It’s fine, It’s completely fine you didn’t know of course you didn’t know, how would you know of sex tape I unknowingly did back when I was 16!” he exclaims “Its fine, we’re good” he pulls you into a hug and kisses you on the forehead.

After you both calm down, Akaashi explains how Kiyoko started to blackmail him and how the agency loved the idea of them two being together (not the blackmailing) as it created a jealousy storyline between you and her and how every time they met she kept proposing ridiculous demands.

“Also, how did you know I ended doing the shoot?” he asks

“Oh a little bird told me” you tease  

“You mean a 6ft2 bird with blonde hair and a shit personality.” he retorts making you laugh  

“Heyy don’t be so mean, if it wasn’t for him I wouldn’t of came to save the day.”

“True, I’d give him that.”

Eventually, you and Akaashi go to your agency and present all your evidence and claims that Kiyoko was blackmailing Akaashi. Although they were upset, that Akaashi did partake in a sex tape they knew that they’d be an even bigger scandal if you presented your news that Japans sweetheart Kiyoko Shimuzu was blackmailing Akaashi Keiji. So the agency thought it was in everyones best interest if they got Kiyoko to sign an NDA saying that she will never bring forth or share the Sex Tape to anyone and she’ll agree to be dropped from the agency.

Your life was great now, with Kiyoko off your back and Akaashi being back to his usual self you couldn’t wish for anything more. You ended up doing the shoot persuading the design brand person (whatever the name for it is) to agree to let you do the shoot together instead of with other people. Both brands let you, because who wouldn’t want Akaashi Keiji and L/N Y/N to do a shoot together?

AUTHORS NOTE: this is the longest work ive written for a single character and i am TIRED lol..I’m so glad you’ve enjoyed my other works so I hope you enjoy this one.. to be honest I think with my works I start off strong and end shitly :// However I wanted to do something different today by making them models instead of students so I hope you like it. Now im off to read some fanfic so you guys have a good day!! <3 

[flashflashhundredyarddash]

batkids and their relationships with their siblings headcanons. under read more because this got fucking LONGGG

dick

dick is the eldest so he doesnt want to bog down his younger siblings with his problems, but if he DOES, he tends to talk to jason about it

dick and cass start to really begin to bond when Cass shows up to dicks gymnastics class for 3rd-6th graders and then cass shows up all the sixth graders and they get frozen yogurt after lmao

dick and tim are Very much thick as thieves. tim is very much like bruce on the Emotional Suppression scale, so dick just really wants to make sure his little brother is safe and happy ALL the time

Duke and Damian are the only two really permanently at the manor anymore, so when dick drops by he tries to do something with both of them. duke frantically zoom calls dick every other week to help him with his his trig homework. dick shows up to dukes high school graduation with literally the BIGGEST SIGN

everyone insists damian is dicks favorite but he does actually genuinely love all his siblings equally, his relationship with damian is just Very different from the others because of the age gap and being dami's primary caretaker for a year. dick babies dami every chance he gets

jason

would sell Dick to satan for One corn chip

him and cass don't have the greatest start to their relationship because cass is very much Against Killing so it takes a while for jason to warm up to her and earn her trust. now, though, jason is competing with steph by showing cass all the classic American Teenager things she missed out on. steph is currently winning but jason is like 98% positive a crunch wrap from taco bell is going to push him over the edge

tim and jason are currently competing over who can solve the most cases in a month. tim is winning. that won't last long.

jason Loves to Big Brother duke its so embarrassing. duke will get out of school and go to his car and jason is SITTING IN THE FRONT SEAT FRANTICALLY WAVING TO GET DUKES ATTENTION. JASON THAT IS MY CAR. signal has one (1) mission with arsenal and arsenal goes hey did you ask that girl to homecoming yet and duke is like I DON'T EVEN KNOW YOU.

Damian is proof that Actually, Little Brothers are Pests. Jason fully believes that he was brought back from the dead PURELY to torment damian and he will fulfill this mission at any cost

cassandra

it actually really upset her when Dick didn't accept her at first. she knows her other siblings really adore dick so his lack of trust was really disheartening. it takes dick a while but once he Actually Accepts that cass is going to be a permanent part of their life and oh, wow, dick you really hurt her feelings he really hyperfocuses on bonding with cass for a couple of months which definitely improves their relationship

she really likes jason!! their relationship doesn't start well but because he's close with steph and tim who are cass's top two favorite people to exist ever, cass is like well i GUESS ill hang out with him more. jason is fun to talk to because he always tries his best to explain jokes and give context to what people are talking about (also tim took her to taco bell already but she didn't tell jason she just wanted to hang out)

cass LOVES tim. they just click okay. tim always seems to know when to give her space and when to push and come closer. Tim's "guest room" is just her room lets be real. tim and cass occasionally get mistaken for twins and Cass Loves it.

duke makes cass listen to metal once and cass loses. her. damn. mind. they bond over music a lot because they both Love Music to a degree the others in their family don't.

damian!! damian is her little brother!!! dami isn't As Hostile to cass at first because he is 100% aware cass has the edge in fighting and respects her. cass likes all of his instagram posts and they have a snapchat streak going

tim

tim Loves dick, dick was his first sibling!! he had Very strong hero worship when he first met dick but it mellowed out when tim got older because wow 17 is really not that cool and mature lol. tim has an open invitation to dick's apartment which he does occasionally take advantage of. tim has more than once scared the shit out of wally when wally comes over and wally is convinced they're being robbed (HA) for half a second. i mean. he's not wrong.

listen. tim understands that forgiving the guy who tried to kill you would be a Struggle for some people and it was! definitely! but also at least he can trust jason to, uh, be open about if he doesn't like tim. which is not an assurance he has with other people. so if the guy who tried to kill him tells him tim is cool now then like. maybe tim isn't that bad or annoying a person? also jason arrested a whole gang and won the cases competition but then it created a power vacuum that the whole batfam had to clean up the rest of the month. thanks, jason.

tim LOVES cass. you know how most of the time theres this empty feeling inside you and you just kind of ignore it because you don't know what will fix it or if you do, you know you can't fix it? cass makes that empty feeling feel a little less empty. they just click. tim always tries to travel with cass whenever she leaves gotham.

tim and duke. Tim is actually the sibling who duke goes to whenever he has questions he doesn't want to ask bruce or alfred about, like, life or vigilante-ing or school or college or whatever and Tim is always like yes!! i love Giving Advice and Solving Problems!! tim and duke and jason fill out their college applications together.

tim and damian. LMAO. ROUGH START THAT'S ALL ILL SAY. at some point alfred goes like fuck it. family therapy. and tim and dami are PISSED. tim and damian get along best when they have a common enemy to work against. their relationship gets much better when damian is older and they actually talk about their feelings like emotionally stunted bats. despite how bad their relationship was, tim will ALWAYS protect damian

duke

very much intimidated by dick at first. dick is so much older and has his own job and friends and life and is very much AN ADULT. dick likes to take duke out to do lots of cool stuff (paintball, lasertag, tech exhibitions, concerts, etc). also, dick PERSONALLY introduced duke to superman and is dating THE FLASH. 10/10 awesome big brother.

was intimidated by jason for 0.5 seconds before jason actually opened his mouth and started speaking. jason is literally. So Embarrassing. which is weird because nobody else really seems to feel that way about jason but duke knows he's 100% in the right here. like yeah jason is also An Adult and does Adult Stuff but he's also at the manor like every other weekend???? and he always complains about bruce but always seems to be in the same room bruce is in????? like okay jason. they bond over literature!! jason and duke and alfred will spend literal hours talking about books and duke loves it. duke is the only one who doesn't think jason is funny and jason gets so upset about it lmao.

cass has this one week where she gets really into photography and by virtue of being nearby (and also not nocturnal), duke becomes her victim subject. duke prints out all the pictures and hangs them up in his room (his favorite is one he took when he stole the camera and took a really bad selfie of them together).

tim is closest in age to duke so duke tends to hang around with him a lot. tim introduced duke to his young justice friends and duke is like yes!!! meta-friends!!!! tim really helps duke out with his powers because tim is always like wow i wonder if your powers would work if we did This? can you see farther than other people? is your visible spectrum of light different than other humans? Bruce does the same thing but bruce is boring about it lol.

damian and duke live in the same house and will be in the same room and just send each other social media posts back and forth. they follow each other on instagram and will, OCCASIONALLY, make tik toks together because they're tik tok fiends. each of his siblings have visited his parents once or twice but damian routinely comes with him.

damian

damian gets a special bullet point to say that it took him. forever to come around to the idea of having siblings. he very much believed that he was Bruce's Blood Son and everyone else were just tagalongs or allies. it took him ages to acknowledge that dick, jason, tim, and cass were his siblings, so when duke came and like a week later damian was like Ah, Yes, this is my brother Thomas everyone else was like dude wtf

listen. LISTEN. Obviously. Richard is very highly skilled. and also Father values him highly. and also Richard will listen to Damian complain about his schoolmates. and also Richard is much more patient with Damian than other members of his family. listen....,,, (all this to say damian kind of fucking adores dick lmaooooo this kid).

Todd is kind of unbearable but damian has been informed this is both a normal feeling when it comes to Todd and also big brothers. damian was an only child for ten years so yes, Father, if Todd attempts to tickle me I WILL break his fucking nose. yes i WILL put money in the swear jar but I want you to know i don't regret it. they always try to sneak up on each other but mostly fail.

DRAKE!!! but no lol once damian grows up and is like I Apologize for attempting to murder you it was wrong and you are just as much a son to Father as I am tim is like UGH i guess its cool since ur being so emotionally mature and all. also im 2 for 5 on siblings trying to murder me so im definitely going to win trauma bingo and damian is like i take it back you are insufferable. When Will My Older Siblings Stop Joking About Their Trauma.

CASS!!! listen. cass is cool. Cass Gets It. They have a special Bond. also damian really likes it whenever cass is home because 1) he gets to hang out and do something cool with cass and 2) he feels significantly safer with cass in the house because Nobody will be able to hurt any of their family if Cass is there. ALSO he tries to call her cain but everyone is like DONT DO THAT and he doesn't want to call her wayne bcus theyre ALL wayne (dick adds it on as a middle name but also Richard John Wayne West-Grayson is just. the lamest name ever so dick needs to reconsider it before his upcoming nuptials)((dick will not reconsider it except maybe whether grayson-west would work better)) and so he tries cassandra but cass is like :) call me cass and damian is like cassandra is more formal and respectful and cass is like :) and finally damian just has to give in.

Duke! him and duke actually live together so they get the Most Bonding Time and have a bunch of inside jokes as a result. (is it bad i wanted to laugh because inside jokes... joker... i'll see myself out). they're eating breakfast together (and also alfred sits with them IM NOT A MONSTER ALFIE'S LIKE 70 NOW OKAY) and duke laughs and bruce is like what are you laughing at, son? and duke is like oh damian just showed me this funny meme and then he shows the phone to bruce and bruce grabs it (both the boys groan) and after WAY TOO LONG is like "i don't get it" and so now duke and damian have to try and explain the comedic intricacy of bob's burgers

[phoenixyfriend]

Re; Ahsoka and Quinlan being the same age, now I'm picturing Ahsoka, Quinlan, and Rex eventually ending up in a weird sorta thruple where Quinlan comes in and out of the relationship but the door is kinda always open for him? And Rex spends a lot of mornings eyeing the tangle of orange and brown skin on the other side of the bed like he has no idea how he ended up here but he's (mostly) okay with that tbh

Context: Commander Buir in chronological order

YES okay so this is wild to me that people are invested in this but like half the time-travel fics with Ahsoka in the same age-group as Quinlan have me wondering if I should ship them. Let me just. Ho shit.

So, okay, I've explored a lot of possible dynamics but there's something really engaging about how Quinlan, trained as a Shadow before the Sith came back, could react to a War Padawan. Ahsoka isn't really infiltration material yet, she's very much a frontline fighter, but she's got a lot more experience with a kind of consistent dark atmosphere that most Jedi don't. They get exposed to plenty of dark stuff, sure, but not the kind of all-encompassing "this is my life for the last two years" thing that is usually reserved for the long-term field agents like Shadows and Watchmen.

The War Padawans, for all that they were supposed to be just normal Jedi Padawans, were living in the kind of consistently negative environment that's normally experienced by those Knighted Sentinels.

So Ahsoka, while still generally pretty young in these AUs, is a very odd kind of person to be around, because she's spunky and vivacious and snippy and affectionate and snarky and knows how to break every bone in your body from harrowing experience as the only thing standing between death and thousands of brothers.

And Quinlan, I imagine, really likes that about her. She gets it, and she's still an energetic and loving and trying to do her best to be a good person despite everything. He gravitates towards her and she... well, she's not blind. She can tell he's interested. And she's not upset about that.

ANYWAY, ONTO REX

So, Rex is... technically twelve. He hasn't exactly got a whole lot of experience with romance. He is also, up until the point of time-travel, legal property of the Senate and the Jedi Order, which means that Ahsoka, or at least her community, owns him. He was indoctrinated to serve her and that community. She also outranks him, for all that she usually lets him take the lead in the field due to experience. He's older than her physically and maturity-wise, but she's also had a grow-up-faster-than-you-should adolescence, and she has superpowers.

What I'm saying is, the power dynamic is fucked up.

(Unironically I spent hours last night realizing that it balances out a lot more than C*dywan does, which I'm censoring because by god do I not want discourse on this post. I like both ships, and don't want to argue about what's the most problematic. It's Star Wars. The only unproblematic ships are Bail/Breha and Owen/Beru.)

Here's the thing, though, because the main thing people seem to argue here is the age/maturity difference as a problem area:

The age difference in actual time is four years, which is smaller than the two main ships of the franchise (Han/Leia and Padme/Anakin, to be clear). The age difference in maturity is ??? We'll say that the clones started aging normally after they hit twenty, so the age difference in maturity is six years... which is still normal for SW ships.

(This is why I don't have any issues with the ship in a post-O66 context, once they've had a few years to move past the traumas and whatnot. The age stuff all evens out with time, they're a good team, and neither was grooming the other. It's not objectively any more problematic than most SW ships at that point, and I'm okay with that. They deserve to be happy if they want.)

But they get yanked away from all that structure of who owns what, who reports where, who has which rank, who's legally a person in the eyes of the Republic when they end up on Dagobah. Once they've registered when they are, the only remaining complications are:

He grew up in a cultlike environment and was indoctrinated to serve her (but has been replacing that indoctrination with genuine respect and affection for her as a person because they've worked together for two years).

She has superpowers (contextually not a big problem: we see several Force-Sensitive/Non-Sensitive ships that don't consider those powers a complicating element)

He's several years younger than her (canonically less of an issue than it could be: Cut got married and has kids) and has next to no experience with what a normal romance looks like except for hanging out on the edges of whatever the fuck his General has going on with the Senator

She's several years less mature than he is (...something of an issue)

So a lot of this is mostly okay. She feels weird about the fact that she's got more knowledge of romance and all that it entails. He feels weird about the fact that, despite her being older, he looks at her and sees someone that's still a little young, not quite a shiny. Except she is older than him, and he's seen her behead four people in a single move, and they've saved each other's lives more times than either of them can count anymore. He respects her, and the fact that she's babyfaced doesn't change the fact that, in terms of who they are as people and warriors, they're on a level playing field.

She still looks at him and mourns his lost childhood, and he still looks at her and takes a moment to see past the too-big eyes and adolescent proportions.

But they really, really care about each other, and maybe part of them is starting to recognize that there's a bit of a crush before they time-travel, but neither one wants to make a move. There's a lot of baggage on both sides, a lot of "but they're a child" and "but they're (literally vs functionally) below me in the chain of command, I can't take advantage of that" and all that fun stuff. It's the kind of situation where two people circle each other for ages without making a move, because actually making that move is terrifying on account of not knowing whether the other party knows they can say no, on top of the usual "what if it ruins our friendship?" thing.

What happens on Dagobah, though... is very tropey. They're sort of stranded until Ahsoka can fix the ship, and that takes time. The area is also very heavy with the Force, dense and heady with the energy it carries, and it's... actually really not great for Ahsoka. She keeps feeling like she's back on Mortis, and has nightmares from the trigger there, but also keeps hallucinating because she wasn't ready for the thickness of the energy (like Yoda) or still new enough to the Force that she couldn't feel how dense it all was (like Luke). She can't work on the engines as constantly as she'd like to get them out of there, and while Rex is a competent mechanic, he's not as skilled with it as the girl who jumped headfirst into lessons with Anakin.

Rex spends a lot of time holding Ahsoka and wiping her brow with a wet cloth while she's feverish and out of it. Yes we're going full Florence Nightingale romance here, let me have my fun.

They get the communications relay working earlier than the engine, find out the year is wrong, panic a bit. All is well. (It's not, but they're holding it together for now.)

Ahsoka keeps working on the engine when she's lucid. Rex keeps hunting up game and edible plants for them while she does. They cuddle at night, because it's not cold but it is empty of the people they care about, and they kind of want that reassurance of someone they trust and love at their back.

(Morai visits.)

(Daughter shows up in the nightmares, tells Ahsoka that age will not come for her beloved until the time is natural for it. The phrasing is dumb but she does manage to convey that the accelerated aging is no longer an issue, if it even was after they hit adulthood. Ahsoka is relieved.)

And, you know, emotions happen. She takes his hand while they're leaning up against each other. He kisses her forehead while she's having a bad spell. They cook together and tell jokes to keep sane and spar. They hug each other through nightmares and panic attacks. There is much blushing. There is much cuddling.

Once, they kiss.

They break apart, flushing and stammering and being very awkward about the whole thing, and make excuses to leave and panic about the fact that they!! Kissed!!!!!

A couple hours later they find each other again, and have a long and complicated discussion about why they like each other (war makes bedfellows, there's trust and affection and all that fun stuff) and why they're hesitant (age stuff, maturity stuff, prior indoctrination), and make the decision to take it slow. They cuddle, and kiss, and blush a lot because both of them are basically just dumb teens having their first real relationship.

They eventually leave the planet, make it to Coruscant, etc. It takes a bit for anyone except Obi-Wan to realize that something's changed between them. Most people didn't know them before, and Anakin's observation skills are currently at a very low ebb. But they sit together and hold hands, and flirt when they spar, and once or twice people find them kissing (both standard and Keldabe) in a corner while holding hands and then just smiling at each other like loons.

They end up rooming together because nobody has the heart to separate them after hearing about all the war stuff. Like yes attachment's bad, but these two do seem to understand loss of loved ones and recognize that they could lose each other at any time and death is natural and they won't lose their entire shit about it, and if even General Kenobi is anxious as hell about being separated from the people he fought side-by-side with for two years, then maybe it's just... really normal for those two to want each other's company, and everyone can just turn a blind eye to the romance happening.

They share a bed, but they only ever sleep in it. Like, there's some goodnight kisses and cuddles, but everything is very G-rated until they've had time to settle into being true equals instead of just the "well, I guess the power dynamics balance out? Maybe?" of before.

And just... yeah. Rex does not believe that he's in this good of a position whenever he has the time to think about it. He's got a girlfriend! A really pretty, smart, strong, skilled one! Who thinks he's a cool dude! How the fuck did a clone like him manage that? He wasn't even legally a person a year ago, how did he end up in bed with one of the most amazing people he's ever met? He spends multiple nights just staring at her while he tries to fall asleep, asking himself how he got here and just like... marveling at her. She's worth marveling at. He's in love and she's amazing and he has no idea how to handle it at all.

...yeah no I have a lot of feelings now.

[potteresque-ire]

Hello. I just turned to be a turtle recently after being a solo fan mostly because of toxic atmosphere of solo fans. May I ask, were relationships between XZ and YB solos always so intense and also bad attitude to BJYX even during the promotion “the untamed”? Or did this conflict start after the events of 2020? Thank you in advance.

Hello, and Happy 2021! I’m a super new fan of the fandom, and so these aren’t questions I’m qualified to answer at all. I’m more comfortable providing some wider sociopolitical contexts to fandom-related events because I’ve been reading about Chinese news for a loooong time. My “investigative interest” (oh dear, that sounds so pretentious) is also more on understanding the CP culture in general, how it ties with the country’s state of affairs rather than focusing specifically on Gg and Dd. While I’ve read back on some history re: gg and dd’s fandoms, Tumblr is the only site where I’ve interacted directly with fellow fans.

But I’ve written up what I’ve understand about solo and CP fans for c-dramas so far, mostly for my own benefit (I have a ridiculously poor memory!). Maybe it can offer some insight? This is very new information to me as well; so, if anyone spots something wrong or wants to supplement, please jump right in!

Wars between the fans of the leads of a CP (“ship” in English; stands for “couple”) aren’t new. Conflicts between solo and CP fans also aren’t new.

Competition is the most obvious cause of wars between the fans of the leads of a CP. Especially in the case of M/M pairings, the person “bound” to each idol by their CP is also, by default, about the most “direct” competitor one can have. They’re likely to be of the same age group, share similar fan demographics. Popularity of young male idols (often called “Little Fresh Meat” 小鮮肉, a nickname I’ve abhorred for the decade or so it’s come to existence) also isn’t expected to last, so the two CP leads must make the most of their newfound fame within the same time frame. The competition is more than fighting for similar roles; in China, another major arena is endorsements, in which an idol’s popularity is by measured by 1) the number they hold and 2) the units they sell. Here in the US, stars choose their endorsements based on how well they fit their image; there, stars take as many as they can as long as the negotiated terms are satisfactory. Hence, dd is the spokesperson of 25 products / services in 2020 (including an insurance company (!!)).

I’ve also read about this norm in the industry, which I have yet to verify: in China, if two stars compete for the endorsement of the same brand product, the one who loses will not get endorsements of same products from different brands — at least, not in the short term — because any brand who uses the star who lost would be seen as inferior. Hence, to lose the competition on one endorsement deal can mean losing the endorsement deals for an entire category of products.

(Someone on Weibo has pointed this out: while Gg and Dd have often endorsed competing brands of the same product: Budweiser (gg) and Yenching beer (dd), for example; they have never fought for the endorsement of same brand product. Again, I haven’t verified this.)

This part is easy to understand.

The next question is: why are solo fans against CP fans? “Girlfriend fans” — solo fans who can’t bear to seeing their idol paired up with anyone other than themselves — only make up a fraction of the fandom. How are CP fans generally perceived? 

My key findings so far: CP fans are *perceived* to be more likely to express negative views about their idol paired up with other actors / actresses, which will affect viewership and ratings, restrict the kind of roles their idol will be invited to play. More importantly, CP fans are *perceived* as fickle — more likely to walk away after their favourite CP drama has ended, because as CP lovers, they’re thought to be equally in love with the romantic gestures as with the stars who perform them on/off stage. ie, When another drama comes along featuring the same romantic gestures, the CP fans are expected to jump ship.

I highlight the word “perceive”, because while it doesn’t matter how solo fans see CP fans, it does matter how the business side of c-ent view CP fans and it appears to share this view. The c-YiZhan fandoms have been unhappy with the publicity of the upcoming adapted BL dramas for this reason — aside from their allegations that it’s copying The Untamed’s BTS, the thing that has offended them the most, perhaps, is the very idea that the marketing departments thought a few “leaked” photos of the leads acting intimately close are enough to woo them away from YiZhan, from Gg and Dd.

Given this, perhaps, prevalent view of CP fans, CP fandoms have been viewed as something disposable, almost, to be made, used and discarded quickly. 

Before and during the airing of the drama, the marketing / publicity teams fuel and encourage CP fandoms, reap the benefits in viewership from the ensuing discussions and hot searches. Solo fans usually aren’t threatened by CP fandoms in this nascent phase—CP fandoms have been far smaller in size and only grow during the broadcast.

More importantly, the norms have been that CP fandoms do not last.

CP fandoms do have a tendency to “self-combust” over time: fans * within * the fandom accusing each other of being partial to one of the leads — spending more money on A’s endorsements, for example, or buying more copies of B’s music. However, this isn’t how many CP fandoms die. Instead, once the show is over, the process of “Breaking the CP” begins. I’m not sure who gets this process going, but my guess is the leads’ management companies, with consent (willing or unwilling) from the actors. Breaking the CP means having the CP leads avoid each other as soon as the drama is done airing, and for as long as it takes for the CP fandoms to dissipate. It means no more appearing in the same drama and shows; no more sharing a stage; and if they happen to be at the same event, they are to communicate as little as possible. This “loosening the bind” between the leads is designed to free the actors up for the next CPs, and its way of execution can be very abrupt, very … cruel for the CP fans. For one of 2020 summer dramas (Love and Redemption 琉璃), for example, a popular character (het) CP pairing was broken up in the last fan meet, 10 days after the final episode had aired. The fan meet was marketed as a CP event (there was even merch for the CP); CPs fans bought the tickets, perfectly aware of the unsaid “CPs are made to be broken” rule and it’d likely be the last time they’d see their CP together. But the organisers denied them even this last chance; the leads of the CP had no interactions, not even eye contact during the entire event. The actor didn’t acknowledge the actress in his farewell speech. The fans understandably got upset; even outsiders sympathised, stating that the CP-breaking could be handled with a little more consideration. Word on the street was that because the male lead already had other dramas lined up, the CP had to be broken up as quickly as possible.

(Weibo Night from almost a year ago was seen as a “Break the CP” event for Gg and Dd. Some turtles still cry at the memory of it.)

There’s a term related to the breaking of CPs: 提純 (“increasing the purity”). It describes the ultimate goal of breaking CPs: increasing the proportion of solo (”pure”) fans by breaking up the CP and having the solo fandoms of each lead absorb the CP fans. Because solo fans are *perceived* to be more loyal (won’t jump ship the next romantic drama comes along), less likely to draw criticisms (especially if the CP is M/M and/or affect the RL lives of their stars), and have more purchasing power (as CP fans have to divide their resources between the two leads and equally).

How does this affect how solo fans see CP fans? Another way to say the above is: one CP fan is one fan the two solo fandoms fail to capture. One more CP fan is one less solo fan. “CP fan” should be a temporary identity. CP fandoms sequester resources from the solo fandoms until they’re broken up.

This sets the stage for conflicts if the CP fandoms refuse to fade, if the CP fans refuse to turn solo.

The conflict between solo and CP fandoms is, of course, even more heated for real-person CP’s, which can, indeed, pose a significant threat to the leads’ life and career. An easy example of the former is if one of the CP leads are in a RL relationship, and/or if the lead is straight but the CP is queer (this is the case for The Guardian (2018), the first popular adapted BL “dangai” drama). Another major issue with real-person CPs (queer or not) is that the media will make frequent comparisons of the leads’ follow-up career. If the CP “bind” remains, the lead perceived as less popular may be viewed as using the more popular one to sustain their popularity. Fans of the more popular lead do not take that well. The management company of the less popular lead takes that even less well, and its PR team will work even harder to eliminate the CP from public discussion.

Overall, the “breaking the CP” strategy works as intended. As long as the CP leads stop interacting, no more new candies are generated for the CP fandoms, and even the best candies have an expiration date. The CP fans move on, often to other CP pairings—the CP breaking process often leave them hurt and disappointed at the leads—and further propagating the perception that they are fickle souls who prefer candies over actors.

With this background, it doesn’t surprise me that the relationship between the fans of Gg, Dd, and Yizhan has been so intense since the airing of the Untamed… it would actually surprise me (much) more if it isn’t.

First and foremost, if I take away my YiZhan-tinted lens (as much as I can anyway!), the competition between Gg and Dd automatically becomes The Battlefield in c-ent. Gg and Dd are among the most popular idols right now, and there’s a strong urgency in this competition as idol popularity is perceived to have a limited shelf life. Now, 18 months after The Untamed, Gg and Dd are not only vying for survival in the same industry—which may encourage cooperation between the two solo fandoms—they’re vying for the throne.

Things are already extra tense that way. Here’s an analogy I can think of—it’s easier to accept losing a lottery by getting every number wrong than getting a single number wrong, and by one count. It’s harder for solo fans to accept being number 2, when number 1 was a co-star, the other half of their idol’s CP.

Now, into this unresolved tension, throw in a huge curveball known as the YiZhan fandoms. A curveball that isn’t even supposed to exist — CP fandoms are all supposed to fizzle out quickly after the show is over. Instead, the BJYX supertopic on Weibo (by far the biggest of the three Yizhan CPs) had 1.5 million members in January 2020. It now has 2.8 million (January 2021).

(For reference, dd’s supertopic has 5.4 million members and gg’s, 7.7 million.)

These YiZhan fandoms aren’t merely living on their last breath, their stale candies. They’re thriving. Self-combustion hasn’t happened. CP fans of Gg and Dd keep finding fresh candies, keep having new things to rejoice and scream about.

If I put myself in the shoes of a solo fan, what does this continued growth of the YiZhan fandoms mean? It means the “binding” between My Idol and That-Other-Idol-Who-Shall-Not-Be-Named, each a contender of the c-ent throne, is strengthening instead of loosening. It means more and more fans of My Idol are exhibiting signs of wavering loyalty, by becoming fans of both My Idol and That-Other-Idol. Fan culture in China is highly organized, requiring strategy, cooperation and obedience when it comes to generating the best numbers for their idol (sells, ratings, viewership etc). Having to rely on the fickle CP fans to generate these numbers means uncertainty and anxiety.

People behave differently when they’re nervous. Some chew on their fingernails. Some attack.

2020, of course, make the solo fandoms even more nervous about each other. Gg, post-227, isn’t a safe person to be “bound to”, and also to have one’s career compared against—given the bad publicity that has circulated around him, given the fact that he has managed to stay on top in spite of it. Dd, meanwhile, has grown in popularity while Gg goes into hiding—while I personally do not, for a moment, believe Dd has anything to do with 227, it is within human nature to ask: if one loses—and in a manner so publicised, so catastrophic that even the Western media reported on it—who has the most to gain? Work culture in almost every industry in China is extremely cut-throat, and securing victory by not-so-clean methods isn’t uncommon with the immense pressure to perform. Fans are bringing in their experiences from RL in how they view their idol’s competition—with suspicion, with defensiveness. With swords sharpened and ready for counterattacks.

The ultimate cherry-on-top when it comes to causing conflicts between Gg’s, Dd’s and YiZhan fandoms is, of course, the fact that YiZhan is no garden-variety, heterosexual, character CP. It’s a M/M real person CP, in a society where homosexuality, while legal, is still considered “non-mainstream values” and explicitly censored from TV; where personal freedoms have overall been tightening and laws can change overnight. It’s one thing if their idol is truly in a queer relationship and chooses to announce it themselves; it’s a whole different story if it’s some fans of another idol who “out” them—who publicise their queerness that, in the eyes of these solo fans, may very well be fictional. 227 has already confirmed that in c-ent, idols pay the price of their fan’s wrongdoings and in this case, all it takes is for the YiZhan fandoms to make a single mistake—to celebrate one candy too loudly, for example (“to dance outside the circle”), and catch the attention of the wrong government official — to not only cost their idols their popularity, but their whole career. To the solo fans, therefore, the mere existence of the YiZhan fandoms pose a huge risk to their idol that should’ve been avoidable in the first place. And when they check out the new candies, what do they see? They see Gg leaving hints suggestive of Dd; they see Dd doing inexplicable things that can be linked to Gg. c-Turtles joke sometimes that solo fans are even better than they are at spotting the connections between Gg and Dd. But while turtles see these connections as evidences of a romantic relationship, what solo fans see is the other idol latching onto their own, whose fame makes it a reasonable act; they see it as the other solo fandom carelessly jeopardizing their own idol’s career for the sake of more noise and popularity.

The solo fandoms end up fighting. They have few reasons NOT to do so without the YiZhan-tinted lens.

That said though, I’m not sure if the wars between Gg’s, Dd’s and YiZhan fandoms are truly getting worse. As I write this, my thought is: perhaps it’s not that the fans are disliking each other more, but rather, more and more people are getting involved, and the stakes, the risks are becoming higher and higher. Gg and Dd both had fans during the filming of The Untamed, but they were a small fraction, quantity wise, to what it is now. Even if, at the time, 100% of Gg and Dd fans hated each other, they still wouldn’t have generated the noise than, say, if 0.01% of Gg’s fans are arguing with 0.01% of Dd’s fans now. The arguments then, however ugly they could be, would’ve stayed off hot searches, and largely within the two fandoms. These days, however, when even Gg shaking a pen can make it into hot search (as he did during the Tencent Awards), every heated exchange is amplified by passer-bys, by antis, by done-for-money re-bloggers. Quarrels snowball exponentially to the number of mouths pitching in; so does the antagonistic sentiments behind the hurtful words purposefully or accidentally spilled. Meanwhile, the c-YiZhan fandoms have reached the size that as much as they’ve tried to keep everything away from the public eye, it’s not really possible anymore. Search BJYX online, and videos after videos pop up for any outsider who wish to get a primer—and there’s no control over that content. Gg and Dd’s commercials hint at it. The Tencent Awards show host cued it. Before, the YiZhan fandoms may still be able to get away with a mistake or two. Now, they can make half a mistake and all the info already floating around will make sure that half a mistake will round to one.

If I were a solo fan, perhaps I’d scream my lung out too. Think of how terrible this all is, if Dd(Gg) is actually Gg(Dd)’s most fierce competition, as his being the other half of the CP is meant to be. Think of all the damages these fantastical speculations can do, if My Idol isn’t queer and tomorrow, the government comes down with a decree that outlaws queerness. Maybe My Idol will be spared if he isn’t at the top. But My Idol is at the top. Everyone will point to him. The hot searches will show his name, make sure the powers-that-be see it. He … his downfall… can be made an example …

Okay, okay, I’ll stop playacting here. Phew. That was scary * pats turtle shell to confirm its presence * :) . But can you see how deep that fear can go, for a fan who really, really loves and is therefore protective of their idol? How this fear, which stems from love, can turn into hate and generally loud, angry yelling across the internet? 

[innuendostudios]

Thoughts on: Criterion's Neo-Noir Collection

I have written up all 26 films* in the Criterion Channel's Neo-Noir Collection.

Legend: rw - rewatch; a movie I had seen before going through the collection dnrw - did not rewatch; if a movie met two criteria (a. I had seen it within the last 18 months, b. I actively dislike it) I wrote it up from memory.

* in September, Brick leaves the Criterion Channel and is replaced in the collection with Michael Mann's Thief. May add it to the list when that happens.

Note: These are very "what was on my mind after watching." No effort has been made to avoid spoilers, nor to make the plot clear for anyone who hasn't seen the movies in question. Decide for yourself if that's interesting to you.

Cotton Comes to Harlem I feel utterly unequipped to asses this movie. This and Sweet Sweetback's Baadasssss Song the following year are regularly cited as the progenitors of the blaxploitation genre. (This is arguably unfair, since both were made by Black men and dealt much more substantively with race than the white-directed films that followed them.) Its heroes are a couple of Black cops who are treated with suspicion both by their white colleagues and by the Black community they're meant to police. I'm not 100% clear on whether they're the good guys? I mean, I think they are. But the community's suspicion of them seems, I dunno... well-founded? They are working for The Man. And there's interesting discussion to the had there - is the the problem that the law is carried out by racists, or is the law itself racist? Can Black cops make anything better? But it feels like the film stacks the deck in Gravedigger and Coffin Ed's favor; the local Black church is run by a conman, the Back-to-Africa movement is, itself, a con, and the local Black Power movement is treated as an obstacle. Black cops really are the only force for justice here. Movie portrays Harlem itself as a warm, thriving, cultured community, but the people that make up that community are disloyal and easily fooled. Felt, to me, like the message was "just because they're cops doesn't mean they don't have Black soul," which, nowadays, we would call copaganda. But, then, do I know what I'm talking about? Do I know how much this played into or off of or against stereotypes from 1970? Was this a radical departure I don't have the context to appreciate? Is there substance I'm too white and too many decades removed to pick up on? Am I wildly overthinking this? I dunno. Seems like everyone involved was having a lot of fun, at least. That bit is contagious.

Across 110th Street And here's the other side of the "race film" equation. Another movie set in Harlem with a Black cop pulled between the police, the criminals, and the public, but this time the film is made by white people. I like it both more and less. Pro: this time the difficult position of Black cop who's treated with suspicion by both white cops and Black Harlemites is interrogated. Con: the Black cop has basically no personality other than "honest cop." Pro: the racism of the police force is explicit and systemic, as opposed to comically ineffectual. Con: the movie is shaped around a racist white cop who beats the shit out of Black people but slowly forms a bond with his Black partner. Pro: the Black criminal at the heart of the movie talks openly about how the white world has stacked the deck against him, and he's soulful and relateable. Con: so of course he dies in the end, because the only way privileged people know to sympathetize with minorities is to make them tragic (see also: The Boys in the Band, Philadelphia, and Brokeback Mountain for gay men). Additional con: this time Harlem is portrayed as a hellhole. Barely any of the community is even seen. At least the shot at the end, where the criminal realizes he's going to die and throws the bag of money off a roof and into a playground so the Black kids can pick it up before the cops reclaim it was powerful. But overall... yech. Cotton Comes to Harlem felt like it wasn't for me; this feels like it was 100% for me and I respect it less for that.

The Long Goodbye (rw) The shaggiest dog. Like much Altman, more compelling than good, but very compelling. Raymond Chandler's story is now set in the 1970's, but Philip Marlowe is the same Philip Marlowe of the 1930's. I get the sense there was always something inherently sad about Marlowe. Classic noir always portrayed its detectives as strong-willed men living on the border between the straightlaced world and its seedy underbelly, crossing back and forth freely but belonging to neither. But Chandler stresses the loneliness of it - or, at least, the people who've adapted Chandler do. Marlowe is a decent man in an indecent world, sorting things out, refusing to profit from misery, but unable to set anything truly right. Being a man out of step is here literalized by putting him forty years from the era where he belongs. His hardboiled internal monologue is now the incessant mutterings of the weird guy across the street who never stops smoking. Like I said: compelling! Kael's observation was spot on: everyone in the movie knows more about the mystery than he does, but he's the only one who cares. The mystery is pretty threadbare - Marlowe doesn't detect so much as end up in places and have people explain things to him. But I've seen it two or three times now, and it does linger.

Chinatown (rw) I confess I've always been impressed by Chinatown more than I've liked it. Its story structure is impeccable, its atmosphere is gorgeous, its noirish fatalism is raw and real, its deconstruction of the noir hero is well-observed, and it's full of clever detective tricks (the pocket watches, the tail light, the ruler). I've just never connected with it. Maybe it's a little too perfectly crafted. (I feel similar about Miller's Crossing.) And I've always been ambivalent about the ending. In Towne's original ending, Evelyn shoots Noah Cross dead and get arrested, and neither she nor Jake can tell the truth of why she did it, so she goes to jail for murder and her daughter is in the wind. Polansky proposed the ending that exists now, where Evelyn just dies, Cross wins, and Jake walks away devastated. It communicates the same thing: Jake's attempt to get smart and play all the sides off each other instead of just helping Evelyn escape blows up in his face at the expense of the woman he cares about and any sense of real justice. And it does this more dramatically and efficiently than Towne's original ending. But it also treats Evelyn as narratively disposable, and hands the daughter over to the man who raped Evelyn and murdered her husband. It makes the women suffer more to punch up the ending. But can I honestly say that Towne's ending is the better one? It is thematically equal, dramatically inferior, but would distract me less. Not sure what the calculus comes out to there. Maybe there should be a third option. Anyway! A perfect little contraption. Belongs under a glass dome.

Night Moves (rw) Ah yeah, the good shit. This is my quintessential 70's noir. This is three movies in a row about detectives. Thing is, the classic era wasn't as chockablock with hardboiled detectives as we think; most of those movies starred criminals, cops, and boring dudes seduced to the darkness by a pair of legs. Gumshoes just left the strongest impressions. (The genre is said to begin with Maltese Falcon and end with Touch of Evil, after all.) So when the post-Code 70's decided to pick the genre back up while picking it apart, it makes sense that they went for the 'tecs first. The Long Goodbye dragged the 30's detective into the 70's, and Chinatown went back to the 30's with a 70's sensibility. But Night Moves was about detecting in the Watergate era, and how that changed the archetype. Harry Moseby is the detective so obsessed with finding the truth that he might just ruin his life looking for it, like the straight story will somehow fix everything that's broken, like it'll bring back a murdered teenager and repair his marriage and give him a reason to forgive the woman who fucked him just to distract him from some smuggling. When he's got time to kill, he takes out a little, magnetic chess set and recreates a famous old game, where three knight moves (get it?) would have led to a beautiful checkmate had the player just seen it. He keeps going, self-destructing, because he can't stand the idea that the perfect move is there if he can just find it. And, no matter how much we see it destroy him, we, the audience, want him to keep going; we expect a satisfying resolution to the mystery. That's what we need from a detective picture; one character flat-out compares Harry to Sam Spade. But what if the truth is just... Watergate? Just some prick ruining things for selfish reasons? Nothing grand, nothing satisfying. Nothing could be more noir, or more neo-, than that.

Farewell, My Lovely Sometimes the only thing that makes a noir neo- is that it's in color and all the blood, tits, and racism from the books they're based on get put back in. This second stab at Chandler is competant but not much more than that. Mitchum works as Philip Marlowe, but Chandler's dialogue feels off here, like lines that worked on the page don't work aloud, even though they did when Bogie said them. I'll chalk it up to workmanlike but uninspired direction. (Dang this looks bland so soon after Chinatown.) Moose Malloy is a great character, and perfectly cast. (Wasn't sure at first, but it's true.) Some other interesting cats show up and vanish - the tough brothel madam based on Brenda Allen comes to mind, though she's treated with oddly more disdain than most of the other hoods and is dispatched quicker. In general, the more overt racism and misogyny doesn't seem to do anything except make the movie "edgier" than earlier attempts at the same material, and it reads kinda try-hard. But it mostly holds together. *shrug*

The Killing of a Chinese Bookie (dnrw) Didn't care for this at all. Can't tell if the script was treated as a jumping-off point or if the dialogue is 100% improvised, but it just drags on forever and is never that interesting. Keeps treating us to scenes from the strip club like they're the opera scenes in Amadeus, and, whatever, I don't expect burlesque to be Mozart, but Cosmo keeps saying they're an artful, classy joint, and I keep waiting for the show to be more than cheap, lazy camp. How do you make gratuitious nudity boring? Mind you, none of this is bad as a rule - I love digressions and can enjoy good sleaze, and it's clear the filmmakers care about what they're making. They just did not sell it in a way I wanted to buy. Can't remember what edit I watched; I hope it was the 135 minute one, because I cannot imagine there being a longer edit out there.

The American Friend (dnrw) It's weird that this is Patricia Highsmith, right? That Dennis Hopper is playing Tom Ripley? In a cowboy hat? I gather that Minghella's version wasn't true to the source, but I do love that movie, and this is a long, long way from that. This Mr. Ripley isn't even particularly talented! Anyway, this has one really great sequence, where a regular guy has been coerced by crooks into murdering someone on a train platform, and, when the moment comes to shoot, he doesn't. And what follows is a prolonged sequence of an amateur trying to surreptitiously tail a guy across a train station and onto another train, and all the while you're not sure... is he going to do it? is he going to chicken out? is he going to do it so badly he gets caught? It's hard not to put yourself in the protagonist's shoes, wondering how you would handle the situation, whether you could do it, whether you could act on impulse before your conscience could catch up with you. It drags on a long while and this time it's a good thing. Didn't much like the rest of the movie, it's shapeless and often kind of corny, and the central plot hook is contrived. (It's also very weird that this is the only Wim Wenders I've seen.) But, hey, I got one excellent sequence, not gonna complain.

The Big Sleep Unlike the 1946 film, I can follow the plot of this Big Sleep. But, also unlike the 1946 version, this one isn't any damn fun. Mitchum is back as Marlowe (this is three Marlowes in five years, btw), and this time it's set in the 70's and in England, for some reason. I don't find this offensive, but neither do I see what it accomplishes? Most of the cast is still American. (Hi Jimmy!) Still holds together, but even less well than Farewell, My Lovely. But I do find it interesting that the neo-noir era keeps returning to Chandler while it's pretty much left Hammet behind (inasmuch as someone whose genes are spread wide through the whole genre can be left behind). Spade and the Continental Op, straightshooting tough guys who come out on top in the end, seem antiquated in the (post-)modern era. But Marlowe's goodness being out of sync with the world around him only seems more poignant the further you take him from his own time. Nowadays you can really only do Hammett as pastiche, but I sense that you could still play Chandler straight.

Eyes of Laura Mars The most De Palma movie I've seen not made by De Palma, complete with POV shots, paranormal hoodoo, and fixation with sex, death, and whether images of such are art or exploitation (or both). Laura Mars takes photographs of naked women in violent tableux, and has gotten quite famous doing so, but is it damaging to women? The movie has more than a superficial engagement with this topic, but only slightly more than superficial. Kept imagining a movie that is about 30% less serial killer story and 30% more art conversations. (But, then, I have an art degree and have never murdered anyone, so.) Like, museums are full of Biblical paintings full of nude women and slaughter, sometimes both at once, and they're called masterpieces. Most all of them were painted by men on commission from other men. Now Laura Mars makes similar images in modern trappings, and has models made of flesh and blood rather than paint, and it's scandalous? Why is it only controversial once women are getting paid for it? On the other hand, is this just the master's tools? Is she subverting or challenging the male gaze, or just profiting off of it? Or is a woman profiting off of it, itself, a subversion? Is it subversive enough to account for how it commodifies female bodies? These questions are pretty clearly relevant to the movie itself, and the movies in general, especially after the fall of the Hays Code when people were really unrestrained with the blood and boobies. And, heck, the lead is played by the star of Bonnie and Clyde! All this is to say: I wish the movie were as interested in these questions as I am. What's there is a mildly diverting B-picture. There's one great bit where Laura's seeing through the killer's eyes (that's the hook, she gets visions from the murderer's POV; no, this is never explained) and he's RIGHT BEHIND HER, so there's a chase where she charges across an empty room only able to see her own fleeing self from ten feet behind. That was pretty great! And her first kiss with the detective (because you could see a mile away that the detective and the woman he's supposed to protect are gonna fall in love) is immediately followed by the two freaking out about how nonsensical it is for them to fall in love with each other, because she's literally mourning multiple deaths and he's being wildly unprofessional, and then they go back to making out. That bit was great, too. The rest... enh.

The Onion Field What starts off as a seemingly not-that-noirish cops-vs-crooks procedural turns into an agonizingly protracted look at the legal system, with the ultimate argument that the very idea of the law ever resulting in justice is a lie. Hoo! I have to say, I'm impressed. There's a scene where a lawyer - whom I'm not sure is even named, he's like the seventh of thirteen we've met - literally quits the law over how long this court case about two guys shooting a cop has taken. He says the cop who was murdered has been forgotten, his partner has never gotten to move on because the case has lasted eight years, nothing has been accomplished, and they should let the two criminals walk and jail all the judges and lawyers instead. It's awesome! The script is loaded with digressions and unnecessary details, just the way I like it. Can't say I'm impressed with the execution. Nothing is wrong, exactly, but the performances all seem a tad melodramatic or a tad uninspired. Camerawork is, again, purely functional. It's no masterpiece. But that second half worked for me. (And it's Ted Danson's first movie! He did great.)

Body Heat (rw) Let's say up front that this is a handsomely-made movie. Probably the best looking thing on the list since Night Moves. Nothing I've seen better captures the swelter of an East Coast heatwave, or the lusty feeling of being too hot to bang and going at it regardless. Kathleen Turner sells the hell out of a femme fatale. There are a lot of good lines and good performances (Ted Danson is back and having the time of his life). I want to get all that out of the way, because this is a movie heavily modeled after Double Indemnity, and I wanted to discuss its merits before I get into why inviting that comparison doesn't help the movie out. In a lot of ways, it's the same rules as the Robert Mitchum Marlowe movies - do Double Indemnity but amp up the sex and violence. And, to a degree it works. (At least, the sex does, dunno that Double Indemnity was crying out for explosions.) But the plot is amped as well, and gets downright silly. Yeah, Mrs. Dietrichson seduces Walter Neff so he'll off her husband, but Neff clocks that pretty early and goes along with it anyway. Everything beyond that is two people keeping too big a secret and slowly turning on each other. But here? For the twists to work Matty has to be, from frame one, playing four-dimensional chess on the order of Senator Palpatine, and its about as plausible. (Exactly how did she know, after she rebuffed Ned, he would figure out her local bar and go looking for her at the exact hour she was there?) It's already kind of weird to be using the spider woman trope in 1981, but to make her MORE sexually conniving and mercenary than she was in the 40's is... not great. As lurid trash, it's pretty fun for a while, but some noir stuff can't just be updated, it needs to be subverted or it doesn't justify its existence.

Blow Out Brian De Palma has two categories of movie: he's got his mainstream, director-for-hire fare, where his voice is either reigned in or indulged in isolated sequences that don't always jive with the rest fo the film, and then there's his Brian De Palma movies. My mistake, it seems, is having seen several for-hires from throughout his career - The Untouchables (fine enough), Carlito's Way (ditto, but less), Mission: Impossible (enh) - but had only seen De Palma-ass movies from his late period (Femme Fatale and The Black Dahlia, both of which I think are garbage). All this to say: Blow Out was my first classic-era De Palma, and holy fucking shit dudes. This was (with caveats) my absolute and entire jam. I said I could enjoy good sleaze, and this is good friggin' sleaze. (Though far short of De Palma at his sleaziest, mercifully.) The splitscreens, the diopter shots, the canted angles, how does he make so many shlocky things work?! John Travolta's sound tech goes out to get fresh wind fx for the movie he's working on, and we get this wonderful sequence of visuals following sounds as he turns his attention and his microphone to various noises - a couple on a walk, a frog, an owl, a buzzing street lamp. Later, as he listens back to the footage, the same sequence plays again, but this time from his POV; we're seeing his memory as guided by the same sequence of sounds, now recreated with different shots, as he moves his pencil in the air mimicking the microphone. When he mixes and edits sounds, we hear the literal soundtrack of the movie we are watching get mixed and edited by the person on screen. And as he tries to unravel a murder mystery, he uses what's at hand: magnetic tape, flatbed editors, an animation camera to turn still photos from the crime scene into a film and sync it with the audio he recorded; it's forensics using only the tools of the editing room. As someone who's spent some time in college editing rooms, this is a hoot and a half. Loses a bit of steam as it goes on and the film nerd stuff gives way to a more traditional thriller, but rallies for a sound-tech-centered final setpiece, which steadily builds to such madcap heights you can feel the air thinning, before oddly cutting its own tension and then trying to build it back up again. It doesn't work as well the second time. But then, that shot right after the climax? Damn. Conflicted on how the movie treats the female lead. I get why feminist film theorists are so divided on De Palma. His stuff is full of things feminists (rightly) criticize, full of women getting naked when they're not getting stabbed, but he also clearly finds women fascinating and has them do empowered and unexpected things, and there are many feminist reads of his movies. Call it a mixed bag. But even when he's doing tropey shit, he explores the tropes in unexpected ways. Definitely the best movie so far that I hadn't already seen.

Cutter's Way (rw) Alex Cutter is pitched to us as an obnoxious-but-sympathetic son of a bitch, and, you know, two out of three ain't bad. Watched this during my 2020 neo-noir kick and considered skipping it this time because I really didn't enjoy it. Found it a little more compelling this go around, while being reminded of why my feelings were room temp before. Thematically, I'm onboard: it's about a guy, Cutter, getting it in his head that he's found a murderer and needs to bring him to justice, and his friend, Bone, who intermittently helps him because he feels bad that Cutter lost his arm, leg, and eye in Nam and he also feels guilty for being in love with Cutter's wife. The question of whether the guy they're trying to bring down actually did it is intentionally undefined, and arguably unimportant; they've got personal reasons to see this through. Postmodern and noirish, fixated with the inability to ever fully know the truth of anything, but starring people so broken by society that they're desperate for certainty. (Pretty obvious parallels to Vietnam.) Cutter's a drunk and kind of an asshole, but understandably so. Bone's shiftlessness is the other response to a lack of meaning in the world, to the point where making a decision, any decision, feels like character growth, even if it's maybe killing a guy whose guilt is entirely theoretical. So, yeah, I'm down with all of this! A- in outline form. It's just that Cutter is so uninterestingly unpleasant and no one else on screen is compelling enough to make up for it. His drunken windups are tedious and his sanctimonious speeches about what the war was like are, well, true and accurate but also obviously manipulative. It's two hours with two miserable people, and I think Cutter's constant chatter is supposed to be the comic relief but it's a little too accurate to drunken rambling, which isn't funny if you're not also drunk. He's just tedious, irritating, and periodically racist. Pass.

Blood Simple (rw) I'm pretty cool on the Coens - there are things I've liked, even loved, in every Coen film I've seen, but I always come away dissatisfied. For a while, I kept going to their movies because I was sure eventually I'd love one without qualification. No Country for Old Men came close, the first two acts being master classes in sustained tension. But then the third act is all about denying closure: the protagonist is murdered offscreen, the villain's motives are never explained, and it ends with an existentialist speech about the unfathomable cruelty of the world. And it just doesn't land for me. The archness of the Coen's dialogue, the fussiness of their set design, the kinda-intimate, kinda-awkward, kinda-funny closeness of the camera's singles, it cannot sell me on a devastating meditation about meaninglessness. It's only ever sold me on the Coens' own cleverness. And that archness, that distancing, has typified every one of their movies I've come close to loving. Which is a long-ass preamble to saying, holy heck, I was not prepared for their very first movie to be the one I'd been looking for! I watched it last year and it remains true on rewatch: Blood Simple works like gangbusters. It's kind of Double Indemnity (again) but played as a comedy of errors, minus the comedy: two people romantically involved feeling their trust unravel after a murder. And I think the first thing that works for me is that utter lack of comedy. It's loaded with the Coens' trademark ironies - mostly dramatic in this case - but it's all played straight. Unlike the usual lead/femme fatale relationship, where distrust brews as the movie goes on, the audience knows the two main characters can trust each other. There are no secret duplicitous motives waiting to be revealed. The audience also know why they don't trust each other. (And it's all communicated wordlessly, btw: a character enters a scene and we know, based on the information that character has, how it looks to them and what suspicions it would arouse, even as we know the truth of it). The second thing that works is, weirdly, that the characters aren't very interesting?! Ray and Abby have almost no characterization. Outside of a general likability, they are blank slates. This is a weakness in most films, but, given the agonizingly long, wordless sequences where they dispose of bodies or hide from gunfire, you're left thinking not "what will Ray/Abby do in this scenario," because Ray and Abby are relatively elemental and undefined, but "what would I do in this scenario?" Which creates an exquisite tension but also, weirdly, creates more empathy than I feel for the Coens' usual cast of personalities. It's supposed to work the other way around! Truly enjoyable throughout but absolutely wonderful in the suspenseful-as-hell climax. Good shit right here.

Body Double The thing about erotic thrillers is everything that matters is in the name. Is it thrilling? Is it erotic? Good; all else is secondary. De Palma set out to make the most lurid, voyeuristic, horny, violent, shocking, steamy movie he could come up with, and its success was not strictly dependent on the lead's acting ability or the verisimilitude of the plot. But what are we, the modern audience, to make of it once 37 years have passed and, by today's standards, the eroticism is quite tame and the twists are no longer shocking? Then we're left with a nonsensical riff on Vertigo, a specularization of women that is very hard to justify, and lead actor made of pulped wood. De Palma's obsessions don't cohere into anything more this time; the bits stolen from Hitchcock aren't repurposed to new ends, it really is just Hitch with more tits and less brains. (I mean, I still haven't seen Vertigo, but I feel 100% confident in that statement.) The diopter shots and rear-projections this time look cheap (literally so, apparently; this had 1/3 the budget of Blow Out). There are some mildly interesting setpieces, but nothing compared to Travolta's auditory reconstructions or car chase where he tries to tail a subway train from street level even if it means driving through a frickin parade like an inverted French Connection, goddamn Blow Out was a good movie! Anyway. Melanie Griffith seems to be having fun, at least. I guess I had a little as well, but it was, at best, diverting, and a real letdown.

The Hit Surprised by how much I enjoyed this one. Terrance Stamp flips on the mob and spends ten years living a life of ease in Spain, waiting for the day they find and kill him. Movie kicks off when they do find him, and what follows is a ramshackle road movie as John Hurt and a young Tim Roth attempt to drive him to Paris so they can shoot him in front of his old boss. Stamp is magnetic. He's spent a decade reading philosophy and seems utterly prepared for death, so he spends the trip humming, philosophizing, and being friendly with his captors when he's not winding them up. It remains unclear to the end whether the discord he sews between Roth and Hurt is part of some larger plan of escape or just for shits and giggles. There's also a decent amount of plot for a movie that's not terribly plot-driven - just about every part of the kidnapping has tiny hitches the kidnappers aren't prepared for, and each has film-long repercussions, drawing the cops closer and somehow sticking Laura del Sol in their backseat. The ongoing questions are when Stamp will die, whether del Sol will die, and whether Roth will be able to pull the trigger. In the end, it's actually a meditation on ethics and mortality, but in a quiet and often funny way. It's not going to go down as one of my new favs, but it was a nice way to spend a couple hours.

Trouble in Mind (dnrw) I fucking hated this movie. It's been many months since I watched it, do I remember what I hated most? Was it the bit where a couple of country bumpkins who've come to the city walk into a diner and Mr. Bumpkin clocks that the one Black guy in the back as obviously a criminal despite never having seen him before? Was it the part where Kris Kristofferson won't stop hounding Mrs. Bumpkin no matter how many times she demands to be left alone, and it's played as romantic because obviously he knows what she needs better than she does? Or is it the part where Mr. Bumpkin reluctantly takes a job from the Obvious Criminal (who is, in fact, a criminal, and the only named Black character in the movie if I remember correctly, draw your own conclusions) and, within a week, has become a full-blown hood, which is exemplified by a lot, like, a lot of queer-coding? The answer to all three questions is yes. It's also fucking boring. Even out-of-drag Divine's performance as the villain can't save it.

Manhunter 'sfine? I've still never seen Silence of the Lambs, nor any of the Hopkins Lecter movies, nor, indeed, any full episode of the show. So the unheimlich others get seeing Brian Cox play Hannibal didn't come into play. Cox does a good job with him, but he's barely there. Shame, cuz he's the most interesting part of the movie. Honestly, there's a lot of interesting stuff that's barely there. Will Graham being a guy who gets into the heads of serial killers is explored well enough, and Mann knows how to direct a police procedural such that it's both contemplative and propulsive. But all the other themes it points at? Will's fear that he understands murderers a little too well? Hannibal trying to nudge him towards becoming one? Whatever dance Hannibal and Tooth Fairy are doing? What Tooth Fairy's deal is, anyway? (Why does he wear fake teeth and bite things? Why is he fixated on the red dragon? Does the bit where he says "Francis is gone forever" mean he has DID?) None of it goes anywhere or amounts to anything. I mean, it's certainly more interesting with this stuff than without, but it has that feel of a book that's been pared of its interesting bits to fit the runtime (or, alternately, pulp that's been sloppily elevated). I still haven't made my mind up on Mann's cold, precise camera work, but at least it gives me something to look at. It's fine! This is fine.

Mona Lisa (rw) Gave this one another shot. Bob Hoskins is wonderful as a hood out of his depth in classy places, quick to anger but just as quick to let anger go (the opening sequence where he's screaming on his ex-wife's doorstep, hurling trash cans at her house, and one minute later thrilled to see his old car, is pretty nice). And Cathy Tyson's working girl is a subtler kind of fascinating, exuding a mixture of coldness and kindness. It's just... this is ultimately a story about how heartbreaking it is when the girl you like is gay, right? It's Weezer's Pink Triangle: The Movie. It's not homophobic, exactly - Simone isn't demonized for being a lesbian - but it's still, like, "man, this straight white guy's pain is so much more interesting than the Black queer sex worker's." And when he's yelling "you woulda done it!" at the end, I can't tell if we're supposed to agree with him. Seems pretty clear that she wouldn'ta done it, at least not without there being some reveal about her character that doesn't happen, but I don't think the ending works if we don't agree with him, so... I'm like 70% sure the movie does Simone dirty there. For the first half, their growing relationship feels genuine and natural, and, honestly, the story being about a real bond that unfortunately means different things to each party could work if it didn't end with a gun and a sock in the jaw. Shape feels jagged as well; what feels like the end of the second act or so turns out to be the climax. And some of the symbolism is... well, ok, Simone gives George money to buy more appropriate clothes for hanging out in high end hotels, and he gets a tan leather jacket and a Hawaiian shirt, and their first proper bonding moment is when she takes him out for actual clothes. For the rest of the movie he is rocking double-breasted suits (not sure I agree with the striped tie, but it was the eighties, whaddya gonna do?). Then, in the second half, she sends him off looking for her old streetwalker friend, and now he looks completely out of place in the strip clubs and bordellos. So far so good. But then they have this run-in where her old pimp pulls a knife and cuts George's arm, so, with his nice shirt torn and it not safe going home (I guess?) he starts wearing the Hawaiian shirt again. So around the time he's starting to realize he doesn't really belong in Simone's world or the lowlife world he came from anymore, he's running around with the classy double-breasted suit jacket over the garish Hawaiian shirt, and, yeah, bit on the nose guys. Anyway, it has good bits, I just feel like a movie that asks me to feel for the guy punching a gay, Black woman in the face needs to work harder to earn it. Bit of wasted talent.

The Bedroom Window Starts well. Man starts an affair with his boss' wife, their first night together she witnesses an attempted murder from his window, she worries going to the police will reveal the affair to her husband, so the man reports her testimony to the cops claiming he's the one who saw it. Young Isabelle Huppert is the perfect woman for a guy to risk his career on a crush over, and Young Steve Guttenberg is the perfect balance of affability and amorality. And it flows great - picks just the right media to res. So then he's talking to the cops, telling them what she told him, and they ask questions he forgot to ask her - was the perp's jacket a blazer or a windbreaker? - and he has to guess. Then he gets called into the police lineup, and one guy matches her description really well, but is it just because he's wearing his red hair the way she described it? He can't be sure, doesn't finger any of them. He finds out the cops were pretty certain about one of the guys, so he follows the one he thinks it was around, looking for more evidence, and another girl is attacked right outside a bar he knows the redhead was at. Now he's certain! But he shows the boss' wife the guy and she's not certain, and she reminds him they don't even know if the guy he followed is the same guy the police suspected! And as he feeds more evidence to the cops, he has to lie more, because he can't exactly say he was tailing the guy around the city. So, I'm all in now. Maybe it's because I'd so recently rewatched Night Moves and Cutter's Way, but this seems like another story about uncertainty. He's really certain about the guy because it fits narratively, and we, the audience, feel the same. But he's not actually a witness, he doesn't have actual evidence, he's fitting bits and pieces together like a conspiracy theorist. He's fixating on what he wants to be true. Sign me up! But then it turns out he's 100% correct about who the killer is but his lies are found out and now the cops think he's the killer and I realize, oh, no, this movie isn't nearly as smart as I thought it was. Egg on my face! What transpires for the remaining half of the runtime is goofy as hell, and someone with shlockier sensibilities could have made a meal of it, but Hanson, despite being a Corman protege, takes this silliness seriously in the all wrong ways. Next!

Homicide (rw? I think I saw most of this on TV one time) Homicide centers around the conflicted loyalties of a Jewish cop. It opens with the Jewish cop and his white gentile partner taking over a case with a Black perp from some Black FBI agents. The media is making a big thing about the racial implications of the mostly white cops chasing down a Black man in a Black neighborhood. And inside of 15 minutes the FBI agent is calling the lead a k*ke and the gentile cop is calling the FBI agent a f****t and there's all kinds of invective for Black people. The film is announcing its intentions out the gate: this movie is about race. But the issue here is David Mamet doesn't care about race as anything other than a dramatic device. He's the Ubisoft of filmmakers, having no coherent perspective on social issues but expecting accolades for even bringing them up. Mamet is Jewish (though lead actor Joe Mantegna definitely is not) but what is his position on the Jewish diaspora? The whole deal is Mantegna gets stuck with a petty homicide case instead of the big one they just pinched from the Feds, where a Jewish candy shop owner gets shot in what looks like a stickup. Her family tries to appeal to his Jewishness to get him to take the case seriously, and, after giving them the brush-off for a long time, finally starts following through out of guilt, finding bits and pieces of what may or may not be a conspiracy, with Zionist gun runners and underground neo-Nazis. But, again: all of these are just dramatic devices. Mantegna's Jewishness (those words will never not sound ridiculous together) has always been a liability for him as a cop (we are told, not shown), and taking the case seriously is a reclamation of identity. The Jews he finds community with sold tommyguns to revolutionaries during the founding of Israel. These Jews end up blackmailing him to get a document from the evidence room. So: what is the film's position on placing stock in one's Jewish identity? What is its position on Israel? What is its opinion on Palestine? Because all three come up! And the answer is: Mamet doesn't care. You can read it a lot of different ways. Someone with more context and more patience than me could probably deduce what the de facto message is, the way Chris Franklin deduced the de facto message of Far Cry V despite the game's efforts not to have one, but I'm not going to. Mantegna's attempt to reconnect with his Jewishness gets his partner killed, gets the guy he was supposed to bring in alive shot dead, gets him possibly permanent injuries, gets him on camera blowing up a store that's a front for white nationalists, and all for nothing because the "clues" he found (pretty much exclusively by coincidence) were unconnected nothings. The problem is either his Jewishness, or his lifelong failure to connect with his Jewishness until late in life. Mamet doesn't give a shit. (Like, Mamet canonically doesn't give a shit: he is on record saying social context is meaningless, characters only exist to serve the plot, and there are no deeper meanings in fiction.) Mamet's ping-pong dialogue is fun, as always, and there are some neat ideas and characters, but it's all in service of a big nothing that needed to be a something to work.

Swoon So much I could talk about, let's keep it to the most interesting bits. Hommes Fatales: a thing about classic noir that it was fascinated by the marginal but had to keep it in the margins. Liberated women, queer-coded killers, Black jazz players, broke thieves; they were the main event, they were what audiences wanted to see, they were what made the movies fun. But the ending always had to reassert straightlaced straight, white, middle-class male society as unshakeable. White supremacist capitalist patriarchy demanded, both ideologically and via the Hays Code, that anyone outside these norms be punished, reformed, or dead by the movie's end. The only way to make them the heroes was to play their deaths for tragedy. It is unsurprising that neo-noir would take the queer-coded villains and make them the protagonists. Implicature: This is the story of Leopold and Loeb, murderers famous for being queer, and what's interesting is how the queerness in the first half exists entirely outside of language. Like, it's kind of amazing for a movie from 1992 to be this gay - we watch Nathan and Dickie kiss, undress, masturbate, fuck; hell, they wear wedding rings when they're alone together. But it's never verbalized. Sex is referred to as "your reward" or "what you wanted" or "best time." Dickie says he's going to have "the girls over," and it turns out "the girls" are a bunch of drag queens, but this is never acknowledged. Nathan at one point lists off a bunch of famous men - Oscar Wild, E.M. Forster, Frederick the Great - but, though the commonality between them is obvious (they were all gay), it's left the the audience to recognize it. When their queerness is finally verbalized in the second half, it's first in the language of pathology - a psychiatrist describing their "perversions" and "misuse" of their "organs" before the court, which has to be cleared of women because it's so inappropriate - and then with slurs from the man who murders Dickie in jail (a murder which is written off with no investigation because the victim is a gay prisoner instead of a L&L's victim, a child of a wealthy family). I don't know if I'd have noticed this if I hadn't read Chip Delany describing his experience as a gay man in the 50's existing almost entirely outside of language, the only language at the time being that of heteronormativity. Murder as Love Story: L&L exchange sex as payment for the other commiting crimes; it's foreplay. Their statements to the police where they disagree over who's to blame is a lover's quarrel. Their sentencing is a marriage. Nathan performs his own funeral rites over Dickie's body after he dies on the operating table. They are, in their way, together til death did they part. This is the relationship they can have. That it does all this without romanticizing the murder itself or valorizing L&L as humans is frankly incredible.

Suture (rw) The pitch: at the funeral for his father, wealthy Vincent Towers meets his long lost half brother Clay Arlington. It is implied Clay is a child from out of wedlock, possibly an affair; no one knows Vincent has a half-brother but him and Clay. Vincent invites Clay out to his fancy-ass home in Arizona. Thing is, Vincent is suspected (correctly) by the police of having murdered his father, and, due to a striking family resemblence, he's brought Clay to his home to fake his own death. He finagles Clay into wearing his clothes and driving his car, and then blows the car up and flees the state, leaving the cops to think him dead. Thing is, Clay survives, but with amnesia. The doctors tell him he's Vincent, and he has no reason to disagree. Any discrepancy in the way he looks is dismissed as the result of reconstructive surgery after the explosion. So Clay Arlington resumes Vincent Towers' life, without knowing Clay Arlington even exists. The twist: Clay and Vincent are both white, but Vincent is played by Michael Harris, a white actor, and Clay is played by Dennis Haysbert, a Black actor. "Ian, if there's just the two of them, how do you know it's not Harris playing a Black character?" Glad you asked! It is most explicitly obvious during a scene where Vincent/Clay's surgeon-cum-girlfriend essentially bringing up phrenology to explain how Vincent/Clay couldn't possibly have murdered his father, describing straight hair, thin lips, and a Greco-Roman nose Haysbert very clearly doesn't have. But, let's be honest: we knew well beforehand that the rich-as-fuck asshole living in a huge, modern house and living it up in Arizona high society was white. Though Clay is, canonically, white, he lives an poor and underprivileged life common to Black men in America. Though the film's title officially refers to the many stitches holding Vincent/Clay's face together after the accident, "suture" is a film theory term, referring to the way a film audience gets wrapped up - sutured - in the world of the movie, choosing to forget the outside world and pretend the story is real. The usage is ironic, because the audience cannot be sutured in; we cannot, and are not expected to, suspend our disbelief that Clay is white. We are deliberately distanced. Consequently this is a movie to be thought about, not to to be felt. It has the shape of a Hitchcockian thriller but it can't evoke the emotions of one. You can see the scaffolding - "ah, yes, this is the part of a thriller where one man hides while another stalks him with a gun, clever." I feel ill-suited to comment on what the filmmakers are saying about race. I could venture a guess about the ending, where the psychiatrist, the only one who knows the truth about Clay, says he can never truly be happy living the lie of being Vincent Towers, while we see photographs of Clay/Vincent seemingly living an extremely happy life: society says white men simply belong at the top more than Black men do, but, if the roles could be reversed, the latter would slot in seamlessly. Maybe??? Of all the movies in this collection, this is the one I'd most want to read an essay on (followed by Swoon).

The Last Seduction (dnrw) No, no, no, I am not rewataching this piece of shit movie.

Brick (rw) Here's my weird contention: Brick is in color and in widescreen, but, besides that? There's nothing neo- about this noir. There's no swearing except "hell." (I always thought Tug said "goddamn" at one point but, no, he's calling The Pin "gothed-up.") There's a lot of discussion of sex, but always through implication, and the only deleted scene is the one that removed ambiguity about what Brendan and Laura get up to after kissing. There's nothing postmodern or subversive - yes, the hook is it's set in high school, but the big twist is that it takes this very seriously. It mines it for jokes, yes, but the drama is authentic. In fact, making the gumshoe a high school student, his jadedness an obvious front, still too young to be as hard as he tries to be, just makes the drama hit harder. Sam Spade if Sam Spade were allowed to cry. I've always found it an interesting counterpoint to The Good German, a movie that fastidiously mimics the aesthetics of classic noir - down to even using period-appropriate sound recording - but is wholly neo- in construction. Brick could get approved by the Hays Code. Its vibe, its plot about a detective playing a bunch of criminals against each other, even its slang ("bulls," "yegg," "flopped") are all taken directly from Hammett. It's not even stealing from noir, it's stealing from what noir stole from! It's a perfect curtain call for the collection: the final film is both the most contemporary and the most classic. It's also - but for the strong case you could make for Night Moves - the best movie on the list. It's even more appropriate for me, personally: this was where it all started for me and noir. I saw this in theaters when it came out and loved it. It was probably my favorite movie for some time. It gave me a taste for pulpy crime movies which I only, years later, realized were neo-noir. This is why I looked into Kiss Kiss, Bang Bang and In Bruges. I've seen it more times than any film on this list, by a factor of at least 3. It's why I will always adore Rian Johnson and Joseph Gordon-Levitt. It's the best-looking half-million-dollar movie I've ever seen. (Indie filmmakers, take fucking notes.) I even did a script analysis of this, and, yes, it follows the formula, but so tightly and with so much style. Did you notice that he says several of the sequence tensions out loud? ("I just want to find her." "Show of hands.") I notice new things each time I see it - this time it was how "brushing Brendan's hair out of his face" is Em's move, making him look more like he does in the flashback, and how Laura does the same to him as she's seducing him, in the moment when he misses Em the hardest. It isn't perfect. It's recreated noir so faithfully that the Innocent Girl dies, the Femme Fatale uses intimacy as a weapon, and none of the women ever appear in a scene together. 1940's gender politics maybe don't need to be revisited. They say be critical of the media you love, and it applies here most of all: it is a real criticism of something I love immensely.

[your-daily-biaswrecking]

Serva me, Servabo te

save me and I will save you

pairing: photographer!Taehyung x f.reader

genre: smut, some crack and fluff, slight enemies to lovers

word count: 4.4k  |  reading time: 30 min

chapter summary: Two months later and you're still seeing each other like at the beginning.

warnings: lots of roleplaying, dirty talk, fingering f.receiving, some degration and name calling, unprotected vaginal sex, breeding kink, cumplay, crack-y and the some fluffy stuff

A/N: Very last part of this story!  Thank you so much to anyone who read this till the end! I hope you liked it and feel free to tell me everything you thought about it!

All chapters  |  Masterlist  |  Read on AO3

Epilogue

-Two months later-

Taehyung just about ripped his shirt open, tossing it to the ground with his chest puffed and his face set in a deep scowl. And you couldn’t help but break character.

“Don’t laugh!” he whined.

“I’m sorry!” you breathed, although didn’t do what you were asked to, and he pouted even more. “But can’t we just have normal sex tonight? It’s so much easier.”

”Sex!” Taehyung screeched. “Why, you have indeed lost your mind, woman! Just as I feared, the effect on you is too strong!” You had to bite your lip not to giggle at his fake accent. And he leaned in to whisper (off-script, of course): “Take your clothes off, babe.”

“Oh, no,” you tried to match his energy. Grabbed the hem of the t-shirt you had been wearing like a dress around the house and pulled it over your head unceremoniously. “Oops. I can’t seem to control myself.” Needless to say, you were a terrible actress.

“What have you done?” Taehyung looked away as if he would be in trouble if he laid his eyes on your naked body. “Please, this is improper. Keep yourself decent until I find the antidote.” And he kept a dramatic hand over his eyes, as you stood there, slightly getting lost in just looking at his back and his exposed muscles.

The boy turned to peek at you over his shoulder when you still hadn’t answered. It was obviously your turn. “Uh- right. Um… The only antidote, uh… Is your dick—” You couldn’t even finish the sentence before you broke out cackling.

“Yah!” he whined again. “I said stop laughing! Is this a joke to you?” You nodded between your snickers. “Come on!” he continued.

“I’m sorry, it’s just that…” you mumbled as you whipped away a tear or two from your eyes. “One day you’re a chimney sweeper, here to sweep my chimney, the next you’re a lamplighter here to turn me on, a log driver here to drive your log into me— I can’t keep up! It’s too hilarious!”

This time a skilled sorcerer that had accidentally given you a powerful love potion. You had to give it to him for the imagination and determination, that’s for sure. You were just too clownish to compete with him and thought it ruined the mood. Although he never seemed to agree with you on that.

“Well, what’s wrong with that?” he murmured with a pout on his lips, scratching the back of his head. “I’m just trying to make this fun.”

A gush of guilt washed through your body. You quickly reached out to him, grabbing his arms. “Oh, no, please, my Lord,” you called him with wide eyes. Getting back into character right away. “I can’t help myself. I need you right now. Please, my Lord, I’m begging you to end my suffering!”

You noticed how the corner of his lips twitched before he cleared his throat and looked at you seriously. “Ma’am, I-”

You interrupted him by crashing your lips on his. Body pinned against his as you swallowed him down desperately. And when you spoke again your voice was rough and coarse, coming out in a deep whisper. “Please, fuck me hard. I need you so bad.” And you weren’t lying.

You felt his hands hold you by the waist with strength. And he growled. “Well, I guess you should never ignore a lady’s pleas,” he rasped. Then pushed on the bed, before quickly climbing on top of you. “Do not worry, ma’am. I will make the pain go away.”

True to his promise, he didn’t waste any more time. Put two fingers in his mouth to wet them well before lowering them on your clit. And you gasped out. “Ah, thank you! This is much better.” You were always better at role-playing while he was actually touching you since none of it was acting. Taehyung growled at the way you were moaning, and you would have thought he forgot to stay in character.

But then he spoke again as his fingers traveled further down to play with your folds. “This is very wrong, ma’am. Letting me feel you up when you are such a respectable Lady. What if your husband found you like this?”

“I have a husband?” you chirped. And the boy frowned, pressing both of his fingers inside of you harshly, making you yelp. “Right! I do!” you gasped. And then moaned loudly as he started curling them deeply. “I don’t care, my Lord. You are the only one I want from now on. You are the one I love.” Words flowing off your tongue so easily, even though you had never uttered them in any other context.

Then again, like I said, none of this was acting anymore.

His expression didn’t change, although his breathing got a little more rugged. Focused on making your mouth drop from pleasure, getting you ready for the rest of the night. Something that by then he had learned to do so fast and easily.

“Is this what you wanted?” he asked you after he had you nearing your orgasm. “Are your urges satisfied?” But you shook your head frantically. “What?”

“More,” you mouthed.

He scoffed. “What more could you possibly want?” Punctuating every word with a harder thrust of his fingers.

You clawed at his back, eyes slowly moving to the back of your head. “You! I want you inside of me, my Lord. Please…”

Taehyung withdrew his fingers, and you were about to whine when you noticed the quick work he was making of his pants to free himself. “Is that the only way you’ll be cured?”

“Yes!”

His dick was already nudging your entrance. “Alright, baby,” he replied, breaking character. “I’ll fuck you real good right now.”

He moaned louder than you as he slid inside. Grabbed your legs and pushed them against your belly to level himself over your body as he began his fast and deep thrusts. At that point, you were so close, you lowered your land over your clit to rub a couple of circles before you were reaching your orgasm. Drawing a string of curses from him as he felt your walls fluttering around him.

“You came,” Taehyung groaned after you had come down your high completely. “Have you been healed, then?”

But you shook your head, wrapping your arms around his neck to pull him down for a bruising kiss, messy by the rhythm of his thrusts. “No,” you answered what you knew he wanted to hear. “The potion will only fade after you’ve made me come thrice more.”

He called out, visibly wincing before he let his head drop and his sweaty forehead hit your shoulder. “No, babe— I won’t last that long,” he breathed.

“Oh, okay. Um, then… It will only fade after you’ve finished inside me.”

Taehyung cried out at your words. And he bit down your shoulder hard, making you moan as well, as he started picking up the pace. “That’ll happen fast if you keep talking like that.” He pulled his mouth off your shoulder and let it travel up your neck, nibbling at it.

You smirked as you dipped your fingers in his hair, gathering as much as you could in a tight fist. “Please, my Lord,” you rasped in his ear, enjoying yourself a little too much as you listened to his whines and moans. The way your words affected him. “I need you to fill me up with your cum.” Another groan from him, sucking on your neck painfully hard. “I won’t be satisfied until I’m dripping with your seed.”

“You filthy whore,” Taehyung groaned. He grabbed both of your wrists and pinned them on the bed, drawing some distance between your bodies. “You’ll get pregnant with my child instead of your husband’s if I do that.”

Taehyung’s breeding kink was no secret at that point. And even though you both knew you were on the pill, you didn’t mind feeding into his desires. So you arched your back, trying to reach his mouth again. “Lord, yes!” you yelped. “I’ll only be saved if you give me your babies, my Lord. If you make me yours forever.”

"Fuck.” His hips were faltering and you could tell he was close. He finally let you kiss him again- he always loved kissing you while he orgasmed. And just a couple of pumps later you felt his cum shooting inside you. Taehyung shook, his arms barely holding his body over yours and not crushing you, and then he fell next to you.

You allowed a couple of minutes to pass for him to catch his breath and come back on earth. And then you tapped him on the shoulder. “We have a problem.”

His head whipped to your side immediately, eyes going as wide as possible. “What? What is it? Did I do something wrong?” A hand on your belly as he held you cautiously.

You bit your lip. “I don’t think the spell was broken.”

Taehyung groaned as he sighed in relief. And then he chuckled. “You scared me.” He turned on his side and wrapped his arms and legs all around your body, cuddling into you. “Good,” he whispered. “I don’t want it to.”

You smiled shyly. “Me neither.”

It wasn’t much, but it felt like the closest you’d ever come to saying you love each other. And you basked in the happiness the moment brought you.

“Amy,” you heard him mumble after a bit, while you were drawing circles over his bare back absentmindedly.

You hummed in response.

“Can I introduce you as my girlfriend?” It was so soft you barely heard it. But when you turned to blink at him, he quickly jumped at the opportunity to explain himself. “I’m not saying we have to be boyfriend and girlfriend any other day of the week, just, you know… just for the festival next week and the people that we’ll be meeting there.”

Oh, his festival…

You couldn’t tell if his cheeks were all red because of the way he had just tired himself out, or the bashfulness you had started seeing more and more on him. If it was the latter, it must have been contagious; your face flaring up and a need to hide it from his gaze overcoming you. Words like these you never mentioned. But, boy, did they make your stomach flip!

“Okay…” you swallowed, a smile fighting to appear that you could barely hold back. “You can call me your girlfriend.” It tickled your lips just to say it, and you broke out into a giggle, finally burring your head in the crook of his neck. You heard him mimic your laugh with his deep voice, holding you tighter.

Girlfriend.

Perhaps it wasn’t what you had agreed on when you had decided to keep seeing each other, always in secret and always without letting too many emotions get in the way, but you would be lying if it didn’t fit your current situation. You met up every day, and it wasn’t even for sexual reasons most of the time. You spent time together, and not because you had nothing better to do, but because you wanted to. You slept most nights, ate, or even worked together. Basically, any time you could escape your two friends, you knew you’d be spending it with each other. You obviously weren’t seeing any other guys, and you thought even if Taehyung wanted to see other girls, there was no way he had the time to.

You claimed you didn’t know what this was but introducing you as his girlfriend to the people he works with made too much sense.

“What about Jimin?” you asked him them. “If he comes, too, won’t he find out about us?”

Taehyung didn’t miss a beat. “Oh, I won’t tell him to come.” He took your hand and placed it over his hair, a sign he wanted pets- something that he also did quite often. Taehyung loved your pets so much he all but purred as he rubbed his face on your chest like a little tiger.

You gasped. “Oh, no! The betrayal!”

“Shut up,” he laughed at you.

“You sure you’ll be alright without your soulmate by your side for one night?”

He just hummed. “It’s alright, I’ll have you.”

Even more butterflies in your stomach, but you ignored them. Although they didn’t seem to go away, not for the entire rest of that week. In fact, the closer you got to the opening night of his photography festival, the worst they got. Excitement to be finally out in the open with him. To be walking by his side as everyone sees you as a couple. You randomly thought about that throughout your days and had to stop and feel up your cheeks as they burned. You had to come up with a good lie (even though you were terrible at acting) to tell Yoonji why you couldn’t spend Friday night with her. And, most importantly, you had to find something nice to wear; you had to impress as Kim Taehyung’s girlfriend, right?

You were nervous like you were going on your first date when Taehyung came to pick you up. But then when you saw him, fidgeting and slightly sweating as he was waiting for you next to his car, you realized he was even more anxious. Perhaps because he had two things to be jumpy about; you and his work. So whatever worries you had instantly melted away as you walked up to him and gave him a peck on the lips. Your job naturally turning into making him feel better.

“Hey,” he called, a little surprised as he clearly hadn’t noticed you. He looked you up and down. And when his eyes met yours again they were so much brighter. “You’re gorgeous.”

You didn’t think it was anything too extravagant, just a classy cocktail dress to fit with the dress code. Although you had done your hair and makeup really nicely. And perhaps that was the only time he had ever seen you so dolled up. But still, you thought that was nothing compared to him.

“Not as gorgeous as you,” you told him. You had no idea he could look so good in a suit, with his normally curly and messy hair pushed back to expose his forehead. Your hand wrapped around his tie to pull him down for another kiss, a little deeper. And then you looked at him with a confident smile. “Tonight is going to be amazing, baby.”

“Let’s hope so,” he said with a chuckle.

The gallery was packed, even though it was still so early. And even though your heart was beating ten times faster than normal, you had to appear as casual as possible. So you just smiled at the photographer as he led you inside. But when you felt his hand reach for your own, everything calmed down a bit. He was holding your hand! He was holding your hand and walking you around the room like he had nothing to hide. It drove you insane!

You had so many people to meet. From his boss, to his coworkers, to other artists he had met at some point, journalists and critics. And as promised, he always did so with a soft “This is my girlfriend, Amy.” And then you got praised for the kind of man you had by your side, or he got praised for the kind of catch that you were. You heard the nicest things in just some time. And you heard Taehyung refer to you as his girlfriend so much you almost got used to it already. Even though you didn’t know if something like that could ever be possible.

The collection was stunning. Every photo following an easy-to-grasp timeline, some of them taken by your man and others not. Most of them black and white, some with people as their subjects and others with nature. You recognized the Manor in a couple of them, clearly taken by Taehyung. Before you recognized yourself.

“I hope you don’t mind,” he whispered at you when he saw your eyes falling on that one picture of you in the garden with what Taehyung called fairies. It was up there, with the rest of them, and it astonished you just how well it fit with the aesthetic. How you could look so well it seemed like you were a paid model.

“I don’t mind…” you mumbled and turned to look at him. “I love it.” Your face was beaming and so was his. Smiling down at you with the rawest emotions reflecting in his eyes. And he leaned slightly down, his lips parting. And you didn’t know if he was about to kiss you or repeat your words with an added meaning to them. Taking a deep breath as you waited for his move, lost in thought- everything around you just a buzz, just a blur.

His eyes widened. And he didn’t say anything. He didn’t kiss you. Instead, he grabbed you and shoved you aggressively to the side. Stumbling as you bumped and disappeared into the crowd.

You were about to go off, turning to glare at him -like what the fuck even was that?- when he called out to someone you couldn’t see.

“Jimin! Yoonji!”

Oh, shit!

Taehyung had his arms stretched out as he moved as farther away from you as he could. And you quickly looked around you, trying to find somewhere to hide.

“What’re you guys doing here?” Taehyung breathed with an extremely big smile on; dead give away it was fake. “I told you- you didn’t have to come!” he spoke through his teeth.

“You really thought I’d miss my best friend’s festival?” Jimin’s sweet voice sounded.

“Ha, of course… Why would I think that?” It was becoming apparent why his plan was stupid just about now. You peeked over your shoulder to see them hugging in greeting before you quickly turned back around. Staring at a random picture and hoping they wouldn’t notice you.

“Where did Amy go?” Yoonji asked.

Well, fuck. They did notice you.

Taehyung choked. “Wha- What? Who? Who’s that?”

You heard your ex-roommate scoff in her very characteristic way. “My best friend, Amy!”

“Ah…” Taehyung pretended he only then realized what she was talking about. You know what? He wasn’t a great actor either after all. “I don’t kno- She’s not here, why would she be here? That’s crazy. What are you-”

“There she is,” Jimin announced, probably with a pointed finger as well. “Ames!”

Your entire body tensed up. But you didn’t move; perhaps if you didn’t move they wouldn’t be able to see you.

“Amy!” Yoonji’s voice sounded louder.

Don’t move, don’t move, don’t move! Just look at the picture. What a great picture, right? Move closer so that you can look at it better. Wow, so interesting!

“Ames!” Yoonji called you one last time as she tapped your shoulder and you jumped up.

You finally turned to look at them. “Oh? Oh my God…. Hey guys!” you exclaimed, trying to look surprised even though your sweating was probably so obvious. You looked at all three of them. “I didn’t know you’d be here, too! What are you all doing here? This is amazing.”

Jimin narrowed his eyes at you. “You didn’t know Taehyung would be at his own festival?”

You turned your shocked face towards the man that was mentioned. “This is your festival?” you squeaked. “Wow, that’s great. It’s- it’s amazing. Good job.”

You heard Yoonji groan while Jimin burst into laughter. And all you and Taehyung could do was stare at them with wide eyes and your palms sweating more and more, as they looked at each other and communicated without even speaking.

“Oh my God, you guys!” the girl finally snarled, rolling her eyes and folding her arms over her chest. “Drop the act. We already know you’re a… thing.”

“Whaaat?” you squealed in a high-pitched voice. But quickly realized there was no use. Your face dropped. “What?” you repeated in a deeper voice and a frown. “Since when?”

-One month ago-

Yoonji put the key she had never returned in the door of your apartment, getting in. It wasn’t even an emergency or anything, just wanted to drop by to see you. The silence of the place let her know instantly that you were still sleeping though.

“Ugh, that girl…” she sighed. “She’s always sleeping in so late, it’s a wonder she is ever on time for her morning classes! I really don’t know how she can survive without me around here.” And she casually walked into your bedroom. Not anything weird, she always did that. There were no boundaries or secrets between the two of you.

Well, that was what she thought before she saw you asleep in some guy's arms.

“Oh shit!” she gasped, keeping quiet.

She almost turned immediately around to leave the room, but then she realized you hadn’t told her about any guys. So who the fuck was that?

“No fucking way!” she mouthed when she recognized who that handsome face belonged to. “Jimin”! You won’t believe what I just saw!” she cried at her phone once she was back outside the house. “Amy and Taehyung are fucking!”

“Ha! I knew it!” the boy on the other end of the call yelped. “I told you something would happen. I told you he liked her.”

Yoonji was looking back at the closed door as she was walking away, still processing the news. “Well, I knew he liked her, too,” she mumbled. “I just didn’t think she’d go for it.”

“Okay, but how do you know they’re fucking?”

“Just caught them in bed together.”

“Juicy. Did they see you?”

The girl shook her head before she remembered he couldn’t see her. “No, no, they were sleeping. And I just left, I didn’t know what to do.” She thought about the situation she had just been in a bit clearer as she walked farther and farther away. The shock wearing off a bit. And she was just surprised she hadn’t yelled at you right then. “I can’t believe this- how long has this been happening? Why didn’t she tell me anything?”

“Uh…” Jimin hummed as he thought about it. “They are probably too embarrassed to admit it. Or maybe it’s nothing serious and they don’t want to tell us.”

“Still! How could she do that to me?” her voice sounded hurt right before she got happy again. “Do you realize how amazing this is, though? We can go on double dates all together now!”

“See, this is exactly why she didn’t tell you.”

Yoonji scoffed. “Whatever. I’ll wait until she tells me and then I’ll kill her. Deal?”

“You bitch!” you gasped, your mouth dropping. “You knew all this time? And you didn’t tell me anything?”

“You didn’t tell me anything first!” Yoonji whined just as loud as you.

You took in a deep breath, ready to argue with her more. But then sighed in defeat. “Touché.”

And Yoonji was immediately by your side, hooking her arm around yours and bouncing slightly. “Whatever, it doesn’t matter. What matters is that now we know! And you have to tell me from the start!” she mumbling in excitement. “I want to know everything…” Her eyes traveling up and down Taehyung as she dragged out that last word.

The boy immediately looked at you with wide eyes. “Uh, Amy?” he begged with a shaky voice.

You quickly shook your head, closing your eyes in reassurance. “Don’t worry, I won’t tell her everything.”

"I bet it started at the Manor," Yoonji continued. "How was it, anyway? Would you recommend it?"

"Oh, it was definitely haunted," Taehyung murmured. "But yeah, I'd recommend it."

Jimin was off to the side, chuckling as he watched the way you all reacted. Then he pulled his girlfriend kindly off you. “Great. Now that it’s official, I guess we can finally go on those double dates Yoonji wants so much.”

The way Taehyung and you shared an awkward look didn’t go by unnoticed.

“Wait,” Yoonji was quick to intervene. “Is it official, though? Are you guys just fucking or are you in love or something?”

The words alone knocked all the air out of your lungs. And when you turned slowly to the side to look at the photographer, he seemed to be in a very similar position. Staring at each other with your faces turning beet red. Staring because you didn’t know who would speak first. And you didn’t know who would speak first because you didn’t know what you should say. You weren’t just fucking, right? But could you say you were in love? What if you tried to say that and he said the other at the same time?

That wasn’t the thing you had agreed on. All you had agreed on was being boyfriend and girlfriend just for tonight. Just for all these strangers. So what were you to your friends? What were you to yourselves?

“Yoonji, you have such a talent for putting people in an awkward spot,” Jimin broke the silence. It allowed you to chuckle and look away for a moment, perhaps hoping you had avoided the question altogether. But Taehyung cleared his throat.

“She’s my girlfriend tonight,” he said with a hand in the small of your back. That was good, that was safe. Just what you had agreed on.

“What do you mean tonight?” Yoonji chimed in. “She won’t be tomorrow?”

There we go again; same situation. You looked up at Taehyung to read his reaction, but he was avoiding your eyes. “She…” he mumbled. And you were hanging by his lips. “She can. If she wants to.”

You didn’t even have enough time to process his words before both Yoonji and Jimin turned to you, looking at you expectingly. And you opened your mouth but were too flustered to speak. Eyes on you making you freeze.

“Well?” Jimin pressed you.

“Wha- you guys are insane,” you breathed out, a heat covering your entire face. And you fanned yourself as you tried to fight the smile -or laugh- that was threatening to break out, rendering you completely unable to speak. But when you finally met Taehyung’s eyes, too, and they were just as nervous, you snorted. “Of course I’ll be his girlfriend tomorrow, too. I have been his girlfriend for a while now.”

The relief that washed over his features made you unable to hold back your flustered grin. And you buried your face in his arm, hating that you had to do this in such a public place. With an audience, too. But not enough to distract from the pure euphoria you were feeling right then.

“So you guys are in love or something!” Yoonji shrieked, jumping up in celebration.

“I am,” Taehyung said. No hesitation this time. Just a sweet smile as he looked down at you, waiting for you to stop hiding away.

And when you did, you smiled up at him as well. “Me too,” you whispered. Your eyes were locked, staring intensely as your smiles kept growing more and more. And once again you were lost in thought- everything around you just a buzz, a blur.

And he leaned down to give you a soft kiss.

“I love you,” he mouthed.

“I love you, too.”

The first time you said it. First of many to come.

The end!

[uwua3]

if it's ok 😳👉👈 i really love your writing and i've had this idea in my head for awhile but i can't get myself to write it on my own 🤔 i wanted to see how your spin would be on it- so can i request a prompt where reader gets jealous of tenma's co-actress in a romance and tries to mimic what she does to him in a show they're in?? ty!!! 💕💕💕 i look forward to your interpretation

thank you so much for requesting~ ♡ i love you sososo much; i hope this lives up to everything you’ve dreamed of! ♡ ～('▽^人) i LOVE YOU!!! <333

summary: when tenma lands a role in your favorite drama, he had one goal: to become your favorite actor

warnings: envy/jealousy, food mentions, rivalry (all covered briefly!)

author’s note: after learning everything there is to know about the k-drama, true beauty, on tik tok, i’ve decided to write this! for context, the only thing i recommend watching before reading this is watching the “roar” scene!

this is also the first time i’ve introduced made-up characters with names! please enjoy jun, the first character who isn’t canon to the a3!verse :D

word count: 3,768

music: like a movie – b1a4

pretty u!

🌻☀️ sumeragi tenma

what the heck was love, and why did he have to be in it?

sumeragi tenma, future “world’s best actor”, was suddenly... seeing why he hadn’t won that award yet. with a script in his hand and confusion in another, tenma read the title of the next drama he landed the role for

“PRETTY U...” it was japan’s next major love story, advertised on every social media platform possible with the all-star cast in the spotlight already. although it had already been out for a season, tenma was entering as the up-and-coming newest character of the series

tenma was boyish, young, and much too confident for his age—perfect for the role of a second-lead bad boy who was going to steal the heart and test the protagonist’s commitment

except... he didn’t actually want to take up a new project so soon. he only did because—

“what?! you’re going to be chan on PRETTY U?!” he proudly nodded and watched as you began ranting about how much you loved this show. there was only one reason he came to the audition: tenma wanted to star in your favorite television series

you always went on and on about how great everything about PRETTY U was. after hearing so much and pretending not to listen (even if he could practically explain the entire plotline now without watching it), tenma let himself become a fan, too

after all, how could he not be a fan when you loved PRETTY U so much?

tenma didn’t respond to his manager’s pleas until one day, you revealed another reason why PRETTY U was your favorite production: the main lead

“he’s so handsome~ i love him so much!” “do you know him? could you get me his number?” “look at him... he’s the most perfect actor in the business right now—ah, sorry ten!”

tenma scoffed every time, claiming he could most certainly do better than that hotshot. although the boys typically didn’t do the same type of television, he had become tenma’s #1 rival without even knowing it

besides... what did that guy have that tenma didn’t? he was just nice! sure, he held open the door for the lead, bent down to tie her shoes, bended over backwards just to be the perfect boy-next-door. yeah... even he couldn’t pretend anymore

tenma pouted at the thought, skimming over his next pilot episode for rehearsal tomorrow. he was too good to be real, after all, he was meant to end up with the lead girl anyways (spoiler alert!)

but, it didn’t matter how perfect that actor was! because tenma had gotten the role of “chan”, the leather-jacket wearing mystery with an actual heart of gold, and he was going to make the entire audience swoon

(though, tenma just wanted to make your heart skip a beat when he ended up on the big screen)

tenma would never admit how fast he checked his phone when he felt it buzz in his pocket. sure, it was unprofessional during rehearsal but he knew it was you. however, his smile dropped the moment he read what you sent

you: remember to tell him how much i love him!

tenma: hah... no good luck for your new bad boy?

you: you know i’ll always root for you, ten!

tenma: but, i’m better than that actor, right?

tenma watched his message get delivered and was about to keep bothering you until someone called his name like they were friends. speak of the devil...

that actor’s straight, white toothy smile made tenma stand a little straighter (damn it, tenma was shorter), eyes wide as the actor gracefully introduced himself as his co-star for the next month or so (how did his voice sound even better in person?!)

“good morning, tenma! my name is jun, i’m so honored to meet a fellow actor on set! let’s work together well!” were they... really the same age? tenma barely registered the fact he was suddenly shaking jun’s (right, that’s his name) hand. why did he have such a manly grip?

tenma quickly (to his dismay) found out that him & jun had entered the industry around the same time but often had different projects, so they were never featured in the same production before. apparently, that was creating quite a buzz in the media that two childhood stars were competing against one another

a competition that tenma couldn’t lose. he was going to be your favorite actor, not his rival!

jun, like the perfect gentleman everyone described him to be, showed tenma around the PRETTY U set. jun had nothing but good things to say about the crew and vise versa. that only reinforced how tenma was oddly much more quiet than he usually was. luckily, one of the talents of being an actor was improvising, so jun was doing just fine

when they had reached the dressing rooms, jun shot a bright smile at tenma and gestured to the rather large room

“we’ll be sharing a dressing room together, tenma! we’ll be spending a lot of time together!”

tenma suddenly regretted his decision to become chan of PRETTY U. you couldn’t have had a different favorite show?! anything but... this

there were now three main characters for PRETTY U: hoshi, yuri, and chan, creating a love triangle for millions of viewers to watch every week

nakamura jun, leading role, played “hoshi”, the boy-next-door. this is the popular boy at school with the best grades and an even greater reputation amongst everyone. next, uedo ren, one of japan’s rising female actresses of this generation. she is adored as “yuri”, the perfect girl. she is the typical nerd who suddenly transformed into the prettiest girl at school from learning make-up

last (but definitely not least!) is sumeragi tenma, playing “chan”, the bad boy. it was nothing like tenma’s done before, since the character was much less expressive than he was used to. chan is a traditional rebel who is revealed to have a soft side for yuri. but, chan (ironically enough) has a secret history with hoshi, causing tension in this already confusing love triangle

(embarrassingly enough, jun had to explain to tenma the complications and ties between each character. tenma, unfortunately, found it to be extremely helpful)

even with this newfound knowledge of the characters in season 2, tenma couldn’t help but absolutely ruin the first day of rehearsals. even with a decade or so of acting as his experience, one thing kept him from being chan: his lack of chemistry with “yuri”

“cut!” the director called out again for the nth time, sighing as their eyes landed on tenma, who was not enjoying being the center of attention this time, surprisingly

“take 5, kid. once you come back, i expect you to actually go through this scene without messing up your lines.” tenma nodded and exited quickly, feeling flustered from the looks of sympathy directed his way. usually, it was one-and-done. it didn’t take a hundred tries just to do another romantic and cliché scene

tenma exhaled loudly once he felt the fresh air upon his face. without the fear of cameras in his face anymore, tenma ran his hand through his hair with a frustrated kick at the concrete. come on! he was renown child actor sumeragi tenma, why was he so in his head now?

tenma was about to yell into the sky before he heard someone close the door, standing beside him with their usual silence. tenma didn’t even have to look to know it was jun (probably with the most pitiful look ever)

“tenma? are you okay?” jun waited as tenma tried to not say anything he’d regret, shifting his weight on his foot back and forth before relenting, shrugging as if it couldn’t be helped

“i don’t know... i just, i can’t see yuri that way. how am i supposed to flirt with someone i don’t even like?”

jun pondered the thought for a moment, before tilting his head, a boyish smile overtaking his features. tenma unwillingly relaxed; jun finally looked his age

“who do you like then?”

tenma froze, a blush even foundation couldn’t hide blossoming on his cheeks. jun let out a teasing “oooh!” as he nudged tenma with his shoulder, who pushed back with an eye-roll

“i-it’s not like that! don’t be so—ugh!” tenma cut himself off, rubbing the back of his neck and avoiding jun’s knowing eyes. damn it, they barely knew each other. why was he getting so comfortable with his enemy?!

“well, whoever you thought of, imagine yuri as them.”

“is that what you do?”

jun shrugged, not giving a clear answer for once. before tenma could ask for more information, their break was over

when tenma returned to the scene, he took a deep breath and closed his eyes. when he opened them again, he watched as yuri transformed into the one person he’s been trying to impress this entire time: you

when “you” smiled, tenma couldn’t help but follow along. his first-take after break made the cut for the final product

“you must really like them, tenma~” — “stop!!!”

filiming afterwards became easy, especially when he imagined all his romantic words were directed towards you. he could feel the clamminess of his hands, the rapid beat of his heart, the intense blush across his face, all at the thought of you

(the only time he had to start over was when he accidentally said your name instead of yuri’s)

tenma was sure he’d become your favorite actor now! after all, you were his favorite person

“will you watch the first episode of PRETTY U’s season 2 with me?”

you had never said yes so fast in your entire life. when tenma learned there’d be a cast-viewing of episode 1 after finishing the season, he knew his +1 invite could only go to the biggest fan of the show

throughout filming, you were always the person who got him in trouble when the text tone wasn’t put on silent. you liked spamming tenma with a bunch of supportive and encouraging messages when you were available, meaning tenma always had something to look forward to after each scene

in return, tenma would send a selfie of him with his castmates or the set (or, what he was allowed to show under his contract). yet, despite your constant pleas, there was one co-star he’d never take a photograph with: jun

(“tenma! we’ve worked together for months~ shouldn’t i be called your friend now?” “no—” “huh?! don’t pretend you don’t like me!” “who said i was pretending?” “tenma!”)

at first, tenma was apprehensive about inviting you to an event where jun’s picture-perfect face would be on display everywhere. but, whenever he saw you, the weight of the tickets suddenly felt much heavier in his pocket. he couldn’t deprieve you of such an exclusive event just because of his jealousy (even if he was this close to doing so)

when tenma impulsively asked three days before, it felt worth it when you threw your arms around him (he hugged you back and pretended this meant something to you)

“i love you, ten!”

tenma felt like he was on set again, with yuri’s arms tightly holding onto his heart

“i love you, too.”

even after saying it so many times, tenma meant it even if he didn’t say it to your face every time

you looked like the star of the show

tenma fixed his tie as his blazer suddenly felt too tight. you appeared in your most formal attire, looking like a million bucks as you two sat across each other in the limo

“ten, look at all of this!” you pointed out every little thing of preparing for a professional event. the little glasses of champagne neither of you two could drink sat to the side as the leather seats molded to fit your posture. as the night lights of tokyo blurred by, tenma couldn’t help but think you sparkled more than this diamond of a city

“i can’t wait to go see the first episode! thank you for inviting me.” you bowed your head, as if suddenly overcome with gratefulness. tenma lightly kicked your shoe with his, fondly rolling his eyes as he tried not to smile (mission failed)

“don’t worry about it, who else would i bring? you’re my favorite pe—friend. friend, yeah...” tenma trailed off, suddenly finding something very interesting outside of the window. you only nodded, seemingly more interested in the fact there was enough room to walk around

when tenma caught sight of the infamous red carpet laid out in front of the theatre, he cleared his throat and put on his best face for the cameras. after stepping out of the car with his bodyguards nearby, tenma turned and gave you a genuine smile. not his typical arrogant smirk the news source ate up, but a type of smile only reserved for you

when he held out his hand, the flashing lights behind him seemed like a real celebrity, something you had never considered him to be before. it was like seeing tenma in a new light (both literally and figuratively)

“shall we?” you took his hand and wondered if you could ever have your own j-drama. perhaps, tenma could even be the main lead...

before you could step off to the side, tenma already had his arm wrapped around your waist with his unchanging expression (however, underneath it all, he was internally freaking out. what was he going to do now?!)

“you’re my date, right? walk the red carpet with me.” tenma winked (you swore it sparkled) as he gestured towards the carpet ahead. suddenly, the line seemed much longer

“t-ten... you’ve never brought a date before...” you mumbled, acutely aware of how soon it was to walk down together. tenma’s arm stiffened, but nothing else exposed the revelation as he looked down at you

“you’re my first, then.” and my last, tenma thought to himself. before you could change your mind, it was showtime. tenma put on his movie star face and introduced you to familiar interviewers, smiling away as if you two weren’t panicking on the inside

while you were focusing on the fact you were going to be going viral as tenma’s first “date” to the event, tenma was trying not to blush from how close you were. you felt... right besides him

tenma was a natural in front of an audience waiting for him to make a mistake. he flawlessly answered every question with swaggering confidence, his stride easy and poses photogenic

you did your best to follow his lead but it all ended when tenma took you into the theatre, staring down at you with a bright smile

“we did it! see, told you we’d be just fine.” tenma let out an exhale of relief, glowing with joy from the adrenaline of everything that came with being a superstar. as you looked up into his excited eyes, you saw him lean down before—

“your arm is still around me.”

silence, then a hurried separation as tenma put too many feet between you two. it was suddenly as if you two were strangers. you regretted the words the moment they left your mouth; you didn’t mind at all... why did you say something?!

“um... so, food?” tenma spoke up after an eternity of making excuses. you two quickly moved to the line of movie snacks, using candy and popcorn to substitue the suddenly awkward silence

when tenma ordered all your favorites without even asking, he turned around with the selection only to close his eyes and internalize every single thing he was feeling because there he was, his worst enemy

jun entered from a side door, most likely finishing up helping the crew with set-up (and 30 minutes early as usual) before catching tenma’s iconic bright orange hair, a grin lighting up his face

“tenma! it’s me, jun!” he said, as if they weren’t the two main leads of japan’s most famous drama so far. immediately, your smile matched jun’s as you watched as your favorite actor of all time make his way towards you two

“jun... of course you’d be here.” tenma said through gritted teeth, forcing a pleasant smile even with an armful of junk

“ah, still keeping the bad boy attitude? we’re off set now, you can stop method acting now.” jun joked, bringing his attention to you with a dazzling smile that would absolutely make any fansite’s career

“oh? who is this, a friend of yours?” tenma tried not to sigh so loud when you couldn’t help yourself and burst into a long rant about how amazing jun was. tenma waited until you reached your midpoint and stopped you with a quick nudge, trying not to scream (could jun stop being so... perfect? could you stop being so cute?!)

when tenma introduced you, he stood a little closer as he tried to maintain his jealousy. “they’re my date, by the way.” no one had asked, but tenma was clearly telling anyone who was around you two had gone together

jun’s eyes lit up in recognition as he let out a noise of surprise. “ah~ so this is who you—”

tenma didn’t regret losing his giant popcorn so fast to a co-star who could only be silenced with food. his wallet could afford another one, anyways. his pride on the other hand? could not let you know his acting secret already

“what was jun going to say?” you asked after you two departed for the viewing room. tenma nonchalantly pretended like everything was okay as he guided you to front row

“probably something about the fact you’re the one who always interrupts our scenes.”

“hey! my texts make your day, don’t lie!”

“go sit down and eat already, jeez.”

when it began, your eyes couldn’t leave the screen. it was better than you could have imagined. everything was perfect, it exceeded the standards of even the toughest fans out there. you loved every second of it... except...

tenma was too good at being chan. even with his bright hair, the dark clothes he wore made him appear intimidating, with his sharp eyes and even sharper smirk. chan’s appearance was tough, rough, and mean, everything tenma wasn’t

yet, you still couldn’t help but feel your heart sink when chan was clearly in love with yuri. yuri was one of your favorite characters by far, but she ended up bothering you for the entireity of the episode

especially every time she shared a scene (which were many times) with chan. chan was revealed to be a bad boy with a heart of gold, all with a special soft side for yuri

what was this feeling? were you... no, you couldn’t be! after all, you had never seen tenma that way before, right? yet, every time chan made an exception for yuri, you felt sick to your stomach

was it possible that tenma liked the actress who played yuri? you snuck a glance at tenma, only to see he was looking at you already (he’d never admit it, but he was watching your reactions to see if he made you proud. yet, every time you saw him, you subconsciously frowned)

were you not proud of him? did you not like his performance as chan?

before tenma could ask you, the scene changed into one of chan’s. he was standing outside in the school uniform, his head ducked as he swiped through yuri’s social media. before he could look up, yuri jumped in front of him with a teasing smile

“roar!” she called out, referring to their inside joke earlier in the episode. yuri cutely bounced back with another roar, holding her hands up like paws. chan watched, his typical rock-hard expression breaking to reveal his developing feelings for yuri

later on, chan stopped yuri in the hallway, other students watching as the school’s bad boy and goddess interact

“do that again.” chan demanded to which yuri innocently tilted her head, confused like a little puppy. “do what?” “that... that thing.” when chan roared, tenma sunk into his seat with an embarrassed defense and explanation ready. but, when he looked, you finally cracked a laugh at his little roar

your smile only fell when yuri roared again as a joke, but chan smiled for once. tenma wondered why... he thought you would be so happy to be here with him. maybe, he’d never be better than jun...

when the episode ended, it took a moment before you stood up and clapped. tenma followed along, but all he could think about was how he let you down. not only as chan, but as your boy, too

when you two left the room, you two hung back to watch as everyone congratulated one another on the success of the production. in the midst of the cheer and celebration, tenma felt small as he watched your blank expression

what did he do wrong? he put his best efforts into every scene; he might even say it was his best work yet. before he could apologize, you did the unthinkable: you roared

you jumped up into his face, holding your hands up like yuri did. when yuri did it, tenma didn’t feel a thing. but, when you did, tenma felt it. the butterflies fluttered in his stomach as he stared at you, frozen in place

“this is the part where you ask me to do it again.” you shyly trailed off, about to put your hands down before tenma weakly put his hands up, knowing he was about to regret his next move (if the embarrassment didn’t kill him, he didn’t know what would)

“roar!”

that was too loud, wasn’t it? the room suddenly went a lot more quiet as they turned their attention towards a teen actor roaring at his date

“yah! why didn’t you ask me the next line?”

“b-because... i know i like you even without you doing, that, again.”

you paused, taken back by his honesty. as tenma contemplated just falling onto the floor right then and there, you suddenly hardened your expression, standing up straighter with your arms crossed

“do that again.”

“do what?”

“that thing.”

when tenma roared again, much quieter this time, you nodded as you finally smiled genuinely for the first time ever since that episode started

“good, i know how chan feels now. i like you, too.”

“does that mean i’m your favorite actor now?”

(when jun released a video of tenma roaring online, he captioned it with “ROAR = ILY!!!” tenma realized maybe he wasn’t all that bad, but still)

[binderclipdocs]

Hello! I’m wondering what your take is on Dear Friend (and especially “I’m in love with a friend of mine”?) I find the song a little confusing, and I’ve read a lot of different interpretations. I really love your films and I know you’ve done a lot of research, would love to know what you think. Thanks!

Thanks for your appreciation, anon!  I love Dear Friend and am happy to share my thoughts on this haunting, mournful, mysterious song!

I’ll be the first to admit the lyrics are confusing (like so many McCartney songs!), mostly by virtue of the fact that Paul uses “friend” twice in a row.  Are there two friends, or only one?  By using the word “friend” on top of each other as he does, it suggests either a single friend (the titular “Dear Friend”) in two situations OR two friends, in separate/competing situations.

Dear Friend, throw the wine 

I’m in love with a friend of mine 

Really, truly, young and newlywed

Of course, everyone is entitled to their own opinion, interpretation, fantasy, etc.  and no one but McCartney himself can definitively declare precisely what he meant with this song.  But it’s my opinion that Paul was saying the latter; that he is in love with his friend and new wife, Linda.  This is my conclusion after having deeply researched this period extensively for TWO documentary series (McCartney (2020) and Understanding Lennon/McCartney), an opinion that obviously no one is required to entertain and anyone is free to discard.  But for those who are interested, I’ll share my reasoning below.

Firstly, this is NOT an attempt to disprove that Paul was ever in love with John or vice verse.  They both used this term publicly and therefore probably/possibly did privately with each other as well.  But Paul’s statements in April, 1970 pretty clearly spell out the situation:

“Personally, I don’t think John could do the Beatles thing now. I don’t think it would be good for him.

John’s in love with Yoko, and he’s no longer in love with the other three of us. And let’s face it, we were in love with the Beatles as much as anyone.”

So John and Paul were “in love” (with each other as people, or the Beatles as a concept, or Lennon/McCartney as a team, etc) for a long time.  But by 1970, they both have new spouses and new lives and are following different paths.  Here’s a brief recap of the events that led to this statement:

In a now-famous meeting in September 1969, John told Paul that he was leaving the Beatles and wanted a divorce.  Whether this was an idle threat designed to scare/hurt Paul, or a real desire on John’s part is open to interpretation, but Paul, for his part, took it seriously.  

Allen Klein asked John not to go public with his decision to leave the group and John happily and uncharacteristically agreed to sit on this “news” indefinitely.  Paul subsequently disappeared for 6-8 weeks, mourned the loss of the band privately in Scotland, and then began working on his first solo album. Communication between John and Paul fell apart at that point, and John began a campaign of maneuvers - possibly engineered or facilitated by Klein - to bring Paul back into the Beatles’ fold and force him to submit to Klein’s management and John’s leadership. Backed into a proverbial corner by John, George, Ringo, Yoko and Klein, Paul played the last card he had: he quit.

In April 1970, Paul made the split official (deliberately or accidentally? YMMV) with the release of his first solo LP, and attempted to finalize the divorce with an uncooperative John for the remainder of the year. As is pretty well-documented, Paul tried for a quick and amicable split, requesting a release from the Beatles’ contract. But after John was unresponsive and Allen Klein advised him to set duplicitous legal traps that would prevent Paul from separating from the Beatles, Paul (as advised by his lawyers) decided to sue for divorce by the end of 1970.

By 2020, even the most casual Beatles fans know two basic truisms: 1) that Paul loved John always and 2) that Paul didn’t want the band to break up. Of course there’s more to the story than just that. We have also been told repeatedly that John “left Paul,” but this is not the whole truth either.

Essentially what John did was yell “I’m breaking up with you!” and then block the door every time Paul tried to leave.

As late as September, 1971 John is still saying publicly that he hopes Paul will return.  

Int.: Let's talk a bit about Paul's aversion to Klein. From what we've read it seemed as if this wasn't there in the beginning, even though Paul wanted the Eastmans to run things. But it came on later as things progressed. And yet despite this, we gather that Klein was still hoping that Paul would return to the group.

John: Oh, he'd love it if Paul would come back. I think he was hoping he would for years and years. He thought that if he did something, to show Paul that he could do it, Paul would come around. But no chance. I mean, I want him to come out of it, too, you know. He will one day. I give him five years, I've said that. In five years he'll wake up.

[Narrator voice: Paul did not came back.]

Yes, Paul loved John.  No, Paul didn’t want the Beatles to break up.  

But when John said he wanted out, Paul took him seriously, respected his decision, never made a single attempt to woo John back and showed up 6 months later with a moving van and divorce papers.

When you hear Dear Friend out of context -knowing only that Paul loved John and was sad after the breakup- it’s not wholly unreasonable to think maybe Paul was declaring his eternal love for John here:

I’m in love with a friend of mine really, truly, young and newlywed

But when you experience Dear Friend in the proper context, that interpretation sounds less and less likely.  Here’s Paul:

April 21, 1970

“I’m not blaming her. I’m blaming me. You can’t blame John for falling in love with Yoko any more than you can blame me for falling in love with Linda.

We tried writing together a few more times, but I think we both decided it would be easier to work separately.  I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership. It’s taken me a year to realise that they were in love. Just like Linda and me."

Summer 1970

Paul writes John a 12-page letter requesting that they “let each other out of the trap.” John’s response was a picture of himself and Yoko with a balloon drawn above his head saying “How and Why?”

Paul responded: “How? By singing a paper that says we hereby dissolve our partnership. Why? Because there is no partnership.”

April 16, 1971

PAUL:  “We used to get asked at press conferences, 'What are you going to do when the bubble bursts?' When I talked to John just the other day, he said something about, 'Well, the bubble's going to burst.' And I said, 'It has burst. That's the point. That's why I've had to do this, why l had to apply to the court. You don't think I really enjoy doing that kind of stuff. I had to do it because the bubble has burst-- everywhere but on paper.' That's the only place we're tied now.”

Nov 11, 1971

MM: But John said to me that what you’d done in bringing the [court] trials up and everything was what they all wanted, that you’d just done it a lot earlier than they would have done.

PAUL: Well if that’s true, well… well, come on! That’s – see, I’ve told you… The joke is, though, that we don’t have to do trials. It’s not necessary. If the four Beatles signed a bit of paper, or even ripped the old contract up and said, “This contract is no longer valid, we all hereby said it, we all legally direct the shareholders…” the whole thing, to wind it all up, we could do it. And if that’s really what he wants, he could do it this minute. [snaps fingers]

Furthermore, Paul was deeply in love with Linda during this period, as reflected by: the songs on both McCartney and RAM, the testimony of those around them at the time and by Paul’s own recollections.  The first few years of Paul and Linda’s marriage was their honeymoon period, their era as newlyweds.  It was certainly an awful time for Paul in many respects:  the business battles of the Beatles were excruciating and extremely stressful and the loss of his three best friends was heartbreaking. Furthermore, the rock press had largely turned against him (sometimes viciously so), and John & Yoko (and Allen Klein) were painting him as a traitor to the counterculture and a villain for destroying the Beatles with his granny music, giant ego and overbearing personality.  Paul and Linda were extremely isolated, partially by choice and partially by force.  

But even though this was a terrible time for Paul in many respects, he was extremely happy with his new family.  He later described this period with Linda as one of the happiest periods of their life. Paul has said numerous times Linda (along with nature and horse-riding) brought him out of depression after the Beatles ended and gave him the strength to push forward with his solo career, at a time when many were rooting against him (and a literal cult was forming that claimed he was DEAD and had been replaced by an inferior imposter- let that sink in for a moment!).  He has been consistent about it over the years, and reiterated it as recently as 2020:

UNCUT: Tell me about the guy in the photo n the McCartney sleeve.  He looks happy. 

PAUL:  I was really happy, yeah.  The Beatles had become such a business machine, and with the arrival of Allen Klein the whole thing, every day was very unpleasant. 

UNCUT: So there you were on the farm, finding solace in a new family... 

PAUL: Yes. I had a little place in Scotland.  So we just went out there. “It’s so remote, no one can be bothered trekking all the way up here for a meeting.” It was a good period. We grabbed our freedom- you know what, we seized the day! Also, I had a new baby; I’d not been a father before, so I was very happy.

In December of 1970, John gave his infamous Lennon Remembers interview to Rolling Stone.  According to the liner notes of the Wildlife reissue from 2018 (and confirmed by the timing of the demo), Paul composed Dear Friend in reaction to John’s comments in that interview (not How Do You Sleep, as is commonly believed).  But he sat on the song for awhile and didn’t record it until late 1971 (for inclusion on Wildlife).  Judging from the tone of Too Many People and other songs on RAM, Paul’s initial sadness, confusion and disappointment gradually morphed into (or perhaps swung back and forth between) anger and defiance, accompanied by a taunting and/or gloating tone.  Having gotten Dear Friend out of his system, it seems it simply didn’t fit thematically on RAM. Perhaps after the release of HDYS, Paul was deflated and despondent enough to return to Dear Friend?  Perhaps Jealous Guy tempered or calmed Paul’s anger?   

Or maybe it was just a genuine attempt to turn the heat down.  We know that immediately following its release, John and Paul agreed (seemingly at Paul’s insistence) to quit bickering in public.

In any case, Dear Friend is a complex songs with a spectrum of emotions. Unlike Jealous Guy it is not apologetic; it’s mournful but also incredulous and slightly accusatory.  Paul appears to be calling John’s bluff:  Do you really believe all the bullshit you’re spewing?

Are you a fool, or is it true?

The John Lennon of Lennon Remembers is without hope or faith, denouncing everything he ever believed in and everyone he ever trusted -with the notable exceptions of Allen Klein, Phil Spector and Yoko.  Paul clearly loves John and hopes to salvage their relationship, but Dear Friend was written at a time when John was being manipulated and exploited by people he later admitted were misplaced “daddy figures.” While Klein and Spector turned out to not be the most reliable friends to John, Paul certainly seems to know and understand John’s vulnerabilities and motivations better than most.  As he sings in the demo:

Are you afraid?  Or are you blue?

So why does Paul mention that he’s newlywed and in love with Linda? Firstly, because he is, and he wants to celebrate with his best friend. We know Paul’s desire was for the two couples to make peace and be friends.  Pour the Wine.  Clink glasses and celebrate their new marriages together.

PAUL: Dear Friend was to do with John, a bit of longing about John. Let’s have a glass of wine and forget about it. A making up song. (July 2001).

This is precisely what the two couples did in December of 1971, immediately following the release of Wildlife.  

JOHN: We were both nervous, the four of us were nervous. I hadn’t seen him for a long time. I’d spoken on the phone [with him]. Uh, it was alright, you know. It was alright.

This is precisely what happened again throughout 1974 (with John & May Pang this time around), which John affectionately called their “Beaujolais evenings.”   

Admittedly, It may seem odd for Paul to mention that he is happily married (and in love with another “friend”) in a make up song to John.  Until you think about the romantic tension between John and Paul and Paul’s bold public recognition of it with this statement:  “It’s taken me a year to realise that they were in love. Just like Linda and me.” Paul acknowledges here that John is in love with Yoko and wants John to acknowledge his love for Linda as well.  

In Dear Friend he’s communicating that there is nothing to fear; they are secure in their respective marriages, there is no need to be hurt or angry or jealous anymore.  We’re no longer partners, but we can still be friends.  “Let’s have a glass of wine and forget about it.”  A softer, gentler version of: Wake up, John. It’s over. Sign the fucking papers already.

So I think of Dear Friend as an olive branch, but not the groveling type some apparently do.  And I most definitely do not think it was a signal to John that Paul was still in love with him, despite being newlywed to Linda. 

I suppose it might seem a bit brutal for Paul to be singing about loving someone else in a song to John (although he’s done it before and I think John has done the same).  But I honestly think it is something Paul believes John needs to hear and accept at this point; that he is “really, truly” in love with Linda and that he’s not about to divorce her or run after the first “blonde with big tits” as Allen Klein so charmingly suggested. 

By September 1971, John still hasn’t seemed to accept Linda, or Paul’s relationship with her:

John: Paul always wanted the home life, you see. [... long, rambling story about being terrified when Paul got a job in 1961 and for a second looked as if he might abandon John and the group] 

 All the other girls were just groupies mainly. And with Linda not only did he have a ready-made family, but she knows what he wants, obviously, and has given it to him. The complete family life. He's in Scotland. He told me he doesn't like English cities anymore. So that's how it is.

Int.: So you think with Linda he's found what he wanted? 

John: I guess so. I guess so. I just don't understand . . . I never knew what he wanted in a woman because I never knew what I wanted.

With comments like this John seems (IMO) to be twisting himself into knots trying to rationalize Paul’s choice of Linda, practically wondering aloud what could she give him that I couldn’t?  He still seems unwilling to face or accept what Paul begrudgingly accepted and admitted years before: that his partner fell in love with someone else.

Here’s 76 year old Paul reminiscing about this tender, bittersweet time in his life, happy and in love with his wife and young family and simultaneously in deep pain over losing his dearly beloved best friend:

I remember when I heard the song recently, listening to the roughs  in the car. And I thought, ‘Oh God’. That lyric: ‘Really truly, young and newly wed’. Listening to that was like, ‘Oh my God, it’s true!’ I’m trying to say to John, ‘Look, you know, it’s all cool. Have a glass of wine. Let’s be cool.’

“Let’s be cool.”  Not “Please take me back,” not “Ignore my just-for-show marriage, I’m still in love with YOU.” To me, Paul is saying “I’m really, truly in love with my friend and new wife, can we please just be happy for each other? It’s all cool.” And for the record, I don’t find this sentiment any less loving on Paul’s part because I don’t think Paul being in love with his own wife (which he was), detracts from his love for John in any way. Again, I agree that the lyrics are slightly ambiguous, and perhaps this is meaningful too.  It could be that the lack of hard boundary between the two friends (John and Linda) reflects how much Paul loves them both; they certainly aren’t positioned as opposites (i.e. I love her but I hate you). Instead they’re both part of the imagined celebration; Paul wants them all to share the wine together- and he wants them to tolerate (love) each other. 

I think the traditional narrative doesn’t account for all of this because the traditional narrative does not acknowledge that John has any feelings for Paul in the first place. How in the world could Paul be asking John to “be cool” and accept the new situation when John didn’t even care about Paul in the first place and had been trying to get rid of him for years?  This perception - of John gleefully blasting Paul with HDYS and Paul replying that he’s in love with John - has taken hold in many minds and has picked up a lot of steam in recent years with so-called “jean jackets” because they fundamentally believe that Paul’s love for John was one-sided. They cannot comprehend that Paul would ever tell John to “cool it” or back off in any way (even in 70-71) because they take the surface story at face value:  John dumped Paul for Yoko and heartbroken Paul spent the rest of his life desperately trying to win John back. This is the narrative depicted in virtually every book I’ve read. My analysis is based on my own research, not this narrative.

I would invite readers of this post to watch (or re-watch) ULM (particularly volume 3 ) for a more comprehensive study of John and Paul’s relationship.  

Lastly, after doing my own independent research for McCartney (2020), I found that the Paul McCartney described by the musicians and collaborators in Paul’s life was dramatically different from the person depicted in books like Man on the Run. My films are free from narration and commentary; I rely on first-hand interviews and information from the people involved, and in my opinion there is a great deal to be learned about Paul from the way he relates to others, especially through music. And although the McCartney series is about his solo career as opposed to his Beatle career, I would definitely recommend it to anyone who is interested in Lennon/McCartney for the insights they could gain. 

Thank you very much for this ask- hopefully there aren’t too many typos!

[larphacks]

Process Hack: Welfare

Hi all! After a long hiatus, ya boy is back with more unsolicited advice!

What are we talking about this week? It’s LARP welfare!

Common at medium and large games, the role of welfare officer, sometimes called “site parent”, and sometimes divided into crew welfare and player welfare, is very important. It’s also something which can go really smoothly if you do some decent prep before the event. I’ve been discussing the role with some LARPer friends recently, and I’ve put together some advice for good ways to tackle this role.

Some of the below advice falls into the category of sensible prep that everyone can do before a game too, so feel free to read even if you don’t hold (or want to hold) a position like this!

Some of the jobs I outline below might not fall into every welfare officer’s purview - mix and match as you choose. (If you’ve been asked to look after player or crew welfare and don’t know which of the below are your responsibilities, that means you need to have a chat with the chief organisers and find out!)

1. Positive Energy

This can be a surprisingly high-energy role. Particularly in the crew room, one of the most important things a welfare officer can do is be positive and energetic when everyone is feeling a bit tired and down. This is hard! But a bit of jollying-along goes a huge way to changing the dynamic. This is even harder when YOU'RE the one feeling tired and cold and sad. But if you are visibly struggling, nobody will approach you when they need help! A "brave face" is your best weapon.

2. Shut Up!

Sometimes you need to be the "voice of reason" - getting people to concentrate, or quiet down, when it's important that something needs to be done quickly. One good way to do this is to be cheerful enough most of the time that people LISTEN on the rare occasions that you raise your voice and ask them to please shut up for a minute.

3. Early Start, Late Finish

The two above points are ESPECIALLY important during set-up and take-down. You need to be "on the ball"/on duty during periods where other people are transiting into and out of the game. During set-up, your keen crew and players will all be busy frothing and sniffing each other's butts because they haven't seen each other for a year, they want to show off their new kit, and their adrenaline is through the roof. But - it's 30 minutes to time-in and nobody's in kit and the IC areas aren't set-dressed. You need to get them moving!

During take-down, everyone is exhausted, a bit overwhelmed, and wants to sleep (including the refs). But the site needs to be taken down, cleaned and tidied up, lost property needs to be organised, and there are always last-minute disasters involved in the logistics of getting people off site. You can't collapse now - your job isn't done. You might not be in charge of take-down, but you ARE the right person to gently corral and rally tired people towards the plan.

4. Who does what?

If you're the first point of call for someone who's having an issue, being able to confidently signpost to other crew is really important. So firstly, you should know exactly what the other other staff members do and where they're likely to be (in both time and space). If a player comes to you and says "I'm really struggling with the Sorcery rules and I feel very stupid", then sure, you can (and should!) offer them some immediate comfort and consolation. But in order to help them with the root of the problem, you need to know several bits of information:

a) What are the different staff members' responsibilities/expertises? Who does what? (Mike is the person who handles Sorcery rules.) b) Where in space are the other staff located? (Mike is currently refereeing the Clawed Fiend encounter on top of the hill.) c) When in time are the other staff available? (The Clawed Fiend encounter can't be interrupted. It is scheduled to end at 2100hrs. Mike should come back to the crew room after that.)

I'd also recommend you have a good "ticket-tracking" system to make sure your incoming queries are handled and nobody falls through the cracks. You could devolve this onto players ("Come back at 2110hrs and ask to speak to Mike") but it will help things flow smoothly if you are also logging things yourself. I'd recommend carrying a small notebook and pen so you can note things down and tick things off. You can also help things along by being an active communicator and setting the emotional context for solutions. If Mike comes back at 2100 and immediately gets jumped by an emotional player, he might be tired and confused and not give the best answer. But if he comes back and you tell him "There's a player who is having a bad time with the Sorcery rules, they seem quite distressed, I think you can help, they'll be around in 10 minutes" then he won't be surprised and will have the right bit of his brain switched on.

5. It’s all in the Filofax

There is admin information about players/crew which will really help you if something goes wrong too. I'd suggest having the following on-hand, glued into your notebook, on a tablet, or otherwise kept secure on your person (since some of it's sensitive personal data):

a) A list of everyone's allergies and medical conditions. b) A list of qualified first-aiders, and the locations of first-aid kits. c) A list of every vehicle on site, registration number against player/crew name, in case you need a car moved in a hurry. d) A rough understanding of who arrived from where, with whom. It doesn't need to be exhaustive, but if the vehicle which brought 6 people from London breaks down irrecoverably, then being able to help sketch out solutions to get those people and their kit home will be massively easier if you know roughly where people came from.

6. The Outside World

You are likely to also need to be able to signpost to help *outside* the game. If a player comes to you with a problem that can't be fixed with on-site resources, what are you going to do about it? You can't predict every scenario, but at a minimum I'd suggest having the following prepared:

a) A breakdown service for the vehicle that won't start (in the UK the most common is the AA). b) A mental health or emotional support helpline, like the Samaritans (116123). c) The emergency number for injured wildlife - in the UK, the RSPCA (0300 1234 999). d) The emergency and non-emergency medical numbers (in the UK: 999 emergency, 111 non-emergency) and police numbers (UK: 999 emergency, 101 non-emergency). e) A clear understanding of where on site you can get mobile phone signal. f) A plan for how you would get an ambulance onto site if you needed one: run through the whole thing (where on site can I get enough signal to call the ambulance? What is the postcode of the site, and do I have a set of clear directions to give the dispatcher in my notebook? Who am I sending to the site entrance to walk the ambulance on? Is their most likely route of approach clear for a large vehicle?). If you've never called an ambulance in this country, then ask someone who *has* to practice with you, so you understand what questions they'll ask and in what order.

7. Kit & kaboodle

The following are things which LARPers reliably fail to provide for themselves, and which you will benefit greatly if you have on hand. Find out from the organisers what your budget is, and buy accordingly:

a) Salty snacks (crisps/nuts) and quick energy (sweets/fruit). Keep a small separate store aside from the usual 'crew food' to help someone who is struggling. b) The ability to make a hot sweet drink in a hurry. c) Hydration solution (Dioralyte, Powerade, or the cheap alternative, which is six teaspoons of sugar and half a teaspoon of salt per litre of clean water). d) Paper and pens. e) High-powered torch (for searching for lost objects). f) Your own phone on an in-country network, plus at least one charged mobile phone powerbank with multiple charger ends. g) Ice packs - ideally the "squeeze to activate" sort so you aren't relying on the site freezer. (Most common item left out of first aid kids - and immediate relief/comfort for the most common LARP injuries.) h) Warm blankets. i) An idea of how you'd provide a simple hot meal in a hurry. (This could be a packet of rice you can chuck in the microwave, a cup-soup and kettle, a ration pack and a Jetboil, or a good understanding of what the caterers' plan is for an emergency meal.)

If someone is in a lot of distress, going through the process of dealing with their physical needs (food/water/temperature/etc.) can often help them become better able to communicate their psychological/emotional needs. Often a LARPer who is dehydrated or low on blood sugar doesn't KNOW that's the problem, they just know they feel awful and are crashing hard.

8. Know the Ground

KNOW YOUR SITE - I can't stress this enough. If someone has a costume disaster and needs somewhere private to change, where can they do that? If someone is overwhelmed and needs a quiet, safe, cool (or warm) room or tent to lie down in for an hour, where can they do that? If a shy new player shows up and asks "Where do I put my kit?", then being able to answer them quickly and competently with a smile on your face will immediately endear you (and mean that they WILL come to you later, when they're suffering, instead of sitting alone on their bed being sad about it).

9. Late Bloomers

What is the late arrivals plan? If you went IC at 1900 and the traffic means some of your players don't arrive till 2200, then most of your key refs/crew will be busy running the game. You're the most likely person to escort the late arrivals onto site, get them set up, and get them integrated into the game. You'll need to reassure, but you'll also need to understand a lot of admin details to make sure they don't feel any more overwhelmed and embarrassed than they already do. This might involve giving a second safety briefing, pointing out any last-minute changes that weren't included in the game pack, and pointing them to the right ref to get their characters timed in. You can be as nice and friendly as you like - but some people will be even more reassured by practical, reliable and clear directions when they’re feeling rushed and panicky.

10. Herd those Cats

What is the crew plan? Depending on role, you may or may not be involved in "crew wrangling" - this is often a separate role, and deserves its own post. But even if you aren't "crew boss", you need to understand and be able to help balance crew energy and engagement. If there are long periods where crew are likely to be sitting around bored, where are the "pick-up-and-play" roles they can briefly read, digest, and go out to engage in? If crew are doing three hours of back-to-back combat roles, where is the plan for ensuring that they're all fed, watered, rested and properly kitted before their next high-energy role? The best refs will have considered this and have a clear plan for managing crew in small teams to maintain their energy levels - but as a welfare officer you are likely to be the advocate/interface if it doesn't seem to be working well, so make sure you understand where the weak spots and frictions in the plan might be so you can deal with them in advance.

What happens if a crew member comes to you and says they're really struggling with their NPC role and aren't enjoying it? (If you're the approachable face, they'll likely come to you first before a busier ref!) Do you understand the crew matrix well enough to think about solutions, alternative roles they could do, or how the timetable could be re-worked to end their role early? Wherever possible, you should strive to go to the refs with a solution rather than a problem: "Harry is struggling and I think if we brought the poisoning forward an hour, then let him play a gremlin for the rest of the night, that would fix it" is better than "Harry is struggling". They may not accept your solution, but the conversation is already moving onto alternative ways to fix the problem.

11. Easy In, Easy Out

How do players enter/leave the game if they're fatigued or unwell? Your game may not have a clear system for this, and it may be players' own responsibility to manage their fatigue. However, some will struggle to cross the IC/OC divide here: if the character is fighting for their life, how do they resolve that with the player needing to have a lie-down for an hour so they're safe to drive the next day? One of the best games I've run had a clear, signposted system where players who needed a break could "vanish" IC (with a clear IC logic for their disappearance) and take as much time as they wanted. When they were rested, they could go see a ref for a special briefing which told them what had happened while they were away (and explained how they reappeared). You won't find this in every game, but think about ways to make taking an OC break feel like a positive and productive experience, which leaves the character with plenty to talk about when they return, rather than a potentially embarrassing one which leaves the player out-of-the-loop and feeling like they've missed out on the fun.

12. Look After Number One!

Practice active self-care, both to facilitate all of the above and as a good example to others. Going back to the first point, most people can't project positive energy if they're sad, wet, cold, tired and hungry. Have a routine worked out to look after yourself. Understand what you can and can't do and work to your limitations. If you have lots of physical energy but are struggling to deal with six emotional crises in a row, get up and walk around site. If moving exhausts you, pick a central location to base yourself and make sure all the things you need to do your job are in easy reach.

Feel free to reblog with your own additions, checklist items or hacks for looking after your fellow LARPers’ welfare. Suggestions gratefully accepted!

[kumkaniudaku]

Simple Syrup

You asked for Daveed smut and I tried to deliver. At least this one time. Enjoy!

Warning: Sexual Content. 18+. 

Daveed Diggs x Black!OC (Olivia Jenkins)(Yes, the MC/ OC is black. Representation is important.)

"Yo, open up!" Heavy fists beat against the door of Olivia's downtown apartment, making her roll her eyes. "I know you can hear me, girl! It's your favorite pop-up roommate!"

"You've been evicted, Diggs!"  

"I paid you rent, though!"

Turning the stove on low, Olivia shook her head as she wiped her hands on a dishtowel. Daveed always found a way to surprise her with his presence. He never texted before showing up at her door but frequently sported a backpack or suitcase full of clothes or Rafael for an extended stay. He and all his baggage were welcome anytime, with or without notice.

Stepping to the door, Olivia bit back a smile before responding. "I didn't receive any payments this month."

"I got it in my bag."

"Bag or bags?"

"Open the door to find out."

Daveed took a step back as the locks began to turn, waiting for Olivia's face to greet him with faux anger the way she did the last time he showed up out of nowhere and stayed for three weeks. Despite stopping by six months ago, it felt like a lifetime since he'd been in her company. Bi-weekly phone conversations weren't enough. He needed to be near Olivia while she watched whatever Housewives franchise had her attention for the month.

When the door opened to reveal the long hallway leading to her living area, Olivia stood with a hand on her hips and a grin on her face.

"Where is my money," she asked, shifting her weight from foot to foot. Just as she expected, he stood in the hallway with a suitcase that she knew cost a fortune to check at the airport and his worn Jansport full of junk and work.

Daveed laughed and bent to rifle through his backpack for a crumpled white envelope that he handed over with exaggerated purpose. "Here you go, Miss Jenkins. Sorry to be late on rent for, what, 8 months? I hope this is enough."

"Boy, you didn't really need to pay me. You're not on the lease."

"Good," he answered as he pretended to wipe sweat from his brow. "Because those are just Chick Fil A coupons."

Olivia stood with her mouth open as Daveed brushed her to roll his luggage to the first bedroom on the right.

He listened to her insult his "stupid face" and instruct him to hurry up while he scanned the room he had called home more times than he could count. All of Daveed's belongings were in the same place, with almost unnoticeable shifts to show that Olivia had cleaned once or twice. His favorite throw blanket was folded at the edge of the bed with his initials elegantly embroidered in the corner. The air smelled of the vanilla candle she kept on the nightstand next to a framed photo of the crew enjoying a roller coaster at Six Flags. His favorite trinket, Olivia's homecoming crown from undergrad, sat next to a single gold medal from Daveed's days competing in track and field. To him, it symbolized their bond from the beginning. To her, it was probably just a space to hide old items.

"Daveed, get in here! I need you to cut!"

All at once, Daveed's sense of self returned to center him in reality. He quickly kicked off his shoes once he remembered Olivia's rules and started off toward the kitchen to answer the call for his help.

Even with the windows open, he could smell savory and sweet aromas combining for a smell that reminded him of the holidays. However, the calendar placed them square in the middle of an excruciatingly hot summer. He could see the open bottle of BBQ sauce on the center island next to a mixing bowl full of things he couldn't recognize but knew they would taste great. Bushels of greens sat in a pot on the stove, boiling amid smoked meat and seasonings to complement the food cooking in the oven. Daveed felt excitement take hold of his face and forced the apples of his cheeks up toward his eyes. Olivia looked up from her task at the cutting board and smirked.

"I thought you were vegan now."

"My business is my business, Liv. We talked about this last week."

"We also talked about you heading directly to Toronto after your job in Atlanta and, yet, here you are." She studied Daveed's face for answers but found nothing but a growing smile. "Come over here and cut up these strawberries while I sauce the ribs."

Daveed followed directions without complaint, lazily strolling to the island and nudging Olivia away. He'd been her help in the kitchen before to open pesky jars or stir while she tended to the more time-intensive parts of the meal. On more than one occasion, he had fucked up, and each time she invited him back into her safe space with open arms.

"How's Rafa and the family," Olivia asked with her back turned while she bent to take a peek into the oven.

Daveed kept his eyes on her backside for a moment too long before answering. "Rafa's good. Amy sends her love and says that you are more than welcome for Friendsgiving this year. She volunteered you for pies."

"You volunteered me for pies, Daveed," Olivia corrected, knowing how much her friend loved her desserts. "What about my babies? Is Santiago the best big brother to Emelia?"

"He's...trying. But he did send a gift for the lady with the bald head. His words, not mine."

Olivia ran a hand across her tapered fade and chuckled. "I feel like he heard Rafael say that."

"No, Rafa calls you Thick Mr. Clean."

"Yeah, because that's what you said when you were drunk on New Years," Olivia accused as she gestured toward the cabinet housing her wine glasses. Daveed nodded before answering.

"I said it with love!"

"Mhmm, I'm sure."

Together they watched half a bottle of Sauvignon Blanc be transferred into the separate glasses, waiting for the moment they could take a sip. The last time they shared a drink, they ran through two 12- packs of beer with Rafael and ended up dancing with street performers in Times Square. She hadn't been able to stomach the smell of a Budweiser since then and fully transitioned to fruity notes and sparkling Rosé with Daveed occasionally coming along for the ride.

Taking another long sip from his glass, Daveed leaned against the island counter to watch Olivia stir a mixture for skillet cornbread.

"What's got you so stressed?"

Olivia shrugged but didn't look away from the bowl. "Nothing. I'm fine."

"The last time you cooked like this, you were writing your dissertation. And the time before that, it was your mom."

The room fell quiet outside of the spoon, ricocheting off the sides of the mixing bowl. After several seconds, Olivia took a deep breath and looked up at Daveed.

"Daddy's getting remarried. Omari and I are his best-kids," she laughed. "I'm not stressed. Just a bit...sad, I guess?"

Daveed understood the issue without needing more context. Five years ago, he was the one sitting beside Olivia on the floor of her brother's home office after the news came that their mother had in the hospital. He was there for the saddest funeral he'd ever experienced and the months of reconciliation that the family struggled through on the way to some sense of normalcy. The idea that her father had found love again was heartwarming, but Daveed knew the occasion was bringing up old feelings.

"Wanna talk about it?"

She shrugged again and moved the skillet to the oven. "There's nothing to talk about. I said I'm fine. I wish she was here, ya know, but I know she isn't upset. She always told us to move on once she's gone. She sure as hell would."

Daveed chuckled at the idea of Mrs. Jenkin's moving on in the afterlife. "She was funny like that. I remember when she met me for the first time and kept calling me Devante."

"Yes," Olvia exclaimed, a spark of joy returning to her eyes. "She'd call me and be like, that boy Devante is smart! Ask him if he can put me in a movie one day!"

Olivia's voice warped to imitate her mother as best as possible before she burst into laughter with Daveed.

"One of the last things she said to me was that I need to make sure you keep having fun. She didn't want you to stop enjoying life on account of her."

"Yeah…" Daveed watched Olivia down the wine in her glass with her eyes closed, waiting for her to continue her thought. "Well, you're doing a good job. We could work on your definition of fun, but solid effort so far."

"How can I do better? I'm open to criticism."  

Daveed kept his eyes on Olivia while he reached across her body to grab the wine bottle for the final drink. Her breath hitched while alcohol buzzed through her system, creating the perfect storm for sudden arousal. She fought her thoughts by shaking her head to recover.

"You can start by grabbing those strawberries and bringing them over to the stove."

"Don't skip the question." Daveed's smirk as he followed her to the other side of the counter made Oliva hot with embarrassment, but she kept a calm exterior. "Are you still having fun with me?"

"I always have fun with you, D, you know that. Who else is gonna play Bop It with me at 2 AM on a Wednesday? The question is, are you still having fun with me, superstar?"

"Don't start that. I come and stay at your house because I miss you, not because I can't find somewhere else to sleep. You're my person."

"For now," Olivia added as a rebuttal, ignoring the way her stomach flipped at hearing the way Daveed felt. "What happens when you get married? You're gonna have to go be a family man like Rafa. Then we'll only see each other on Friendsgiving and Christmas."

"We'll cross that bridge when we get to it."

"Hm." Olivia's short but skeptical laugh effectively ended the conversation. Still, Daveed had already made up his mind to return to the discussion later in the week. "So, how long are you here this time?"

Daveed used one of his large palms to push a few curls off his forehead in search of relief from the heat in the kitchen. "I was thinking a couple weeks. Three or four."

"That's longer than normal! I get to have my favorite guy here long enough to help me put wallpaper up in the guest bathroom?"

"Am I only muscle to you?"

"Of course, not," she answered with a sweet smile, making Daveed mirror her expression. "You're also a taste tester. Open up."

Before Daveed could object, Olivia swiped barbecue sauce across his bottom lip for his opinion. The tip of his tongue appeared to taste the tangy brown sauce, finding an explosion of flavor that reminded him how much he missed Olivia's cooking.

"What's the verdict," Olivia asked over her shoulder as she turned off the eye under her simple syrup mixture.

"Tangy and sweet. I'm not sure why you don't bottle this up for sale. My dad would love some."

"Meh, I like having it as a treat for the people I love. All my hobbies aren't for profit, my friend."

Daveed dramatically threw a hand across his chest and gasped. "Did Mean Ole Liv just imply that she loves me? I-I'm gobsmacked. Utterly shocked and eternally grateful."

"Diggs, you're pushing it," she laughed. "Come taste this syrup before I start on the lemonade."

From experience, Daveed knew what to expect. But he humored Olivia anyway if only to see pride light up her face when he told her how amazing the sweet mixture tasted. After washing his hands in the sink, he skimmed his middle and pointer fingers across the top of the syrup to pick up enough to coat his fingertips.

He eyed the liquid for a moment, watching it slowly trickle down the side of his long fingers while he thought of his next move. Olivia stood at the refrigerator with her back turned, humming a song from The Wiz. At the same time, she gathered ingredients for the beverage.

"Hey...hey, Liv." Daveed had already started to close the short gap between them and stood waiting for Olivia to respond to his call.

"Wha -" A sudden swipe of syrup across her bottom lip confused Olivia. "D, what is your problem?"

Stepping forward, Daveed took her chin in his to bring their lips inches apart. "Is it still cool if I taste?"

Olivia stared at Daveed without blinking, fighting her brain for a competent answer to his question. Instead, she nodded in a daze with her jaw slack. His fingers took gentle meandering paths across the peaks and valleys of her face before using his thumb to part her lips.

Daveed's first kiss was a tentative peck to test the waters. When he received no resistance, he pulled Olivia closer for full access to her mouth.

Neither of them expected to fall into the kiss so easily. Olivia didn't expect to melt into Daveed's body while he dictated the pace and intensity. Daveed didn't expect to feel an overwhelming desire to consume the one person that always felt so close but far away. He wanted to feel and taste every part of Olivia while he had the green light. She reveled in Daveed's attention, even if it was only for a moment.

Taking a step backward, Daveed used his knowledge of the kitchen to guide them back toward the stove. Their lips remained connected to taste the last bits of each other. Olivia was the first to break the lip lock and move her head upward, directing Daveed to choose a spot on her neck to explore.

The cold, sticky simple syrup came next, the thick glob landing on the center of her chest and sliding to her cleavage.

"I've thought about this a lot," Daveed spoke barely above a whisper as he used a finger to spread simple syrup across Olivia's chest. "Kinda wild to say, but I have."

"How long?"

"A year. Maybe two."

Olivia released a shaky gasp once Daveed's tongue began licking from the space between her breast to the base of her neck to catch the simple syrup. As quickly as it disappeared, he replaced the sugar mixture with another round at the juncture of her neck and shoulder. He groaned as the tart strawberry flavor mixed with the sweetness of the sugar and Olivia's skin. She grasped the back of his head for stability, allowing her eyes to flutter closed for a few seconds.

"How does it turn out? In your thoughts, I mean?"

Daveed paused to kiss Olivia's lips again and run his hands down her back. "Doesn't matter. We're here now, and I can't think of anything outside of how good you taste drenched in strawberry sauce."

"Simple syrup," Olivia answered, smiling as she sneakily dipped her finger into the pot behind Daveed. "It's simple syrup, and I haven't gotten a taste yet. Open your mouth."

They kept their eyes on each other while Daveed opened his mouth, waiting for whatever came next. Olivia took her time to coat his tongue in syrup, imagining how it would feel to experience the concoction from his mouth.

There started the mad scramble to get closer, taste more and touch longer. Separate but equal desires to completely consume the other person had the pair maneuvering around the kitchen. They remained attached at the lips until they reached the solid wood breakfast table near the large casement window. Daveed was the first to remove clothing, pulling his t-shirt over his head and tossing it somewhere behind him. A split-second decision had him rushing back to the stove to retrieve the syrup pot. He carefully placed it on the table while Olivia slid the straps of her summer dress down her arms to let the fabric pool at her waist. Daveed watched with a flirtatious smile, marveling at the expanse of her warm brown skin. Olivia returned the sentiment, letting her eyes rake over his broad chest and toned midsection.

One after the other, Daveed and Olivia added bits of syrup to different body parts to lick and suck the skin clean. A handful mistakenly dripped onto Olivia's thigh, and they watched the sticky liquid carry small chunks of strawberries to the inner portion of her leg.

Daveed regarded the sight with wonder before carefully dropping to one knee for a better look. He maintained eye contact with Olivia as he kissed his way to the sweetest spot, lingering in places that earned the most desirable response. The scratch of facial hair combined with his lips and tongue's soft, silkiness made Olivia keen for more. She could feel the blood rushing to pool at her inner thigh for a bruise that would leave evidence of a dream achieved. She smiled at the thought of seeing it when she was getting dressed and how her stomach might feel with butterflies from the memories.

Daveed mumbled praise after praise into the supple skin of Olivia's thigh before starting a journey back to her lips. When he returned, he slowly pushed the waistband of his sweats down his hips and legs.

"Oh," Olivia spoke, eyes wide while she fought the natural desire to let her gaze travel. "I...wow, okay. I feel like I'm violating you."

"I'm kind of asking you to," Daveed laughed as he stepped closer.

"This is so fucking weird. Are we really about to do this?"

"Only if you want. I mean, I want to, but we can stop whenever you say the word."

He was closer now, dropping kisses on her shoulders while he pressed their chests together to reduce the space between him.

Olivia's legs naturally hooked themselves around his waist at the same time that her arms circled his neck.

She leaned forward to speak against Daveed's lips with her eyes hooded in lust, "I want this."

Passion and the hint of strawberry coating their lips intensified the moment between Olivia and Daveed. He held her writhing hips steady while he stood on his toes to push forward. Simultaneous moans of pleasure rang out in the kitchen, surely gaining the attention of nearby neighbors.

Their hips bucked an even pace, repeatedly meeting to build tension in their bellies. Daveed felt the strain of each stroke in his thighs and calves but found the desire to fuck his friend on her kitchen table to override any other immediate discomfort.

"Are you a talker," Daveed asked randomly, making Olivia's eyes snap up from the action below her waist to focus her attention on him.

"What?"

"A talker. Do you like to talk during sex?" His question came between labored breaths and grunts holding a mixture of exertion and indescribable pleasure.

"Daveed, are you trying to have a conversation with me right now?"

"I mean, I like to - fuck - I...I like to talk sometimes. Is that cool?"

A high-pitched moan ripped through Olivia's throat before she could gather her senses to respond. "It's your c-call, Diggs. Just don't stop."

He followed directions without skipping a beat, digging into his strength to pick up speed when he sensed they could move to the next level. He peppered in filthy statements that stimulate Olivia's mind while driving into her with expert precision.

They held on to each other as they reached separate peaks with no regard for the climbing noise level.

"I wanna do this forever," Daveed whispered into Olivia's ear before nipping at the lobe.

"Not look into my eyes lovingly and write songs about me?"

Daveed chuckled and snapped his hips forward, earning a near-silent moan. "Can I use you calling me daddy on the hook?"

"You got a lot of work to do before that happens."

"I'll put in overtime."

Splaying his hand across Olivia's torso, Daveed pushed her to lay flat on the table before leaning to hover over her body. He used his waning energy to give her all the power in his hips, searching for a climax. When she thought she couldn't come anymore, Olivia felt her body jolt off the table once the pad of Daveed's thumb began rubbing tight circles on her clit. Daveed smiled at the reaction but felt it disappear as soon as his hips falter mid-stroke. He rushed to pull out of Olivia, fearing that if he stayed inside for a moment longer, he would expedite his journey to fatherhood.

Olivia helped his cause by curling her fingers around his length and joining his pumping effort while she propped her body up on her elbow. He came with a choppy moan and heavy breathing on her belly, his chest rising and falling rapidly in time with the stove's timer beeping for attention.

Both Olivia and Daveed dissolved into laughter.

"Please, don't let this dry on me. It's sexy now but a pain to get off later."

Daveed's laughter climbed to hysterics at Olivia's mention of the mess on her stomach before reaching across the table to grab napkins out of the centerpiece component.

"Sorry," he apologized sheepishly as he helped wipe her clean. "Condoms next time?" 

"Or my mouth."

Daveed stood shocked for a split second while Olivia worked to readjust her clothing and hurry to the stove. He followed her lead and pulled up his sweats before clearing the syrup pot and grabbing wipes to disinfect the surface.

The room was silent while they arranged hot dishes on the counter and privately grappled with having sex for the first time. A sense of "now what" hung in the air, which made Daveed more and more uncomfortable.

After plates were fixed, they chose opposite ends of the table to enjoy the meal.

"You know," Olivia started, laughing as she swallowed the last piece of cornbread on her plate. "That simple syrup recipe is my mom's. This whole meal was her favorite thing to cook, and I made it because I was really fuckin' sad and needed her nearby. Then you showed up."

Daveed's eyes snapped up from his plate. He wasn't sure what to say and remained silent in hopes that Olivia would elaborate.

"A couple weeks before she died, she told me that she would still be directing my love life from Heaven. She grabbed my hand and said, 'Dammit, Bean, I'm gone get you a man even if I gotta do it during bingo with the good Lord.'"

"You think she's up there winning the grand prize?"

Olivia shook her head. "I think she forfeited it to send you to me."

Her answer made Daveed still to watch Olivia's eyes meet his set from across the table. She reached a hand across the table with her palms facing upward, beckoning Daveed to place his palm in the center of hers.

"We have three weeks to figure this shit out," Daveed said, smiling before bringing Olivia's palm to rest on his cheek.

She looked at him for a minute to take in the way his eyes reflected the sun before using her head to gesture toward the pot still resting on the counter.

"And all night to finish off mama's recipe."

[millenniumblog]

[ID: A chart describing the core values of each of the nine Enneagram personality types with YuGiOh characters correlated to each of the types.]

YuGiOh Enneagram Analysis, Part #1

Please note that this is the “boring” informational post about Enneagram with the Types listed and explained as well as a few other things. The next post is what has the actual, in-depth character profiles promised!

Introduction & Motivation

Over the past several months, I have been trying to analyze my strengths and weaknesses as a writer and learn more. I have been writing fanfiction since I was a little kid, making my first FF.net account in 2003 when I would have been twelve years old. Even before that, I was a lurker and wrote fics to share with my childhood best friend on paper or floppy discs.

YuGiOh came into my life at some point shortly thereafter. I know this, because I spent my thirteenth birthday in a comic book shop, mostly watching some of my male friends play the trading card game. I had some of the cards, but I was never much of a player, unable to keep up with the seemingly rapid rule changes. Besides that, I was always way more interested in the story and characters than I was in the card game. I remember I even wanted to call “YuGiOh cards” “Duel Monsters” instead to make it seem a little closer to tween-y LARPing.

Eventually, I gave up on collecting cards or trying to ply the game. I felt that while my male friends didn’t mind me being around when they played, they weren’t extremely interested in helping me learn or keep up. I felt I had other strengths, so I started carrying around a notebook even more than I already did. I started my fledgling forays into online fandom. And YuGiOh was a big part of the beginning of that.

I can’t remember posting any YuGiOh fic in particular, and I’m sure that if I had it would make me cringe now. What I do remember is reading some and also spending a lot of time lying on my bed, headphones plugged into a small purple stereo, listening to the first of the two American-released CDs with YuGiOh-inspired music on them. In particular, the last three tracks were pieces of music from the original score composed for the 4Kids dub, which is - for some reason - different from the original Japanese music.

During that time, I would fantasize and conjure my own YuGiOh plots in my head, most of which were focused on the Ancient Egyptian and more spooky, spiritual, and horror themes in the show. I was really fascinated with the reincarnation angle, though my understanding of and opinions on how that works have grown with time.

Years went by, and I didn’t think about YuGiOh much at all. Then, something happened in 2018. I don’t know what got in my head, but it was like all the joy I once found in thinking about the YuGiOh characters came back in a giddy conversation with my childhood best friend. Then, for a little while, it wouldn’t leave me alone.

I started writing for the fandom then, and after several detours, I’m trying to get back in the groove of it.

My approach to the tone of YuGiOh-fanning is that it’s a bit serious, but it’s also with a tongue placed in my cheek because of how incomprehensible or silly the plot can be on a meta level. Sometimes, it almost brings tears to my eyes by being so over-the-top about something that, in the real world, would make no sense at all. But the drama, in the context of the universe, somehow rings true.

I think that’s all owing to how most of the primary characters are just... really freaking great characters.

It has often puzzled me. Like, did Takahashi do all this layering on purpose? Is it really there, or did earnest fanon just make it seem like it? And, as a person, I am always here for a good fan-and-canon symbiosis.

This post is going to be, from here on, an effort to match the YuGiOh characters to the 9 Enneagram Personality Types. I am writing this for my own benefit as I continue to work on my pet YuGiOh fanfiction project, It’s Always Sunny in Domino City, which is a mixture of YGOTAS-vibes-and-concepts taken seriously and a sincere take on fanfiction for the actual canon. It’s dramedy about a sizeable chunk of the main cast a few years post-canon with some canon divergence such as the Memory World arc not yet and possibly never-happening. If that sounds like something you’d like, I would humbly request you check it out!

Either way, this will be an in-depth character analysis cheatsheet for all of the characters above, based on my observations, opinions, and feelings. I invite discussion, but it’s fine if we need to agree to totally disagree!

If you are interested and enjoy what’s below the Read More and in the coming second post, then you are welcome to utilize the character analyses to aid you in your own fanwork!

Enneagram

What is Enneagram, and why am I using it?

Enneagram is a personality categorization system that one might compare to the somewhat better-known MBTI. However, in the words of excellent writing-advice YouTuber, Abbie Emmons:

MBTI shows us how we behave.

Enneagram shows us what we believe.

I will be referencing Abbie’s video Using The ENNEAGRAM To Write CONFLICTED CHARACTERS and her free Enneagram-cheatsheet, available in the description of the linked video. Whether it’s before you continue reading or after, if you’re interested in writing, I would highly recommend you check out her channel!

The Enneagram system has nine basic personality types that overlap and interact in really interesting ways. It is not a hard science, and it’s not a horoscope. Instead, it’s supposed to be “based on conventional wisdom and modern psychology.” All I can say is that with every set of characters I’ve tried it with, it works! Once you get the hang of it, it feels kind of like ~✰~magic~✰~!

Below, I will list Abbie’s simplified definitions of each of the personality types, in order:

Type 1: The Reformer

The Rational, Idealistic Type:

Principled, Purposeful, Self-Controlled, and Perfectionistic

Basic Fear: Of being corrupt/evil, defective

Basic Desire: To be good, to have integrity, to be balanced

Key Motivations: Want to be right, to strive higher and improve everything, to be consistent with their ideals, to justify themselves, to be beyond criticism so as not to be condemned by anyone.

Type 2: The Helper

The Caring, Interpersonal Type:

Generous, Demonstrative, People-Pleasing, and Possessive

Basic Fear: Of being unwanted, unworthy of being loved

Basic Desire: To feel loved

Key Motivations: Want to be loved, to express their feelings for others, to be needed and appreciated, to get others to respond to them, to vindicate their claims about themselves.

Type 3: The Achiever

The Success-Oriented, Pragmatic Type:

Adaptable, Excelling, Driven, and Image-Conscious

Basic Fear: Of being worthless

Basic Desire: To feel valuable and worthwhile

Key Motivations: Want to be affirmed, to distinguish themselves from others, to have attention, to be admired, and to impress others.

Type 4: The Individualist

The Sensitive, Introspective Type:

Expressive, Dramatic, Self-Absorbed, and Temperamental

Basic Fear: That they have no identity or personal significance

Basic Desire: To find themselves and their significance (to create an identity)

Key Motivations: Want to express themselves and their individuality, to create and surround themselves with beauty, to maintain certain moods and feelings, to withdraw to protect their self-image, to take care of emotional needs before attending to anything else, to attract a "rescuer."

Type 5: The Investigator

The Intense, Cerebral Type:

Perceptive, Innovative, Secretive, and Isolated

Basic Fear: Being useless, helpless, or incapable

Basic Desire: To be capable and competent

Key Motivations: Want to possess knowledge, to understand the environment, to have everything figured out as a way of defending the self from threats from the environment.

Type 6: The Loyalist

The Committed, Security-Oriented Type:

Engaging, Responsible, Anxious, and Suspicious

Basic Fear: Of being without support and guidance

Basic Desire: To have security and support

Key Motivations: Want to have security, to feel supported by others, to have certitude and reassurance, to test the attitudes of others toward them, to fight against anxiety and insecurity.

Type 7: The Enthusiast

The Busy, Variety-Seeking Type:

Spontaneous, Versatile, Acquisitive, and Scattered

Basic Fear: Of being deprived and in pain

Basic Desire: To be satisfied and content—to have their needs fulfilled

Key Motivations: Want to maintain their freedom and happiness, to avoid missing out on worthwhile experiences, to keep themselves excited and occupied, to avoid and discharge pain.

Type 8: The Challenger

The Powerful, Dominating Type:

Self-Confident, Decisive, Willful, and Confrontational

Basic Fear: Of being harmed or controlled by others

Basic Desire: To protect themselves (to be in control of their own life and destiny)

Key Motivations: Want to be self-reliant, to prove their strength and resist weakness, to be important in their world, to dominate the environment, and to stay in control of their situation.

Type 9: The Peacemaker

The Easygoing, Self-Effacing Type:

Receptive, Reassuring, Agreeable, and Complacent

Basic Fear: Of loss and separation

Basic Desire: To have inner stability, "peace of mind"

Key Motivations: Want to create harmony in their environment, to avoid conflicts and tension, to preserve things as they are, to resist whatever would upset or disturb them.

Now that you’ve seen all those, what do you think your favorite character is? In YuGiOh or anything else! It works great for original characters and even yourself and your loved ones.

The actual Character Profiles will be in coming post(s), but continue reading if you want me to explain more about how and why the Enneagram is a great personality typing system. #nonspon, or whatever.

The Enneagram Chart

Now, you could just go to the Enneagram Institute’s page on How the System Works, but below I’ll cut it down to only the parts I’m interested in and explain those in a way that helps me.

Unlike in astrology or MBTI, which are both more restrictive in different ways, the relative position of each type matters a bit on the Enneagram chart, because it can be used to visualize a lot of things about a person!

The Basic Chart

The Types are shown in a clockwise fashion with “1″ in the 1 o’clock position on an analog clock. The interior lines mean things, but I have trouble reading it without further delineation.

Centers of Response

Below are two small charts, displayed side-by-side. (If it’s too small, try right-click, open in new tab!)

The chart on the left shows the three “centers.” The “centers” indicate the first ‘processing language’ a person would use to respond to stimuli.

Type 8, Type 9, and Type 1 respond first based on instinct (primal, gut-feeling). If you want to go Freudian, this is from the id.

Type 2, Type 3, and Type 4 respond first based on feelings (social or personal desires, the heart). If you want to go Freudian, this is from the ego.

Type 5, Type 6, and Type 7 respond first based on thoughts (analytical rather than emotional, the head). If you want to go Freudian, this is from the superego.

Remember that, of course, every single type and person engages their instincts, their emotions, and their thoughts at different times and to different degrees, and some of these are learned or changed behaviors. This is about what their innate drive toward that would be.

Likewise, the same “centers” can also be used for the chart on the right. You will notice that all three of these are defined by what is typically considered a negative emotion. This is because this is about a person’s instinctive, not particularly conscious emotional response when they are backed into a corner and deprived of something that is core to the needs of their personality type.

Type 8, Type 9, and Type 1 tend to respond to a threat to their psychic well-being with anger/rage.

Type 2, Type 3, and Type 4 tend to respond to a threat to their psychic well-being with shame.

Type 5, Type 6, and Type 7 tend to respond to a threat to their psychic well-being with fear.

Stress vs. Growth

We all know that there are times when a person isn’t acting like themselves, for better or for worse. Usually, “You’re not acting like yourself,” means that a person is behaving badly. Of course, it’s way easier to withdraw and bristle and defend rather than growing in the midst of adversity. However, it is certainly possible to experience character growth in response to experiences, good and bad. Unlike a lot of other personality typing schemes, the Enneagram has a way to display and predict what stress and growth do to a person.

The Enneagram never suggests that any Type is an island unto itself. Every person contains multitudes, but a person’s Type is likely to remain relatively stable throughout their lives, once they have had a chance to develop any personality at all. This means that when a person is stressed or growing that they do not become the type they emulate. Rather, they are more highly expressing that aspects of their personality that reflect those drives and desires but in a way that is either fraught, sickly, or unwell (in the case of stress), or aspirational, flying-high, and incorporating the hard-lessons into who a person is going to be going forward (in the case of growth). The latter, especially, isn’t a sustainable mode, while a stressed person can become more entrenched in their bad habits and defensive coping mechanisms.

Stress

Note the white, directional arrows. Each number has an arrow point pointing to it and an arrow leading away from it. The point indicates that this is the stress manifestation for the Type at the origin of that arrow. The origin of each arrow indicates the Type being described.

Confused? Let me finally give you a YuGiOh example.

When I was trying to identify the Types of the characters, defining Marik was difficult, because he has a “Yami,” or Dark Side, which has its own personality and will but which is not its own separate soul or person than Marik himself. Rather, it’s a kind of fantasy/magic-assisted personality splintering where Yami Marik is a full manifestation of the negative traits Marik needed to embody to survive.

So, for reference:

When stressed, Type 1 behaves more like Type 4. 

When stressed, Type 2 behaves more like Type 8.

When stressed, Type 3 behaves more like Type 9.

When stressed, Type 4 behaves more like Type 2.

When stressed, Type 5 behaves more like Type 7.

When stressed, Type 6 behaves more like Type 3.

When stressed, Type 7 behaves more like Type 1.

When stressed, Type 8 behaves more like Type 5.

When stressed, Type 9 behaves more like Type 6.

Alternatively, you can use these sequences to follow the stress lines:

1-4-2-8-5-7-1

9-6-3-9

Growth

Think of the above-explanation in reverse.

The sequence:

1-7-5-8-2-4-1

9-3-6-9

As a Type 1 grows, they incorporate more positive traits of Type 7.

As a Type 2 grows, they incorporate more positive traits of Type 4.

As a Type 3 grows, they incorporate more positive traits of Type 6.

As a Type 4 grows, they incorporate more positive traits of Type 1.

As a Type 5 grows, they incorporate more positive traits of Type 8.

As a Type 6 grows, they incorporate more positive traits of Type 9.

As a Type 7 grows, they incorporate more positive traits of Type 5.

As a Type 8 grows, they incorporate more positive traits of Type 2.

As a Type 9 grows, they incorporate more positive traits of Type 3.

Wings

The final thing to know about the Enneagram chart for my purposes is about wings. The wing of your personality traits accounts for the complementary and contradictory aspects of your personality. They are the inconsistencies that make you human, predicted and jumped in. Typically, a person is not thought to have both possible wings but one or the other. A wing is one of the two adjacent Types to yours, the number before, or the number after, and it is annotated, for example:

Type 1, Wing 2: 1w2

Type 1, Wing 9: 1w9

Link to Part 2 Here!