#is that something i want the audience to know or is that something only for yarrow to know?

[sweemmy]

“Remember, dear, the key to being an excellent broadcaster isn’t just having a pleasant voice, but knowing how to use it to capture and hold your audience’s attention. Speak to them as if you’re sharing an intimate secret, something only they should know. Make every word feel as though it’s meant solely for their ears.”

Alastor's voice flowed smoothly, weaving through the air like a hypnotic melody, and it took hold of you in a way that felt almost suffocating. His red eyes glimmered with a dark amusement, a twisted joy in watching your reaction. There had always been something unsettling about him, a danger lurking just beneath his charismatic exterior. But tonight, that danger felt closer, more present than ever before.

“Do you understand what I’m saying?” His voice dropped lower, no longer just instructive but now filled with an edge of menace, as if testing how much you could handle. His gaze bore into you, evaluating, judging.

You swallowed hard, feeling the weight of his words press into you, constricting your breath. “Yes, Professor. I understand,” you managed to say, though your voice came out more fragile than you intended.

Alastor’s smile deepened, predatory, as he closed the distance between you with slow, measured steps. Each one made your heart beat a little faster, the tension building as his shadow loomed larger. Though he stood only inches away, it felt as though his very presence consumed the room, suffocating any sense of control you thought you had.

“Good,” he purred, his voice a whisper laced with satisfaction. “Then let’s test that understanding, shall we?” He handed you a script, his fingers brushing against yours for a fleeting moment, leaving a trail of warmth that lingered far too long. “But this time, I want you to read it as though you’re speaking directly to me, as if every word is a whisper meant only for my ears.”

You took the script with trembling hands, the paper feeling heavier than it should, as if it carried the weight of the moment. Your eyes skimmed the words, but focusing was difficult with him so close. His proximity was overwhelming, the heat radiating off his body like an invisible force that seemed to pull you in. You could feel the breath of his words still clinging to your skin, each syllable echoing in your mind like a spell.

“Slower,” he murmured, leaning in just enough that his lips brushed the shell of your ear. The sensation sent a shiver down your spine, making it hard to concentrate on the script in your hands. “Take your time. Control the rhythm of your words, just as you would control an audience. Let them hang on every syllable, every pause.”

You tried to follow his instructions, your voice faltering as you read. But it wasn’t just the words that were slipping from your grasp—it was your own control. You could feel his presence everywhere, an invisible hand guiding you, pushing you further into the depths of something you couldn’t fully understand.

Alastor’s hand slid down your arm, so light it was almost imperceptible, yet it sent a spark through you. His touch was both comforting and threatening, a duality that left you frozen in place. You knew you should resist, should step back, but instead, you found yourself leaning into him, letting his energy consume you.

“Better,” he said softly, though his tone was still thick with dominance. “But you’re holding back. I want more.” His fingers trailed down your spine, and every inch he touched ignited a fire under your skin. “You’re trying to control your voice, but you need to let go. Surrender yourself to the moment, to the power of your words.”

Your breath hitched as his hand came to rest on your waist, a subtle but unmistakable claim. He was testing you, not just your voice, but your will. And the worst part was that you could feel your own resolve crumbling, your body betraying you as it leaned further into his control.

“I... I don’t think I can,” you whispered, barely able to get the words out.

His laugh was low, almost sinister, as he tilted his head, his lips ghosting over your neck. “Oh, but you can, darling. You just don’t realize it yet.” His voice wrapped around you like a noose, tightening with every breath you took. “You’re not here to think. You’re here to feel, to experience the raw power of your own voice... and mine.”

Without warning, he plucked the script from your hands and tossed it aside, his actions deliberate and dismissive. “Enough of the formalities,” he said, his tone dropping to something far more intimate, more dangerous. “Now, I want you to speak from here.” His fingers brushed over your chest, just above your heart, and then moved downward, tracing a path that left your skin burning in their wake. “From your soul.”

Your heart pounded in your chest, the room growing hotter, more oppressive. His hand rested on your hip, pulling you gently but firmly toward him, and despite the alarm bells ringing in your head, you couldn’t resist. You didn’t want to. Alastor’s gaze was magnetic, a dark promise of pleasure and pain that made your knees weak.

“Control isn’t about restraint, my dear,” he whispered, his lips so close to your ear that his breath sent shivers down your spine. “It’s about knowing when to let go. To let someone else take the reins.”

Before you could react, his lips met yours, and the world seemed to stop. It wasn’t a gentle kiss. It was consuming, filled with a hunger that felt centuries old, as though he was devouring a part of you. And you... you gave it willingly. His hands moved with expert precision, tracing the curve of your body, igniting a fire that burned hotter with every touch.

Your mind screamed that you should stop, that this was wrong, that he was playing you like a puppet on a string. But your body, traitorous as it was, responded to his every command, melting under his touch.

“Alastor...” you gasped between kisses, but he silenced you with a look, his eyes burning with that same dangerous glint you had seen earlier.

“Shhh,” he whispered, his voice dark and velvety. “Now is not the time for words. It’s the time for surrender.”

His hands slid under your shirt, the cool air meeting your heated skin as he pushed the fabric away. Every movement was deliberate, calculated, as though he was savoring the moment. His fingers danced across your skin, making you arch against him, seeking more of his touch.

“You see?” he purred, his voice dripping with satisfaction. “This is what true control feels like. You think you’re helpless, but in reality, you’re exactly where you’re meant to be. In my hands.”

You tried to speak, to regain some sense of control, but the words died in your throat as his lips found yours again. This kiss was different—slower, more intense, as if he was drawing out the pleasure, savoring every second of your surrender.

The world around you seemed to blur, your senses overwhelmed by him—his scent, his touch, the sound of his voice in your ear, promising both salvation and damnation.

And in that moment, as his hands moved with precision, as his words wrapped around you like chains, you realized the truth: you were his. Entirely, utterly his. And there was no turning back.

[sparklingcid3r]

CW: discussions of suicide/suicidal ideation

Scorching hot take about to come in, but I think that Darry’s line about Dally killing himself because he “gave up” actually does fit the character that the musical made Darry into. I’m not saying it’s a good way to view the situation or even a message that should be imparted at the end of the show, but I think that specific perspective of what suicide is aligns with the Darry we got to know.

You don’t have to agree, but let me explain🙏

There are a few ways that a viewer can interpret Darry’s character. In my opinion, suicidal is one of them. Darry equates suicide with giving up because it’s what he would do if he ever gave up, if he ever lost Pony and Soda the way Dally lost Johnny.

But I also want to say that just because he equates the two in his head doesn’t mean they actually are synonymous. I mean, Darry’s not exactly someone whose word you take at face-value for a lot of the show when he’s talking about his feelings, save for a few vulnerable moments.

When he is being vulnerable and you know that these are his core feelings, undisguised by the need to be strong, it’s during “Runs in the Family” (very sparsely, but there are small clues), and “Throwing in the Towel.” Especially in TITT, he expresses what can be perceived as suicidal ideation, which we’ll get to very quickly.

Because it’s one line in RITF, I can’t really harp on it as much as I’d like to, but Darry says “I don’t know what them boys would ever do without me, and what would I do on my own?” Obviously we never find out what Darry thinks he’d be doing on his own, so you can really only make loose, debatable inferences. Because of that, you can take the fact that Darry is a very goal-oriented person, then take the fact that he knows he would not have anything to work for if his brothers were gone, and combine them to say that Darry might very well just give up.

Darry’s suicidal ideation comes out the most in TITT. He literally says “Maybe you’d be best without me.” He never specifies what “without him” looks like, he leaves that up for Soda (and the audience) to interpret, but three ideas stick out to me:

1. Him giving Soda and Pony up to a boys home

2. Him having never been born at all

3. Him removing himself from their lives permanently (suicide)

Whether he feels one, two, or all three, two out of the three express either ideation or blatant suicidal thoughts.

It also explains why Darry is so insistent on Pony just snapping out of his depression following Dally and Johnny’s deaths. He’s seeing his brother go through the same tired, despondent motions that he did in the beginning of TITT, on the road to giving up.

What Darry doesn’t understand is that Pony truly giving up looks different than Darry truly giving up (I have a feeling that Pony would turn towards drugs and addiction if he hit rock bottom, but that’s another convo for another time), and because Darry is projecting his own version of giving up onto Pony, he’s terrified of his youngest brother doing something so drastic and permanent. Even if that’s not the reality of the situation, it’s what he believes, so it’s what he talks about.

[talenlee]

Game Pile: Kentucky Route 0, One of Three Games About America

Script and Thumbnail below the fold!

Kentucky Route Zero is a magical realist point and click game of what I’d normally call Narrative Adventure, which came to kickstarter in 2011, then came out in 2013, 2014, 2016, and 2020, because you can’t have nothing for free, even things you pay for. The game is a text-driven game without any of the trappings of your typical point-and-clicker where you jam a ladder in your pants and try to work out why you want to put green dye in the water fountain. Instead it follows the haunted mind of Conway, a trucky driver and his interactions with small handful of people on a part of the Kentucky Interstate, while he to find the place he needs to do his delivery, despite being utterly lost.

I enjoyed what of Kentucky Route Zero I played, but the thing that stands out to me in hindsight is its sound design. It’s a beautifully defined game, audio-wise, with all sorts of thoughtful foley for its environments, and the way that even the pieces of the interface that Conway interacts with have their own sort of specific authentic sounds, chonks and thunks and ch-zzzzses.

It’s also visually splendid, beautiful in what it tries to represent in the heightened reality of its setting but also the format of a videogame. These places look good from the angle that’s chosen, creating lines of artwork and bars of cages, depending on what you’re focusing on, and by being a fixed-camera story of its type, Kentucky Route Zero takes on traits of theatre, with blocking and careful positioning and timing all making up part of how the story unfolds.

A story I haven’t finished.

See, I don’t feel like playing Kentucky Route Zero Act V.

Sit down, traveller. Let me tell you a story.

There’s a chance you’ve heard this story before. I’ve anonymised it here, not because I think you shouldn’t be able to work out who it is, but because the idea of focusing on the who runs the risk of ignoring the what. Plus, I don’t want to direct anyone to a person who said something stupid and encourage fights. That’s not the important issue.

This is the story of when someone perfectly represented something, and probably never realised it.

You will sometimes hear me talk about the take that ‘there are three games about America,’ with a tone of utter revulsion and derision. This is from an incident back in 2020, when a game developer and advocate for inclusive games, had an opinion, on the internet. This advocate is well-established and has a big audience, but also, he’s crucially, not a white guy, not a Christian guy, and not an American guy. These are factors that play into what he said, which was, in summary, that while Kentucky Route 0 was no doubt phenomenal, he wasn’t interested in playing it right now.

To this, an actual adult responded with:

This is legitimately the worst take you’ve ever had. There are only about three games that are actually American, and this is one of them. Everything else is designed for export. Kr0 is a precious and valuable thing. It is of immense and intense personal importance.

Now, resisting the urge to argue with a tweet, which is just generally a bad practice that leads to doing things like wanting to be on twitter, and setting aside this tweet conflating ‘this is of personal importance to me’ and ‘this should be of importance to you,’ this position describes the idea that there are only three games that are ‘actually American.’

What does it mean to be ‘actually American?’

America is a pretty pervasive presence, if you’re not aware of it. Most people in the world have to know about what’s going on in America. We know about your Presidents and your Senators and your Constitution, to the point where people can be more aware of how your country’s laws work than their own country’s laws. I’ve often seen it held up as an example of how poorly educated people in say, Canada and Australia are that we believe we have, say, a ‘first amendment right,’ but the thing is you have to ask why there is that.

We watch so much American TV.

We listen to American music.

We try to make our news broadcasts look like yours, because that’s what real and legitimate news looks like. We try to retell your stories in our local languages because that’s what real media looks like. Our children sing songs in your accents because that’s the culture that a multi-trillion dollar economy has pumped into the whole world.

America demands we attend their wars and surrender our living to become their dead and when we are done America sells the survivors a cheeseburger.

This is not a remarkable or controversial statement. You must know, this is not even vaguely challenging to know about. Everywhere in the world is replicating parts of the American empire, because America exports and enforces the vision of the American empire. McDonalds may sell curry in India, but it’s very important that the curry being sold is McDonalds curry because that is how you know it’s an American style curry.

What this means is when someone tries to assert there are only really three games about America, that’s a kind of specialised brain rot that requires you to consider games that are very much about America as not being really about America. And thus we see the other thing about America, which is it’s not enough for America to be the most important place in the world that everyone else in the world needs to recognise, but also, most of America is inadequately America for this vision of America. You saw this in the wake of 9/11, and the election of Barack Obama: huge amounts of American media resurged in extolling the values of ‘real’ America, as opposed to the parts of America where the vast majority of Americans lived, which just so happened to paint a lot of marginalised people living in the cities as ‘fake Americans.’

I am not bringing you unique information. This is just obviously true things if you don’t live within the boundaries of an environment that flatters you as the most normal thing in the world. The vast majority of the world is not America. There are eight billion people in the world, more or less, meaning that America is about 4% of the world, and yet, it is catastrophically, overwhelmingly, deleritously the common touchstone for how things are ‘supposed’ to work. This is through media imperialism, which is mostly supported by American companies exporting all their media to foreign markets extremely cheaply.

‘about three games that are actually American.’

This fascinating piece of doofusry still, even now leaves me agog. ‘Actually American.’ Kentucky Route 0 is actually American, you see, as opposed to… what? Is America’s Army one of them? You know, the game financed by the American Army? What about Call of Duty, a franchise that is in part subsidised by American military complex manufacturers? What about Grand Theft Auto, a videogame that tells the rags-to-riches story of American excess in criminality, setting aside the way it’s made by a Scottish company. Actually American, because American doesn’t mean America, it means one tiny little pool of ‘America’ where the speaker can imagine there’s a realness and an authenticity to the America-ness that doesn’t involve all the messy realities of what it is to be America. It’s the towns of hard-working people, that suffer under your particular description of oppression, whether that’s cities full of nonwhite people or corporations bleeding the country dry, always eliding the social cruelties and terribleness of these places, as if giving people money stops them from being bigoted (for example).

This is then used to recruit these poor, superior Americans, the you know, America Americans, whose sufferings are noble and whose authenticity cannot be impeached and they are then used as a defense against criticism of, you know, America. It’s the same speech Charlie Daniels gave about how foreigners may think they could push around Barack Obama (a dude who bombed a lot of shepherds with the most elaborate and brutal military ordinance in the world) but they were going to have a harder time taking on Americans who wrestled alligators, who at this point have exactly zero recorded drone strike kills.

This is because America America isn’t real.

‘Real’ America is a nebulous nothing that you can project whatever you want onto, and which is also not responsible for anything terrible that America does. It’s not the American Empire, it’s not the exporter of culture, it’s somehow purer, better, a sort of individualised folk who are to be protected and extolled, shriven of all the things about America that make it anything but its perfect idealised form of America.

I could go on.

I really could.

This is something that defines the world I have to live in. I speak English. I’m white. I’m from a coloniser state. I should be able to integrate easily and smoothly into the white supremacist capitalist hierarchy of American culture, but we are told, that no, we are not acceptable. We are only valid as long as our differences are invisible. We, a real people, do not get to have opinions on America, because we do not know True America. When you spell colour wrong in a chat message, when your accent isn’t quite right, when you don’t know the difference between junior and sophomore year of high school, then you are shown, you are evinced, and you are made very aware that you are other, you are outside, you are wrong.

And really, there’s no good reason for it. We send our soldiers to America’s wars, we buy America’s submarines, and we sing your songs. Our currency mimics America’s, our culture permeats with America’s, we even have such a crushing inferiority complex about the empire that there’s an academic term for what we feel about our own media compared to the media of the truer, proper empire to which we are vassal.

The term is ‘cultural cringe,’ and it was coined by Henry Lawson, who you, odds on, have never heard of. In 1894, he wrote:

The Australian writer, until he gets a “London hearing,” is only accepted as an imitator of some recognized English or American author; and, as soon as he shows signs of coming to the front, he is labelled “The Australian Southey,” “The Australian Burns,” or “The Australian Bret Harte,” and lately, “The Australian Kipling.” Thus no matter how original he may be, he is branded, at the very start, as a plagiarist, and by his own country, which thinks, no doubt, that it is paying him a compliment and encouraging him, while it is really doing him a cruel and an almost irreparable injury. But mark! As soon as the Southern writer goes “home” and gets some recognition in England, he is “So-and-So, the well-known Australian author whose work has attracted so much attention in London lately”; and we first hear of him by cable, even though he might have been writing at his best for ten years in Australia.

This is imperialism. This is a way in which we have been induced and brought by the empires around us to accept their ways as correct, as the normal, as default. And that is the mindset you must have if you want to look at the breadth of videogames, with their American ideas like health insurance, readily available guns, the importance of freedom, the ubiquity of air travel, the branding and iconography of types of food and the sports metaphors and then say ‘yeah, this doesn’t have anything to do with America, not really.’

Anyway, this thread, this incident, was a big deal at the time, in that there were a lot of people from within the community of game developers and journalists who seemed very happy to line up and get mad at a brown foreigner for being inadequately enthusiastic about the possibility of playing a videogame. But don’t worry, after a day or two, an apology was forthcoming for all of this fracas, by which I mean, the original developer apologised for being so thoughtless as to, again, express honest lack of enthusiasm in a videogame.

For me, this was a kind of break point, where I started just blocking indie devs on sight. I don’t want to know what they’re involved in, I don’t want to promote their work, and I will hold tiny grudges against them that I do not seek to transfer or encourage in others. This was one silly incident in which a lot of people said something silly because they don’t know better, or they’re arseholes.

None of this is fair to Kentucky Route 0. It’s a game with its own intentions and its own perspective. It’s not trying to make this conversation happen. Kentucky Route 0 has been choked and gripped by this position around it, where to talk about an American game, someone put a cross on it that made it the avatar for All Things America. The wild thing to me is that I had, prior to this point, played two episodes of Kentucky Route 0. I thought it was pretty good, and I liked what it did with the negative space of dialogue options – when a character you’re controlling makes excuses, the excuses you choose show you other things you could be making excuses about that you, the player, didn’t know beforehand. That’s some good Narrative Storytelling Design, I like that a lot. But now I can’t really engage with Kentucky Route Zero because the main thing it makes me think about is how this final chapter, meant to round out the game’s story and present a conclusion and a point, became this flashpoint for a lot of people to be very casually racist.

Which kinda poisons the whole thing for me. It’s an authentic thing, I’m sure, it’s a thoughtful thing, too, but the people stepping up to say I should care about it did so in a way that made me hate them.

Any time you see me say ‘three games about America’ I’m talking about this, and the attitude of a particular kind of American that America is, as always, exceptional. It’s real easy to not realise when you’re just voicing your self-centeredness and how easy that is to ignore the opinions of people around you and what they’re saying. This is what I’m talking about when I mention ‘the three games about America.’

[fade for credit text]

By the way, the three games about America are Crash Bandicoot, Sam & Max Hit The Road, and Bust A Move.

[a-star-that-burns-brightly]

CH2-13 Thoughts + CH2-14 Predictions

Hello DRDT Fandom! CH2-13 came out about four or so days ago as I'm posting this, and I finally mustered up the energy and mental strength to write down my overall thoughts, and also general predictions for what I think is to come in the next episode. A lot happened in this episode and we have a lot to cover, so let's get started! Before we do though, I think I should give us a reminder of where we currently are in terms of the swear chart and the bingo card, as of CH2-12 Swear Statistics

Bingo Card

Just like the last post, I'll be separating my talking points into character categories, so let's jump straight in with the big man himself...

Levi

Quick Disclaimer: I myself am still trying to unlearn the mindset that having low or no empathy is in any way a moral failing. If I say anything wrong or rude, please politely correct me. Remember kids: Your feelings, thoughts, and emotions, what you feel and how you feel them if you do at all, do not have any moral weight, they are simply aspects of your brain and you cannot control your brain. The only thing that has moral weight is your actions.

So as we learned in the previous episode, Levi has the murderer secret! And as we learn in this episode, he apparently killed four people, one of which being his father. DRDT continues to take Danganronpa's standard tropes and incorporating them in unique ways, in this case Levi represents the trope of the Chapter 2 Serial Killer reveal (Genocide Jack, Peko, Maki). I love that DRDT keeps doing this and I hope it keeps it up You know what else is staying consistent, though?

(x) Levi: That incident happened when I was in my junior year of high school. Levi: My junior year was also the year that Hope's Peak scouted me as the Ultimate Personal Stylist. Levi: To my understanding, it would've reflected poorly on Hope's Peak to recruit a murderer, so they pressured the court into not pressing charges.

US-HPA being morally corrupt as all fuck, that's what! Like no, seriously, it makes more and more sense as for why Xander David and Mai were most likely forming a revolution against this damn place, cause wow. The choice to scout out Levi during his Junior Year, when he was still in high school, is...interesting. Given that this Hope's Peak takes in College-aged students, why not just wait until Levi has graduated high school? In fact, that probably would've been even better because by then Levi definitely would've perfected his skills in styling by then, and thus would further justify him being enrolled in the academy. We don't know whether or not Levi was scouted before or after his incident, but given how Levi explains the events, I'm willing to bet this was after. Which...makes thing especially strange. But I'm sure it's no big deal. I mean, it's not like we have any evidence of US-HPA preying on vulnerable childre--

(x) Min: The Ultimate Contest for Eminent Students was made for a very specific target audience. Min: Those children who had no talents, who would consider spending their entire lives preparing for one single test for even a chance to become an Ultimate...

Oh. Well isn't that funny, huh?

Part of Hope's Peak's branding in general is the promise of a better future, which is something that Levi clearly wants. So I can most definitely see why the idea of being enrolled in the academy appealed to him. Levi being a delinquent in his teenage years definitely tracks, given how we know that his family was full of bad influences (including himself more than likely). And I am absolutely not surprised that Levi ended up killing his father. I think a lot of us theorized for a while that the person he killed was linked to his family.

I'd absolutely adore to learn more about Levi's family situation and what exactly their relationship with each other was, because "We were bad influences on each other" can mean a lot of things. Given the fact that not even the police cared about the death of Levi's father, I'd be pretty willing to believe that Mr. Fontana is a wanted man who has done a lot of criminal harm to others. That might even be where Levi formed the mindset that people are defined by their actions. Maybe, that's my best guess and it doesn't even include his mother and brothers, lmao. Anyway, that's enough of Murder, Corruption, and Daddy Issues. Let's talk about the other thing that was revealed about Levi this episode, or more-so put into words. His low, if zero empathy. Firstly, those who are headcannoning Levi is ASPD, I see you and I love you. So much. But I would be lying if I didn't admit that my first thought upon watching this scene was "Levi is so Autismcoded" lmao But in all seriousness, I absolutely adore this side of his character. In general something I've always loved about Levi is the fact that he, to put it bluntly, does not know how to act. He's constantly seeing what others do and copying them, and asking them for guidance when he doesn't know what to do. His first appearance shows him using Xander and Teruko's appearances to wager what kind of person they are, which is more than likely how he got into styling in the first place. He's basically masking and trying to appear as what he views as normal because he's aware that his lack of empathy is not something most humans possess. And his actions reflect that of what he thinks a good person would do in these scenarios, whether that be your friends not inviting you to an event, or someone profusely bleeding from their neck. To put it in simple terms: He's masking. I love that. It really reminds me of the experiences had by my neurodivergent friends, and even though Levi is not canonically neurodivergent, the fact that so many people headcannon him with ASPD or Autism really goes to show how DT-Dev nailed that kind of experience, and how well they wrote Levi's low empathy in general. Well-done, DT-Dev :D ...Also I think it's safe to say that Accomplice!Levi is not happening. Damn it, I really liked that theory lmao.

Ace

[not even three minutes later]

...See, this is why I always believed Ace was telling the truth about David and Arei's conversation, because wow this man is competing with the former in the Shitty Liar Olympics.

If Ace's sense of security around Levi wasn't already shattered, it sure as hell is now. Which is very upsetting to see, but also very entertaining to me as an aficionado of toxic yaoi. I was never really an Acevi girl, it was just never something I was attracted to (probably because for a majority of CH2 Part 1's airing I really didn't like Ace lmao), but this combined with the Other Thing I'll talk about later has definitely sold me on it. I hope they get worse.

I can't remember what post it was, but I remember seeing someone talk about Ace very much projecting a friendship onto Levi that was never really there between them, and looking back, I absolutely agree. I mean, where the two of them really friends? I do think that Levi does, or did, genuinely like Ace. I don't think he would've been hanging around him in Chapter 1 if he didn't. But it was simply just that, he liked Ace. Ace loved Levi, and saw him as his lifeboat in the midst of this scary unfamiliar situation. Even if everyone else either was annoyed by or straight-up disliked Ace, even if he could die at any moment, he could still rely on Levi as a presence of safety and security, but that all came crumbling down.

ace can you please change your sprite

The fact that Ace, the man famous for jumping to conclusions, not thinking anything through or in depth, and switching his opinions on others on a dime, is even asking for Levi's defense at all, is proof enough to me that even after everything Ace still wanted to cling onto the fantasy of their friendship he had built up in his mind. But upon hearing that Levi never cared about what happened to him, he can no longer do so. ...And why do I think Ace got attached to Levi so quickly?

(x) Ace: I was totally right all along to burn our friendship--No, I can't even call it it "Friendship." Ace: There's only one person in my whole life who I've ever been able to call my friend. That I ever thought, even for just a short time, that you and I were "friends" is an insult to his memory.

Yeah it's time to talk about this.

So for those who are not in the know, DT-Dev confirmed in a now-deleted ask that this friend of Ace's is named Taylor Riley.

(thank you to @/nicohakobyan / weightedblankett on twitter for providing this screenshot)

We know very little about this man other than his name, his gender, the fact that he was Ace's friend, and that he's dead. We don't actually know that fourth one, but I think "insult to his memory" speaks for itself lmao. As such, we do not know the details of his relationship with Ace... But I've made more out of less before, so let's get to talking. Here's what I think:

I think that Taylor was a presence in Ace's life much similar to how Levi was to him in Chapter 1: A strong protective figure that helped to make the scared-of-everything Ace feel a sense of safety. And then some form of incident happened that resulted in Taylor's death, leaving Ace alone, heartbroken, bitter, and terrified. That sense of security he once had was ripped away from him, and without Taylor, he doesn't know what to do with himself anymore.

And then in the killing game, he meets Levi, who provides him with a similar feeling of safety. Immediately he begins to project the memory of Taylor onto Levi and as such becomes attached, quickly considering Levi a friend because of it. And I'm not entirely pulling this idea that Ace was projecting Taylor onto Levi out of my ass, either.

Ace: dark blue/purple (reasoning: refuses to provide reasoning)

When we first got this answer, most people assumed this was referring to Levi, but I honestly think it is more likely that this is referring to Taylor. But those colors are still part of Levi's design, which automatically sets up a parallel between both Levi and Taylor Ace projected his relationship and the memory of Taylor onto a man he barely knew, and when that man lost his patience with him, his fantasy was swiftly kicked with the steel-toed shoe of reality. Hell, Ace's reaction after Levi snapped at him may had been due to his illusion of safety crumbling beneath him, but going down the road of this theory, Levi snapping at him might've been the first time Ace truly saw Levi and not Taylor. He had been giving this man a script and a role to play, and Levi responded by tearing up the paper and telling him to fuck off. In a sense, you could say that in that moment, Ace lost Taylor a second time.

Since I don't think Ace is going to be the killer as he was knocked out and thus did not have any knowledge of the murder mechanism (at least not including the theory that he tried to kill himself, which... Is a possibility, but I don't think that's the case). And if he does live past his chapter, I honestly think Chapter 3 will mark his breaking point. Any fantasy of Levi that he was clinging onto with his pinky has now shattered into pieces ten times over, the person who tried to kill him is still alive and for all he knows, could do it again whenever the hell they want to and people will take their side over his own. Next to no one in the cast likes him and they make that explicitly clear, and worse of all, he will still be trapped in this godforsaken...whatever facility this place is meant to be. So to cap off this section that got way too long, Ace Trauma Dump is on my Chapter 3 bingo card, and if we get to see Taylor and his design includes dark blue and purple I will actually become spaghettified. Please survive Ace, you are finally starting to become not C-Tier

Hu and Veronika

Lumping these two together because I have about the same amount to say about both of them and their secrets were revealed together. Hu's secret is the Hopeless Child one, and Veronika's is the Self Harm one. I think after CH2 Part 1 most of us predicted as such, but it's still very satisfying to be right. What I'm more interested is this supposed pact that they made off-screen. I have to assume that Veronika went to Hu pretty quickly to reveal her secret to her given her general disinterest in topics of suicide and self harm. So I'd wager this pact was probably made at around CH2-5. Not that that really tells us much about the actual conversation, but it's nice to have a time-frame for reference.

I don't expect the actual conversation to be shown because from what we currently have it doesn't really add much of anything, but it would definitely be cool.

(x) Hu: I've been quite selfish this whole time, keeping my secret because I didn't want you all to think less of me...

I've said this before in this post, but I absolutely believe that David eventually coaxed and pressured Hu into revealing her secret to him, as well as why she kept it for so long. And I also think David implanted, or I guess more accurately watered the seed in Hu's head that she was inherently selfish for not sharing her secret. That, I think we would benefit from a flashback, but maybe I'm just biased because I desperately want Hu lore. Please DT-Dev, I'm on my knees Hmm... what else?

(x) Veronika: After all, my own so-called secret isn't even the worst thing I've done. Isn't that so utterly disappointing for this motive?

Oh yeah there's that. What the fuck, Veronika? Like, I feel like this is something I should've expected this, but for some reason I didn't. I'll be honest here, I really have nothing right now. But whatever Veronika is referring to here, I feel like it has something to do with her 'dearest friend' mentioned in the CH2 Q&A (who's name is Alyssa Belyaeva.) What Veronika actually did? I do not have the slightest clue, you can never know with this girl. But no matter what she did, I will probably love her even more for it. Glad that DT-Dev seems to agree with the precedence of supporting women's wrongs.

Teruko

...So I'm glad to see we're all in agreement that that is not her fucking secret. I mean, I'm sure it applies to her. She is an orphan, her parents are out of the picture, and though we don't know the whereabouts of her brother and neither does she, she most likely assumes he's dead as well. But honestly, given the fact that again this is not her fucking secret, I'm starting to wonder if that's really the case... Can Teacher Tawaki theory still live on? I'll save that for another post.

Anyway what was I talking about? Oh yeah, that is not her fucking secret.

And this little bitch knows that for a fact.

I won't go too deep into this because there have already been people discussing it better than I could, but this silent agreement the two of them have to not share Teruko's true secret is so palpable and interesting to me. David knows that Teruko's secret isn't that, but for whatever reason, he is keeping his mouth shut. And he just gives Teruko that shit-eating smirk. Have I ever mentioned how much I love Teruvid? I fucking love Teruvid. But yeah, I still think 100% that Teruko's secret is that the killing game is all her fault. It just does not make sense for Xander and Min's secrets to belong to anyone other than each other as they are dead. And in general it just makes sense for Teruko's character and her role in the story. And I can't help but feel like Teruko's actual secret will be revealed at the end of the Chapter.

Eden

... I mean. Do I really need to say more? I swear I made this exact joke in the previous thoughts post, but I can't help it. It applies perfectly to this CG. When this CG, this fucking JUMPSCARE of a CG, popped up on my screen, I'm pretty sure I ran around in a circle screaming in my room for a total of ten minutes. The first of two times I would do that during this masterfully crafted scene. I want to think of some kind of insightful analysis, but the truth is basically in your face. Eden was the one who gouged out Xander's eye. Why did she do it? Where does this fit into the overall lore? I DON'T FUCKING KNOW What the fuck am I supposed to say? This CG is basically all we have, and we'll definitely have to wait for more information. Especially since Eden is totally the culprit, but we'll get to that in the predictions section. (yeah if you can't tell my writing juice is starting to run out, but if I get this out any later than today I will kill myself)

David

(...for a scumbag, he's kinda cute.) So first of all, David is slowly becoming the funniest character in the cast in my opinion, which is a huge achievement in a cast full of very funny characters. And in general I think as a character he perfectly captures DRDT's general tone of half-and-half both silliness and angst, like yin and yang. Secondly though, the big thing that David did in this chapter (besides keeping Teruko's secret and being funny) is lying to Eden about the rest of the conversation he had with Arei. Ultimately, I think David himself saw that action as a good deed.

Think of it from his perspective: This is a man who has had hope and change presented to him on a silver platter multiple times, and then had it violently ripped away from him. And the most recent example of that, Arei, presented him with a better future and the possibility of change only to be killed upon trying to act on said change. If he told Eden that Arei still had hope, that she still wanted to change, it would aspire Eden with that same hope that in his eyes is destined to crash down on her. So instead of inflicting that same pain onto her, he instead chose to say nothing at all Maybe I'm giving David too much credit, what he did was still at the end of the day, incredibly dickish. But that interpretation is what makes the most sense to me personally. That's all I really have to say in regards to David... So, let's move onto what was, in my opinion, the star of this week's episode.

Arei

Arei Nageishi.... Ohhhh save me Arei Nageishi.... Arei was already one of my favorite characters in the cast due to her personality, design, voice acting, and most of all the character development she had throughout the course of Chapter 2. But this episode, this scene... It cemented her a well-earned spot in my top four, sitting only behind Whit, Teruko, and David.

The flashback scene of Arei and David in this episode is honestly up there with some of the best scenes in the whole show to me, almost solely because of how it caps off Arei as a character postmortem, and the story that she, along with Chapter 2 as a whole, is meant to tell. This whole chapter has been themed around the idea of what classifies a good person, and this flashback scene provides such a great payoff to that theme and it is everything I could've ever wished for. The message I got from Arei's story is that, ultimately, the idea of a "Good Person" and a "Bad Person" are nothing more than just that. Ideas. And in being ideas, they are above anything else, arbitrary, subjective, and at the end of the day, incredibly meaningless when it comes to discussing actual human beings. Insistence on categorizing yourself and the people around you into boxes of "pure saint that can do no wrong" and "irredeemable demon who will burn in the pits of hell" is a fast track to viewing a complicated, colorful world into a few shades of black and white. That's how David views the world, and has viewed the world probably for years. And I'm going to be honest and say that I think before being confronted with the truth of David's actions, Arei was heading right down the same path that he had headed.

(x) Arei: Of course I wanted to change myself. Who wants to be a grab-bag of negative personality traits? There's not even anything positive you could say about me. Arei: Still, for the longest time, I thought it was stupid to even try. I'm rotten to the core, and I might as well be a different species from saints like Eden and you. Arei: A pig never hopes to grow up into a human, because it knows that such a metamorphosis is impossible.

And this is the line that really, really makes me think that. She calls David and Eden saints because (up until this moment) she viewed both of them as the ideal of what makes a good person, similar to how David views Xander. And on the contrast, claims herself to be rotten to the core, ontologically evil with no redemption in sight. She's even performing David's habit of self-dehumanization, likening herself to a pig in the same way David likens himself to a cat in the LGI video, which goes to show how this mindset of black-and-white is, above all else, a dehumanizing view on the human race that relegates people into cardboard boxes with the flaps taped shut. If she didn't find out the truth of David's actions, I am confident that she would've done down the same path that he did, becoming convinced that she will be a terrible person until the day she dies because she cannot reach this worthless standard of a good person that she has set up in her head. But we know that's not how it goes. Arei does realize that the man she once thought of as a saint might be, in his words, a lying manipulative scumbaggy piece of shit. And upon realizing that, the second half of the message unlocks itself. There is no such thing as irredeemability.

Change is a part of being human. Humans are not built to run in a hamster wheel for the rest of their days, reliving their mistakes over and over again wallowing in their self-hatred and guilt. Eventually, they have to get off the wheel and start taking the steps necessary to grow, change, develop and flourish to properly better themselves. (This applies to yourself just as much as it applies to the worst, most depraved individual you know by the way) The alternative is living in a four-by-four black box of self-loathing and relentless stagnancy, which is not productive for the person or the people they've hurt. It is only when you reject these black-and-white categories of "Good Person" and "Bad Person" and accept that no matter what you've done, you're capable of becoming better, that you can achieve true growth and change. The way this message was executed, especially through a character that dies before the halfway point of the story, is something that I marvel at as an aspiring storyteller. DRDT's beating heart will always be its character writing, and this scene is one of the primary examples of that. Thank you, DT-Dev, for making Arei Nageishi and the rest of your amazing cast of characters. :D

Extra Thoughts !!! - FURUYA FANDOM (me) THE TRACK PLAYED LETS FUCKING GOOOOOO!!! - I am very excited to find out more about Nico's attempted murder given all of the questions surrounding it. If the method of murder really was replicated, and Nico wasn't the culprit themself, you guys should take a wild guess who that implicates. (this is probably obvious by this point, but I really don't believe in the theories that suggest that someone other than Nico was responsible for Ace's attempted demise, be it Hu or Ace himself. I feel like it doesn't line up with the current narrative direction that Nico seems to be going in, the physical evidence of them stealing the turpentine, and...I'm gonna be honest, I just don't like it lmao. I'm sure DT-Dev would do it well, but just as a premise I do not favor it. Nico's attempted murder + subsequent regret from it felt like such a big moment in the chapter's narrative in relation to the themes of All That Glitters and the cast revealing sides to themself that weren't as prevalent before, as well as the themes of change and moving on from the past littered all throughout the chapter. I think if Nico's attempted murder was responsible by anyone but Nico, it would just dampen the impact of their overall story for me. That's just me though.) - WE FINALLY GOT ANOTHER NONSTOP DEBATE LETS GO BOYS!!! Nonstop debates I MISSED you - "Hey why does Whit know so much about hangi--" Look. This man is so unbelievably suspicious in every single way that for the sake of my sanity, I'm just gonna assume DT-Dev chose a random character to give the hanging explanation. It is the only way I will survive this chapter - But hey, at least we got this

- As always, I adore the new sprites we got this episode, especially Ace's new ones. It's probably the first sprite of his that actually appears emotionally vulnerable when he's not bleeding profusely from the neck. And of course, I loved David's shit-eating grin towards Teruko, I hope he never changes. - Speaking of Teruko, us getting Tutor Teruko was lovely. She is perfect, she is a little bit of everything all of the time.

(x) Whit: If you're so inclined to complain, Sir Light Pollution, why don't you try and think of some good evidence? Charles: Light pollution? Whit: You know… Cuz he had stars, and now he doesn't, and light pollution makes stars disappear… or… or… something….. Charles: I am truly impressed…by how bad that was.

- I love these dorks so much. I can tell DT-Dev has a lot of fun writing them.

- Teronika Consent animation! I guess after Acevi's Soap Opera, DT-Dev decided to feed the yuri crowd as well. Love it when we get to see those little sprite animations, too.

Predictions for CH2-14 - The episode is 40 minutes long, the longest episode we have had so far. (40 minutes of DRDT content... I'm excited just thinking about it!) Because of that, I think I will just start with my biggest prediction: I think we're getting the culprit reveal this chapter. I don't think that just because of the length either. When you really look at it, we have basically used every piece of evidence at least once with the exception of three: - The conditions of the gym (which I assume will be discussed next) - The scuffs on the ground - The ball of starchy clothes All three of those pieces of evidence I think can definitely be cleared up in the span of 40 minutes, especially since full focus is now on the murder case. I don't necessarily think the trial will end in this episode, but I think we have at least one more trial episode to go before the post-trial + execution + ending of the chapter. - And as the culprit reveal is approaching, I have formulated a tier list of who I think is least - most likely to be Arei's culprit. I will provide my reasoning for each.

No. 17/16 - Xander Matthews + Min Jeung I mean, what it says on the tin. They're dead, and thus couldn't had committed the murder. No. 15/14 - MonoTV + Arei Nageishi There are explicit rules against them being the culprit. Rule 8 and Rule 11 in particular. No. 13 - Teruko Tawaki She is the protagonist. Didn't stop Kaede, but I highly doubt that's where DT-Dev is going. No. 12 - David Chiem Other than the previous five who I've all disqualified from being the culprit, David is probably the character I suspect the least. He has an alibi for the time of the murder, getting breakfast with J and Veronika, and thematically...well, he's basically being set up as the antagonist. I don't think we'll be rid of him this early lmao. No. 11 - Charles Cuevas Charles has a fear of blood and dead bodies, and though I wouldn't say that completely disqualifies him from becoming a culprit in the future, in a case like this with such a complicated mechanism like this where he'd have to be in very close proximity with the body at all times? I highly doubt it. He also has an alibi for the fish (He was with Whit). No. 10 - J Rosales J both has an alibi for the fish (Arturo following her around), and an alibi for the morning (getting breakfast with David and Veronika), and both of those alibis can be confirmed. I don't think she did this. No. 9 - Veronika Grebenshchikova I'll be honest, I really don't see Veronika committing a murder at all. She clearly wants to see this through to the end, and killing someone would come with the risk of her being executed, which I don't think she would see as a satisfying conclusion to her story. That, combined with the fact that she has an alibi for the fish (bothering Teruko) and an alibi for the murder (getting breakfast with David and J) makes me think she didn't do this. No. 8 - Nico Hakobyan You might think it's weird to place Nico this low on the overall tier-list despite them not having an alibi for the fishes, and their morning alibi being...somewhat flimsy but I'll get to that with Hu, but here's my logic. Nico was driven to attempt murder from very specific circumstances. That being, Ace's relentless bullying and abuse towards them. Nico has said before that they'd understand murder if the perpetrator didn't like the victim, and while I don't think they exactly liked Arei, I do not think they harbor the same animosity towards her as they did towards Ace. I truly believe that Nico would only ever resort to murder if they truly despised the person in question and saw no other solution. So that is why I feel comfortable placing Nico at eighth. No. 7 - Hu Jing Hu is also another character that I think some will be surprised to see so low, but I don't think this was her doing. She has an alibi for the fish (cleaning up with Eden), and though again her alibi in the morning is very flimsy (having tea with Nico in the morning,) I do believe she is telling the truth because if she was lying about her alibi, I think the brutally blunt Nico would call her out for it. I'm sorry, I just simply cannot imagine Nico letting that shit slide regardless of how many theories I read. Not to mention I can't really think of a motive for why she would kill Arei specifically when, if she really did want to kill someone, Ace is right there. No. 6 - Whit Young Whit is supremely fucking suspicious and a lot of his behavior in the trial is literal shenanigans, even more so given the fact that he doesn't have an alibi for the actual murder. But he does have an alibi for the fish (again, he was with Charles) which is the main sticking point of Whit!Culprit. His other sticking point is his lack of motive, both in terms of the secrets and Arei specifically. I don't know like- just look at this man, do you think he did this? /joke

No. 5 - Levi Fontana The number one suspect in the fandom for a while, and he's only at number five. He ultimately lacks an alibi for the morning, and his alibi for the fish was that he was doing his laundry... With no one else around. Shady as fuck. But I think given his principles discussed in this episode ("it is a good thing to make sure someone else doesn't die"), and the genuine desire to be helpful he has expressed throughout this trial, I think him being the culprit is unlikely. That's why I was adamant on him being an accomplice for a while because I still thought he had some role in the case, but oh well. No. 4 - Rose Lacroix I'll be honest, Rose is only this high because her alibi situation is worse than Whit's and Levi's combined. Both of her alibis are that she was sleeping in her room, which cannot be proven and can be very easily lied about. But other than that, I don't think she is the culprit. I think this case requires too many physical maneuvers for someone as lethargic as Rose to pull off successfully, and if she were the culprit I don't think she'd bring attention to the missing grippy tape at all. No. 3 - Arturo Giles Arturo does have an alibi for the fish (following J), but does not have an alibi for the morning. Unlike basically every other character here, something else that puts Arturo above them is that he was capable of overhearing Eden and Arei's conversation and forging the note. But there is also a discrepancy present that is also present with every character here, and that is the fact that Arturo did not witness Nico's attempted murder or the condition of Ace's body and the gym, so there was no way he could've replicated the murder method used for Ace on Arei. So though logistically he is a more likely possibility, I don't think it was him. No. 2 - Ace Markey Ace, to me anyway, is the second most likely candidate to being Arei's killer. He does not have an alibi for the fish and could've very easily grabbed them after David and Arei left the Relaxation Room, and he doesn't have an alibi for the morning either. He has a very clear motivation for taking a chance at killing someone, of "someone literally sliced my neck open not two days ago and I know I am not safe here I need to get the fuck out." If you choose to factor in strength, Ace is one of the strongest members of the cast and would be more than capable of the physical maneuvers made to kill Arei. Though I personally don't believe in this theory, if you think Ace attempted suicide instead of Nico trying to kill him, he has the murder method down lock too because he tried to commit it onto himself. He has been shown to be nosy, so it is not improbable that he listened in on Arei and Eden's conversation. And lastly, he is one of the only two suspects who was capable of stealing the grippy tape that was used in the murder. All of the evidence is practically stacked against him... But there are a couple of problems. One, if you believe that Nico did try to kill Ace, than the point about Ace knowing the exact method of death goes out the window. He was knocked out by the turpentine, and woke up in extreme pain in a blinding fury of rage and bloodlust, I don't think his surroundings would be the first thing on his mind. But a much bigger issue we have is the question of... Why would Ace take the tape? Following this theory, his murder plan wouldn't had started until the day after Nico's attempt on his life, it would make no sense for him to take the tape then. These two sticking points are why, though a likely candidate, I do not think Ace is the culprit. That award of main suspect goes to...

No. 1 - Eden Tobisa Yeah, if you've spent any time on this account you probably know I'm an Eden!Culprit truther. There are many well-written posts about this theory that I'm sure you've seen so I'll try to keep this short, but though the theory does have a few flaws to it, the big one being Eden's alibi for the fish that she was cleaning up with Hu, I think Eden being the culprit makes the most sense from an evidence, thematic, and motive standpoint. I know some people have dropped the theory upon the fork reveal, but DRDT is not unbeknownst to killing off characters with certain mysteries left unanswered. That is basically all for my predictions related to the culprit, but I still have some predictions for the overall episode. - Nico's gonna get placed in the hot-seat, obviously, which will definitely cause a reaction out of both Hu and Ace. And I honestly feel like the two of them are going to keep interrupting Nico until they eventually snap. And I hope that happens honestly because unless you count the "I'll kill you" line, we have yet to see or hear Nico when they're actually angry angry. Nico obviously doesn't like conflict, but they might have to get over that if they actually want to defend themself knowing the other two. - I'm still holding out hope we'll get a Random Guess segment lmao - And lastly: I need Whit to break the forth wall at least once I didn't put that on the bingo card for fucking NOTHING

Conclusion I'm gonna be completely honest, I do not have the energy to write anymore and I just want this out lmao. But overall, this was one of my favorite episodes in the whole series. I loved the Levi and Ace stuff, I like that we now have all the secrets, and like I said, the scene with Arei is probably one of my favorite scenes in the show. CH2-14 is going to be a wild ride I can already tell, and if we do find out who the killer is, you will see me screaming. Regardless of if it's Eden lmao.

UPDATED SWEAR STATISTICS CH2-13

UPDATED BINGO CARD

[pleasantspark]

What do you think of this potential 4chan leak that Lucifer is the one responsible for the hierarchy and that Sloth, Gluttony and Lust are considered good sins? https://desuarchive.org/co/thread/145383112/#145394767

> Lucifer created the terrible hierarchy of Hell as well as the Deadly Sins. He is described as a moral neutral sin.

Well, neutral is far cutting it, remember he caused nearly everything to happen in Hell. He's described as sexy, when the only sexy thing about him is his depression. No one pointed out that Lucifer was at fault for all the things to begin with, but no people are like "B-B-B-B-BUT, we needed a story to kick off Charlie!" I feel like it's stupid, also, I am a depressed person and whenever a character who is depressed does something bad, they always have to empthize on the "UWU Depressed shit" which is shit you'd see on r/gachalifecringe or r/gachaclubcringe (Which I am a moderator on, and let me tell you, the Gacha side of the Hazbin Fandom is fucked up.). I feel like most don't care because they'd much rather ship RadioApple then point out the absolute fuckery that is Lucifer himself.

>The good sins are Asmodeus, Bee, and Belphegor. The bad sins are Satan, Leviathan, and Mammon. Beelzebub actively hates the hierarchy and how it treats her hellhounds, but there isn't anything she can do about it.

Okay, first off all the sins are bad, they cannot just pick and choose. For FUCKS sake, you know who her favorite is, the funny thing is, I like Mammon, he's cute and his design/accent are great (But nothing comes greater then Jeice), so she failed at making villains scary when all they are is extremely comical people who suck at villianing and suck at life.

> Leviathan is female and a fashion queen. Alot of Envy will be focused on fashion.

Paint me green and call me a fucking pickle, more backlash would be fucking impossible. Remind me what the fuck does Fashion have to do with Envy?

Sure, people can be envious of others looks, but that ISN'T the only thing possible to be envious of.

This is Leviathan from my Universe, he's a victim of abuse from his father. (Who by the way died because of the effect he has on people, later on.)

According to Levi's official description on the Wikia:

Leviathan isn't actually Envious, rather the curse he has causes anyone nearby of him close or not to get envious of him as a person which is the main reason why Agatha is acting out.

This would've been better, but complicated storylines and things pulled from TVTropes isn't what Viz likes. Yes, Leviathan is meant to be Stolas from HB but better, and yes, I DO VOICE LEVI.

So what's the issue with Levi liking fashion? Well, it's obvious that she needs another Diva because at this rate Velvette isn't enough, and most of the fuckers in the Pride Ring seems to be fitted for other rings too.

I feel like she's trying to assign something to these character's to make them unique, but they aren't.

Lucifer is literally the Sin of Pride, and the only thing prideful about him is his fruitiness, so add that to the level of "Bible things that Viv added" he's far from prideful, and that's a fact.

Coming from someone whose gay myself.

Mammon, oh sweet sweet Mammon, is just the Greedlr, but a Fat Nickado Avocado Characters, minus the screaming and fits. And aussie. Because "oooo people with accents arre baad"

Beezlebub, is just, well a Bee, because "HAHAH FUNNI BEE-ZLEBUB" she wanted to relieve her golden years of AMVs and Animation Meme-Esque content, also so she can brush hands with Kesha-Senpai. I swear to fuck, she asskisses alot.

And I am BARELY getting started.

> Stella is a decent mom to Octavia. She doesn't have many powers and isn't summoned to Earth like Stolas is.

If she's such a great Mom, you so claim she is, Viv, then why not show and NOT FUCKING TELL. All we see of her, is the way to make the audience feel bad for a [N word, black POC here. Don't wanna say it.] that ain't shit, Doja Cat was right, he ain't shit.

This is ridiculous, this was seen with Jeffy in SML, he was a hated character, Logan tried every trick in the book to get the audience to feel bad for him (I.E. Giving him an emotional manipulative mom, losing his sister, WITNESSING HIS LITTLE SISTER GETTING MOLESTED, etc etc) but the problem with making an auidence feel bad for the character, it gives a in character excuse to let them continue being pricks without any character development.

In conclusion:

More pointless rep that will be thrown out as soon as it appears

More things to hype up, but ultimately fumble the bag

It sucks

[katareyoudrilling]

Audience of One (Dave York one-shot)

Pairing: Bodyguard Dave York x Female Reader

Summary: When online comments threaten your safety, you reluctantly agree to hire a bodyguard

Word count: ~3k

Rating: Explicit (18+ only. NO MINORS)

Content Warnings: a bit of danger, masturbation, unprotected PIV (please use protection IRL), a hickey (sort of)

A/N: This is my entry for @burntheedges Roll-a-Trope challenge! I got famous person AU and twisted it to fit my very niche tastes lol.  It has been quite a while since I posted something, thanks for hanging in there with me.  I really hope you enjoy it! Big thanks to @burntheedges for the beta 😘

Reblogs and comments are greatly appreciated!

Dave York Masterlist

Masterlist

Taglist – link in my bio or let me know!

“I really think you’re overreacting.”  You finish cleaning off your instrument and securing it in your case.

“I’m not and it’s not open to discussion.” 

You sigh.  “I’m a concert violinist, not a movie star.  No one is out to ‘get me’ or whatever.  This is ridiculous.”

“It’s not ridiculous,” your manager forces you to meet her gaze.  “There have been emails, social media posts… I know you don’t want to believe it, but there are creeps out there focused on you.  I need you to be safe.”

She’s looking at you with so much care and concern that the fight leaves your body.  “Fine.  Send him in.”

“Thank you.”  She turns to open the door to the dressing room and gestures to someone in the hallway.  You gather the rest of your things into your bag and prepare to head to your hotel.

Your manager steps back into the room trailed by a tall, broad, dark-haired, incredibly attractive man in an overcoat.

“Meet Dave York, your bodyguard.”

. . . . . . . . . .

“I’m really sorry about this,” you apologize for the tenth time since getting into the back of the town car with your new bodyguard in tow. “All this fuss is unnecessary.”

Dave regards you across the darkened backseat.  “Your manager doesn’t think so and neither do I.  The sooner you accept my help, the better this will go.”

You lose your train of thought as the streetlights sweep across his gorgeous features.  His pouty lips… his aquiline nose… his strong jaw… his dark eyes… each feature takes its turn in the lamplight.  It’s probably for the best, taking him in all at once might actually kill you.  No one has the right to be this handsome.

You shake yourself out of your reverie and find Dave watching you closely.  You look away quickly, shifting your focus out your window.  You cross your legs, and the slit of your dress opens, revealing your legs up to mid-thigh.  You quickly adjust the skirt to cover yourself and tell yourself that you’re imagining Dave’s eyes flickering away.

You clear your throat, “Right, umm… how is this going to go, exactly?”

“I’ll be with you during the day.  When you return to your hotel room at night, I’ll hand off responsibility to my security team.  There will be extra security at your concerts and events as well.”

“That doesn’t sound too intrusive.”

“It shouldn’t be.”

“I hope you like classical music.”

“We’ll find out.”

. . . . . . . . . . .

And that’s how it goes.  Dave meets you outside your door when you’re ready to leave in the morning and accompanies you on each step of your schedule.  He tags along to masterclasses, rehearsals, concerts, and your own practice sessions.  Ushering you in and out of town cars and back exits.

You share brief conversations in the car.  His dry, sarcastic wit comes out little by little as you spend time with him.  He often makes you laugh and you thrill when his pouty lips tilt at the edges into a wry smirk at something you said.

He leaves you at your hotel room door in each city at the end of the day, waiting until you close the door to call his security team.

You don’t lean against the door and wonder where he goes after he’s with you.  That would be inappropriate.

You don’t replay the events of the day, the glances, the almost touches, that assuredly exist only in your own imagination.

You don’t catalog the little things you’ve learned about him.  Single.  No kids.  Ex-military.  Coffee, black.  Unexpected crinkles around the eyes when he smiles.

You don’t seek him out in the concert halls, looking for a sign that he enjoys the music you’re making, always finding him watching you intently from backstage, still and focused.

You don’t find yourself pulling out your favorite toy to relieve some tension more and more frequently as the days spent in his company add up.

Definitely not.

. . . . . . . . . .

“You played something different tonight.” Dave’s deep voice breaks the silence of the car. 

You hum your assent, “Sarasate’s Carmen Fantasy.  It’s a real crowd pleaser.”

“I didn’t know a violin could do that.”

You chuckle, “Yeah, the soloist gets to show off in that one.”

“You like to show off, don’t you?”

The energy in the car shifts in an instant.  Dave’s dark eyes are even darker than usual as he regards you across the cab.  The question hangs heavy in the air.  

“You have to like to show off to do my job,” you explain a bit breathlessly.  You meet his dark gaze, and he hums in approval.  “Do you like to show off, Dave?”

He drags his thumb across his lower lip, your eyes can’t help but follow the movement.

“No, I don’t like to show off.  I like to watch.”

His words hit you like an electrical current, zinging across your skin, breaking you out into full body goose bumps.

You hold each other’s gaze in the dark, your breath coming in increasingly erratic pants.  He doesn’t look away.  Neither do you.

You cross your legs and allow your skirt to fall open up your legs, just like the first night you were in the car with him.  This time, the dress has an even higher slit—you save this particular gown for when you perform the Carmen, you enjoy playing into the persona.  This time, you don’t cover up.

You watch as his gaze flickers to your bare legs, exposed practically all the way to your underwear, the tip of his tongue sneaks out to wet his plush lips.

He drags his eyes back up to yours.  The air is thick with possibility.  A line has definitely been crossed.  Words begin to bubble up from your gut when the car pulls to a stop in front of the hotel.

The moment pops like a balloon.

Dave opens his door and swings up and out of the car.  In a haze, you open your door and step out into the night.

The next moments go by in a flash.

You hear someone shout your name, Dave yells, you’re shoved against the car, unfamiliar hands grab your shoulders and whisk you into the hotel lobby and into the elevator.  The doors close before you can understand the commotion happening outside the hotel.

You’re flanked by security guards you’ve seen around after hours.  The words “assailant” “custody” “weapon” permeate the buzzing in your brain.  Questions form and dissipate in the tangle of your thoughts before you can get them out.

The elevator doors open on your floor, and you are bodily moved into your hotel room.  Before they can close the door, you finally manage to ask what’s going on only to be met with vague instructions to stay in your room and wait.

You pace the floor and look out your window, hoping for a glimpse of what might be happening on the street below, but you’re on the wrong side of the building.  It doesn’t hold any answers for you.

Your hands reach for your phone only to realize it’s still in your bag in the car, along with your instrument case.

The car.

Your mind returns to that moment right before you pulled up to the hotel.  So ripe with promise and possibility.

Then you had gotten out of the car.

Oh shit.

You got out of the car yourself.  You opened your door yourself.  You weren’t supposed to do that. Dave opens your door.  Dave ushers you out of the car.

It’s all your fault.

Just as your thoughts threaten to spiral, there’s a firm knock on your door.

“It’s me.  Everything is ok. Open the door.” You hear Dave through the door.  You rush over and check the peephole like he told you to.  At least you can say you remembered to do that.  You confirm it’s him and open the door.

“Dave, I—”

He crashes into you, pressing you against the wall with the length of his body before claiming your mouth with a rough, desperate kiss.  His hands grip your chin, your shoulders, your hip as he devours your mouth.

Your hands scrabble against his chest, finding the lapels of his coat to hang on.

Just as suddenly as you found yourself kissing Dave, you aren’t.  He pulls back abruptly leaving you cold and breathless.

“Fuck, I shouldn’t ha—”

You pull him back to you by his coat, drawing his mouth back to yours.  You lick into his mouth, moaning as he responds.

This kiss is less frantic, but still full of need.  Your tongues tangle together, tasting and testing.

Dave eventually breaks away, resting his forehead against yours.

“Are you ok?”

“Yes, I’m ok, but what happened?”

“A man came running toward you, the police have him now.  I’m sure it’s the person making those creepy comments about you online.”

“I got out of the car by myself, Dave, I’m so sorry, I know I’m n—”

“Shh,” he hushes you.  “It’s ok.  You’re ok.”

He presses his lips to yours, swallowing your protests, until you melt into him.

“I’ve wanted to do this for so long.” He drags his lips down your throat, across your collarbones and shoulders.  He licks back up the side of your neck.

You gasp as he drags his tongue over the sensitive spot on your neck.

“I noticed this mark the night I first met you,” he murmurs into your skin. “I was so jealous of whoever got to do that to you.  I kept waiting to find out who it was, to see if they were worthy of marking your skin, but there has been no one and the mark has stayed.”  You sense the unasked question.

“My… it’s… a violin hickey,” you pant as he drags his nose up the column of your throat and along your jaw. “Where my violin rubs against my neck when I play.”  He chuckles.

“Should I be jealous of your violin?”

“Probably.”

He hums against you.  “Fair enough.”

He steps back to the hotel room door and for a moment your heart drops thinking that he might be leaving, but he only opens the door to pull your bag and violin case into the room.  You hear him conversing with a guard outside before he closes the door, locking the deadbolt before turning back to you.

He shrugs off his overcoat and suit jacket.  He loosens the knot of his tie and begins to unbutton the cuffs of his sleeves.  You watch the movement of his fingers with rapt attention.

“So, Miss Show off. Do you want to show off for me?”  His eyes flash dangerous and dark and a thrill runs up your spine.

Adrenaline tingles in your fingertips as you find the zipper of your dress and pull it down your side.

You lock eyes with Dave as you let your gown fall to the floor, a puddle at your feet.  You are left standing in only your panties and high heels.

Dave drinks you in, caressing your curves with his warm gaze.  Your nipples harden under his perusal and wetness pools between your legs.  It’s all you can do to not rub your thighs together.

“Get on the bed.” He commands, his voice deep and rasping with need.  His shirtsleeves are rolled up now, exposing the tendons and veins in his forearms.  His hands fist at his sides, clearly fighting the urge to touch you.  But you’ve learned this about Dave, he is always in control of himself.

You walk over to the bed, turning your back to him and adding an extra sway to your hips.  You catch his strangled moan at the sight of your round ass framed by the string of your thong.  You turn to sit at the end of the bed with a satisfied smirk.  Dave stands at arm’s length from you, pinning you with his dark eyes.

“Show me.  Let me see if those fingers can play your pussy as well as they play your violin.”

You gasp at his filthy words and your center clenches with need.  Keeping your eyes on him once again, you drag your panties down your legs and off, kicking off your shoes as you do, and scoot a bit farther onto the bed.

You lean back into the plush bedding, resting on one elbow, knees bent, and spread your legs for Dave.

He drinks you in hungrily as you part yourself for him, dipping your fingers into your wetness.

Your mouth falls open as you circle your clit, a moan escaping your chest.  You fight to keep your eyes open so you can watch Dave watch you.  You really do like to show off and he is an eager audience.

You quicken your pace, hitting the rhythm you like best, and find yourself careening towards your peak.  Your hips buck on the bed, and you whine that you’re close.

“Show me,” Dave commands one last time before you fall over the edge, pulsing and shivering through your release.

 “Do I get a standing ovation?” you ask, breathless, once you’ve come back to yourself. 

“You tell me.”

You crack one eye open and find that he’s standing at the end of the bed naked.  His cock juts proudly away from his hips at full attention.

“My favorite kind.” You lick your lips as you sit up and crawl to the edge of the bed.  You look up at him as you take the tip of his cock between your lips, sliding down the hard length of him.  You watch his stomach flex with effort as he resists fucking into your mouth.

It makes you want to make him lose control.  He’s always alert and watching.  Even in the car on the way to the hotel tonight, he kept his cool as you tempted him.  Bursting into your room to kiss you is the only time you’ve seen him not in complete control of himself.

You tongue and suck and moan around him, losing yourself in the rhythm.  Dave drags his fingers down your cheek and throat.  

“Look at you, fuck.” He cups your breasts, swaying heavily between your arms, and pinches your nipples.  “I want to watch these tits bounce while I fuck you.”

You whimper around his length, arousal practically dripping down your legs.  He pulls out of your mouth, diving down to kiss you deeply and press you backwards onto the bed.

He arranges himself against the headboard and drags you on top of him.  “Ride me, baby,” he commands.  You eagerly comply, lining his weeping cock up with your entrance.

Your eyes roll back in your head as you sink down onto him, the stretch is so delicious with every inch you take.  When you bottom out, you open your eyes to find Dave breathing hard, the tendons of his neck taut with effort.

You rise and sink back down slowly, angling yourself backwards so he can see his cock disappear into your wet heat.  He licks the pad of his thumb and reaches between you, giving you friction that makes you shudder with each roll of your hips.

“Fuck yes,” he groans, eyes locked on your greedy pussy, swallowing him whole.  You feel yourself start to flutter around him, the intensity of his eyes on you drives your arousal higher and higher.  Being watched with so much desire gives you such a thrill that your orgasm threatens to take you far too soon.

You slow and lean forward, placing a hand on the headboard over Dave’s head.  Your breasts wobble in front of his face and he quickly takes one nipple into his mouth.  You arch your back into him as he sucks and tugs, tongue swirling around the sensitive bud.

He holds your hips still with one hand as he feasts on you, bringing his other to cup and pinch your tender flesh.

“Yes, yes, yes,” you cry as the pressure builds in your core.  Your hips grind into him, seeking relief as he relentlessly toys with you.

He allows you to move, to chase your high, riding his cock with abandon as he looks up at you with lust blown eyes.  You tilt your hips, and he finds your clit once again.

“Fuck, you’re gorgeous,” he praises you as you near your peak.  “Come on my cock, baby.  I want to feel you.”

You come with a gasp, rising up on your knees as your pussy clenches then collapsing back down with shuddering pulses.  Dave caresses your back before rolling you over and gently pulling out.  He kneels between your legs, stroking his length, as you lie boneless and hazy.

“That was so fucking hot, baby.” His jaw clenches as he strokes himself faster and faster.  “I fucking love to watch you.  Watch you play your violin… watch you touch yourself… watch you fuck…”

“It’s my turn, Dave,” you interrupt.  “I want to watch you come.  Come all over me.” You prop yourself up on your elbows and smirk at the way a shudder moves through his body.  He lets go with a groan, ropes of cum painting your tummy and chest.

You both collapse, satisfied.  Dave cleans you up, taking extra care with your breasts.  You smirk as he chases the warm cloth with his even warmer mouth.

“What happens now?” you ask later, when you’re twined together on the bed. “If that was the guy…”

“I’ll be here as long as you need me and even after you don’t,” Dave presses a kiss to the top of your head.  You snuggle into his side, relaxing in the knowledge that you are safe and thrilled with the prospect of showing off again for your audience of one.

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

A/N: I don't have, and never have had, a violin hickey. I probably don't practice enough lol. But they are often seen as a point of pride among violinists.

Dave York Masterlist

Masterlist

Taglist - in reblog

[vidavalor]

Hello lovely! I'm wondering if you have any thoughts about Maggie in Final1 5? Isn't it weird that she wants to go back to talk to Az and Crowley while Nina's working? Something about it feels off to me.

Hello right back. 💕 There's chamomile mint tea and shortbread since we're on a Maggie theme, if you'd like some. Maggie's behavior from that scene on is super fucking weird, I agree.

Before the milk run-- when Maggie becomes the only involved character whom we lose track of a bit during The Final 15-- versus how she behaves when she returns is so strange as to be something that I consider maybe additional proof that things are not at all what they seem to be in The Final 15.

On Maggie and Crowley's weird Final 15 behavior, a possible meaning to all the allusions to robbery in S2, and what Maggie and Nina might be able to tell us about what happened at the end of S2.

TW: brief mentions of show's non-consensual possession/rape analogy.

Think for a moment about how truly weird Maggie's request for her and Nina to go back to the bookshop in that moment actually is...

It's only been a matter of minutes since Maggie and Nina were basically hostages in the bookshop who were almost killed by Michael and Saraqael. Crowley saved their lives in getting them out of the shop maybe, what? It's been a minute since I rewatched that bit of it but it couldn't have been more than 15 minutes prior?

The beings in the shop but for Maggie and Nina are supernatural and so left magically without using the door but while we the audience know that these people are no longer in the shop because we were watching it, Maggie and Nina do not know that. When Maggie suggests to Nina that they go talk to Crowley and Aziraphale, they have no way of knowing if the beings that just tried to kill them are still in the shop. They didn't even see Aziraphale leave with Whoever Derek Jacobi Is Playing yet because Nina was all "where's the other one?" to Crowley when they arrived back in the shop.

Maggie is literally like: Nina, I know you opened the business you own late and are the only one working right now and have a line of 20 people waiting for their morning, pre-work coffee but what if-- just hear me out-- we just made them wait an indefinite amount of time to voluntarily go back into the place where we nearly died a matter of minutes ago that could still be full of the people who wanted us dead and we did this for no other purpose than just to tell off my beloved adopted godfather and his partner, who just risked harm to save both our lives? And to maybe then also stick our noses into their love lives in return or something?

I mean... WHAT?!?! lol

Consider, even, how even more weird that is when Maggie, just *prior* to having gone to the mini-mart, had never been more on the same page with Nina and never more understanding?

She sacrificed her own want to go sleep behind the counter of her shop to offer to help Nina. It's a big moment of change in their relationship and shows a lot of growth for Maggie. She's gone from someone who is caring but has a tendency to only think about how things make her feel to seeing things from Nina's perspective. She's matured through the season into being someone more ready to be a partner to Nina. Maggie offering to help Nina with her morning rush-- and Nina accepting the help-- is the sweet, romantic moment showing that these two are heading in a positive direction, both individually and together.

When Maggie gets back with the milk, though? After she's been out of our sight for a few minutes? She's behaving very differently.

During S2, Maggie is shown to be a pretty guileless character. She might have the occasional judgemental moment but she's not deceptive or tricky and she really wouldn't hurt a fly. When Maggie comes back from the milk run, though, her insistence on Nina dropping everything and going with her in that moment is not just weird behavior but manipulative in a way that could not be more out of character for Maggie.

Nina has been in an abusive relationship where she was afraid of displeasing Lindsay. Maggie is aware of this, as it's been the subject of multiple conversations between them throughout the season. So, when Maggie gets so bizarrely insistent on Nina dropping her work-- her livelihood, her purpose, her job-- to meet Maggie's demands in that moment? When this isn't an emergency of any kind and isn't at all time-sensitive and there is no objective reason why Nina should be halting her job to do what Maggie wants in this moment? Maggie is being controlling in a Lindsay-like way. She keeps at it, knowing that Nina will give in and agree to go with her because Nina is used to doing that with her partner.

Nina hesitates and isn't sure whether or not to go with Maggie for a moment and I don't really blame her? This is the complete opposite behavior to Maggie before she left for the mini-mart. Maggie is suddenly acting quite a lot like her polar opposite-- the Lucifer-and-Heaven-paralleling Lindsay.

Maggie is also literally on Nina's shoulder like a devil the whole time in the scene in which she's convincing her to step away from the shop and go across the street with her to the other shop for a chat and...

...listen to what we just said there...

...it's a parallel to the thing that Whoever Derek Jacobi Is Playing is doing with Aziraphale, is it not?

So, what happened on the milk run?

Who did Maggie run into at the mini-mart that we couldn't see in the ending of S2 without it giving the game away? I wouldn't be surprised if, on this mirror-happy show, on the other side of learning in S3 that it was The Devil with the coffee in the bookshop in The Final 15, we also had a scene that showed that, while on her milk run, Maggie had a run-in with Sister Teresa's killer.

Did Hastur possess Maggie as part of Satan's plan? Was the idea to use Maggie and Nina to further trip Crowley and Aziraphale towards disaster to get Aziraphale? If so, it kind of half-worked. I'm not convinced that anything Maggie and Nina said to Crowley really mattered-- I think they weren't telling him anything he didn't already know or feel and that it's largely misdirection for the audience. What was effective, though, was the impression Aziraphale got upon seeing them leave as he was coming in.

Maggie and Nina being back in there at this weird time and then rushing out with smiles and comments like that they were "just leaving" and they were sure Crowley and Aziraphale had "a lot to discuss" seem to have led Aziraphale to assume that Crowley had asked them to come back and to the conclusion that he must have done so to tell them of his intent to ask Aziraphale to marry him. It's Maggie and Nina leaving the shop that reinforce to Aziraphale the idea that, when Crowley stands up afterwards, takes off his glasses, and says he supposes he has "something to say", that Crowley is only trying to communicate a proposal and not a plan.

It's what helps-- big time-- to lead Aziraphale to not listen for a shred of coded language for the entire scene. Neither he nor Crowley are listening for that with one another, which is why neither of them can truly understand what the other is saying, but Aziraphale's part of that is really fucked to Hell by the presence of Maggie and Nina in the shop when he came back. That's all pretty suspicious since Maggie was out of our sight for a few moments and came back fixated on the idea that she and Nina needed to go to the bookshop right that very moment and that it couldn't wait.

The Final 15 is a dark parallel to The Baby Swap plot and Maggie and Nina are full of shadows of Sisters Mary and Teresa to a point that the final shots of both of them in the series are mirror images of the final shots of their S1 characters. Nina looking through glass at Crowley departing is the last shot of Sister Mary both in 2008 and 2019, while Maggie's last shot?

To me, it's one of the most eerie moments in the entire series because of how much it visually resembles Sister Teresa's death.

Basically two minutes after we hear about The Second Coming... in the same season where Maggie and Nina's partial-vavoom gives way to a (possessed?) Gabriel saying: the dead will leave their graves and walk the Earth once more... we are shown Crowley and Aziraphale's apparent adopted goddaughter unresponsive on the counter of her shop.

Is Maggie dead?

Is Maggie asleep, like we were led to believe she wanted to do earlier in the episode? Maybe. Is she comatose/unconscious? Maybe. It's just that, best I can tell, she does not take a breath during the shot which I feel had to be intentional on the part of Maggie Service, and she's in the same position as we last saw Sister Teresa in S1...

Then, there's the robbery theme and how Maggie and Nina foreshadow so much of the end of S2 back in this scene here:

In Good Omens, the shop is the character. Maggie is, symbolically, the records she sells. The show also explains that Maggie's shop used to be a part of the bookshop. Now, there are three characters, not two, who are A.Z. Fell & Co.: Aziraphale, Crowley and Maggie. At the same time, Aziraphale is also The Small Back Room. The shops are intertwined as the characters are, essentially, family in the story. The fate of one is the fate of the other, which makes what Maggie and Nina foreshadow when talking about Maggie's shop while trapped together in Nina's not just the fate of Maggie's shop in S2 but also of the bookshop.

Maggie says that if she can't close the door to her shop, someone could walk in and take records. Maggie is the records she sells so, symbolically, this means someone could take Maggie. We got a bit of a preview of that when Shax appeared to get into her mind during the attack on the bookshop and Maggie also became the one who unintentionally "let the robbers in."

These robbers, Maggie frets... they could empty her till-- take all her money on a literal level... take her mind, or maybe even her life, on another. (Not to mention the now chill-inducing use of money-related words and coins with regards to the paralleling Crowley...) These robbers could take forcible ownership of Maggie's shop-- so, of Maggie. Maggie's shop was born of the bookshop... so, they could take forcible ownership of the bookshop, too.

Not just the physical bookshop, though that, too. The symbolic bookshop. Which is not only Aziraphale but Crowley and Aziraphale.

But, if The Small Back Room was originally part of the bookshop, then the bookshop really isn't just Crowley and Aziraphale-- it's Crowley, Aziraphale and Maggie.

If the robbers come for the bookshop, they've also come for The Small Back Room because it is all born of the same, symbolic shop.

Is that what they did?

Is that why Maggie is last shown to us non-responsive in her shop?

Now, Nina's even more foreshadowing reply:

Nina said that, if she owned a record shop, she'd be more concerned about "someone breaking in and leaving more records behind."

What are records? They're the literal records in the musical and old film sense that Maggie sells, yes, and also Maggie herself. They're also books, like what Aziraphale sells, and Aziraphale himself. But they're also a third thing that's very much of note in S2.

They're also the life's work of a scrivener, like what Muriel does.

Nina foreshadows someone breaking in and leaving "more records behind"... which is exactly what happens in The Final 15.

Elspeth's graverobbing. Bildad stealing Job and Sitis' wine and food. The 1810 Clerkenwell Diamond Robbery. Aziraphale having the missing Shakespeare Robin Hood play in the box in 2.06. The robbery-based fantasy Aziraphale was telling Crowley in Lockdown: ...the other night, when a couple of young lads broke into the back and tried to steal the cash(cache)box!

The Final 15 is a robbery.

The last two episodes see the shop attacked during The Meeting Ball and into the next morning. Aziraphale is robbed blind of his entire life. Characters are taken hostage. Signals for help are tried and fail. The cop, it turns out, was a stooge for the robbers. Whoever Derek Jacobi Is Playing broke in through the open door and robbed the place blind, as Maggie foreshadowed. As Nina foreshadowed he would, what did the robber leave behind?

More records. Muriel.

To rob, as we know, is to steal. It's to plunder or strip a place from someone through force and/or violence. That is why it was once, in addition to being descriptive of physical goods stolen from a person, also a word that was used for rape, for which non-consensual possession has been analogous since the show's first episode. That is why some of us think that the music goes insane on the look to Crowley in the scene below. Satan is robbing Crowley-- forcing him to identify him as The Metatron to Aziraphale and the angels and to let Aziraphale go alone with him.

Satan attacked Crowley in front of Aziraphale and, while Aziraphale pretended he didn't see it, he did, which is why he led "The Metatron" straight out the door in an effort to get him away from Crowley. Because, speaking of characters behaving very weirdly... anyone have a better explanation for why guard dog Crowley sat in that chair like he couldn't get out of it and encouraged Aziraphale to go alone with a guy who once tried to kill them? It just doesn't make any sense unless his words are not really his own and there's only one character we've seen do that to him.

And if Crowley's not the only one behaving out of character, then what else happened to Maggie at the mini-mart but something similar?

What happened in The Final 15? Satan robbed the bookshop.

He and The Metatron don't give a toss about the shop itself and plan to destroy it alongside everything else once Armageddon gets rocking. They're there to get Crowley and Aziraphale out of the way for Armageddon by dividing and conquering. Just because we've yet to see blood doesn't mean this wasn't robbery by force.

Satan took hostages at the start-- letting the ones go he didn't care about go and keeping the ones most likely to influence the shop's owner: Crowley and Muriel.

Satan and The Metatron sacrificed Muriel to their plan, not caring if Muriel explodes along with the shop when they kick off Armageddon a matter of *checks watch* basically any minute now after S2. We think Muriel is better off in the shop at the end of S2 but I'm not totally sure they are. I think it actually might be one of the most dangerous places to be in right now. The bookshop didn't burn down this time-- it was burned as safe space in every possible way. It's a crime scene.

The Metatron and Satan are here for revenge. The Metatron is letting Satan have Aziraphale to get Crowley and Aziraphale out of the way for Armageddon. There is no real job offer-- it's all Satan tempting Aziraphale into falling. Satan's revenge on Crowley and Aziraphale is to force Crowley to help him take Aziraphale right out from under his nose. That's the start of it, anyway.

Besides Armageddon and daring to have a relationship and a sense of self outside of the demonic collective of Hell what is Satan really pissed at Crowley and Aziraphale about?

His kid. Adam. Crowley and Aziraphale helping Adam against him.

If Satan has been lying in wait, still very, very angry at Crowley and Aziraphale for turning his son against him and if he's now here for revenge, then who else besides Aziraphale is then most in peril here?

Yes, my Job-and-Sitis-paralleling poppet... your big, cross duck and your kids are most imperiled here and S2 showed us that your kids are not just humanity writ large but, specifically, Maggie. The Small Back Room is of the bookshop that is you and Crowley. Maggie is your Adam. Will Satan come after your daughter? It's a concept posed in your paralleling/foreshadowing story earlier in the season... actually, it was also the entire plot of that paralleling story earlier in the season as well...

I feel like not going with Ennon and Keziah's theories on Satan's behavior is probably the best way to form a Good Omens theory 😂 so I'll stick with the idea that Satan very much would dare leave a revenge body count of Crowley and Aziraphale's adopted kids, as the Job minisode proved he'd do even with the spawn of "God's favorite human", let alone anybody else.

As, speaking of foreshadowing lines, this is really even more S2 than it was about S1:

Satan will even have a whole pseudo-philosophical chat about it with you first, amused that he's standing in a place called Give Me Coffee or Give Me Death and ordering a coffee while the plan is likely for this place, the women making him the coffee, and everyone on this street and on most of the planet to be dead by tomorrow.

Maggie is the only character who actually asked for coffee using that exact word in S2.

[fools-ramblings-and-whatnot]

Character Musings: Neige vs Vil Fairest of them All

Aight so this is a fun little musing. This is not a full character analysis and based on my personal speculations. May be inaccurate as I am making headcanons along the way but its fun to write.

Neige Leblanche was warm. He was relatable, approachable and his naive ways was endearing. In the point of view of people, Neige was more like the masses. The People's sweet Prince.

Vil Schoenheit was cool. He was perfect in everyway. On camera he is as polite as amicable .Professional, Perfect and put on the pedestal. His beauty enchants his fans however, he is untainable. The Inhuman Queen.

In the point of view of the audience in Twst, Neige was more human because of his flaws, while Vil is more of a monarch. Someone to be worshipped but not approached.

They are both put in a pedestal, two Stars shining bright, however only one wished is upon.

That's the awfulness of parasocial relationships.

.

.

.

Vil's constant effort to strive for perfection, in the most ironic and insulting way possible, backfired and kept him in second place.

He may be a versatile actor but he is always type casted a a Villain because no one wants a "hero" the audience cannot relate with.

The villain is always cold, calculating and beautiful like the moon. The Hero is always warm, hopeful and dazzling like the sun.

.

.

.

Some Fans and people (referring again to Twst NPCS) like to delude themselves that they have a chance with an Idol, even unconsciously, even if they know its impossible, romantically or platonically. That is why they gravitate to the more approachable and flawed Neige. They want to be Neige or be with him.

While Vil?Oh they adore him, but he is seen as a star you gaze upon, not wish for. Vil, in the point of view of the masses, is in a different league than all of them.

So Vil is adored, worshipped and admired, like a painting in an exhibit, meant to stay under the bright lights but never approached. And somehow that makes him less popular, because some fans cannot delude themselves with Vil the way they delude themselves with Neige. They cannot fathom themselves being looked upon the untouchable Vil. They can fathom themselves living as "perfect" as he does. They cannot even imagine being his friend. He is just a literal "Idol"

Its awful, yes. Showbiz really is awful. It tears someone who doesn't have the strength to stand apart.

No camera can see how hard Vil works to be the best version of himself. No audience to hear his more inner thoughts, his fears and insecurities. Vil is a impenetrable wall.

.

.

.

Have you ever wondered how discouraging it is to be defeated by someone who is born talented while you, your whole life, have to work hard to be on par with them? It eats you up.

It eats Vil up.

Not to say that Neige doesn't struggle. He went from probably destitute to famous, and the road towards that path isn't easy. Do you know how hard it is to be kind when the whole world isn't ? It takes a special courage to choose to see the better in people, no matter how naive that may be.

Also, do you think he got the opportunity Vil did when they were younger? Did he have the leisure of a childhood while taking care of 7 other people? Ah, this is all speculation but everything else is, isn't it?

Neige would not have grown watching movies or going abroad. He wouldn't be doing skincare routines or trying to improve his beauty . He was simply beautiful as is and that helped him survive.

Both have their struggles .

Both the masses would not know that.

.

.

.

Neige isn't the fairest of them all because he is more beautiful than Vil, he is the fairest because people find his flaws endearing.

Vil isn't less fair than Neige, he is put in second place because the Twst audience find him too unreal.

It feels like a sin to love him more than a fan does.

Or to think he is within reach.

A mix of envy and admiration.

This, is something the Twst NPCs do not know. Perhaps if Vil opens himself up a little, the (NPC) masses would love him more.

And that's why its so confusing to us Vil isn't on top, because we know his story the way the Twst NPCs doesn't.

.

.

.

So yes, The Fairest of them all is a biased title.

Beauty is always in the eye of the beholder, unfortunately , the beholders do not see beyond the veil.

.

.

.

Yuu wonders, if Neige and Vil knows they are more alike than they know.

[medra-gonbites]

Baldur's Gate 3 Companion Head Canon Party Edition

Tav is throwing a party for their birthday. The playlist is ready, the neighbors are warned and the balloons are blown.

Here is what the companions (and three surprise party crashers) would bring to that little soirée.

Laezel | A strange liquor nobody has heard of

Impossible to know what it is, the label is written in a different alphabet. It has a crazy high alcohol percentage. Never mind it tastes like diesel: it's strong and if you want to get drunk it will get you there. Also it was crazy cheap so she bought 5 bottles (which she'll be the one drinking).

Gale | Some fancy ass bourbon

Nobody will drink it, because it is not that kind of night, Gale! He spends 19 minutes explaining to Tav why this vintage is special and what kind of smoky and woody hints they should get from the taste as well as an extensive story about where it was brewed (some place in the Highlands with blind dwarven monks no doubt).

Shadowheart | Wine 

It is a lower to mid quality bottle but she actually spends all evening drinking cocktails mostly composed of juice and vodka: she likes wine but it stains her teeth and gives her a headache, plus she really likes bright colors in her drinks. If there is Passoa and orange juice and the weather is nice she will be giving it a go. 

Wyll | Tequila

Alongside lemons and salt. The group complains because it’s just not something that gets drinken casually. However, they all end up taking shots around 3am and pass out and/or barf. Wyll is the only one who does not have a hangover the next day because he drinks water in between shots. Will make the cocktails if he is being asked nicely (he brought his shaker as well).

Karlach | Beer

She either comes with two 64-beer crates, one on each shoulder, or a keg (with a funnel and a pipe). She drinks most of these together with Wyll and burps loudly before shouting 'better in than out' and belly laugh herself to cramps. If the beers are canned, she will crush them on her forehead once they are downed. Ultimate beer pong winner.

Astarion | Shows up empty-handed

He feigns he didn't know or that he ran out of time to get something but he'll promise to bring something the next time (which is a lie as he already promised last time at Karlach’s costume party). He will leave with Gale’s expensive bourbon though and gift it to one his teacher from law school (in order to bribe them, of course).

Halsin |Juices

Not these industrial juice boxes mind you, but some organic 100% fruit, no added sugar juice from the bio coop. Or better yet he makes the juices himself - If the time of year is right he will make punch or sangria himself (and be careful it’s sweet but it is treacherous).

Minthara | Cocaïne

Nobody wants to do any. Frankly, Minthara did not read the audience  well. Astarion is willing but feels the vibe and decides not to (he takes her dealer's number for later though)). She ends up doing a line alone in the kitchen. At the height of the night when she's loaded and drunk she makes out with Gale or bullies him (or both).

Jaheira | Soda and ice

To be fair, all kinds of soda, and not just the generic crap either, the good brands. Bubbles no bubbles, fruity, bitter, sweet, you name it. She does not drink as she is the designated driver for her and Minsc (no way they're sleeping over with these kids) so she spends her night sipping on some ginger ale.

Minsc | Goblets

A lot of them. While it was disappointing at first it turns out to be a super sharp idea. Either to drink from or play beer pong they came in extremely handy. Halsin will pout and comment on the sustainability issue. Minsc drinks water but takes a new cup everytime he gets another drink (partly because he is proud of his goblet idea, partly to antagonize Halsin).

Durge | Flour

They are Tav's neighbour and they were invited out of politeness and actually showed up. They come with flour because “hey, remember when I borrowed some, years ago, there, I’m bringing it back like I said I would. We are even now”. They have the best jokes but they will try and start a fight over the playlist (they have issues with music it seems).

Here are a couple of party crashers who were not invited but came anyways.

Barcus | Airfryer and Snacks

He shows up very early to Tav's surprise. He was not exactly invited but thought he was due to Tav mentioning the party to him at work. Upon seeing him Tav is actually happy though and his glad he popped by. He brought his airfryer and some fried goods and that's just awesome.

Volo | His guitar

He was not invited and knew it but he shows up anyway. He will complain about the music the whole time while drinking wine and take his guitar to try and play wonderwall for everyone, even though nobody asked. Lae’zel will lock him on the balcony at some point during the night.

Gortash | Cheap Vodka

He was also not invited. He was told explicitly he was not but what can you do.... His shirt is way too open on his chest, he wears way too much cologne and his pockets are full of condoms. He tries to get into Shadowheart’s pants all night, refilling her glass constantly but he’ll end up at Durge's place next door.

[yanderenightmare]

heya! do you have any more writing tips for writing on tumblr? like, any tips to get as much attention as you, kinda

Oh yes.

♡ Post in different lengths!

Or, more precisely, don’t only post long full-fics with multiple chapters.

I know it sounds weird, but the more effort you put into something doesn’t actually guarantee more payoff. Why would anyone read your hour-long fic if they have no previous experience with your writing that gives you credibility? In other words, how can they know spending an hour reading your writing is worth it?

More people are likely to grab a bite-sized appetizer than they are to sit down for a full five-course meal.

But! The more people like those bite-sized appetizers, the more likely they are to want to sit down for that full five-course meal, you know?

Think of those bite-sized appetizers as taste tests—kind of like commercials that bring more people in to give your actual meals a try.

Also, writing in different lengths is good for you! Only writing hour-long stuff makes you burn out quickly, which brings me to my next tip:

♡ Post often!

If you can, try posting something every day. Of course, you can’t post full hour-long fics every day, which is where writing smaller things such as drabbles, headcanons, and tiny prompts come in. Think of them as flings you have in between your long-term relationships. They’re fun little things good for your health!

But anyway, here’s a tip for when you do have those long-term relationships—as in, when you want to write full-fics or longer posts in general:

♡ Start with a hook! 

My attention should be seized by the first paragraph, if not the very first sentence I read. This is so important.

I’m a very picky reader sometimes—so if that first line doesn’t interest me, I’ll be fast to scroll to find something more enticing. And you can be sure a lot of readers are the same.

Under are some examples of my own start-liners.

Something foreboding:

There’s something very off about your roommate… something eerie that makes you keep your distance.

The plot:

Thinking about the big and burly behemoth Omega finally finding himself the cutest little Alpha to breed with…

Something catchy:

Give a brat an inch, and they'll take a mile. 

Something snappy:

You’re his favorite whore…

Dialogue:

“Feels like you’re luring me into some trap.”

A prompt:

Yanderes who keep you higher than a kite…

In medias res:

You lay on your belly on the bed.

Anyway, they don’t have to be groundbreaking—just anything that will spike interest in the reader.

♡ Write for different characters! And try writing inserts!

Inserts are when you don’t name any specific character in the story but either give options for what characters your audience can imagine or leave it completely up to them. This works best if you have a nice starter-line that tells you what kind of character this is without naming them.

Examples:

Bruiser boyfriend

Ex-military Yandere

Benevolently sexist boyfriend

Creep Step-bro

You can go further and identity the reader as well:

Big, brawny, chubby-muscled Boss and his perfectly bite-sized assistant

In other words, people like to know what they’re about to read before they start.

Otherwise and lastly:

♡ Something logistic you can have in mind is making your writing accessible. 

Say I like one of your posts, and I click your profile to check you and your other posts out, but all I see when I scroll through your blog is endless reblogs and one-off comments about this and that. My second instinct is to check out your Masterlist. If you don’t have one, my mission is fraught, and I’ll be out of there quickly. If you do have one, but it’s messy, then my patience will wane, and again, I’ll be out post-haste. 

The bottomline is to have a neat pinned post that makes it easy to navigate your blog, with all your relevant stuff easily accessible. Check out mine for reference. But the most important is for it to include your rules, how to request, and your masterlists.

Then, of course, this is obvious, but:

♡ Things take time

I’ve been running @yanderenightmare since 2020. Back then, it took me half a year to get my first 1000 followers. And most of my posts would only get about 500 or so likes. And, that’s another thing—if I was doing it for the likes and follows I probably wouldn’t still be here, so make sure you enjoy what you’re writing and stuff. If you have that conviction, then the rest is just a nice bonus.

[bunnis-monsters]

Good morning, I hope you're doing well.

I've been a shy onlooker of your work for quite some time, however as of recently I've been noticing with a couple of the bee-hybrid ficlets that you've been writing, one or two of them that involved (specifically) child/infant characters were tagged with the 'monster fucker' and various such related tags..?

I love the bee stuff, I do! Please don't take this as a hate message because I really don't mean for it to come off as such. But if you're going to include infant/child characters under the age of 18 in your fics, please don't include them in NSFW scenarios, fics, or situations or put them in NSFW tags. I don't think that's entirely legal in some places and I say that out of the goodness of my heart for your protection and your readers.

There was a woman banned off Youtube who was criminally charged for breastfeeding her child and uploading it and I know this is in no way as severe but I honestly don't want to see you get banned and all your fics wiped off tumblr because you put 'minor characters' in NSFW situations/tags. :(

You could try maybe just not tagging the stuff with baby bees?? You have a huge follow base and a discord (that i'm too shy to join) so I'm sure people would still find that content if they're following you.

I'm sorry for bothering you, I hope you have a good day.

Uh.

I tag all of my fics as monster fucking… because that’s the genre. The baby bees are a result of said monster fucking.

I specifically use monster fucking on all of my posts so people who don’t like the monster fucking genre can easily filter my posts out.

I do not include any smut tags like I do on my other posts, and SPECIFICALLY tag them as “monster sfw” or “monster fluff” when I remember.

Not only have I never sexualized or plan on sexualizing the baby bees, if you or anyone else sees anything regarding them as sexual… idk what to say. They’re the most innocent posts on my page.

Read my REQUEST INFO so you can understand that I do not write for pedophilic relationships or situations. The baby bees are children.

I think you’re reading a bit into it. I’m not sure about that case of a YouTuber being banned for breast feeding, but that’s a real person with real children. These are fanfics. There could have been more behind that, and I know for sure there are cases where parents exploit their children on the internet in ways that are in the grey area, like for example, breastfeeding them and sexualizing it purposefully(breastfeeding isn’t inherently sexual, but it can be sexualized and sold as such to an audience) or having them do things that are suggestive for their pedophile audience to continue using them as a cash cow.

This is not that. The baby bees are fictional, and not once have they been sexualized. I am not interested in doing so. They’ll still be under the monster fucker tag because the baby bees are tied to the bee hybrids which ARE very NSFW. It’s a genre.

I use tags that relate to my post and can help them be easily filtered by those that DON’T want to see my content.

Never ask something like this again, it made me deeply uncomfortable.

[gabrielleyueerrrrr]

By the end of AVA season 3, I predict that Second will lose his powers—at least the god-like part of it.

Here’s why:

In storytelling, heroes cannot remain overpowered for too long. Overpowered characters make conflicts too predictable and reduce the tension needed to keep audiences engaged. To avoid this, many authors set constraints on their characters’ abilities. They might require certain conditions for the powers to be activated or bear a heavy cost after using it.

Right now, we know almost nothing about the nature of Second’s powers, aside from the fact that it only activates when his life is in danger. However, it’s highly likely that Alan will fully explain Second’s powers by the end of AVA season 3 (and it probably has something to do with his relationship with Chosen). If Second were able to wield his god-like powers freely, it would disrupt the balance of power between the CG and villains. Every conflict would end in an easy victory, removing tension, surprise, and, ultimately, entertainment.

And Second would overshadow the rest of the CG, leaving RGBY less opportunities to demonstrate their unique strengths. AVA’s charm lies in how the gang works together to overcome strong enemies with their combined wit and strategy, not just in cool powers. If Second were to dominate every battle, the rest of the gang would have little chance to shine.

An alternative solution would be to introduce stronger enemies and power up the rest of the team. However, we don't want another generic superhero series do we? The essence of AVA/M is its creativity. Therefore, the most elegant way to solve this problem would be to remove or drastically limit Second’s powers by the end of season 3.

For example, during the final battle between the CG and Victim, Victim’s overwhelming desire for revenge could eventually lead to his near self-destruction. Second, being his heroic and compassionate self, saves Victim, but at the cost of his own powers. Moved by Second’s sacrifice and kindness, Victim realizes his mistakes and lets go of his hatred toward Alan, happy ending :D

(I doubt it would be this simple but it's possible right?)

What do you guys think?

[thebramblewood]

this is in a similar vein to an ask you got recently but do you have any tips for those who are interested in sims 4 (or even other games like ts3 and ts2) storytelling? I write fanfiction but I think making sims 4 stories could be a fun venture. Anyway, thank you for your time! I love your stories so very much they're literally my hyperfixation!

Well, that makes two of us because it's literally my hyperfixation. I think I've shared bits of advice before, so some of this might sound familiar, but here are some things I think are important to remember (and I tried to be concise, I swear).

Write the story you want to write. Obviously, it's a great feeling when something takes off and people get invested. But if you pursue an idea only because you think Simblr will like it, you probably won't be inspired for long and it'll probably show. I've been very lucky with my story, but it didn't blow up overnight. Early on, I was thrilled to get double digit notes or one reblog or comment and was admittedly disappointed when I put a lot of effort into something and nobody seemed to notice. But I kept going because I was obsessed and wanted to see it through, and that's more true now than ever.

Start with low stakes and allow yourself to evolve. Before I was on Simblr, I made Sims stories with no poses or visual enhancements or fancy editing. I wrote them for myself, and I loved every minute of it, but they also gave me a solid foundation for the kind of storytelling I do now. Even after starting this blog, I eased myself into it. I learned how to use poses and Reshade, then moved on to more advanced editing techniques, then moved on to teaching myself to make poses and very basic CC. If you try to learn it all at once, you're more likely to give up because you're overwhelmed. Take your time and make peace with the fact that perfection isn't possible. Everyone's always learning!

Take advantage of the fact that Sims is a game. Even though I've been a creative writer for most of my life, I don't come up with fully-fleshed, elaborate Sims stories from scratch. It started off with my legacy and not wanting every generation to feel the same. I thought about gameplay I hadn't experienced yet and centered each generation's story around that. Even with HZID, I just wanted to make and play with vampires! That's it! Initially, I used a lot of gameplay to convey Helena's college experiences, and I still try to incorporate it when I can. It can really be a great base to spark your creativity if you don't know where to start.

Don't have a life outside your story. I'm joking. Kind of. I'm not a very social person and I don't like leaving my house if I don't have to. This leaves me with a lot of time for working on story things. Honestly, I could probably stand to work on it less. But for better or worse, I'm doing story-related things most nights and weekends, and even if I'm not doing anything, I'm thinking about it. It's probably mental illness, but we'll just call it passion. At the same time, it's also important to take breaks! If you're feeling burnt out, step away for a while. If you can't make yourself step away completely (raises hand), just edit the script or spin your blorbos around in CAS or something rather than going straight for posing a scene.

Follow and interact with other storytellers. This is probably the most important thing, and as someone who struggles with social anxiety it was the hardest for me to do. But I try to make a point of keeping up with other stories, commenting, and reblogging. Not only will the amazing talent of other writers inspire you, but you're building meaningful connections that make them more likely to want to interact with your story. There's no denying it feels amazing to watch your audience grow. But no one's going to see you if you don't make an effort to be seen, as scary as it can be. So try to be active in the community and support other storytellers the way you want to be supported!

[mrs-stans]

Sebastian Stan Talks Career Interests And His ‘A Different Man’ Film

By Jeff Conway

Sure, you likely know him for his many Marvel film appearances as Bucky Barnes, but actor Sebastian Stan has often taken “the road less traveled” when it comes to his career, having built quite the unique repertoire of memorable performances in far less conventional films.

That observation has arguably never been more visible than with his involvement in the new A24 film, A Different Man. Written & directed by Aaron Schimberg and co-starring Adam Pearson and Renate Reinsve, it tells the story of Edward (Stan), an aspiring actor who undergoes a breakthrough medical procedure to transform his facial appearance, but soon regrets his decision when he becomes obsessed with reclaiming what he has lost.

I sat down with Stan, Pearson and Schimberg to uncover the origin and the creative thought process that went into this new project, which is now playing in select theaters in New York and Los Angeles - nationwide come October 4. For filmmaker Schimberg, this purposefully uncomfortable narrative and the overall project hits rather close to home.

Schimberg said, “I mean, for me, it’s sort of a personal story. I have cleft palate and it’s just sort of me thinking about how it’s affected me in my life and others’ perception of me and my perception about myself. My previous film [Chained for Life] also dealt with the subject in some ways, so that’s sort of what I am always thinking about when I am starting to write a film. I was also thinking about Adam because I had worked with him previously and he played a shy character in Chained for Life, my last film, and he’s not shy at all - and yet, people I think sort of thought that he was playing himself in my movie because they sort of assumed that he must be shy. So, I was inspired to write something that was closer to who he is - taken to a comical extreme, maybe, and I wanted him to show off his range, but I also just wanted to work with him again, so these were some of the starting points.”

Pearson, a British actor with neurofibromatosis, which is a rare genetic disorder that typically causes benign tumors of the nerves and growths in other parts of the body, went on to share what it was about A Different Man and his Oswald character that most intrigued him to want to make this his next film.

“Well, I enjoyed working with Aaron the first time, so when he said, ‘Would you consider working with me again?’ Straight away, I was like, Ding Ding! Round two - let’s rock and roll. Then the script - all the words have weight. There’s very little wasted motion in the script. The end result of the film is quite challenging and holds up a mirror to an audience. I’ve never been a fan of hand-holding or sugar-coating. I think audiences can be a lot smarter than we often give them credit for. A good film will change what you think for a couple of days, but a great film will change how you think for the rest of your life. We’re certainly trying, at least, to be in the great film business.”

With Stan not only acting in A Different Man but also an executive producer, I wondered how he has perhaps noticed his interests and priorities towards the stories that matter most to him as a professional and human being evolving as time goes on.

Stan said, “Well, you get a little older and the questions get a little scarier. A few years ago, I just decided to kind of just be a little bit more aggressive about finding specific work that was interesting and different and kind of challenging for me than what I was getting to do. Eventually, you find yourself in conversations that are in the development of certain things and that might lead to a producing kind of aspect. I think in this [A Different Man] situation, I was involved before A24 came on, which never really happens for me. Not only because of obviously how I felt about the story and so on, I felt really brought in by Aaron and [producer] Vanessa [McDonnell] into their journey with this film and like what they were wanting to do. So, I felt a much bigger attachment than I usually do as an actor in a way.”

When it came time to film A Different Man, Stan recalls the production not having much time, which he actually found to be helpful within his producer role “because when you’re involved in some capacity beyond acting, sometimes you can kind of go, Hey, let’s continue shooting or something. You can help add more to the making of it in some capacity and that was big for us, given our time - that we didn’t have a lot of time.”

In fact, during one particular scene in the film, Stan remembers while everybody else was wrapping up the production trucks for the night, he decided to head out on the streets of New York City with his A Different Man director of photography Wyatt Garfield and Schimberg to grab additional footage. “I just kind of took one of his other little cameras and then we started going up and down Columbus Avenue. It was Friday night and we just got all these shots. Maybe you don’t always get to do that, so that was helpful.”

As I began to conclude my conversation with these three gentlemen, I wondered what Pearson and Stan would say to their A Different Man characters, Oswald and Edward, after seeing their stories play out on-screen and understanding their wants out of life.

Pearson said, “I’d be like to Oswald, Maybe turn it down a little bit. Be nicer to [Stan’s character Edward] because he might not say it, but he loves you and he needs you right now.”

As for the message Stan would tell Edward, he said, “Listen to me! I’m here - I’m telling you. I don’t know how I feel about this. Just hear me out.”

He then added: “It’s very interesting because we all have these moments in life, big or small, where you make a decision or you even say something because you’re with other people or you’re supposed to say something the right way, but you know your reaction in the moment or the decision you’re making is not what your gut is like really telling you. Then, you feel kind of like you’ve abandoned yourself, but then you just quickly deny that - that can kind of like spiral down. We’ve all kind of not owned certain things in the moment and that’s sort of what happens. He kind of drowns out that voice.”

[multi-fandoms-posts]

A Magical Moment at Comic-Con

X Men Masterlist

The hall buzzes with excitement. At the Comic-Con, the day's highlight is happening: James McAvoy and Michael Fassbender, two of the biggest stars, are on stage talking about their roles in the "X-Men" films. The audience is hanging on their every word as the actors joke and interact with the fans. James grins while Michael responds in his typically calm and charming manner.

You stand backstage, observing them from a distance. The whole situation makes you smile. You feel like your heart is about to leap out of your chest, not only because of the upcoming surprise but also because of the news you’re about to share. Only the backstage crew knows that you’re about to step onto the stage. The fans are unaware, and, most importantly, James and Michael have no idea.

"All set?" asks one of the technicians backstage, glancing at you.

You nod nervously, take a deep breath, and wait for the right moment. James is telling a funny story from the filming that has the audience laughing. At just the right moment, you give the technician a signal, and he lets you through.

With a quick step, you sneak onto the stage, the noise of the crowd almost drowning out your footsteps. Some fans in the front rows notice you and start cheering. The sounds seem to catch James and Michael's attention, but they haven’t seen you yet.

Suddenly, a louder cheer erupts, and both men turn around simultaneously. Their faces are pure astonishment as they see you. James’s eyes widen, and Michael immediately smiles, his eyes sparkling with joy.

"What are you doing here?" James asks, surprised but with a hint of joy in his voice. He immediately comes over, hugs you, and pulls you closer. Michael stands there, laughing softly as he watches the two of you before joining in and hugging you too.

"This is a surprise," Michael says, his voice deep and warm. "I thought you were coming tomorrow."

You grin mischievously and look at the two of them. "Well, I thought I’d surprise you."

The crowd cheers even louder as James gives you a quick kiss on the forehead and Michael gently strokes your back. The fans seem absolutely thrilled to see you on stage, knowing about your relationship. Rumors had long circulated, but it was no surprise when you made it official.

James looks at you curiously, his brow furrowed. "There’s more to this, isn’t there?"

You swallow and laugh nervously. The moment you’ve been imagining for so long has arrived. You look at both men lovingly and take a deep breath. "Yes... actually, there’s something else I wanted to tell you."

Michael raises an eyebrow. "Oh? What could that be?"

The crowd falls silent as they sense something big is coming. You feel the tension in the air, the anticipatory thrill. You take their hands, one in each of yours, and smile broadly.

"I’m pregnant," you finally say, feeling your heartbeat quicken. "With twins."

The reaction is straight out of a movie. James’s eyes widen, and he stares at you for a moment, speechless. Then a broad grin spreads across his face, and he pulls you into a tight hug. "What? Twins?!" he exclaims loudly and joyfully. "That’s incredible!"

Michael remains calm for a moment before he starts laughing slowly, his laughter deep and full of happiness. He places a hand on your belly and looks into your eyes. "Twins... that’s wonderful, Y/N." He pulls you close and gives you a gentle kiss. "I can’t wait."

The crowd around you explodes into cheers and applause. Some fans even stand up and clap enthusiastically. James and Michael are still completely speechless with joy, and you stand between them, overwhelmed by their reactions and the emotions of the moment. You feel like you’re floating on air as both men happily embrace you.

"I still can’t believe it," James murmurs in your ear. "Twins!"

Michael nods in agreement and smiles at James. "So, we’re going to have two little McFassys soon."

The crowd laughs as the term is mentioned. You laugh too, shaking your head and feeling incredibly loved. It’s a moment you’ll never forget—a moment of joy, surprise, and boundless happiness.

[lifblogs]

White Noise

Rating: General Audiences Word Count: 527 Summary: Omega has a great prank in mind, and not everyone is as amused. Author's Note: I'm super burnt out, so I decided to have a little fun and write this fic, which was inspired by my bestie @miss-mouse99! READ ON AO3

Omega kept giggling quietly over dinner, even though she had tried so hard to hide her excitement all day. When Echo first questioned her, she lied it was a joke she’d heard earlier. She had the same answer for the rest of them as well. When she answered with that to Tech who sat across the table he just readjusted his goggles—Omega nearly giggling again—and gave her a discerning look.

“I am not convinced,” he said.

“Well, wait and see then,” she said.

Usually Omega was good at keeping quiet, but with something this fun, this exciting, she didn’t know how to contain herself.

Her exhaustion from the long day tempered her somewhat, and she was all serious as they settled into their bunks to sleep.

Omega stayed up, reading on Tech’s datapad he’d loaned to her for such things, and changed positions every time she felt herself getting tired.

When a good hour had passed, and she figured they were all asleep, Omega snuck from her room, and over to Tech’s bunk. He only slept with his goggles on if he had fallen asleep while working, so grabbing the recorder from them was no problem at all.

Recorder in hand, Omega snuck back to her room.

She had to put a hand over her mouth to keep from laughing when she connected the recorder to the datapad, and set it up for what she needed.

Omega pressed a button.

The sound of purrgil suddenly filled the Marauder.

With the volume high, everyone woke with a start, Echo even cursing accidentally.

Omega quickly got under her blanket, making it seem like she’d been there the whole time.

The loud song of the purrgil continued to fill the ship.

“What the—what is that?” Hunter asked.

Omega fake-yawned. “Oh, it’s white noise to help me sleep.”

She almost laughed as Tech crossed his arms.

“White”—purrgil interruption—”noise?”

“What is white noise?” Wrecker asked.

“That’s really loud,” Echo commented.

“Sorry,” Omega said. “I can lower it.”

“This helps you sleep?” Hunter asked, looking incredulous.

“Mm-hmm.”

“You’re joking,” he said.

“Nope.”

“Hey, you stole my recorder,” Tech exclaimed.

“I’m just trying to get some good sleep,” she argued.

Echo came over, and grabbed the datapad and recorder. She reached out for them, but he pulled them back.

He turned the sounds off, and then handed them back to Tech.

“Please,” Echo said. “No more white noise.”

Omega sighed dramatically. “Fine. But now I’ll never sleep. You really want me to be sleep-deprived?”

“You’re laying it on thick,” Hunter said.

“Fine,” she relented. “Now go to bed.”

“You go to bed,” Wrecker told her.

She waved him off, giggling.

At that, Hunter started laughing too.

“All right, I’ll admit it; you got us good, Omega.”

She popped her head up.

“Really?”

“Yes, now actually get some sleep. You look like you stayed up just to prank us.”

“I did,” she announced proudly.

Her chest warmed as he smiled, shaking his head. “Please, just go to bed. Or are you going to wake us in an hour with tooka noises?”

“No.”

“Good.”

“Gundarks.”

Everyone groaned, and Omega laughed maniacally.