#s1 art style isn’t the best but still better than whatever that is

[fox-from-fairytale]

Sometimes I want to play matchmaker to get with Tim, but then I remember that weird tiktok instagram filter situation going on and I just 🤢

[liesoverthec]

OG 911 Character Details from Canon Pt 2

Hi y’all I’m back! I just wanted to say thank you to everyone who reblogged the last details post - I sort of just thought people would like it and it would die, so to see it travel and hopefully reach more writers was so great so thank you again!

Details under the cut since I went a little crazy 😅 and if this is your first time seeing this, the first part, and any future parts, can be found under this tag here!

Quick note before I get to the details - always, ALWAYS take details from dialogue or plot over details from the set or props if they contradict each other. The writers have the ultimate say over what happens on the show/for the characters, so whatever they say goes, even if it goes against something props has already laid down (eg, Chim’s birthday, sorry Libra crew. He’s an Aries or a Pisces). So keep that in mind for the future in case some of these details I have which are from props/set are changed in the future, or if you’ve noticed something yourself!

Also if you have questions, I am MORE than happy to answer them, although if you leave them in the tags on this post I’m probably gonna lose them, so if it’s something you’d genuinely like an answer to, drop it in my inbox! Besides my standard “ask” tags, I’m also tagging asks about canon details with this tag here. Every time I make a big post like this, I’m going to link all the asks I’ve gotten since the last post, but if you’re looking for more info in the mean time, that’s the other spot to look!

Buck has a grill on his patio.

Eddie doesn’t hang Christopher’s art on the fridge - instead it is either hung on the corkboard in Chris’ room to the left of the door, or Eddie puts it in an actual frame and hangs it using a hammer/nails in Christopher’s room. All the Diaz family has on their fridge is a bunch of bendy people magnets. (I absolutely ADORE him putting all this effort into treating Christopher’s art like it’s something you’d buy from a professional artist).

Info on everyone’s ages can be found here. (Little more discussion of Chim’s situation here).

Albert has a bachelor’s degree! I don’t know in what though, except that it’s some field for which is a Master’s is useful.

Athena was in a sorority in college, Delta Sigma Theta. Their website describes them as “ ...a sisterhood comprised primarily of Black, college-educated women ... [that] considers the issues impacting the Black community and boldly confronts the challenges of African Americans and, hence, all Americans ”, which I love for Athena, and feel is very in-character for her at that time in her life!

Chim is an aviators dude. When he wears sunglasses, they’re always aviators.

Athena also wears nothing but aviators.

Bobby wears square aviators.

Eddie, on the other hand, always wears Wayfarers.

Buck either doesn’t really like sunglasses or he constantly forgets he owns them, since we’ve only seen him wear them once in 60 eps, in a move I’m pretty sure was ONLY for dramatic effect.

Hen’s sunglasses change style over the seasons like her regular glasses do, but she tends to like browline sunglasses.

Info on Christopher’s school can be found here!

There are two colors of dispatch polo, and there doesn’t seem to be any rhythm or reason for who wears what. Maroon - Maddie and Linda. Blue - Josh and May. Jamal has actually worn both maroon and blue, so it doesn’t seem to be TOTALLY set in stone although I’ve never seen anyone else switch. Sue is too badass to wear a dispatch shirt.

Both Bobby and Eddie drive 4 door pickups. Bobby’s is navy. Eddie specifically has a black, 2020 GMC Denali 1500 pickup truck (in case you want to specifically look up what the inside of it looks like or what features it has 😂)

Info on the 118’s medical certifications can be found here.

Correction to Eddie’s living situation from last post: no next door neighbors, but instead UPSTAIRS neighbors. (Pointed out by Abigail in this ask). Also since someone else was wondering the notes of the last post - no, there is absolutely no discussion on the show of whether or not Eddie rents the apartment or owns it. But based on the fact that it’s 1) LA and 2) an apartment, my guess would be he rents it.

When Maddie isn’t feeling like herself, she tends to straighten her hair rather than curl it. It seems to be more when she’s uncertain about her place in her own and other people’s lives, rather than just when she’s simply worried - eg it’s straight in 2B, when she’s uncertain if she wants to continue working as a dispatcher/is unsure about her relationship with Chim.

For work, Chim, Eddie and Buck all use black duffel bags with a LAFD patch on the top. Hen uses several different cute bags, and Bobby seems to have a plain black duffel bag.

Watches - Bobby, Athena, Chim, Hen and Buck all wear their watch on their left wrist (but Athena ONLY wears hers for work, she takes it off at home.) Eddie wears his on his right wrist, and Maddie doesn’t wear one.

Chim (and Maddie by default) literally still have the exact same couch as in the pilot. (Which means that Chim has cuddled Tatiana on that couch, AND Albert has had sex on it. TIME TO GET A NEW ONE, BUCKLEY-HANS 😂)

The 118 has five different rigs - the engine (E118), the ladder truck (T118), two ambulances and the captain’s truck. 95% of the time, when the team is chilling in the cab of a rig and chatting (eg the ‘stuck under a live telephone pole’ scene in Jinx), they’re in the engine, not the truck. (Which I personally learned recently are NOT interchangeable terms!)

Athena and Michael got married when Athena was 37.

If you’d like to give Maddie a full name beyond “Maddie”, you should use Madeline. (I know, I know, in 4x04 she says Maddie is the name on her birth certificate, and that you should never use props details if they contradict script details, but I always thought that was a super weird exchange in 4x04 which could be explained by Maddie getting a nickname since she was born when Margaret and Phillip, you know, actually loved their kids and showed it, so of course Buck doesn’t get one, and in 4x04, Maddie was trying to avoid the entire issue of why she got one and Buck didn’t. But! Do what you want, and use Madeline as the full version of Maddie if you’d like, since that’s what’s on the BOLO in 2x13 😂)

Athena’s call sign is 727 L30, but she doesn’t have a specific squad car - the number changes throughout the series.

Chim really likes chewing gum, but he’s the only one out of the entire family!

The station has an Xbox One S, and it’s white.

In the real LAFD, there are stations 1 through 114. To avoid confusion while filming on the streets (I’m assuming), our fictional LAFD never uses the number of a real station. So if you want another station for a fic, and you want something that would be real in OUR universe, use the numbers 115 and above. They’ve gone as high as 221 in our universe.

Battalions - station 118 is in Battalion 7, which is also not a battalion in real Los Angeles. The 118 has interacted w/ Battalion 1, which is a real battalion, but other ‘non-real which makes them more likely for our universe’ battalions include numbers: 3, 8, 13, 16, 19 and above.

S1 Buck knew the term Jedi, but based on context, didn’t understand AT ALL the context provided by Star Wars, so there’s another edge of his pop culture limits for you.

Chim is the most tech-savvy out of everyone, hands down.

Athena has a VERY active Twitter account.

Abuela’s house number is 8902. I don’t have a street name for you unfortunately though. :/

Athena’s favorite flowers are white roses. None of the other women are really flower people.

Michael likes to wear purple.

When they’re at a call, Buck does pretty much all of the stuff with the hammer and the saw. Eddie does all the work needed with the drill.

Harry goes to Meadowbrook Elementary.

Buck lives on the fourth floor of his apartment building, across the hall from Apt. 416. The lovely @lovelessmotel found this listing for what is more or less the apartment. What happened was: the set crew rented this apartment for the one episode at the end of s2 when Buck moved in, and then over the summer before s3 built their own set of it, and changed some things - eg giving him an island, and moving the sink to a second counter against the far wall, you can see the changes here in this amazing gif set by the awesome Austen, but the listing should let you click around a little more upstairs and figure out dimensions better than what the show provides!

When Athena and Hen go out to eat together, it’s always fast food burgers and fries.

Waffles are Athena’s favorite food, and tiramisu is her favorite dessert.

Every takeout we’ve seen Buck eat has always been in a Chinese food takeout container, and we know he likes Thai food the best. EXCEPT! The one time we see him eat takeout with Eddie and Christopher, they have pizza. So take from that what you will......

Eddie has a cell phone and a landline.

Chim is a shameless multiple texter.

Chim and Bobby sleep closest to the door in their respective bedrooms (both right side of the bed if you are standing at the foot, facing the headboard), and Athena and Maddie sleep furthest away from the door (left side).

Some canon last names for other firefighters at the station in case you wanna add more people to a fic - Mitchell, Sanchez, Serrano (woman), Porter, Meyers (woman), Maxwell, Voyta

Hen and Karen really love decorating their house with dark/red wood.

Karen is Mommy and Hen is Mama.

Bobby has a brother, and a grandmother, and that’s literally ALL we know about his family outside of Marcy and the kids.

Evidence points to Eddie being the oldest child in his family.

Karen has multiple brothers (no sisters), but no idea how many - just that one of them is named Trey, and one of them lives in LA and has kids. They might be the same brother and they might not be.

Both Hen and Athena are only children.

Athena has been on the police force for 30 years.

Christopher and Denny are the same age (born in 2011), and Harry is two years older than them.

Michael lives in apartment 308.

The bank in this universe is CalAm.

Hen and Karen have a picture of Denny, May and Harry on their fireplace mantel.

Eddie having a black thumb + a lot of plants in his living room = him buying fake plants bc he likes the aesthetic ™ or someone (cough Carla cough) is taking care of them for him.

The COVID timeline in OG’s universe is fucked up compared to the real world’s, so it shouldn’t be used as a way to measure time! They just throw it in wherever it makes sense for the story they want to tell (eg the vaccines in s4 ep 8), since s3 was both done before COVID hit but also airing while it was happening. It makes absolutely no sense for May to graduate in March nor for Chris to be going to what is specifically labeled summer camp, and the vaccine plotline was INCREDIBLY early, even for real life, so don’t use anything from that as a measure of time. I’ve found except in specific examples, eg the two tsunami episodes, it’s very safe to say every episode covers a week - fall holidays on the show line up with their real life counterparts, indicating about the same amount of time is passing for us and them.

On that note - Jee-Yun was born in late January, early February 2021. (Conceived in Pinned, which was end of March/beginning of April, meaning Maddie was around a month along at May’s graduation in May ➡ 42 weeks + 3 days from then = late Jan/early Feb. Which unfortunately means we most likely won’t see her birthday celebrated on screen. If we assume she was conceived on the date Pinned aired, aka the very sexy hotel scene, then January 21st or 22nd would be Jee’s birthday, depending on if she was born after midnight or not.

Buck has had at least one other Jeep between the one Maddie gave him, and the one he has now, which means that when he needs a new car, he is purposefully choosing Jeeps.

I hope this was all as interesting/enjoyable to you as it was to me! And just to repeat - I love answering questions so pls let me know if you have any at all ❤

🐝🐝🐝🐝🐝

Tagging: @buckbuckley

[k-s-morgan]

Will’s vs. Hannibal’s Ways of Expressing Love

The fact that Hannibal loves Will and is in love with him is openly stated in the show several times. Will’s feelings, on the other hand, are more ambiguous, which is why some viewers often doubt whether Hannibal’s love is reciprocated. I think that exploring the ways these two men experience and react to love can explain the varying degrees of their openness about it.

I’ll put TLDR right here: Hannibal is more open about himself and his feelings, including love, hence he doesn’t have many challenges with admitting it. Will is closed off, stiff, and emotionally repressed, so he expresses his feelings in a much more subtle way.

Let’s start with Hannibal. Details about his past are scarce, but we know that he admits to loving two people throughout his life, his sister and Will.

E3 of S3.

*Bedelia: What your sister made you feel was beyond your conscious ability to control or predict … I would suggest what Will Graham makes you feel is not dissimilar. A force of mind and circumstance.*    

*Hannibal: Love.*

Undoubtedly, Hannibal’s love for Mischa was traumatic and unhealthy. He loved her so much that he ate a part of her body after she was killed, devastated by this loss. But it was still love that made him feel all the related emotions, so Hannibal has some experience with it. From what we know of him, he has a very broad mind. He despises limitations and overcomes them, and he is not ashamed of who he is. He isn’t embarrassed to cry in the opera or to be the first to stand up and applaud; he delights in stereotypically ‘feminine’ hobbies like cooking and clothes selection; he draws fan-art and openly expresses his admiration when it’s due. For this reason, Hannibal doesn’t have many problems with expressing love either.  

Upon meeting Will, he is immediately drawn to him. He sees him as his potential partner and decides he wants to try and build a family with him as early as E2 of S1. That’s when he starts planting the idea of Abigail being their shared daughter in Will’s mind. He does the same to Abigail, urging her to see him and Will as her parents, even giving her shrooms to evoke the desired associations (unsuccessfully since Will doesn’t come to dinner). So, Hannibal acknowledged his pull/infatuation with Will from the very start, and he acted on it right away.

It’s not 100% love at this point, but Hannibal still easily follows his emotions. He doesn’t stop to consider how strange it is to want a family with a man he just met; he doesn’t agonize over the idea of how his life has more risks now that he allows another human being to know him. When these feelings progress at the end of S1/start of S2, Hannibal is finally taken aback. While he never planned to leave Will in prison and it was a part of his plan, he still didn’t expect to miss him so much — he admits it to Bedelia, looking forlorn, in E1 of S2. He repeatedly pines for Will by sitting in front of his chair at the time of his supposed appointment, glancing at the clock despite knowing Will is not going to come. This is a shift to an actual love, but Hannibal still doesn’t fight it. On the contrary, he embraces it, and he spends the entire S2 doing repeatedly romantic gestures for Will. Namely:

1) Protects Abigail to reunite Will with her later.

2) Shares a part of himself he doesn’t seem to have ever shared with anyone else. He talks to Will about Mischa, reveals his views on murder and God, acknowledges he cared about Abigail, and shows vulnerability. He shares his teacup ritual with him, which is something precious and deeply personal.

3) He digs up fake Freddie’s corpse and decorates it as a way of courting Will (as directly said by Alana).  

4) He draws a fan-art of himself and Will as Achilles and Patroclus.

5) He is ready to abandon his well-established life in Baltimore and reputation to run away with Will. In Hannibal’s view, no one truly suspects him and there is no evidence against him, but Will is in danger. So he’s willing to discard everything he’s been building for 20 years for him.

Finally, he calls Will a loved one more or less directly in E13 of S2 (in fact, he implies that they both love each other).

*Hannibal: Do you know what an imago is, Will? … An imago is an image of a loved one buried in the unconscious, carried with us all our lives.*

*Will: An ideal.*

*Hannibal: The concept of an ideal... I have a concept of you, just as you have a concept of me.*

Will hurts him with his betrayal, and Hannibal still finds himself unable to kill him. He is openly crying in the finale, admitting how Will hurt him, breaks his (and his own) heart by killing Abigail, and flees to Europe to start a new life. But things don’t go as he hoped they would. Bedelia is not a worthy substitute, and Hannibal is increasingly slipping into a self-destructive state because of his love for Will. He kills Anthony, who was an improved copy of Will, and turns him into a Valentine heart for him. Again, this is a very explicit and open emotional action. Hannibal doesn’t hide his feelings. He’s an emotional wreck with Bedelia in E3, and as they are talking about Will, he admits he’s in love with him.

*Hannibal: You cannot control with respect to whom you fall in love.*

Bedelia points out his self-destructiveness.

*Bedelia: You're going to get caught. It's already been set into motion … I know exactly how I will be navigating my way out of whatever it is I’ve gotten myself into. Do you?*

After Hannibal keeps spiraling and kills Sogliato, she adds: *You're drawing them to you, aren't you? All of them.*  

Hannibal gets so self-destructive over Will that he lets Jack beat himself almost to death, not even attempting to fight him. The first words he says to Will after they reunite in E6 are:

*Hannibal: If I saw you every day forever, Will, I would remember this time.*

He’s a romantic. The courtship, the Valentine heart, the romance — Hannibal did have some struggles, but overall, he accepts these feelings and isn’t afraid to act on them.

When Will pulls a knife in E6, Hannibal classifies it as another betrayal. This is where he decides to kill and eat him in the hope to put an end to this misery (which is what he and Bedelia discussed back in E3). However, even blinded by another heartbreak, Hannibal tries to save Will at the same time. He knows the police are coming and he puts off the moment of sawing for as long as he can, first fussing over Will and his wound, then waiting for Jack, then doing everything slowly as hell.

Everything changes in E7, when Hannibal faces the real risk of losing Will and comes to terms with the fact that a hope of life with him is better than life without him. So Hannibal carries Will home bridal-style, takes care of him, waits for him to wake up and writes formulas to reverse time. He directly tells Will that Will won, and that he, Hannibal, is at Will’s mercy.

*Hannibal: Your memory palace is building. It's full of new things. It shares some rooms with my own. I've discovered you there. Victorious.*

He gives himself up, sacrificing the freedom he’s been fighting for back in E2 finale, in the hope that one day, Will is going to come back to him. After this, Hannibal is all about Will, with all his heart. Throughout the second half of S3, he says things like, *“I gave you a child. You are family, Will. Was it good to see me?”*, etc. He agrees to risk his life by agreeing to Will’s plan, knowing he’s planning something but not knowing what and if he’d die in the process. In E13, Hannibal says:

*Hannibal: "No greater love hath man than to lay down his life for a friend"* and shields Will from the bullet. Later, he allows Will to push them both down, and he stays with him afterward.

Conclusion: Hannibal is very accepting of himself, so he doesn’t undergo severe challenges on the path to acknowledging what he feels for Will. He knows what love feels like because he felt it for Mischa before, so he embraces loving Will pretty quickly, even though he doesn’t know how to best approach it at times. That’s why we get direct and explicit confirmation of his feelings several times.

Now, on to Will.

Unlike with Hannibal, there is no evidence that Will has ever experienced love before (at least love for people). We know he had a father and was lonely as a child.

E4 of S1.

*Will: We were poor. I followed my father from the boat yards in Biloxi and Greenville to lake boats on Erie.*

*Hannibal: Always the new boy at school? Always the stranger?*

*Will: Always.*

His choice of words indicates that his relationship with his father wasn’t all that good (for instance, *I followed my father* instead of *My father and I had to…*). So, it doesn’t look like Will ever had meaningful connections. More than that, he says:

*Will: There’s something so foreign about family. Like an ill-fitting suit. Never connected to the concept.*

We can suggest that he doesn’t know what love is or how it feels like. From E1, we know he isolates himself because he hates himself for who he is: he understands he’s different, that there is darkness in him, but he desperately tries to subdue it and deny this fact. He’s rude, twitchy, and unhappy, but like Hannibal, he understands the extent of his loneliness only upon meeting him. That’s when he tries forming relationships with others.

Will’s relationships with Alana and Abigail are a good indication of his problems with love. He wants to be with Alana because he needs to feel normal. In 99% of cases, he remembers about her only when she comes to seek him out first. He kisses her for the first time at the moment of particular vulnerability, fearing that he’s finally losing his mind (in E8). When Hannibal calls him out on it, Will doesn’t deny it and semi-nods. He actually had to agree with it verbally according to the script.

*Will: I feel unstable.*

*Hannibal: That’s why you kissed her. A clutch for balance.*

*Will: Because I’m losing mine.*

So, it’s not that Will feels romantic love for Alana — he uses her because he desperately needs to feel like everyone else. Alana is a pretty, smart, normal woman who fits this goal perfectly. He doesn’t allow himself to be genuine with her unlike he does with Hannibal, to whom he opens up.

Will confesses to Hannibal that he loved killing Hobbs in E2, which got him down and made him panic. Hannibal supports him, and Will keeps coming back to him. He talks about everything important with Hannibal, opening parts of himself that he guards from everyone else. Will asks Hannibal to look after his dogs as early as E4 — he doesn’t have other friends, and he’s already focused on Hannibal. He buys into an idea of having a family with him and Abigail, which is amazing for Will, who has just said he could never relate to the concept of family.

When Will buys a gift for Abigail in the same E4 and freaks out, Hannibal asks him:

*Hannibal: Feeling paternal, Will?*

Will’s reaction is instant and defensive:

*Will: Aren’t you?*

Hannibal easily says “yes”, which disarms Will. This is a great contrast between them: Hannibal isn’t afraid to talk and acknowledge his feelings while Will is embarrassed of them and shies away from them. In fact, this is a repeat of their conversation in E2.

*Hannibal: You saved Abigail Hobbs' life. You also orphaned her. It comes with certain emotional obligations.*

*Will: You were there. You saved her life, too. Do you feel obligated?*

Again, Will deflects. He’s wary of emotions, especially of admitting them out loud.

Will shows a hint of romantic interest in Hannibal in E7. He brings him a bottle of wine out of blue, but unfortunately, he stumbles upon the party Hannibal is preparing. Hannibal invites him to stay, but Will says he won’t be good company. He’s shy and awkward, smiling nervously and dropping his gaze in embarrassment. Then we have this lovely line:

*Will: I’ve got a date with the Chesapeake Ripper.*

So, in S1, Will makes considerable emotional progress. He realizes he wants a family after all, and while he makes several half-hearted attempts to court Alana, he’s mostly focused on Hannibal and Abigail. He opens himself up to Hannibal, receives official guardianship over Abigail with him, arguably flirts with Hannibal (like in the wine scene above), and covers up murder to protect their family. But then Hannibal betrays him. Will doesn’t know his reasons yet, but this betrayal plunged him into darkness, bitterness, and new stage of emotional repression. It’s worth mentioning another point of Abigail here: in the end, Will doesn’t know her. He spoke to her only several times, and even fewer times were genuine. He loves the idea of her, and this idea was introduced by Hannibal, not by Abigail’s presence. It’s Hannibal who forced Will to confront his need to love and be loved.  

In S2, Will is incredibly conflicted. He acknowledges to Hannibal that he hurt him, tries to kill him via Matthew, but when he recognizes that Hannibal wants him as a friend (as spoken in E7), his attitude changes. Will doesn’t plan to forgive him, he’s still angry at Hannibal for killing Abigail (which is his biggest conflict, as evident from his talks with Hannibal himself and Freddie), but now, he can’t bring himself to harm or betray Hannibal.

He gets his first chance in E7, after being released from prison. He threatens Hannibal with a gun and has a perfect chance to make him pay, but he doesn’t. Instead, he conspires with Jack and decides to cultivate co-dependency, creating an environment where only he “and the fish exist” (E8). What does Will do to start? He makes himself physically attractive, grooming and dressing prettily. It’s a seduction on all levels, and Will plans to use emotions to hurt Hannibal back. At the same time, Will admits to being confused over what he feels for Hannibal.

E8 of S2.

*Will: I envy you your hate. Makes it much easier when you know how to feel.*

E9 of S2 (talking about trying to kill Hannibal with Margot).

*Margot: Did he have it coming?*

*Will: What do you think?*

*Margot: I can't say that I know.*

*Will: Neither can I.*

He spends the rest of the season lying to both Hannibal and Jack, unsure whose side to choose, too lost in his own feelings to make sense of them. At the same time, he has a dream where Hannibal calls him beloved in E9. It shows that Will contemplates the idea of love in relation to Hannibal. In E10, Will tries to fantasize about Alana as he’s having sex with Margot. However, he sees the image of Wendigo near the fireplace, Wendigo who he’s used to associating with Hannibal. Two interesting things (copied from my other meta): first, Will actually sees Hannibal’s room and consequently, he sees himself in it (or he sees their rooms united). Second, he sees the Wendigo near Hannibal’s fireplace. Fireplace has many meanings, including passion, sexuality, home, family, and resurrection. It emphasizes the sexual and romantic subtext of this uniquely shot scene, where people destined to be together have sex with the wrong partners. Will’s vision begins to contract, focusing on Wendigo: he is having an orgasm at this very moment, imagining the Wendigo’s face very close, approaching him. Still through the misty eyes, he tries to focus on Alana again, but his gaze moves up to Wendigo above her, as if he can’t help himself. He and Hannibal reach orgasm first, with Alana and Margot following them. So, Will dragged Hannibal into his sex fantasy. It’s both symbolic and physical: he tried to imagine Alana just like he tried to have a relationship with her before, in S1, out of his desire to be normal. But his attention is inevitably drawn to Hannibal, who’s his “real deal”.

Based on this scene, it’s underlined once again how Will struggles with emotions. Even in the safety of his own mind, in his own fantasy, he tries to think of Alana but still ends up with Hannibal. Will is always fighting himself and who he is. He refuses to accept his darkness just as he refuses to admit he loves Hannibal. It’s the essence of who he is, denial is his second name.

Among the important moments, there are Will’s words to Hannibal:

*Will: You are right. We are just alike. You are as alone as I am. And we are both alone without each other.*

So, Will accepts the bond with Hannibal, and at this stage, he even has the courage to voice some of his emotional thoughts. His progress is slow, but it’s there.

In E11, Will has a nightmare. He sees a burning corpse of ‘Freddie’ in a wheelchair, a symbol of his betrayal of Hannibal, and he hears his own increasing screaming. It’s easy to interpret, knowing the context: Will feels guilty for lying to Hannibal.

When Margot loses her child, Will feels renewed anger at Hannibal. He fantasizes about killing him and gets to realize his fantasy with Mason’s help in E12. But at the last moment, Will changes his mind and chooses Hannibal. He does the same thing in E13 by calling him. When he sees him, he doesn’t even try to point a gun at him: he asks why he didn’t leave as he was supposed to, and he even leans forward to accept the knife, accept the punishment for betrayal.

So, Will chooses Hannibal over Abigail, for whom he wanted justice; over his and Margot’s child, for whom he wanted revenge; over Jack and Alana, who were his only semblance of friends; over his own confusion and desire to be normal. For someone as emotionally stunted as Will, it’s huge. It proves that he loves Hannibal and is willing to compromise all other relationships he has formed as well his own beliefs for him (while Will is dark, he tries to fight it because he doesn’t think people like them are normal). Is it romantic? Will’s dream with the word “beloved” and his sex fantasy, as well as his acceptance of the idea that he and Hannibal were Abigail’s fathers (which makes them partners) imply that yes, romantic feeling is a part of it.

Hannibal’s romantic feelings became explicit in S3, and so did Will’s. But since Hannibal is more open and self-accepting, his were discussed out loud while Will’s were mostly portrayed silently, implied, and alluded to.

Will builds a boat to sail and find Hannibal, which is pretty romantic by itself. He spends his time in Hannibal’s house, in the kitchen where their bloody break-up happened, imagining Abigail near him. When Alana comes to find him, he asks her to leave. He’s cold and indifferent toward her — she’s not what he wants, and he’s not interested in even friendship with her. All he wants is to mourn his lost family with Hannibal and Abigail. Again, Hannibal is Will’s priority.

Will imagines his perfect world as the one where he and Hannibal killed Jack together. This scene is intercut with his Mizumono memories, namely, with Hannibal's face that emerges every time he moves yet another part of the engine. This is a vivid demonstration of Will trying to repair what is now broken. When Jack asks him why he called him, Will is indifferent and genuine:

*Will: I wasn't decided when I called him. I just called him. I deliberated while the phone rang. I decided when I heard his voice … I told him to leave. I wanted him to run … Because he was my friend. And because I wanted to run away with him.*

That’s a big admission for Will. This is the first time he openly acknowledges Hannibal as his friend in front of another person. Chilton calls Will and Hannibal’s interactions a “flirtation” in this episode, which once again points us in the romantic direction.

The entire E2 of S3 is dedicated to Will’s love for Hannibal, where he argues about it with himself in the form of imaginary Abigail. This is another proof of Will’s problem with emotions in general and emotions for Hannibal in particular. He can’t just think to himself as normal people do — no, he can’t admit how much he loves Hannibal this. Instead, he imagines Abigail and talks to himself through her to make it easier. He berates himself for lying.

*Will/Abigail: We were all supposed to leave together. He made a place for us. Why did you lie to him? He gave you a chance to take it all back, and you just kept lying.*

Will is reverent about Hannibal; he keeps talking about him over and over again.

*Will: This isn't Hannibal, it's just where he begins. Beyond this, far and complex, light and dark, is the vast structure of his mind. A thousand rooms, miles of corridors. Everything he remembers, wonderfully and fearfully reconstructed.*

Will goes as far as lies at the place where Hannibal’s Valentine heart for him was, reconstructing this image and trying to feel close to him. The heart comes to life the moment Will touches it, which is romantic. Will says:

*Will: A valentine written on a broken man … I do feel closer to Hannibal here. God only knows where I would be without him … He left us his broken heart … He misses us.*

He looks on the verge of tears, so Hannibal’s gift touched him. Will is overcome by emotions. At this very moment, his more frightened side suggests that Hannibal is also playing with him.

*Will: Hannibal follows several trains of thought at once without distraction from any, and one of the trains is always for his own amusement.*

We know it’s not the case, especially here, but Will has trust issues and a low self-esteem. He’s worried that Hannibal’s feelings for him aren’t as strong as he thinks they are, which is why he’s not sure how to react himself. He asks himself, *“You still want to go with him?”* and replies, *“Yes.” He wonders about what life they’d have if they left.

*Will: What if no one died? What if we all left together? Like we were supposed to. After he served the lamb. Where would we have gone? … In some other world.*

Pazzi comes and tells Will that he hopes they’ll catch Hannibal together.

*Will: What makes you think I want to catch him?*

Later, Pazzi says:

*Pazzi: He let you know him. He sent you his heart.*

E2 ends with Will scaring Pazzi and telling him, *“You don’t know whose side I’m on.* Then he tells Hannibal he forgives him, which is also a huge step in his direction.

This entire episode proves that yes, Will loves Hannibal. Considering how he isn’t awkward from receiving a Valentine or hearing that Hannibal gave him his heart, Will shares the romantic aspect of Hannibal’s feelings for him. He regrets not running away with him and their daughter, he places himself on the floor where the heart was to feel closer to him — this is such a rich romantic subtext that it’s practically text. Especially for Will, who remains so conflicted and emotionally restrained all the time.

Will’s attitude changes after seeing Chiyoh. He becomes more bitter. Considering how dark he is in these scenes and how he constantly compares himself and Chiyoh, he likely sees her as someone Hannibal was supposed to love but easily abandoned. It makes Will draw the parallels between them, and he starts to doubt that Hannibal loves him, that his “broken heart” has any authentic meaning. That’s where he starts thinking about killing Hannibal again. He still says:

*Will: I’ve never known myself as well as I know myself when I’m with him.*

This line also speaks volumes. Hannibal gave Will a precious gift of understanding himself; he showed that he could accept him, and Will is drawn to it. Will admits the depth of their connection to yet another person. Then he makes a firefly from Chiyoh’s prisoner, a tribute that is clearly done with Hannibal in his mind, considering the style and the central topic.

Chiyoh sees right through Will’s emotional constipation. She implies that he should “kiss” Hannibal rather than keep being “violent”:

*Chiyoh: I told you, there are means of influence other than violence.*

She kisses Will then, thus showing him what others means exist. He doesn’t get it, though, since he responds to her kiss despite not feeling anything for her, and she pushes him off the train, likely admitting he’s a hopeless case.

Meeting Jack, Will tells him that a part of him will always want to leave with Hannibal. This is yet another declaration from him. Will isn’t scared of the consequences — he speaks of his feelings openly now. It’s a great development of his character.

But the feeling of doubt about Hannibal likely resurfaces further after Will sees that Hannibal replaced him and Abigail with Bedelia in E6 (hence his hatred for her since that moment). He mocks her alibi and then leaves to reunite with Hannibal. The following moment was deleted, but it still discloses some of Will’s romantic feelings:

*Will: I looked up at the night sky there. Orion above the horizon and, near it, Jupiter. I wondered if you could see it, too. I wondered if our stars were the same.*

From the words that did get into the episode:

*Will: You and I have begun to blur ... We're conjoined. Curious if either of us can survive separation.*

Will doesn’t just admit the bond between them, he elevates it the level of soulmates, implying they are one and the same. It’s also a declaration of love in his language. But love doesn’t stop Will from being vindictive, hurt, and angry, so after meetings with Chiyoh and Bedelia that affected his perception, he pulls out a knife as he and Hannibal are walking together.

There is a brain-sawing disaster after this and E7, where Will looks done and tired from the madness and his constant attempts to figure Hannibal out. He does bite Cordell before looking at Hannibal, seeking his approval; he uses “we” pronouns when speaking about Hannibal with Alana. One example:

*Will: You helped Mason Verger find us.*

So, he still sees himself and Hannibal as a team, but he’s still tired and bitter, so after everything is over, he hurts Hannibal by saying he doesn’t share his appetite and by attacking him emotionally.

*Will: I miss my dogs. I'm not going to miss you. I'm not going to find you. I'm not going to look for you. I don't want to know where you are or what you do. I don't want to think about you anymore.*

This is all personal and emotional. It sounds like a break-up, which is exactly how Bryan Fuller and others referred to it. When Hannibal leaves and Jacks arrives, Will puts on his glasses, an indication that he’s hiding again.

Fast-forward 3 years. Will is married now, but from the very start, we see that this marriage isn’t all people usually expect it to be. The first scene shows the family apart. Molly and Walter have gone fishing, which is something Will loves. He had dreams about teaching Abigail how to fish, but he doesn’t go to do that with his family, preferring to stay alone instead. It’s the first hint that his heart isn’t in this relationship, that he’s too hung up on the past to move forward and make new happy memories.

Jack came to drag him to Dragon’s case, and Will makes it look like he’s reluctant. At the same time, he doesn’t send Jack away, even though we know from the past that he has no qualms being frank when he wants to. More than that, he asks him not to show pics to Molly, but when they have dinner, Will deliberately leaves the house with Walter, leaving Jack and Molly together. At night, when Molly’s asleep, he crawls out of bed and goes to read Hannibal’s letter. He doesn’t tell the truth to Molly about himself and his dark urges, about everything he has done – Molly clearly has no idea who he truly is, considering how she jokes about his ‘criminal mind’ in later episodes and how Will immediately closes himself off from her. He never initiates physical touches with her; he doesn’t return her “I love you”, which is an even bigger indication of his lack of commitment. Will is emotionally stiff with Molly for the most part, and the only times he laughs with her or shows any emotion is when they are talking about superficial stuff in the former case and when he’s furious after Francis’ attack in the latter one. Other than that, there is no closeness or honesty.

Another point of Will’s inability to express or even give his love to someone is in his scene with Walter in E11. This child, his step-son, has just been attacked by a serial killer with his mother. His mother was hurt and they barely escaped. Will doesn’t hug him or offer him paternal emotional comfort; he’s very awkward. All he says is, “You're both safe here,” which is something an officer might say but not a father. Will was much more emotional in his fantasies about Abigail.

This is what Will says about Walter’s reaction to Jack:

*Will: He read about me in a Freddie Lounds article. I had to justify myself to an eleven year old.*

He’s resentful and not emotional. He doesn’t say, “I had to justify myself to my son!” – he distances himself from him. Will is cold. He has expressed his feelings for Hannibal at this point in rather poetic ways, but he can’t be bothered to do this for his wife and his son.

He treats Hannibal in a very reserved fashion too, in comparison to how he acted 3 years ago. However: first, there is the fact that he came to visit him in the first place. Will didn’t need his help, we saw very clearly how he managed to easily reconstruct the crime scene the night before. It proved that his mindset is in a good shape, so he didn’t need Hannibal’s assistance. But it’s Hannibal he requested to see right away.

Will distances himself from him by calling him “Doctor Lecter” and insisting that he’s more comfortable the less personal they are. His eyes glisten, though, and he can’t look away from Hannibal. The impersonal approach doesn’t last very long, too, and soon, they are talking like they always did. Hannibal accuses Will of marrying for false reasons.

*Hannibal: How did you choose yours? Readymade wife and child to serve your needs. A stepson or daughter. A stepson absolves you of any biological blame. You know better than to breed. Can't pass on those terrible traits you fear the most.*

Will doesn’t bother to deny it, though any man would have been offended, particularly if he truly loved his family. In Will’s case, from the experience and all the precedents, silence = agreement.

In E10, Will seeks Bedelia out. He acts catty and jealous, targeting her personal connection with Hannibal.

*Will: You didn't lose yourself, Bedelia, you just crawled so far up his ass you couldn't be bothered.* - personal, targeted against Bedelia's attachment to Hannibal.

*Will: You hitched your star to a man commonly known as a monster. You're the Bride of Frankenstein.* - personal, attack with romantic connotation. Bedelia catches up on it and mocks him:

*Bedelia: We've both been his bride. Have you been to see him?*

*Will: Yes.*

*Bedelia: Haven't learned anything, have you? Or did you just miss him that much?*

*Will: Have you been to see him?* - personal again. Will wants to know if Bedelia is keeping contact with Hannibal.

*Bedelia: I've seen enough of him. I was with him behind the veil. You were always on the other side.*

*Will: Something we should talk about.* - again, personal. It's all personal, which is why Bryan and Hugh called them Hannibal's jealous bitchy exes. Will is palpably jealous and he shows his resentment to Bedelia openly.

Later, we have some more romantic references.

*Bedelia: My relationship with Hannibal is not as passionate as yours. You are here visiting old flame. Is your wife aware of how intimately you and Hannibal know each other? … Your experience of Hannibal’s attention is so profoundly harmful yet so irresistible, it undermines your ability to think rationally.*

So, there is romantic text, parallels between Hannibal and Will’s wife, and Will doesn’t deny any of this again. He keeps coming to Bedelia because she’s the only person he can talk about Hannibal to without being watched.

After Hannibal sends Francis after Molly and Walter, Will spends about a minute being angry with him. Then he accuses Hannibal of staging a competition between him and Francis. It is startling: Will spent months, years mourning the loss of Abigail who he didn’t even really know personally, yet he forgets the gravity of what happened to his wife and won very quickly. He leaves Molly and Walter and tells Bedelia that they are finished. One traumatic event, and Will left. It coincides with something very important that happened here: after this, Will finally figures out Hannibal is truly in love with him. So he goes to Bedelia to discuss it with her.

*Will: Is Hannibal in love with me?*

*Bedelia: Could he daily feel a stab of hunger for you, and find nourishment at the very sight of you? Yes. But do you ache for him?*

Will is predictably silent. Obviously, if the answer was no, he would have said no. But he struggles because like we established, he has issues with expressing emotions. He only managed to start referring to Hannibal as his friend openly in this season, opening up about some of his feelings, but he’s not ready to go this far. It would be absolutely out of character for Will to say, “Yes, you know, I’m in love with him! Thanks for helping me see it.” Every confession Will makes is preceded by struggles and heartbreak. But he’s going to reply to Bedelia’s question, only not explicitly-verbally.

Will sets up Chilton and then comes to allegedly say good-bye to Hannibal. He lies several times in their conversation (about Chilton and Molly with Walter), so all his words are automatically suspicious. Regardless, he destroys Hannibal emotionally and walks away. Personally, I believe he was already planning to break him out, so he was playing it up for cameras and also taking a chance to hurt Hannibal for everything again. But whatever his plan was, what happens next is that Will conspires with Francis against Jack, Alana, and the FBI. They agree to break Hannibal out together. Will lies to Jack and then gets to ask Hannibal for help. He’s being flirty and manipulative in this scene.

*Will: I need you, Hannibal … You're our best shot, Hannibal. Please.*

He’s smirking, he leans close to Hannibal, he sends him a flirty look from under his eyelashes. Will is thoroughly enjoying himself, and he does it best when he has some excuse to hide behind.

Later, he lies to Jack and Alana again, leaks info to Francis (who nearly killed his wife and son), and gets many officers killed by proxy. He tells Bedelia the truth that he doesn’t “intend Hannibal to be caught a second time.” He also implies that he’s going to let him go free, which is why Bedelia should pack her bags.

*Bedelia: Can't live with him. Can't live without him. Is that what this is?*

This time, Will agrees, although in his way.

*Will: I guess this is my Becoming.*

For Will, Becoming was always connected to his feelings for Hannibal because accepting himself and his darkness meant being free to escape with Hannibal.

*Bedelia: You found religion. Nothing more dangerous than that.*

In E3, it was stated that love is a God (you can find more here https://www.reddit.com/r/HannibalTV/comments/7w54dg/lovegodreligion_s3_parallels/), so it’s possible to say that religion = love in this context. It certainly makes sense. Will is accepting himself and his emotions, and the trigger was establishing for sure that Hannibal is in love with him.

Will and Hannibal drive to the cliff house. When Hannibal asks Will if he intends to save himself by killing them both (Hannibal and Francis), Will replies:

*Will: I don't know if I can save myself. And maybe that's just fine.*

This is the first time he confesses that he might be incapable of killing Hannibal. Predictably, when Francis comes, Will can’t handle seeing Hannibal killed, so he reaches for his gun.

Will and Hannibal work as a unit and protect each other. Hannibal is shot, nearly strangled, thrown onto the ground, and he is still weakly holding on Francis' leg to prevent him from going after Will, even though it leaves him in an open and vulnerable position — Francis does kick him in the face with his other leg. There is fierce determination on Will's face as he stands up despite the pain and runs to save Hannibal. They act in synch, consummating their relationship.

Then, Will admires how blood looks on his hand and repeats Hannibal’s words:

*Will: It really does look black in the moonlight.*

He remembers the words Hannibal said to him weeks ago in one of their endless interactions. A bit earlier, he perfectly recalled the words Hannibal told him *years* ago, back in the middle of S2.

*Will: I understand that “blood and breath are only elements undergoing change to fuel your Radiance." Hannibal said those words. To me.*

So, Will remembers everything Hannibal told him. He stores these memories. It’s a small but still important proof how important Hannibal is for him.

At the cliff, Will finally accepts the truth.

*Hannibal: See. This is all I ever wanted for you, Will. For both of us.*

We know what Hannibal wanted: a Murder Husband. What does Will say to this?

*Will: It’s beautiful.*

This is a loud “yes” to Bedelia’s question about his feelings. Will acknowledges, accepts, and admires them. He doesn’t feel awkward, as he would if he knew Hannibal is in love with him but didn’t feel the same. No, he reaches forward to embrace him, and such physical contact from Will is mind-blowing because he almost never does it. He clings to Hannibal, puts his head on his shoulder, touches him as if he wants to melt with him. Then he gives the fate a chance to stop both of them or to set them free. They fall into the ocean under the Love Crime song, another romantic element.

Water symbolizes reborn, and post-credits scene indicates that Will and Hannibal have paid a visit to Bedelia and are in the process of eating her while she’s hiding the fork to stab one of them as he approaches. The deleted epilogue to the series shows that they are in perfect harmony now.

**Conclusion**: Will has passed through a long, painful journey. He went from hiding from emotions and deflecting to not denying and carefully acknowledging them. We don’t hear words “love” or “in love” from him in relation to Hannibal because Will is not that kind of person. He doesn’t use these words freely, and for him, every small emotional step is a struggle. He tried to deceive himself and other numerous times; he tied to deny the truth and manipulate his own mind, but with each season, his feelings for Hannibal became more and more explicit. Will reaching out for physical contact, Will saying “It’s beautiful” are his way of saying, “I ached for you. I love you.”

This is a story of mutual love and obsession, about soulmates, about unique type of connection that few people share. It’s not about Hannibal falling in love and Will not feeling the same. Their feelings are equally strong, but they express them differently, particularly as Will’s are tied to the acceptance of his own darkness.

[ambitionsource]

AMBITION Season 1 ♫ “First Impressions (Pilot)” REVAMPED [ 1.01 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows)

When we first wrote the pilot, we were just throwing it out there, seeing what would happen. It was a first draft. Our own new start. It’s been a long time since then.

And oh, how much has happened. So many awesome things.

This, I hope, is closer to the pilot AAA always deserved. Thanks for reading, and for whatever awesome things come next.

50 Minutes (10K words) || No warnings apply. || [ S1 Synopsis ] || [ AO3 ]

( Follow along with the music on Spotify here! )

EXT. AAA - DAY

Regal. That’s the impression this institution gives off at first glance, a Smithsonian-esque exterior standing out amidst the grey concrete jungle of Manhattan. A wide shot provides a picturesque view of the structure from above, when slowly a title card appears on the screen:

Adams Academy of the Arts.

In a fluid motion, the words dissolve and condense together, leaving only a logo of three As in red, gold, and white.

AAA.

By now, it’s pretty clear we’re watching an advert of some kind. Especially when we transition…

INT. AAA - JACK’S OFFICE - DAY

… to the principal’s office. JACKSON “JACK” HUNTER (40s), a sharply dressed and calmly confident man, is seated at the mahogany desk with his hands clasped together in front of him. He offers the camera a pleasant smile, addressing us directly.

Jack: Hi. I’m Jack Hunter, the principal of Adams Academy of the Arts. If you’re watching this video, then it’s likely you’re considering applying to our elite program for high school students. Well, either that, or you’re very lost.

Administrator humor. Jack chuckles, pauses, and continues in his professional tone.

Jack: If it’s the former, then I’m happy to be of assistance. Adams is at the forefront of performing arts education, and many of our alumni have gone on to do amazing things -- some of whom you might even recognize. While we strongly emphasize the important balance of academics with your professional goals, there is nothing more paramount than providing you, an artist on the rise, with the space to explore your potential, build your skills, and put you on the path towards success.

As Jack continues to discuss, quick panning shots of the interior of the school set the scene. It’s very clearly a promotional video, the tone upbeat and inspiring. Jack describes the facilities they have (two whole auditoriums, state of the art technical equipment, numerous practice rooms and studios), as well as the different core focuses a student can pursue -- music, performance, dance. He emphasizes their technical education program, one of the leading curriculums in the state that provides their budding technicians with hands-on experience right from the get-go.

When we cut back to Jack, still pleasantly seated behind the desk, he begins to get into what the day-to-day process of a student is like, and how this crop of students is chosen.

Jack: Every year, just about 50 students -- split into two cohorts, allowing for even more individualized instruction -- enter the halls of AAA as the freshman class. These incoming artists have talent, dedication, discipline, and above all? Ambition. These students, like you, seek out the opportunities to achieve whatever their driving passion might be -- whatever it takes. While here, they’ll hone their craft, explore the other realms of their field, learn from one another as well as highly skilled educators, and form bonds that they will carry with them for life.

All sounds swell. Jack smiles wider.

Jack: As for what this experience is like, well -- how about I let them show you?

INT. AAA - AUDITORIUM - DAY

This launches a quick-cut, exciting montage of what the world of Adams seems to be like. It’s full of photos, clips, and candids of the students hard at work. Performers learning choreography, soloists in the midst of a final performance, stage lights bright. Technicians piecing together sets, stage managers with headsets around their neck and thoughtful expressions, coaches and teachers lecturing to an engaged group in the black box theater.

Above all, there is a clear sense of community. All of the students are thrilled to be there, working hard, laughing and smiling with one another. While the slideshow is mainly filled with upperclassmen, there are a few faces here and there that will soon become quite familiar to us.

Sure seems like a dream high school experience, particularly for someone interested in the arts. Especially for someone who feels like an outsider, a creative, looking for a place to belong.

Jack, voiceover: The competition is fierce, and the process isn’t easy. It’s work, hard work, but any passion worth pursuing takes a little faith and a whole lot of elbow grease. The best of the best make their way to Adams, and without a doubt, the best emerge from it ready to take on the world.

INT. AAA - JACK’S OFFICE - DAY

The video is wrapping up, Jack looking as confident as ever. He’s just shown us a pretty gleaming example of a school, and he looks pretty stalwart and shining himself.

Jack: The question is, where do the best of the best come from? Who has what it takes to join our elite and excellent rank of future artists? [ a beat ] Do you?

As the upbeat tones of David Bowie fade in...

INT. MATTHEWS APARTMENT - RILEY’S BEDROOM - DAY

Song Cue ♫ ♪ “Changes” as performed by David Bowie and Butterfly Boucher || Performed by Riley Matthews & Jack Hunter

An alarm goes off, a hand reaching out and hitting it off immediately. RILEY MATTHEWS (15) lays in bed, already awake and staring at the ceiling. From how anxious she looks, it seems like she hasn’t slept much at all. But then, she smiles, forcing herself to focus on the excitement.

This is going to be the day everything changes for the better. She launches out of bed, hitting play on her phone. Underneath the track, playing “Changes,” we see a reminder on her homescreen. It’s bright over a photo of her and her younger brother, neither parent featured.

First day of new school!!

INT. MATTHEWS APARTMENT - BATHROOM - DAY

As Riley gets ready for school, she sings along to the first verse. She braids her hair, puts on her nicest, most distinct outfit, before running out the door.

INT. MATTHEWS APARTMENT - DAY

She says goodbye to her mother TOPANGA LAWRENCE (late 30s), kisses her younger brother AUGGIE MATTHEWS (8) on the top of the head. When she reaches her father waiting at the door, CORY MATTHEWS (late 30s), the two of them exchange excited grins before heading out the door together.

EXT. AAA - DAY

The two of them emerge from the nearest subway stop, and Riley gets her first good look at Adams Academy for the Arts. It’s a beautiful and daunting marble building nestled in the middle of the Upper East Side. Visualize the MET, but with the flourish and slight humble nature of a high school (although humble is not a word one would use to describe this school). It’s even more impressive in person, looming over her, than as shown in the opening video.

Cory is already on his way up the steps, but Riley hangs back, staring up at the building in awe. Somewhat overwhelmed. Students pass her by on their way inside, many far better dressed. This is a school where much of the student population is probably worth more than the school itself.

This is it. Her opportunity. Does she have what it takes?

Gearing herself up, Riley jogs her way up the steps after her father. Panning towards the school, through the atrium and across the main offices…

INT. AAA - JACK’S OFFICE - DAY

Meanwhile, Jack Hunter is in his office preparing for her arrival. He’s still well-groomed, clearly an instrument of discipline and order, but he seems more harried than he did on camera. Reality versus the polished quality of promotional material.

Jack wanders his way over to the window, looking out at the students making their way into school. He carries the second verse, lamenting how things never change and students are… not so willing to listen to reason (“They’re immune to your consultations / They’re quite aware what they’re going through…”)

INT. AAA - HALLWAY - DAY

As Jack heads out of his office to walk the halls before the school day truly kicks off, Riley is making her way through them as well. This is our first glimpse into the hallowed halls of Adams, as well as the cast of large personalities we’re about to spend a series with…

Riley has to duck around ZAY BABINEAUX (15), a lithe and groovy dance student with a clear sense of self and an even clearer sense of style. He’s rehearsing with other dancers in the middle of the hallway. Nearby, CHARLIE GARDNER (15) is holding court with a lot of the girls in the class, seemingly the preferred cute male of choice at AAA. He’s the full package -- fluffy hair, pressed polo shirt, charming grin.

As Riley passes him, he eyes her and gives her a smile. Friendly, or flirtatious? Who’s to say…

For Jack, it’s evident as he walks the halls just how incongruous he is with the scenery. He’s passionate about AAA, sure, but his straight-laced and stern approach contrasts sharply with the energy, colorfulness, and folly of the students themselves. His presence is enough to pry two kissing classmates away from one another, and he earns more than a few derisive glares from students as he goes.

MAYA HART (16) is parading the halls with her clones DARBY WINTERS (15) and SARAH CARLSON (15), rambling on about some performance-related complaint. Maya is a girl with a brand -- she is the most glamorous girl Riley has ever seen, from the glossy blonde hair to the perfectly put together outfit that looks entirely made of brand-name items. They don’t even notice Riley, practically bulldozing past her without an apology.

A gangly student is arguing animatedly with ANGELA MOORE (30s), the performing arts teacher for the sophomores, outside the black box theater classroom. Angela was featured in the promotional video, but she seems way less confident now trying to tangle with this overzealous student. This is FARKLE MINKUS (15), Jewish American diva. He’s immediately identifiable as over-the-top, both with the way he’s arguing with a teacher and his swoopy hair and blazer. Like, this kid is wearing a blazer to school.

We can tell right away that Mister Farkle Minkus is going to be a PIECE. OF. WORK. Riley can too, raising her eyebrows as she passes by their disagreement.

Jack passes by Zay and his crop of dancing students, disbanding them as dancing is not allowed in the halls. Come on, they know this! The group of them don’t look very pleased, Zay tossing a scowl over his shoulder as they retreat to their respective homerooms.

INT. AAA - ATRIUM - DAY

As we get to “Strange fascination fascinating me…” Riley passes by the atrium stairwell, where the sophomore techies always congregate each morning. They’re all in dark clothes (because that’s how techies dress, but so do GOTHS???), and seem like a chaotic bunch. DAVE WILLIAMS (15) and ASHER GARCIA (14) are lobbing food at DYLAN ORLANDO (15) to see what he can catch in his mouth. NATE MARTINEZ (15) and JEFF MONROE (15) are arguing heatedly about something, but it’s impossible to tell if they’re actually upset or not. JADE BEAMON (15) is sketching in a notebook, occasionally looking up to roll her eyes at the argument.

Holding first position at the bottom of the stairs are LUCAS JAMES FRIAR (16) and ISADORA DE LA CRUZ (15), deep in conversation. Well, conversation meaning Isadora is ranting, and Lucas isn’t saying much of anything. They’re both the most intimidating of the bunch even from a glance -- Isadora due to her intense wardrobe and general aura of authority, Lucas due to his seemingly permanent disdainful expression… and maybe the fact that he is openly playing with a switchblade.

Of course, they both look up to find Riles staring at them. She makes eye contact with Lucas before quickly turning away. I mean, they’ve got a switchblade. Scary! She YEETS outta there.

Just in time to make it back to the front office, where she steps inside just as Jack steps out of his office. He offers her a smile.

Jack: Hi, Miss Matthews. Welcome to Adams Academy of the Arts.

Taking a deep breath, she returns his smile. Welcome to Adams, indeed. And, for the first time…

AMBITION. Cue title sequence.

INT. AAA - JACK’S OFFICE - DAY

Jack walks Riley through everything she might need to know, explaining her daily schedule and handing over welcome materials. As they’re conversing, ERIC MATTHEWS (40s) steps in as acting counselor to also give a welcome to Riley -- but it’s clear that they already know each other. She’s his niece!

As they exchange friendly banter, Jack doesn’t seem at all surprised. He makes a comment about how the Matthews family really does have a foothold in Adams, given that Riley’s father is also one of their core academic teachers. Eric doesn’t take well to Jack’s tone, cheerfully firing back a remark.

Eric: Well, I suppose Triple A has always been about family. That’s why you hired Shawn, right? Top of the line, highly skilled educators…

It’s clear that there’s some tension behind their words, at least that it seems like Jack and Eric are rarely on the same page. Riley picks up on this right quick, awkwardly looking down at her welcome materials. Jack changes the subject, suggesting that Riley head off to performance lab before they get any further derailed. After all, Eric does just love to meander time away...

Eric smiles, but it’s sharp. Rather than returning a backhanded jab, he offers to show Riley to her first class. As they’re heading out, Jack assures Riley that he’s certain she’ll find what she’s looking for at Adams.

She certainly hopes so, Jack. And away they go...

INT. AAA - AUDITORIUM - DAY

Riley enters the auditorium, where a majority of the classes will be held. Many of the students in the sophomore A class cohort are already assembled in the first few rows of the audience, eagerly conversing with one another and catching up from the end of summer. The techies are situated further back, with their feet up on the backs of chairs and hardly paying attention.

Already, Riley is feeling the struggle of finding a place to fit. She plops herself alone in a row somewhere between the chatty performers and brooding techies, isolated from day one. Hooray.

From behind her, Dave turns around to whisper something to Dylan and Asher about her sitting alone. Lucas is also watching her, somewhat amused at how uncertain she seems about the whole situation.

Angela saunters to the front of the stage, snapping them to attention and welcoming them back for another year. She gives a rousing speech about how this year is going to be more intense than the first, but also full of self-discovery, pushing our comfort zones, and more than anything, becoming better artists. Maya, Zay, and Farkle all listen with rapt interest. Isadora rolls her eyes.

Just as she’s reaching the climactic conclusion of her monologue, she’s interrupted by SHAWN HUNTER (30s), stumbling in ten minutes late to his own class. He’s unshaven, clearly a bit of a mess, and dressed far less impressively than Angela or a majority of their students. Riley raises her eyebrows, obviously confused by his presence.

Angela: [ with biting sarcasm ] And there he is. My wonderful co-instructor, right on time.

At this, Riley’s eyebrows shoot up. Co-instructor? That guy? The rest of the performers seem equally unimpressed, a few rolling their eyes or exchanging grimaces. The techies are amused, grinning as their lead technician fumbles to the stage.

Angela: Anything you care to share with the class before we kick off our second year, Mister Hunter? Any sudden stroke of wisdom? Or basic decency?

Shawn jogs up, coming to an out of breath stand-still next to her. Side by side, the contrast between them is even more pronounced. He shrugs, half-smirking.

Shawn: Sing some stuff?

In mocking solidarity, the techies erupt into cheers. Dave and Dylan give him a standing ovation. The performers look annoyed. Farkle turns around to glare at them.

Riley is taking all of this with marked confusion. Shawn takes a sarcastic bow.

Angela, sharply: Classy as always.

For their first performing assignment of the year, Angela encourages all of them to come up and sing whatever they’ve been working on this past summer. Innocent enough. When she asks who wants to go first, however, the front of the auditorium erupts as Zay, Maya, and Farkle all leap to their feet and scrap to get to the stage first. Riley is like… what on Earth.

Farkle succeeds, yanking Zay out of the way and scrambling onto the front of the stage (they didn’t even take the fucking stairs). The clear victor, Farkle jumps back to his full height triumphantly as Maya and Zay begrudgingly return to their seats.

Farkle begins a little monologue as he adjusts his blazer, establishing his personality loud and clear. As far as he’s concerned, this year is going to be about change, and the change is going to be him taking his rightful place as the undisputed Star of the Sophomores. Maya and Zay clearly don’t agree with this assessment, so there’s already guaranteed to be drama. Lovely…

Thusly, Farkle launches into his first performance of the year (and the series).

Song Cue ♫ ♪ “Man About Town” as performed by Young Frankenstein Original Broadway Cast || Performed by Farkle Minkus

Farkle kicks us off with a bold and frenzied rendition of the Broadway tune. As with many of the performances in this pilot, the solos serve to establish a baseline for each of the characters and their inherent capabilities, style, and tone. Farkle is a power tenor without a doubt, able to reach pretty high in his register and even higher in energetic delivery.

The electricity in his performance is less intrinsic and more frantic, though, indicative of a craving for the spotlight and a scrappy determined nature to maintain it at whatever cost. It demonstrates his undeniable vocal skill, for sure, but also his capacity to be obnoxious. The song seems to speak to what Farkle is hoping will be his truth -- that everyone will take notice of him, pay attention to him, that he’ll rise to the stars like he feels he’s been destined.

Riley is stunned by the amount of talent already on display. If she wants to prove that she’s here by her own merit and talent rather than just because her father works here, then she is going to have to bring it.

INT. AAA - GIRLS DRESSING ROOM - DAY

Maya and her clones hang out in the girls dressing room, getting ready for the rest of performance lab. Sarah points out that Farkle has gotten better over the summer; Darby mentions he’s gotten cuter, too.

Sarah, in disgust: Minkus? You’re joking.

Darby: Come on. He’s sort of cute!

Maya: Sure. Like a hedgehog with a deadly case of rabies.

Darby: He got taller. He looks sharper now, more mature.

Sarah: He looks like Mike Teavee in Willy Wonka after he got put through the taffy puller.

Darby: No he doesn’t!

Sarah: God, you fall for anything with testosterone and half a working vocal chord…

Quickly losing interest in discussing boys -- especially Farkle Minkus -- Maya waves off their concern about his talent. She claims she’s going to blow him out of the water, and this year is far from belonging to him.

The rivalry is loud and clear.

INT. AAA - ERIC’S OFFICE - DAY

Riley comes by to visit Eric, who eagerly greets her and situates her in the chair opposite his desk. It’s a cozy, comfortable office, far less clinical, but also less organized, than Jack’s. It’s evident why many students feel comfortable stopping in when they have a free moment. Eric jokingly points out this is their first official visit as counselor and student, before he asks her how the morning went and how she’s feeling about the school.

Riley avoids her own discomfort and feelings of disillusionment by asking Eric to tell her more about the other students instead. How is she supposed to catch up to the scenery and feel like she’s in the loop if everyone feels like a mystery? Eric agrees, trying to figure out the best way to go about explaining it to her.

Eric: Kind of feels like having to explain the history of the universe. There’s a lot of personality in the A class, you’ll find.

Riley: Oh, I got that sense pretty quickly.

An idea strikes Eric, expression brightening. He grabs his yearbook from the previous school year off the shelf behind him. As he plops it down onto the desk, he instructs Riley to pay close attention, because there is a lot to unpack.

Song Cue ♫ ♪ “High School Never Ends” as performed by Bowling for Soup || Instrumental

INT. AAA - AUDITORIUM - DAY

As Eric talks Riley through each of the main players, we watch a typical sophomore class unfold in the auditorium. It’s pure chaos, a whirlwind of production and performers getting in the way of techies and people butting heads.

We cut between this simulated auditorium sequence and Riley and Eric talking in the office, falling into a rhythm with the classic bopping rock tune. As Eric jumps to each key student, we freeze on them in the midst of whatever they’re doing at the time.

Starting, notably, with Zay Babineaux, the dancer from the halls. The screen freeze frames on him in the midst of trying to teach choreography to a frazzled NICK YOGI (15) and CLARISSA CRUZ (15).

Eric: Zay Babineaux isn’t a bad person to keep tabs on as far as getting your sea legs around here. He was voted “Most Popular” in the yearbook last year, but the only thing he cares about more than his public approval rating is dance. I mean, the kid is religious about it. It’s part of the reason he’s so good, but that and his drive to make it are what bump him up to Diva status.

Riley: Diva status.

Eric: It’s a whole league of its own here. Everyone is driven to a certain degree -- you have to be at Triple A -- but the Divas are the ones you really need to watch out for. Zay is far from the worst of the bunch, but his dedication really puts a sharp edge on his otherwise personable presence.

The scene resumes, panning from Yogi and Clarissa struggling to learn to Charlie leading the same choreography with a gaggle of female classmates. This includes HALEY FISHER (15), who seems especially taken with him.

Charlie demonstrates much better patience than Zay in teaching others, but the girls aren’t really listening to what he’s saying. They’re more distracted by… other things he has to offer.

Eric: If you’re stuck on choreography and actually want help, then your best bet is to turn to Charlie Gardner instead. He’s incredibly well-mannered, genuinely nice kid, but I’m sure your dad would want me to warn you he does have a reputation with the ladies.

Riley: Does he date a lot of them?

Eric: To be honest, I don’t think I’ve ever seen him date anyone. But every girl wishes he would, so that’s kind of a heartbreaker move all its own, isn’t it? Still, I wouldn’t worry too much about that. If you’re looking for what to avoid…

Isadora marches across the stage, headset around her neck and show binder in her arms. She’s shouting orders, almost comically deafening Dave following behind her.

Eric: Don’t get in the way of Isadora Smackle while she’s in stage manager mode. That girl is five feet of pure unadulterated power, and she is not afraid to burn you and your ego to the ground.

Riley: Not much to burn for me.

Eric: Don’t get me wrong, she is incredibly talented. She’s got a vision like no one else, and it’s hard not to admire how passionate she is about seeing that vision come to fruition. She’s just… not fond of things that slow that process down. Like not following directions, or creating issues that don’t exist. And the queen of doing that…

Maya storms out of the dressing room hall and storms onto the stage, holding up a costume choice and obviously having much to say about it. She’s in the midst of diva transformation, makeup more glamorous than before and glossy blonde hair up out of her face.

Eric: Is Maya Hart. Now, Maya is probably the most talented triple threat we have in the sophomore class. She can dance, she can act, and by God, can she sing. But she also has an unbridled sense of what’s best for a production, and will happily fight every single person necessary until her voice is heard. She’s in hot pursuit of her dream, for better or worse, and she is ruthless.

Maya marches past the techies, Asher and Jade scrambling to get out of her way and avoid her fury. She nearly knocks Nate and Dylan into the wall while they’re carrying a two-by-four beam, which almost hits Lucas in the head. He ducks just in time. As he’s getting back up, we freeze on him mid-eye roll and looking just about ready to kill.

Eric: And whatever you do, do not mess with Lucas James Friar. If your dad were here, he’d tell you not to speak to him. Don’t even look at him unless absolutely necessary.

Riley: Why?

Eric: Lucas is… not exactly Adams’ favorite student. And that makes complete sense, because the feeling is 100% mutual.

Riley: So why is he here then?

Eric: Fair question. But I think you’ll come to find everyone came here for different reasons, Riley. I mean, look at you. Adams wasn’t your first choice for a school a year ago.

True enough. Riley still seems curious, but Eric continues on without harping on it any longer.

Eric: There’s plenty Lucas dislikes about the school -- and believe me, I’ve heard enough about it in our mandated meetings over the past year -- but nothing more so than the “diva attitudes,” namely…

Lucas has to duck again to avoid the bony arms of Farkle, who is just launching into a loud, bold, aggressive solo. He swings his arms out wide, tilting his head back and delivering a note with Rachel Berry levels of fervor. Freeze on his dramatic, impassioned belting face.

Eric: Farkle Minkus. Trust fund baby, unparalleled genius, and vocal champion -- in both singing and complaining. He’s certainly our Rachel Berry, if nothing else.

INT. AAA - ERIC’S OFFICE - DAY

As Eric finishes up his CliffNotes edition of the sophomore A class, the warning bell beckons Riley back to class. Eric assures her that she has always been a people person, and he is certain that she’ll be fine. Riley nods along, choosing to believe him.

When he asks if she’s decided what her first performance is going to be, she books it out of the office. Sorry, Uncle Eric! Gotta get to class, ha ha...

INT. AAA - AUDITORIUM - DAY

Back in the auditorium, class continues. As Riley makes her way back to the center section, she overhears snippets of the closely congregated crew of techie students. They’re discussing Maya, and Dylan Orlando’s grin is wide and mischievous.

Dylan: I think I should go next. What if I did? Just to throw her off.

Asher: [ elbowing him ] No. Don’t --

Jeff: It’s your funeral.

Dylan: I think I should. I think --

Nate, laughing: As if you can even sing.

Dylan: You don’t know, you don’t know. I could be great. You don’t know...

But no, it’s Maya's turn to sing her piece. She takes the stage just as Riley is settling back into her seat, giving a speech very similar to Farkle’s. In fact, it’s essentially a fuck-you right back to him by twisting his words. Then she launches into her own show-stopping return from the summer, expressing its one of her favorite Broadway tunes -- and a natural fit in her repertoire.

Farkle is miffed by her song choice, seemingly a selection chosen solely to offend him.

Farkle: This bitch knows I claimed rights to all numbers in the Elphaba song canon. Unbelievable.

Dave, leaning over to Yogi: Okay, what is a song cannon, and how do I get one?

Song Cue ♫ ♪ “The Wizard and I” as performed by Wicked Original Broadway Cast || Performed by Maya Hart

From her first introduction to performing, Maya presents an interesting array of stage presence. She can carry a Broadway tune with ease, but her voice seems equally built for pop excellence. Her command of the stage is effortless -- whether you love or hate her, she’s impossible to look away from when she’s delivering a performance. The glamour of her overall appearance elevates it, but what shines is her obvious raw talent and determination.

If anyone defines what it means to have ambition, it would be Maya Hart.

Her vocals are truly stellar, and her performance is daunting. While the techies remain unimpressed -- they’ve seen this all before, too many times, after all -- Riley is totally freaked by how intense the competition is turning out to be. While the rest of the class applauds (in varied states of reluctance), she seems like she’s trying not to throw up.

INT. AAA - GIRL’S BATHROOM - DAY

The lunch bell rings. Riley has hidden herself away in the restroom, tucked in the corner stall and pacing. She attempts to talk herself down from a spiral, fully intimidated after Maya’s performance. Another deep breath...

She steps out and looks in the mirror, repeating the mantra to herself again and again. She has what it takes. She belongs here. She belongs here. She belongs here!

Riley is not going to let this year be like the others. She’s not repeating her freshman year. This year is about change, for the better, and she’s going to make it so. But to do that, she’s going to need some friends.

Time to put herself out there and start breaking down these barriers.

INT. AAA - JACK’S OFFICE - DAY

Angela arrives at Jack’s office, knocking curtly on the door. Although the two of them have a good working relationship and typically friendly rapport, it’s evident at that moment that she is not there with good tidings. Jack tries to side step whatever the complaint is, asking if she thinks their new student is adjusting well.

Jack: Seems nice, doesn’t she? Good kid. Should be a good influence, hopefully --

Angela: I’m not here to talk about Matthews. I’m here to talk about the ridiculous excuse for a co-instructor you call half-brother.

Yikes. Well, might as well go on, then. Jack sighs and listens plaintively as Angela informs him that Shawn showed up late this morning, and was no help during the performance lab sessions. Obviously she doesn’t know how his homeroom check-in with the techies went, but she can assume shabbily with little doubt in her mind.

Jack: I haven’t gotten a complaint from the student technicians.

Angela: I’m sure you haven’t. They don’t know any better. And even if they did, I doubt any of them would take the time to formally complain. Half of them don’t appear capable of speech, and the other half are avoiding your office anyway. Likely no doubt due to subconscious contagious influence from their instructor.

Jack: Oh, come on now.

Angela: They won’t complain, but lucky for them, I will.

Jack holds up a hand, halting her tirade. He assures her that he hears her, and he’s aware that Shawn isn’t yet performing to his best ability. He has only been in the position for a year, after all. He just needs some time to get in the swing of things, that’s all.

Angela: When I spent a season in the Guys And Dolls touring troupe, we got our sea legs fast. You know what happened if you fucked up on tour? You got cut. We didn’t get a week to blunder our way through it, let alone a year.

Pointedly, Angela states that it just seems odd. Coming from Jack Hunter, the pillar of authority at this school, such negligence is damn surprising. Given how Eric is always complaining that Jack is too straight and narrow for an arts school, it’s ironic that he’s willing to let one of their faculty members be so off the wagon and not fire him tout de suite.

Fair as that criticism may be, Jack claims he’s made his choices and she needs to trust his role as an administrator. She is of course welcome to continue leveling complaints as she sees necessary, and he’ll touch base with Shawn, but he also points out that she might be operating with some bias of her own in reporting on her co-instructor.

At this, Angela gets huffy. She shrugs off the accusation and storms off, claiming she has students to actually educate. Once she’s gone, Jack releases another heavy sigh, slouching back in his chair. Evidently, the put together and effortless appearance of Adams in the promotional video is not all that truthful… one has to wonder how much of it is expectation versus reality...

INT. AAA - CAFETERIA - DAY

The cafeteria, the classic worst place to be a new student on your first day. Even more intimidating at AAA, where the cafeteria is more claustrophobic than most with only a hundred students to accommodate at a time. Not only that, but everyone seems to already have their lunchtime crew.

Riley weaves her way through the crowd, eyeing places to potentially start her new endeavor. The techie table is at least relatively quiet, tucked away in the corner, but no way is she heading over there. Half of them are in eager and fast-paced conversation with one another, and their chaotic energy still radiates.

Not to mention, Lucas is amongst them and remains an intimidating question mark. Eric warned her, after all. He’s looking particularly nonplussed that afternoon, no lunch in front of him as he listens to the others converse. Once again he catches her looking, meeting her eyes and offering no sign of friendliness.

Yeah, not an option. Riley turns away, keeping her distance.

Charlie is holding court with a bunch of the sophomores, mainly girls. He still seems friendly enough, but Riley isn’t sure she wants to risk that potential flirtation. She needs friends, not awkward rejections. Still, she gives him a smile anyway.

Zay watches her from his table, seated with a couple other performers, YINDRA AMINO (15) and NIGEL CHEY (15). They all murmur to one another, somewhat amused, but Zay waves them off. He throws Riley a life preserver after a moment, beckoning her over to join them.

Riley is shocked that they’re talking to her -- they seem like the coolest crop of her classmates, and she in no way mirrors their general energy -- but she’s not foolish enough to refuse the invitation. If they turn out to be playing her, well, she’ll cross that bridge when she gets to it.

She slides into the seat across from Zay, who introduces himself and nods to his friends to do the same. Nigel shakes Riley’s hand from the seat next to her. She thanks them for offering her shelter, which Zay shrugs off as no big deal. Yindra asks if being the new student sucks as much as it seems like it does, and Riley is like hello, yes, it’s terrible.

Once she’s gotten comfortable with her new company, Riley asks Zay about his passion for dance and what his future dreams are after AAA. As they get to chatting, Zay expresses that he is Broadway bound with no detours and questions about it. When he gets into talking about how much he loves dance, his passion is clear on his face. He laments the attitude of Farkle and Maya, claiming he’s not like that. A bold claim, only time will tell if it’s true...

Riley asks him about his performance for class, to which he grins. Why tell her about it when he could show her?

Song Cue ♫ ♪ “Dancin’ On the Sidewalk” as performed by FAME! Original Broadway Cast || Performed by Zay Babineaux (feat. AAA Sophomores)

Zay launches into this upbeat and fun dance tune, expressing his love for dance while pulling the rest of the cafeteria into it. Riley is amazed as everyone just kind of jumps up and jams with him, starting with Yindra and Nigel but slowly spreading throughout the congregation. Eventually, Zay manages to get her to her feet and pull her into it as well.

There is a sizable dance break within the song (naturally), and we get to see Riley show off some of her own skills when she’s not too intimidated. Charlie is also particularly featured in the dancing of the number, showing off his strong capability aside from being cute and charming.

However, not everyone is thrilled by this dancing development. Maya keeps Darby from joining in by yanking her back into her seat, not about to humor her rival. Farkle is the same, watching from his table in the opposite part of the cafeteria and rolling his eyes.

But no one is less thrilled than the techies. They’re exhausted, having to listen to the performers do this shit all the time. Yet another lunch, eclipsed by an impromptu performance. Lucas has had enough, getting to his feet. Isadora argues with him, but he doesn't listen. He’s already on the move. Isadora exchanges a look with Jade and Asher.

During the dance break, Lucas weaves inconspicuously through the crowd. By the end of it, he sneaks out the back door of the cafeteria.

INT. AAA - HALLWAY - DAY

As Zay is finishing up the last verse, Lucas makes his way down the hall, surveying the ceiling until he finds what he’s looking for.

Then, he starts scaling the lockers.

Intercut with the dancing, Lucas hefts himself up on top of the lockers, rolling onto his back in the thin space between the top and the ceiling. He digs in his pockets, pulling out a lighter. Ever so carefully, he sparks it and holds it out towards the sprinkler system a foot or so away. Stretching as far as he can reach… getting that flame closer and closer…

INT. AAA - CAFETERIA - DAY

As Zay and Riley bring the number to an end with a flourish, suddenly the fire alarm blares through the cafeteria. In the next second, there’s a click, and the sprinkler system erupts and douses them all in mucky water.

The cafeteria bursts into chaos, students screaming and trying to run from the building. Maya shrieks, trying to shield her hair as she and her plastics flee the scene. She isn’t afraid to push people out of the way. Farkle, meanwhile, isn’t even trying to run, frozen in rage and getting soaked. He snarls, swinging his wet hair out of his face.

Farkle: THIS OUTFIT IS WORTH MORE THAN THIS SCHOOL!

The techies erupt into laughter, high-fiving and jostling each other around as they exit the building. Dylan looks particularly gleeful, playfully shaking Asher by the shoulders, who looks notably less pleased and more than a little grossed out as he blinks the water out of his eyes.

Zay sighs, shaking his head and giving Riley a half-hearted shrug and well-meaning smile.

Zay: Welcome to Adams.

As if this kind of shit is totally normal. Riley wipes her eyes, dripping wet and totally shocked by this turn of events. What a rollercoaster of a day this is turning out to be. Certainly nothing about this in the school’s advertising...

INT. AAA - GIRL’S DRESSING ROOM - DAY

All of the sophomore girls are together in the dressing room, switching into fresh clothes and drying their hair (of course, performing arts girls have hair care products with them). Riley is the only who doesn’t seem to understand exactly what happened.

Riley: I didn’t see any fire.

Yindra, offhandedly: It wasn’t a fire. It was Friar.

Sarah: [ off of Riley’s continued confusion ] Lucas James Friar? He’s the worst.

Riley: My uncle may have… mentioned him...

Chai: He’s constantly pulling stunts like this and making a scene even though he acts like he’s above it all.

Clarissa: He never does the assignments.

Sarah: Not to mention he’s basically the definition of white trash.

Haley: He’s the worst the techies have to offer. No one even knows why he’s at this school.

This is all news for Riley, much more blatant than what Eric said. Then Isadora steps in, offering a counterpoint.

Isadora: Well, maybe if you didn’t sing and dance every lunch and stop us from enjoying our break from you singing and dancing every class, he wouldn’t need to do this stuff. But I know, you’re all incapable of doing anything but whatever it is you want.

Solid counterpoint, Isa. Riley takes that in as well.

INT. AAA - JACK’S OFFICE - DAY

Speaking of Lucas, the girls aren’t the only people who are certain he was the one who caused the fire evacuation. He sits opposite Jack at his desk, and it’s clear just from their posture that they’ve been in this exact position many times before. Yes, Lucas is no stranger to the principal’s office, and no friend to Jack Hunter.

Jack speaks with the exasperation of an exhausted parent who has told his child numerous times not to steal cookies from the cookie jar, but they keep doing it anyway.

Jack: Come on, Mister Friar. This is the fourth time. The fire department is considering adding us to a list. [ off his lightly amused smirk ] Are you really going to start another year this way?

Lucas, calmly: I don’t know what you’re talking about.

Jack: We know you did it.

Lucas: You have no proof.

Jack: People saw you leave the cafeteria.

Lucas: I went to the bathroom. People do that, sometimes, you know. It’s actually quite a common bodily function --

Jack: Don’t make this harder than it needs to be.

Lucas: All due respect, Principal Hunter, all you have is circumstantial evidence and confirmation bias. So unless you have anything else to add, I really should get back to class so I can listen to Farkle Minkus squawk for yet another jolly day in this wonderful, wonderful institution to higher learning.

Jack doesn’t have any other proof, so there’s not much he can do. But it’s clear -- Lucas is one of his most frustrating students, and he’s run out of ways to make headway with him. It really is a wonder he’s even still at the school…

INT. AAA - HALLWAY - DAY

As Lucas makes his way back into the halls and to class, Jack follows him out. He paces a bit to clear his head, get some fresh air rather than sit in his office… and happens to run right into a conversation happening in the adjoining hall. He hangs back around the corner, eavesdropping as Eric stands with a couple of the other teachers.

The group of them are obviously not happy with the sprinkler situation. Understandably so, but Eric is trigger happy to pin the blame on Jack. He sympathizes with the complaints of the fellow faculty, before insisting that it all comes down to leadership at the end of the day. Jack is a good disciplinarian, sure, and he’s been here for years… but then how come this keeps happening? In his opinion, Jack just isn’t built for an environment like this. The arts are about creativity, inspiration, hopeful encouragement and emotional exploration… not rules, strict academics, and going by the book.

Jack is pissed, but he’s not going to make a scene. It’s nothing he’s never heard before anyway, least of all from his best counselor but least favorite co-worker. He turns the other way, marching back to his office.

INT. MATTHEWS APARTMENT - NIGHT

That night, Riley has dinner with her family. It is clear through this scene that things between Cory and Topanga are not as rosy as America’s sweethearts would have you believe. They’re snippy with one another, and it seems like problems are brewing on the horizon.

Riley mentions her struggle to pick her audition song, and the strong personalities already at play at school. Topanga instructs her with the realist approach, which is that she’ll then need to bring her best as well. What power ballads does Riley have in her repertoire? She can’t let those other students walk all over her -- they don’t want a repeat of last year.

No kidding, Topie. Although it’s well-intentioned advice, it doesn’t seem like what Riley wants to hear. She nods along, focusing back on her food.

INT. JACK’S APARTMENT - NIGHT

In a parallel setting, Jack is having a small casual dinner with his half-brother, Shawn. Although his first impression at school wasn’t much, it’s clear that Shawn isn’t the worst guy in the world. He and Jack definitely seem to have a good relationship, this family dinner a weekly tradition for them.

And Shawn can tell when Jack is burying emotions. He prompts him to spill about whatever pissed him off that day -- aside from the obvious. Is there other beef going on in the school? Anything interesting? Jack avoids it at first, but when Shawn won’t let it go, he cracks.

Jack: Actually, people had some choice things to say about you. Showing up late, again? On the first day?

Shawn’s upbeat demeanor crumbles fast, defaulting to defensive. He quickly susses out that it must have been Angela who complained, claiming that of course she’s going to rag on him. She’s biased, Jack, you know that. She’s been out to get him ever since… well, things fell apart. Of course she wouldn’t want to see him trying to pick himself back up -- imperfectly, sure, but…

Jack shakes his head, getting up from his seat and taking his plate to the sink. Shawn keeps trying to defend himself, saying it’s all Angela’s fault, that everyone is just overreacting, who cares what they think --

Jack: I do, Shawn! I have to care what they think. It’s my job!

Oh. Well… that’s another story. This gets Jack to the actual root of what he’s frustrated with -- Eric’s criticism of him, and the way no one is ever happy with him at AAA. They all think the job is so simple, so easy. File some paperwork, discipline a kid when necessary, keep things in order. But that’s harder than it sounds. Of course Eric thinks he has it all figured out -- he’s the good guy. He gets to be the faculty favorite, telling the kids exactly what they want to hear, while Jack has to be the realist. He has to deliver the hard truths, the punishments and probabilities, to step in to keep things in order even when it feels like everything is constantly in chaos.

And honestly, Shawn is not helping with that. It’s way easier for people to question Jack’s leadership, his strong stances, his ability to keep things in line, when his “nepotism hire” can’t even show up for work on time. Shawn still tries to defend himself, but his arguments are becoming more sheepish as they go. It’s hard to argue against something that’s objectively true.

Jack: I’m not asking you to do my job. It’s my shit, and I’ll deal with it. I always do. But I’m bending over backwards for you, and you have to meet me in the middle.

Shawn: I know… I know, I’m --

Jack: I gave you this job as a fresh start, Shawn. Because I believed you could pull things back together, that you didn’t have to keep going down the road you were on. I still do believe that. But you have to prove me right, you have to show up.

Shawn: Okay. You’re right, I’m sorry.

Jack: Not even just for me. You have to show up for them. You think Friar would be going around doing this shit if he had even a little more discipline within the school day? The sense that someone else is looking out for him? You know that’s absent from every other part of his life. And all of them have their own shit. You know what that’s like -- we went through it ourselves.

Shawn: … that’s true. I --

Jack, exasperated: They’re what matters, Shawn. Forget the politics, forget the petty drama. With Angela, with Eric. Whatever. What matters are the students. We show up for them. Even if everything else is in chaos.

If anything, the exchange at least highlights why Jack is at AAA. All the criticism that gets hurled at him, all the hard choices he has to make, at the end of the day he’s doing his best. He’s there to help the students, to give them an education and foundation for the rest of their lives. One, seemingly, he wishes he had for himself.

Shawn is certainly reprimanded enough. He agrees with Jack, apologizing again and thanking him for giving him the opportunity. He knows what Jack had to risk to do it. He’s going to try not to squander it -- not to mess everything up again.

Like everything else, all Jack can do is hope for the best. He nods, taking Shawn’s dish and focusing on washing them in the sink instead of facing more of the conversation. As impassioned as the outburst was, it’s clear emotion is not Jack’s strong suit.

INT. MATTHEWS APARTMENT - RILEY’S BEDROOM - NIGHT

Cory comes in to say goodnight to Riley and congratulate her on her first day. She is more open with how she actually feels about it with him than Topanga and Auggie, expressing that she doesn’t know what to do about the song. Cory gives her advice from his heart, which is that she should kick things off singing whatever makes her feel most comfortable. Something that feels like her. She shouldn’t have to change herself just to make an impression.

During this conversation, we also learn the real truth as to why Riley is attending this school now -- yes, because of her own passions, but more so because she was bullied at her former school. This is her fresh start.

She gives Cory a hug and then he kisses her forehead, bidding her goodnight. As Riley crawls into bed, she’s back to staring at the ceiling. Thinking, contemplating… as the piano opening of “Your Song” floats in…

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Your Song” as performed by Ellie Goulding || Performed by Riley Matthews

Riley keeps it simple with a soft, sweet rendition. No grand fanfare, no brassy vocals, just her sitting on a stool and singing the song. Her vocals are beautiful, but certainly not as loud as Farkle or Maya.

Angela smiles pleasantly as Riley performs. Zay watches with a smile, giving her a little thumbs up when she looks to him. Charlie obviously enjoys the performance, intrigued. Maya and Farkle look unimpressed, almost amused. At least she’s not a threat.

Most of the techies don’t pay attention or look bored. Lucas looks particularly neutral… and yet, he’s not letting his attention drift anywhere else…

A smattering of applause follow her performance. As the class is dismissed, Charlie takes the initiative to approach her and tell her that he really liked the performance. Riley, a bit flustered by the attention, is like thanks okay sure. It’s still unclear whether Charlie is flirting, or if he genuinely did just like the song…

As Riley hustles to pack up, most everybody gone, suddenly it’s just her and Lucas left in the auditorium. She glances to him, uncertain whether she should say something -- she’s supposed to be making friends, after all. But she can’t bring herself to do it. He does it instead, however, muttering an offhand comment as he heads up the back steps towards the technician’s booth.

Lucas: So exciting to see we’ve got another unassuming chorus member.

Riley doesn’t get the chance to respond, but the statement makes its impact. He’s not impressed, and she gets the feeling no one else really was either.

A little funny, coming from him considering he didn’t even perform, but if she wants to make her mark here she’s going to have to bring her A game. Maybe her mother was right -- she’s going to have to be a little bolder if she wants to hold her own.

INT. AAA - DRESSING ROOM HALL - DAY

Farkle is outside the dressing rooms, writing down notes in a journal as Maya emerges from the girls room. She says something snarky to Farkle, prompting banter between the two of them.

Farkle: Oh, yes, I was just compiling a list of all the things I’m going to rightfully accomplish this year. Winter showcase closing number, Haverford conference representative, oh, and that coveted summer spot at the Kossal camp for the rising junior class --

Maya: Oh, is daddy going to buy it for you? Think he could buy you some friends first…

The two of them stare each other down, both of them clearly meaning business and full of diva ire. It’s clear that this year is going to be a bloody battle between the two of them for top spot.

And may the best bitch win.

INT. MATTHEWS APARTMENT - RILEY’S BEDROOM - NIGHT

Riley is back to feeling uncertain, her “authentic” performance not having accomplished much. Then, she supposes, it’s not clear how authentic it really was… it was certainly the safe option, at least. But everyone else around her is so loud, so bold, so ready to scrap to the death… and she doesn’t know if that’s her. Maybe she doesn’t have what it takes.

The promotional video certainly is a testament to expectations versus reality. Highly skilled faculty… the polished and put together exterior… camaraderie and a bond with classmates for life… right now, they seemed destined to kill one another.

Thoughtful, Riley pulls up her tablet and searches for the promotional video again. She skims through it, searching for parts of Jack’s speech near the end.

Jack, voiceover: The competition is fierce, and the process isn’t easy.

INT. AAA - FRONT OFFICE - DAY

Eric is in the main office, chatting with the secretaries and easily charming them. Jack emerges from his office with more paperwork, catching his eye as he goes. The two of them hold each other’s gaze for a moment, that animosity still between them.

Jack: It’s work, hard work, but any passion worth pursuing takes a little faith and a whole lot of elbow grease.

Jack keeps his chin held high -- it is his office, after all. He gives Eric a cordial nod, heading back into his office. Back to do the work that matters, to the best of his ability.

INT. AAA - AUDITORIUM - DAY

The A class is assembled throughout the stage, all in their rehearsal clothes. Simple leotards, sweats, no one more glamorous than the other. There for the work, there for the challenge and the practice and the opportunities.

Jack: The best of the best make their way to Adams, and without a doubt, the best emerge from it ready to take on the world.

Maya, Farkle, and Zay all rise from stretching at the same time, eyeing each other. Maya takes a pointed sip of her water bottle, turning away with a hair flip.

INT. MATTHEWS APARTMENT - RILEY’S BEDROOM - DAY

Riley is enthralled with the video, deep in thought. Jack’s words are resonating with her, leaving their impact.

Jack: The question is, where do the best of the best come from? Who has what it takes to join our elite and excellent rank of future artists? Do you?

That is the question, indeed. Riley glances up, determination in her glare as she looks towards the camera. Guess we’re going to find out!

Song Cue ♫ ♪ “One (Reprise) / Finale” as performed by A Chorus Line Original Broadway Cast || Performed by AAA Sophomores

This classic intense theater kid song takes us through the end of the episode, following each of our main characters through their morning routine at the start of the next day during the first half of the number. This gives us a little bit of insight into what might be going on in their lives beyond what we’ve seen displayed thus far…

INT. MAYA’S APARTMENT - DAY

Maya is in her small, falling apart apartment, kissing her stressed mom on the cheek as she goes out despite how well dressed she is. Talk about expectation versus reality -- she is obviously on the poverty line. Her outward appearance is in complete contrast to the world she’s actually living in every evening.

INT. BABINEAUX HOME - DAY

Zay is gathering all his dance things together, getting pats and kisses from his parents as he dashes out the door. He almost drops his ballet shoe, but his mother catches it and gives it to him, clearly showing he’s a little more scattered than he puts off.

INT. GARDNER HOME - DAY

Charlie is getting ready for the day, dancing around a house full of sisters. He’s fighting for the bathroom just as a younger sister dashes inside, forcing him to run downstairs and get ready to go anyway. His mother licks her thumb and wipes a smudge from his cheek, as his father gives him a proud nod and sees him on his way.

The crucifix adorning the wall by the front door gives us the hint that this family is devout, to some degree. How much so, and whether that matters, only time will tell...

INT. FOSTER HOME - DAY

Isadora is eating breakfast in a crowded kitchen, trying to avoid bumping into a gaggle of siblings of all races and ages. She is a foster child, crammed in a fancy house with about twelve other children. Nice accommodations, and yet still not quite a home.

It’s obviously not the most ideal environment for her. She heads out the door as fast as she can.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Lucas is already at school early in the morning, in the technician’s booth where Riley left him last. He finishes pulling a black long sleeve shirt over his head, collapsing into the rolling chair and propping his feet up on the lightning board table. He starts flossing his teeth, treating the space like his own rather than school property.

One has to wonder… did he even go home? Is there a home to go to? What’s going on here…

INT. MINKUS HOME - FARKLE’S BEDROOM - DAY

Farkle, lavish and spoiled in a clearly wealthy home, is practicing his stage smile in the mirror. Totally straight-faced, then BAM! Full bright, stage presence grin. Over and over again. Obsessively adjusting his hair. Every polished piece in place. A constant performance…

EXT. AAA - DAY

As the trumpets swell before the final chorus, Riley arrives outside AAA again. She’s ready for her second go. Having what it takes.

She steadies her shoulders, then jogs up the steps towards the school.

INT. AAA - AUDITORIUM - DAY

Bam! As we enter into the final minute of the performance, Riley spins and the spotlight hits her. The full sophomore A class performers are up on stage, running through the show-stopping number. She’s keeping up -- barely, but she is. And that’s a start.

INT. AAA - TECHNICIAN’S BOOTH - DAY

From the booth, Shawn, Isadora, and Lucas run the lights and sound levels. Watching the performance critically from a world away…

INT. AAA - AUDITORIUM - DAY

In the back row of the center section, Jack sits and watches the performance. Taking a moment out of his hectic schedule to settle in and appreciate what they’re doing there, watching the future artists take the foundation and flourish. He smiles, in spite of it all, reminding himself what really matters.

The kids give it their all, ending the number with a flourish. The lights are bright, Riley is alive with the energy of a good performance.

Welcome to Adams, indeed. This is it!

END OF PILOT.

[incarnateirony]

I went off on a rant to a friend about things like Gamble Era, and miscellaneous idolized past authors, and you know what, fuck it. I'm going to say it out loud. And listen, listen this is NOT going to be my normal "Whatever you like :)" post like, this is literally an accumulation of horse shit I've seen talked about in any and all lanes for years that have been driving me fucking bananas for years. Don't just read this going HAHA I HATE GAMBLE TOO and then be shocked when I slap at inexplicably favorited authors in this fandom beyond that.

------

God how can anyone genuinely like Gamble, like, literally, legitimately and 1000%, not even about her killing Cas or whatever, what kind of pure trash TV do these people intake in mass that they think Gamble was good at her job I can not emphasize enough how cripplingly disappointing the shift from S4-5 to 6-7 was I know art is in the eye of the beholder or whatever but JESUS. FUCKING. CHRIST.

Fuck constructivist theory there's a point when things are just clearly trash Benefits S7 had: Just da bros uhhhh *flips through pages* Anything else? Are dick jokes art?

Her era was overrun by plot holes you could fly boeing jets through -- and I don’t mean shit like when fandom goddamn made up in their own damn head about an angelreaper retcon even though the reaper in the same episode they said was a retcon said the deadass opposite of what everybody fucking wound themselves up about, just deadass yawning voids -- it had unstable mechanics on previously established species shit, the villain plot was one giant monster of the week that tried desperately to go back to how they handled shit like Azazel as a threat but miserably failed, the monster had the dumbest weakness possible, the characters themselves were unstable in their characterizations and not even in that general "I don't like what the show is doing with them" but episode to episode Sam flipping from ripping Dean with laughter over gay jokes to woke-sounding sentiments

The cinematic style was gone and just vacant, it was neither the overexposed horror desaturated film nor the vivid fantasy of Carver, it just sat there like an unpolished lump

While later seasons also lost the classic rock vibe for budget reasons, that too disappeared in her era so we had no film energy, no story energy, no character energy, no villain energy, no structure energy, and we didn't even have the fucking cool tunez but we had dicks allergic to windex

It even lacked the elements that gave Kripke era value

Dusty americana died, all we had left was teenage girl fuckin emo sad boi drama And even that was miserably piss poor

I have never seen such a visionless fucking disaster successfully air an entire season on my fucking TV

I will never, EVER be able to outline what a fucking disappointment it was to go from S4-5 level show maturation into this negative embarrassment by season 7.

S6 Kripke was still around to some extent and that's the only reason I can deduce, S7 minded, there was any substance to it, even if her writing and editing crew at the time were a goddamn tire fire. And then people turn around and yell feminism if you criticise the giant fucking blazing slag heap that was her era and blame anyone and everyone but her and here you FUCKING go and she does half the shit all over again in the Magicians

(The friend replied: "The season only works in reverse, which is a crime on serialised TV (and just bad screenwriting)." )

That's just it though, it's like S7 we were suddenly back to fucking episodical TV like S1-2 because enough fuckbats yelled about Good Old Days. Only instead of ʷĤε𝕣є'𝓼 đα𝒹 or 𝐓Ħⓔ DεᗰＯᶰ 卄𝓐ｓ Ƥl𝓐𝓝Ş ℱⓞｒ Ⓜ𝔢 it was   ħ𝔞ⓗａ 𝓓ＩＣ𝐤ᔕ  🍆

I mean fucking sure this show started targeting late teenage women but Kripke had started maturing it forward and then Gamble fucking rolls along and it's like she's writing for 13 year old boys suddenly

Well I say that's what she seemed to be writing for but at the time the marketing was gross objectification going LOOK PRETTY BOYS WITH GUNS and that was it, that was the substance of what they gave a shit about and apparently the kind of demographic they thought constituted the sum of the SPN audience which, go get fucked guys, seriously. No fucking wonder the ratings got gouged in half over the course of a year. And fandom yells BUT FRIDAY DEATH SLOT but go sit and spin, S6 was friday deathslot too but before Kripke disappeared as the last thread holding SOME kind of cohesive value in the piece together in S6, that went to shitfuckhell in a handbag at light speed. People migrated to SPN Fridays S6 just fine. They LEFT season 7 and then people plug their ears if they don’t like that. And Carver had to fight all S8 to get it back, /but succeeded, and then-some./ 

oh and lemme head off fandom dumbfuck argument #72 about “well Dabb’s ratings are lower than Gamble’s were so he sucks and ruined it worse” go take your fucking ass and google “national primetime ratings decline” and enjoy exploring the last fucking 70 years of TV history. Pointing out a show crashes within a year because of massive failure is not the same as people being intentionally fucking daft sods to the TV universe’s decline over the last decade so like, don’t. Don’t be that person. Because you’re still embarrassingly wrong.

(The friend replied: "That's why I don't get why people care about what the vocal minority have to say. They *already* got what they wanted. It crashed and burned. Nobody in their right mind in corporate world is gonna be like, let's try that again, let's throw more money into that burning pit That's just not happening. Gay angels or no, it just ain't." )

I mean that should have been obvious when 1. Carver brought back Cas and pretty much immediately promoted him to Regular 2. Misha then got promoted to lead credits in S12, no matter what circles of intentional, willful ignorance fandom argues about what the credits mean for petty piss fights

"LOL & MEANS HE'S LESS IMPORTANT" Shut the fuck up and sit down you basement dwelling shitlord, go watch the A-Team, tell me how Mr T is the least important character

Also unpopular fuckin opinion Robbie Thompson and Ben Edlund are not That Great. Compared to what they were SURROUNDED with they were exceptional but Berens and Yockey could run circles around them both. They just happened to give fandom shit they liked during dark times so it made them fun. Robbie Thompson and Ben Edlund are basically the baseline value of our current writing team on random names. Give me Robbie Thompson and give me Davy Perez and I see no fucking difference. People compare Edlund to Yockey because of certain shit he pulled off but like, no? If there WAS a comparison it’d be like, Meredith, and even then I can’t see any way Edlund is substantially better than Meredith but could list the other in reverse?

But if we're talking about being able to write pieces with more than 1 or 2 layers of impact I'm sorry, it's rose colored glasses that makes people idolize them

Like if people seriously objectively fucking sat and reviewed the methodology and substance of their past idol authors to the demonstratable level of the current crew where I am DEAD ASS HAVING DISCOURSE WITH THE EXEC PRODUCER ABOUT BAUDRILLARDIAN CONCEPTS AND DELILLO in the middle of a hypercomplex postmodern two-directional commentary piece on some scaffolding of sociopolitical representation commentary that SAILS past the level the ‘activists’ in this fandom think about, literally, what people like is Gay Shit They Got lobbed at them or shiny visuals. And you know what, whatever, sure, like what you like IDGAF but don't sit here like Thompson was some fucking Shakespeare. No, your fucking "meta" you -- you, in any lane, anyone, any ship, anywhere, ever -- wrote by COMPLETELY randomly associating whatever storyline you could staple on to try to pretend the text was doing what you want at the time -- is not the same as author intent and actual weight and merit to the cohesive structure of what they build.

YES YES I KNOW, Death of the Author, someone just popped that up in their head, like the ten thousand posts I've made over the last 209349 years addressing how people abusive the fuck out of the term and that's fine, interpret shit however you wanna make it do jumping jacks but don't sit here entering the time you attached Little Bo Peep as some sort of intrinsic value to Dean trying to find Sam in 1492 and act like that's some deep critical shit the authors thoughtfully laced into the piece, these are not the same fucking conversation.

Big hollow voids of statements doesn’t make a better author, it makes you bust your ass harder to actually give any sort of consequential meaning to the piece, and that has nothing to do with the quality of the author or text themselves, that has to do with your interpretation in a piece devoid of genuine thematic subtext so people desperately try to bobby pin some bullshit together. Which also is probably why this fandom can’t tell the difference between coding, interpretation, subtext, and text for their fucking life anymore.

Protip the entire goddamn writing room is pouring that gay shit in your cup that's been triple brewed above Robbie or Edlund’s pots and people are still complaining it isn't enough

Another point that drives me up a wall, "LAZARUS RISING IS THE BEST EPISODE EVER" okay like lmaooooo what the fuck are you smoking Was it impressive as fuck at the time yes it was. But again, fucking perspective. I literally went back and watched it like a month ago and I realized it was a fucking void of content compared to our modern writing, it just had one of the most impressive entrances, it DID have good directing (YES MANNERS WAS GOOD, NO DISRESPECT), and it introduced a character everybody loved. Dean was still a halfass caricature

You wanna know why everybody made that shit gay right away Because there was no fucking substance around it it was a wallpaper of a cool looking episode that was otherwise blank space to run around in on dialogue they should have thought to construct better if they didn't want it to be gay

And sure since then the author room has picked up the big gay ball and started actually turning it into some shit which, great, but this is yet again a matter of structure and intent versus throwing rotten pasta at the wall and seeing if the mold makes it stick. I don't care if you have a vegan recipe that converts the fucking mold on the pasta into a healthy sauce base that isn't what it was thrown at the wall like, and no amount of complimenting the original chef's moldy pasta means it was some tasty shit before you added 10,000 ingredients they never fucking thought about or at least a second chef came along and figure out what to do with the pile of goo.

Fandom would stop being this miserable fucking putrid stinkhole if people would collectively apply some goddamn perspective to the content they argue about before even bothering to engage with uwustiel/cest dot tumblr dot com in irrelevant argument #9238428934 they use to fence off whether they should enjoy the content or try to explore it for its value or not because there is NO. MORE. PERSPECTIVE.

YOU KNOW WHAT? IT’S FINE TO EVEN ADMIT YOU LIKED THINKY-FREE TV, THAT’S FINE, THAT’S YOUR RIGHT.

But don’t SIT here acting like a lot of these former train wrecks were “better authors” or somehow objectively “better content.” No like, you like not thinking about shit that much and staring at pretty boys or whatever, good on you, but you literally like, objectively, some of the shit I’ve seen go down is like genuinely trying to compare a toddler’s fridge art to a Vasarely and hold them both up in front of people who do art for a living. They ain’t gonna shit on the kid’s fridge art, but they’re gonna go “awwwww she’s gonna grow up to be a great artist!” before breaking down on Vasarely’s vector illusion shit, sorry, that’s just how it be. I’m sure the kid had some sort of vision to drawing the triangle over the square that kinda looks like a house but the hypercomplex thought processes simply aren’t there. 

Just people STUCK in weird idolization of shit that is so far past irrelevant to the current piece in play and fighting to win arguments while trying to convince themselves they're right and secretly dreading how titanically failboat wrong they are ignoring the sound of the glacier having ripped through their hulls SEASONS ago. The ice water has already leaked onto the fucking DECK and people are still arguing about completely ridiculous shit or fancying things that were 1/10th of the value of the current content they're claiming isn't good or enough or valid compared to the shallow specters that birthed them out of old aeons. 

Dead-ASS Kripke picked shit because it “sounded cool.” I’m sorry if there weren’t some model guys fandom wanted to hump everybody would be making fun of the fedora-tipping mindset that probably is where the fucking trenchcoat came from and may have debated giving Cas -- sorry, “CASS” because “COOL” -- katanas. But sure. Way, way deeper and more intricate than the Jungian intertextual post modern piece that’s so tightly knit it’s making fandom unwittingly comment on themselves.

I thought people grew out of that shit when they were like 16 unless they were incels

(My spidey senses detected someone unironically preparing to inform me about stealing borrowing the imagery from Constantine on reflex, because you know, that’s some peak intertext right there.)

Dead ASS that writing logic is that motherfucker that wanders into your freeform RP server with Spawn knockoff miasma chainsaw arms under his leather trenchcoat shooting twin Deagles with a vague story of wanting to face his demon overlord father that’s written like a looney tunes villain, in the middle of you cowriting with your lit-savvy friends trying to make a fun fantasy adaptation rendering fascism and corporate america and then he gets upset when nobody wants him to shit lightning -- /fight me/.

SERIOUSLY FOLKS. WANNA ENJOY THE SHOW AGAIN? GET SOME PERSPECTIVE. LET GO OF FETISHIZING WEIRD WARPED MEMORIES AND LINES OF ARGUMENT INSIDE YOUR OWN HEADS ISTG IT'LL HELP.

The day I find an argument that makes season 7 legit good TV rather than, at very best, “fun junk TV I had a cool ride on”, that does NOT involve evoking arguments distinctly born out of petty shipping culture arguments and/or (generally the same) attaching their own shit with a stapler to MAKE it have some sort of meaning at the time it was airing (rather than later showrunners making it add up to something), I’ll eat my fucking arm.

𝓯𝓾𝓬𝓴. Carver era had already gone through dramatic changes that deepend the scope of the show and even then, 15.09 Bobo’s The Trap held more ACTUAL commentary on this fandom than Thompson’s Fanfiction episode did as a supposed fandom-commentary episode much LESS 15.04 as an actual meta framed episode. Fanfiction was like 4 years behind and completely fucking unplugged, whereas the base of the show itself is more integrated now in these dynamics than any attempt at meta episodes back then were.

old days it took one goddamn episode of dreaming for people to 1. start talking about Freud and 2. pretend the whole everything after that was some Freudian masterpiece even when, if it were, it would have been an entire avalanche of dropped balls. But two seasons of direct citations and literal manifest avatar-bodies of Jungian psychology elements and it’s hard to pull more than a peep out of the fandom about it because they’re too busy yelling about tulpas or sirens from before most of the people around here hit puberty.

𝓕 𝓤 𝓒 ��

furthermore why does anyone that idolize season 7 for what they think fits their bill think season 15 is gonna end how they want when they’ve been taking the piss out of season 7 over and over and over and over again IN THE TEXT as being dumb as SHIT

𝕀ℕ 𝕋ℍ𝔼 𝔽𝕌ℂ𝕂𝕀ℕ𝔾 𝕋𝔼𝕏𝕋

WHY SET YOURSELF UP FOR DISAPPOINTMENT

TO WIN TEMPORARY ARGUMENTS? THAT YOU’RE ACTUALLY LOSING FROM START TO FINISH?

actually you know what

rolling back to the whole “empty/subtextless stuff making people bust their ass” seems to be what you miss. Saying, “I miss empty, shallow, shitty writing” doesn’t really sound as good though so we change “what I like” into “this is talentless trash” it postures better, but it seems to be the people who have objectively fucking refused core tenets the show has evolved over the last 7 years, most explicitly the last 3-4, and absolutely refused to soak them in the form they deliver in. And they’re mad. Because it isn’t hollow. They can’t run around in fucking blank space and plug absolute horse shit into the voids and then posture like they’re supreme in this noncommital wasteland. Because everything’s built out and structured in and loud as fuck and people are debating the actual installed and even dogmatically cited work of philosophers driving the ideology of the show now and they can’t get away from it, and/or actually have to pay attention to the whole show and think about it all as a picture instead of the parts they want, so it’s “bad.”

I just sensed like 50 readers shoving their foot into that shoe. Good.

Jesus christ I’m pretty sure that’s what it is in hindsight after yelling all of this. These characters can’t be used as sock puppets anymore that people can win bullshit arguments unless they literally delete the entire principle of the modern show -- and this goes for MULTIPLE lanes really, each in their own way -- so now it’s “bad.” And that’s just not how this works.

[multimetaverse]

We've been fed so much lately!! What do you think of Luke's interview with Lisa and Terri's with pastemagazine? And are you happy Josh told us what he meant by the endgame changing?

Indeed we have anon. I loved Luke’s interview with Shine on Media, Lisa has been a fan of the show from the start and her questions are always good ones. I’m very glad we got confirmation that TJ is gay and that’s canon so there should be no more TJ sexuality discourse. Also nice to know that Luke knew TJ was gay from before the muffin scene and that he and Josh were trying to play things as gay as possible the entire time. We really lucked out getting Josh and Luke to play the first two openly gay characters on Disney Channel; that they were so happy and supportive of these roles and always did their best to come through for the audience. And nice to know that they both wanted the Tyrus story line to go faster, as did we all. 

Another anon asked me why Terri wouldn’t have done a chemistry test with Josh and Luke when they were casting TJ which is a good question. Certainly the casting directors would have had that in mind since they cast someone Josh’s age and they obviously didn’t cast Luke for his basketball skills or skills at playing a villain. They did luck out that Josh and Luke ended up being such close friends and having such great on screen chemistry. I don’t think it’s a surprise that Luke’s acting got much better after 2x05 as TJ had an actual purpose and motivation. Terri really should have told him from the start but she would have had to if not by 2x08 then 2x11 for sure, as there’s no way to do the swingset scene if the actors and director and editors don’t all know that it’s a romantic scene. 

 It’s wild that Terri never took steps to make sure either Luke or his family weren’t homophobic or at least unwilling to play a gay character before bringing him on. That would have been a dark timeline, TJ either being written out early on and maybe some new character brought in to take his place or TJ still be used for the dyscalculia story line but then being dropped after S2 and likely no one replacing him as Cyrus’ love interest in S3 given how much more censored the gay story line was in S3.

I’m glad Josh came clean. That they were unsure that Tyrus would ever canon was my best guess and I’m working on another ask about it and laying out how the Tyrus story line in S3 has no real direction and with the exception of the gun plot is just fluffy or angsty filler. It’s sad to know that Tyrus came so close to never canoning and I can’t imagine how depressing it must have been for Josh and Luke to film the entire season not knowing if the Tyrus story line would ever have any pay off. I’m glad though that Terri was at least upfront with them that she wasn’t sure if she’d get canon Tyrus approved in the finale. A lot of Josh’s comments and actions come off much sadder now, like when he was so happy that Asher said Tyrus was real in their October press tour or when he commented on tumblr that the press tour was the first time Disney had let him speak openly about Tyrus. He must have been desperately seeking validation and any kind of hints he could that Disney would actually allow canon Tyrus. 

That being said, the cast should never have been allowed to talk about Tyrus so openly and so often when they had no guarantee it would ever happen. All those cast interviews they did back in October almost ended up being massive queerbait. I don’t blame the cast as they’re all teens but the adults in their lives should have stepped in and reined things in. 

Terri’s paste magazine interview comes off as extremely disingenuous especially in regards to the Tyrus kiss. I’m surprised so many people bought her spin but if she couldn’t even get permission for canon Tyrus until the very end of production which was well after the show had been cancelled then how on earth was she ever going to get a kiss or anything else approved? I could claim that I choose not to live in a mansion because it doesn’t fit my lifestyle but it’s not a real choice because I could never afford to buy a mansion just like Terri would never have been able to get a kiss approved or Cyrus saying aloud that he had a crush on TJ or Tyrus slow dancing or Cyrus founding a GSA club at school, or anything else she wants to pretend she could have done if only there had been one more season. And her ‘’queerbaiting and Disney censorship’’ instagram post back in November was wildly inappropriate when the gay story line was being obviously censored and when the entire Tyrus story line almost ended up being nothing more than queerbait. And for her to attempt an internalized homophobia story line in what she knew were the final eps of the series with a character she had no idea if she could ever confirm is gay is incredibly stupid. 

Still I do feel sorry for Terri as I truly don’t think she knew when she brought TJ in that it would take this long to get so little pay off. The Tyrus story line began in the 20th ep of the series and didn’t canon until the 57th aired ep, two-thirds of the entire series went by before their feelings were explicitly confirmed. The look back was a huge mistake and built up expectations too high even with it being edited but logically if Disney approved TJ looking back at Cyrus in 2x25 it would have been a positive sign that they were open to exploring Tyrus at the time as the unedited look back would have let the audience know TJ was gay which would have given Terri reason to hope she could get them together before 3x20. I think it’s interesting that Josh compared canon Tyrus in S3 to Cyrus coming out in what was originally 1x13 when he’s talked before about how Cyrus was always slated to come out to Andi in 2x13. It really does suggest that Disney more or less let Terri write what she wanted for Cyrus’ arc in S2 which also fits with the Tyrus story line flowing very well before cracking down hard in S3.

Personally, I think the most interesting thing we learned from Terri’s interview is that they learned they would be cancelled when they were going to write 3x10. Looking back, 3x10 does seem like a rough dividing line for a lot of stories. Jonah’s panic attacks are addressed in 3x11 then dropped, Jamber is resurrected in 3x12 along with the wish and Amber suddenly becomes much more prominent in the final half of the season, Walker and Wuffy are disposed of, Marty is brought back and Muffy quickly set up to be endgame. Now that we know that Terri didn’t want endgame Jandi and didn’t know if she would ever get endgame Tyrus we can see why it was so important for the show to bring back Marty so Buffy could get her originally planned endgame. Interestingly, Andi’s art isn’t brought up again until 3x16 which is also when the S1 party was brought back up again which suggests that they didn’t settle on the finale party until then. 

There’s one other big moment that happens right after 3x10 which is Cyrus using the word gay and coming out to Jonah in 3x11. I wrote this back in February after the Salt Lake Tribune spoiled that Cyrus would come out to Jonah:

‘’It’s nice that now all of Cyrus’ closest friends know about his sexuality but this does also read as a potential wrap up of Cyrus’ sexuality arc; Cyrus has come out to Buffy, Andi, and Jonah and is proud and confident in his identity and to label himself as gay, quite a far cry from the scared sad Cyrus we saw when he came out to Buffy. With Jonah now in on his secret there’s no more mystery left among his friend group and no need to talk about it again if that’s the path Disney chooses. I do think Terri got some stuff approved in the finale but this ep could very easily provide enough rep that Disney feels fine with having a quiet Korrasami style endgame instead. ‘’

It turns out that my sense of foreboding was correct as 3x11 was written as a potential series finale for the gay story line as they had no clue if Cyrus would ever be able to get together with TJ and indeed Cyrus never did discuss his sexuality ever again. 

I’m glad we have a lot of the missing pieces filled in now. I’m also glad I wasn’t a cast or crew member as it seems like S3 would have been an anxious nerve wracking experience, waiting to see if the story line that had been planned from the beginning of S2 would have any pay off. I’m eternally grateful to Terri and Josh and Luke for what they managed to do and the history they made. And thank god Gary Marsh, for whatever reason, decided at the last minute to let those final 40 seconds of the bench scene to make it to air.

[mysterylover123]

BNHA Rewatch: Season 1 Episode 7 “Deku vs Kacchan”

 mysterylover123

Here. We. Go!

Backstory time. (I guess this episode is all about Deku and Kacchan, BTW, so no corner this time. Too much stuff would be in there). Deku recounts their past together. The phrasing is different in different translations. I like how honest Deku is about his rival’s character - how he’s not necessarily “good” or “evil”, but became kind of an asshole after developing his quirk. Also, cute!

More below the cut

Poor Iida, BTW. Saddled with the Worst Teammate Ever. (at least right now. Contrast point: JTA Bakugou)

Though Deku isn’t much better! Sure, get rid of Uraraka! it’s not like you’re fighting a powerful opponent or anything! Not like that Zero G couldn’t solve this problem easily! (You just really wanna mono y mono him, don’t you Deku?)

Deku being strategic! (Why isn’t Bakugou considered captured then and there? All Might said! Capture tape! Shouldn’t that have…oh never mind, who cares. Fight!) 

Here we have the explanation as to why Deku tells Kacchan about his quirk: Kacchan thinks Deku’s been lying to him. And the thing is, he…well, has. Not his whole life, but he has lied to his mom, and presumably via sin of omission, to everyone in his middle school (and UA), including Bakugou. Which Deku is fine with - for everyone else. Because it’s All Might’s secret, and it’s understandable, and Bakugou later reprimands him for telling even him. But that’s the thing. Deku doesn’t feel comfortable lying to Bakugou, and Bakugou alone. For some reason.

Yes, he has a good, rational explanation of why he didn’t work with Uraraka and let her go off to fight Iida. But he immediately undercuts it by reminding us that he does, in fact, wish to fight Kacchan himself. Again, why Filler!Deku is so scared of meeting Kacchan’s challenges head-on when he’s been fully committed to being his rival since Episode7/Chapter 9 is beyond me.

I kinda like how Bakugou has no Tragic Backstory or reason to be the way he is beyond being told his whole life that he’s better than everyone else. It’s such a perfect deconstruction of that Main Hero mindset - you see this same setup in so many other stories, where the Chosen One hero is told from a young age that he’s Destined for Greatness or whatever. And he’s always a perfect cinnamon roll. Instead of the kind of person that treatment would really create. Basically, someone like Bakugou.

More adorable/mean flashbacks. (It’s like watching South Park. They’re so mean but the art style is so cute!) I like how Deku, even LilDeku, doesn’t take shit from Kacchan. He talks back. And he never stops following him around.

Ah, the defining moments. Deku is declared Quirkless and therefore worthless (somebody hug him!) Then the creek incident. This scene is so cute, and it starts this big  visual motif throughout the series pertaining to these two: Deku’s outstretched hand. (one translation I heard of “The Day” translates the line right before they fight in the OP as “reach out and finally take my hand”, which is perfect). But yes, there is this long buildup for Bakugou to one day cast aside that pride, realize that Deku just wants to help him, and Take. That. Hand.

Iidaraka! This scene is so hilariously funny. If I wasn’t already in love with this series before, this moment  clinched it. Iida pretending to be a villain, complete with monologuing (I bet the dub was intentionally referencing The Incredibles there.) Cute Iichaco moment here, I love how he cracks her up. (Though Iida also makes the mistake of taking it too easy on her here. He doesn’t go for the knockout punch and loses for it. Thankfully a certain hothead does not make that same mistake in the sports festival.)

This freaked me out hard the first time I saw it. It’s such a hit. Like damn, how is Deku even alive now? The way it’s animated is so brutal! Though there is an explanation for the giant gauntlets and Bakugou’s quirk that makes a ton of sense here though; Hori even explained how his parents’ quirks made the power later on! It’s all so well thought out. 

So again, this also freaked me out the first time around. He looks fucking crazy (And I loooove crazy characters. Deku the Absolute Madman and Bakugou’s crazyface are a big part of why I watch this series). But later on this gets a callback when All Might is talking about Bakugou “smiling in the face of a wall”, compiled with his smile when facing Uraraka and All Might. So this puts Deku on the same level as those two, the only two opponents Bakugou truly respects. Well, well. :) 

BTW the second of the two manga chapters this episode is based on is called “Breaking Bakugou”. Just a funny bit of trivia. 

Uraraka’s main character flaw at this point, her general lackadaisacal attitude and lack of willingness to just jump in and take initiative, shows up in this arc, and she makes her first step towards overcoming it. She’s inspired by how much Deku wants to win to Go Plus Ultra. I think Uraraka is a character who tends to mold herself after the people around her (her parents, Deku, even Bakugou post Sports Fest briefly), hence why Toga is her Evil Counterpart. This is her flaw, that she doesn’t quite know who she is outside of copying others, and what she needs to overcome. 

We get some comedy as Bakugou gets jealous of Deku ignoring him again. Notice me you damn nerd! You idiot baka! 

Kirishima’s first impressions of Bakugou are all so terrible. It’s hilarious in hindsight since they end up BFFs, but he really thought Bakugou was a reckless asshole the first time around. Also Todoroki’s first line is talking about how Bakugou is smarter than he looks. So let’s enjoy some of my personal headcanon, namely that if Kiri has a crush on a member of Wonder Duo it’s actually Deku, and for Todoroki it’s actually Bakugou. Yes, the reverse of what everyone else thinks.

This fight is so damn brutal. Bakugou pays Deku back in kind for bodyslamming him. Of course, I loved that Deku was planning something that whole time (I knew, first time around, when his dialogue with Uraraka was muted, that he had a plan up his sleeve. And what a plan it is!). But still, watching him get beaten up this badly is hard to see.

Now the big buildup moment. Deku confesses the truth: He wants to beat Kacchan because he thinks Kacchan is amazing. Bakugou thinks Deku is looking down on him, which is such a weird way to twist Midoriya’s behavior - but makes sense if Bakugou, deep down, knows that Deku totally can. And Deku, he just wants to surpass him. As he puts it later on, his image of Victory. 

YOU SAY RUN. Drink! As an aside, All Might has a very interesting role in the whole Deku vs Kacchan thing. Not only is he the reason for their conflict (each idolize him/wanna be like him in different ways), he also perpetuates it willingly here by not stopping the fight. And he does so because he wants to support Deku. Which is interesting. All Might has some perception into Midoriya, and he comments here that this is the most pumped up he’s seen Deku. Bakugou brings that out in Midoriya, and that’s why All Might is, overall, rather supportive of them mending their friendship, ending up as Wonder Duo, the best heroes who Win and Rescue. Because Deku needs that  challenge in his life to amp him up. To keep him going. 

And now Deku’s plan. I’m not sure if the Entrance Exam bit counts, because at the time he didn’t know how badly his body would be effed up, but this time he does. So I’m calling it: The first instance of Absolute Madman Deku. My favorite Deku moments are always these bits, where he does something so crazy and brilliant and self-destructive that it shouldn’t work, but because he’s also clever, it totally does. And with Uraraka’s teamwork, the Hero Team wins! 

We end on a moment between Deku and Kacchan, where Deku (pulling the first of his true Crazy Eyes faces) tells Kacchan that he was not, in fact, looking down on him, and only holding back because he’d be hurt. And the anime adds, from the Manga, Kacchan looking kind of shocked about what he’s seeing, maybe even a little guilty/horrified by Deku hurting himself. What an ending!

So the first time around, after watching the first four eps day-by-day at work, I had a weekend where I binged through the rest of Season 1, so my first impressions of the rest of the season aren’t as clear to me as those first few episodes. In hindsight, I think this is one of the best episodes of Season 1, and one of the first that really started fleshing out these characters into the complex little tragic heroes they are today. It’s all just glimpses of the surface; little to indicate how much is really lying beneath. But it’s important, nonetheless, as an early indicator. 

Best Girl of the Episode: Mina Ashido!

Ranker: Favorite BNHA Fights (So Far)

10. Deku vs Kacchan 1

This is my favorite fight of S1. I love the strategy that Deku uses. 

9. Deku vs Muscular

So hard to watch. So much pain. The tears the joy. Everything.

8. Todoroki and Momo vs Aizawa

Momo needs more fights. But she and Todoroki make a great tag team.

7. Deku and Kacchan vs All Might

As do Wonder Duo. Fighting All Might is just cool. Character Development!

6. Deku vs Overhaul

Season 4 is going to be Lit.

5. Hero Killer Stain vs UA Students

Such a multilayered fight. Three great fighters  vs one unstoppable villain.

4. Uraraka vs Bakugou

Absolutely astounding. Full of surprises and emotional and cool.

3. Deku vs Todoroki

An absolute tearjerker and unbelievably brutal. Cannot watch without getting nervous.

2. Deku vs Kacchan Part 2

Partly the animation, which is so beautiful it should be in the Louvre. But also the fight itself. Of course. Strategy, emotion, Deku and Kacchan. 

Hon Mention: The Movie’s Class A and All Might vs Metal Villain, All Might vs Nomu, Todoroki vs Bakugou, all the Beta Sports Fest fights, Jiro and Koda vs Present mic, Tetsu and Kendo vs Mustard, Deku vs Gentle and La Brava, Endeavor vs high End.

1. All Might vs All for One

4 words. “Now it’s your turn.”

[badanimereviews]

halfway through fall ‘19 anime!

i’ll keep this quick since it’s like 11:30 pm rn.

assassin’s pride: much better than i thought it’d be. the magic system seems so interesting, tho i want more on the world itself! and also that last ep? i feel they skipped like ten chapters. so not cool. i rly like kufa (hot) and the op? magical. 

azur lane: everyone’s hot and it forced me to become addicted to the game. thanks. (jean bart best girl) first ep animation was spectacular. but it’s rly gone down in quality. sometimes 3d models are jarring, specially with enterprise, but whatevs. i just want more from bae like. better production quality hello? how many millions is this game making a month?

bnha 4: don’t like walk-thru-walls-dude cuz he creepy asf. also plague mask guy. the gang one. new waifu i think. sry todoroki . sry dabi. im in love. also, wtf why sis snapped and suddenly all might finna die like w hat 

choyoyu: meh, i like the art style, that’s all the praise i have rn. wish it was more realistic. then it’d b interestinger.

chuubyou gekihatsu boy: ok i wasnt gonna watch this originally but hell yeah bros i am in love this is so great lmaooooo . it’s like they took every one of my personalities and made it an anime guy. 

dr stone: i love chrome n all that but like. why it suddenly gotta desert taiju & co like that i barely remember them anymore. also why is shishio so pretty. i get boners for chemistry thanks senku

fire force: still hot. i fkn love arthur and mc’s dynamic like. bros. also i wish sho wasnt the bad guy this makes me depressed

fgo babylonia: ok wasnt gonna watch this either but i suddenly did n im glad. the animation? enki’s hair flows like water and i cry. ishtar is so hot? i love her? and mash isn’t as annoying as the game and fanservice helps me not hate her much, and thank god (gil) they changed fou’s va or smth cuz i hated that bitch voice.... anyways thanks for coming to my ted talk gilgamesh gives me ladyboners

kabukichou sherlock: dis sum cute shit right here

food wars 4: foodboner TM. i can’t figure out why ive started cooking so much lately. help

sao. alicization 2: better animation i think? tho op sux uwu. liked s1/2 better. kinda confused about timeline since s1 , like where’s alice been? who knows about the pontifex? the new bad guys r dumb as hell? whats going on

[deltaengineering]

Winter Anime 2019 Part 2: My Fedora Weighs A Ton

Smash that hate-reblog button, because today I’m calling out another penily* challenged isekai copypasta. But first...

Dororo

What: Baby gets most vital organs stolen by demons due to his father’s dickishness, is now all grown up and back for revenge. He also picks up a spunky petty thief so this doesn’t get too depressing.

✅ Shounen manga in the 60s sure was some shit huh. Thankfully this is a Tezuka original, so it’s surprisingly lighthearted for how ultragrim the setup is. That doesn’t mean it actually is lighthearted on an absolute scale, of course, just matter of fact instead of unbearably miserable. I like it.

✅✅ This looks dope, yo. It starts with the character designs, which are nicely updated but still noticeably Tezuka-ish. Then there’s the animation, which is deluxe and super deluxe during fights. And the backgrounds are real pretty too.

✅✅ Bonus points for a fantastic OP as well. I would already crown this as the OP of the season (sorry, Boogiepop), but we’ve still got another Mappa show to come and it’s Kakegurui, which has a track record in that regard. Dare I hope we get something even better?

♎ Ah, yes, Mappa. Great openings and great first episodes is what they do. I dearly hope they don’t donk it again, or, failing that, only donk it in the very last minute like Zombieland Saga.

✅ This is absolutely not my thing subject-wise, but the evidence suggests that it’s just too good to pass up. Hot damn.

Pastel Memories

What: Akiba has become normal and a bunch of girls are just sort of wandering around in it looking for manga.

❌❌ Okay seriously, what is with this new trend of making the first episode of your anime boring, seemingly on purpose? The preview promises some action (note: more on that later), but this first episode is largely content-free and tedious as hell.

❌❌ I suppose they’re banking on their large amount of kawaii characters, but a character-focused show needs, you know, character. These girls are extremely bland and samey and the one memorable one is the one that says nya a lot. Gimmicks are not the pinnacle of effort, yes, but simply not doing anything is hardly more effort.

❌❌ It also looks like ass, which is why I’m not enthusiastic about this show attempting action in the future. It’s somehow consistently off-model, with all the characters having sightline problems that makes everyone have a constant vacant stare. It’s barely worth mentioning with problems like that, but the animation’s not much either. The whole thing exudes a distinct bootleg ambiance.

♎ The plot they’re hinting at at the very end (all these girls are dimension-hoppers going through different worlds) admittedly has potential to be at least mildly entertaining. But potential is nothing without execution, which this show anti-excels at.

Mob Psycho 100 S2

What: Quit frontin, you know what MP100 is.

✅ At this point I’m basically only in it for the glorious visuals, so S2 better not be a step down. It’s not, so that’s good.

✅ I was not at all impressed by Mob Psycho’s writing overall, but the aspect I liked the most was Mob’s awkward daily life. This episode mostly focused on that, so no complaints here either. Komedy with Reigen and what amounts to a grunge rock cover of Bleach will surely follow, but this is about episode 1. 

❌ One of S1's strongest points was the amazing opening. The new one is a much inferior clone of that one, both musically and visually.

♎ I won’t complain at length about MP100′s content again, but yeah, I don’t have high hopes. I’ll watch it no matter what because it’s still worth it, and the most I hope for is that the glue between the kabooms isn’t too annoying on average. This is starting out on the right foot if nothing else.

Rinshi!! Ekoda-chan

What: A sort of experimental adaptation of an 4koma about an easygoing woman. The trick is that every episode will be done by entirely different staff and studios.

❌❌ You know, I don’t mind weird, not conventionally beautiful arthouse shorts. However, packing your 3 minute short with 20 minutes of staff interviews explaining why it’s good may be a bit too modern art even for me. Especially when done in a Japanese daytime TV style.

❌ Even on its own terms, the short itself is on the bad side of whatever. #relatable to some, maybe, but not to me. And well, it’s not a looker, not even unconventionally so.

❌ The idea here is intriguing, but it spectacularly doesn’t work out in the first episode. I suppose if this produces something amazing down the line (which, admittedly, it might), I’ll hear about it.

Tate no Yuusha no Nariagari / The Rising of the Shield Hero

What: 💩

💩💩 Features a complete catalogue of isekai tropes, including pointing them out because the writer is extremely intelligent. If I have called it shit before, it’s probably in here somewhere.

💩💩 Is a whiny nerd’s manifesto on the topic of how he doesn’t get respected even though he’s so nice and how women are gold-digging whores that accuse him of rape. Basically, this is the /r/incels to Goblin Slayer’s /r/the_donald.

💩💩 Fucking double length because just saying “isekai” is not enough, you have to really make sure everyone knows what that means.

💩💩 Oh yeah, Shield Hero seems to pick up a slave catgirl at the end, as you do. I hope she also gives him a swirly and steals his lunch money, but considering he can magically order her to stay in the kitchen, I don’t think that’s likely.

♎ Looks alright, if thoroughly uninspired. Kinema Citrus can do better, but thankfully don’t.

Ueno-san wa Bukiyou / How clumsy you are, Miss Ueno.

What: Ueno-san is a genius inventor, crush-haver and terminal-stage boke. Oh dear.

❌❌ Loud and obnoxious comedy short. But still not short enough (12m).

❌❌ The two jokes in this episode are 1. Ueno wants to make her crush/straight man drink her piss and 2. Ueno wants to make her crush/straight man look up her skirt while not wearing panties.

❌❌ In other words, it’s a more stylistically generic Asobi Asobase that also pulls its punches with magical piss-purifying/pussy-hiding technology.

❌❌ No.

Watashi ni Tenshi ga Maiorita! / Wataten!: An Angel Flew Down to Me

What: Useless neet girl pervs on her little sister’s best friend. “Cute or pedo? Why not both!”, says Doga Kobo, establishing a pattern in the process.

♎ Shockingly, that pattern is not a tremendously annoying character for once. Our lead here is annoying, just not outrageously so. So it’s no Uzamaid, and one might even consider this watchable and cute if you don’t think about it too hard, or preferably at all.

♎ It also looks plush and agreeable, as usual. 

❌❌ What is exactly like Uzamaid is the loliyuri though, and no amount of Doga Kobo gloss will make that go away. Why not, like, pick one of the thousands of cutesy 4koma without that? It’s just creepy. Less creepy than Uzamaid, yes, but that might as well have been the most pastel colored horror TV show ever so that’s not an accomplishment. 

❌ Even if it weren’t extremely questionable content-wise, what’s left would still just be a good-looking but utterly unexceptional moe show. Sort of like Sansha Sanyou or in fact the majority of Doga Kobo productions at this point. What a waste of talent.

* Yes, that’s a word. I looked it up.

[actuallylorelaigilmore]

Schneider + the romances of Penelope Alvarez: meta ramble

So I’ve seen a lot of people discuss the ways that Schneider and Victor mirror each other in S1. And I think that in terms of major story arcs, that comparison is the most important, but we don’t talk enough about the way Schneider mirrors the best aspects of every guy Penelope goes out with.

Victor: 

likes to seem tougher than he is

believes nothing is more important than looking out for his family

except maybe his patriotic ideals

struggles with trauma and addiction

Schneider does all of the above, but in much less toxic ways. He’s a big marshmallow who wants to seem like a tough guy--except not if it means hurting people. His pride isn’t more important to him than other people’s feelings. Ever.

He would do anything for the Alvarez family, and they’re not even his. Except they are, because they mean the whole entire world to him. He’ll bust in without hesitation to protect Elena from being alone with a boy who might try to take advantage of her, he’ll have a panic attack over the slightest possibility that Alex might not be safe in his charge, and he’ll let Penelope stab him where it hurts without fighting back if he think it’s what she needs. Because they’re his family.

And unlike Victor, that’s all that he needs to know. It doesn’t matter what they’re dealing with or who they turn out to be, he’s there. Above everything else, he’s always right there. 

Victor goes back into active combat because 9/11 makes him feel like he owes it to his country, and to his daughter. I totally get that, for his character, and it helps explain him a bit better when we learn about that in S2. But he’s comfortable making that decision on everyone’s behalf, knowing the risks and knowing that he and his wife had a plan--which didn’t include him deciding to put his country and his fears for his baby’s safety ahead of everything else.

Schneider decides to become an American citizen despite benefiting greatly from being a rich Canadian living in the US...and he does so because Elena convinces him that he might risk losing them if he doesn’t. And the only moment he seems actually worried about the dangers of outing himself as undocumented is when he realizes that getting sent back to Canada would mean never seeing them again.

Victor’s family and love of America is why he does things that change his entire family’s future--without them getting a say.

Schneider’s family and love of America are completely intertwined, and it’s his love for them that motivates his best decisions--not just risky ones.

The decision to go back into the Army is what messes Victor up, with the addictions and the trauma. And his pride and need to be ‘strong’ means he refuses to face it and deal with it, because he’d rather not seem weak by admitting he has a problem or needs help or can’t fix himself on his own.

Schneider’s emotionally barren childhood and loss of what little support system he had as a young adult gave him the trauma that fed into his addictions. And while his is nothing like Victor’s, you can still see it haunts him. 

He’s desperate to give and receive love, but terrified of losing it, which leads him to bounce between ‘no strings’ relationships that don’t scare him but do hurt...and considering marriage to anybody who’ll have him, while he puts all of his love on a family that he has no actual rights to, simply because they let him.

Where Victor won’t admit his problems, Schneider goes to rehab six times. And he’s honest about how hard it is to stay sober. Where Victor insists he’s right just because he’s the dad, or the husband, Schneider will apologize when he’s called out--or correct himself. Victor isn’t willing to seem vulnerable or ‘weak’--even when he tries to win Penelope back it’s with smirking bravado and lies. Schneider is willing to rehash the most pathetic, broken parts of his own history to give Penelope courage. 

Victor was Lydia’s adored son in law for almost two decades, and when she might die he’s nowhere to be found. Schneider gives her mood lighting and tries not to cry at the thought of losing her.

Schneider doesn’t share Penelope’s culture, like Victor does...but he makes an even larger effort to try, because of his privilege. He learns Spanish, he joins in their meals and events and does his best to be a good ally. 

Max:

focuses his life on helping people

loves children and is very family focused

is willing to have a casual relationship, but really wants more than that

charms Penelope’s family, especially her mom

Again, Schneider shares all these traits, they just manifest differently.

He doesn’t need to work, but he uses his time to mentor kids, or teach exercise classes, or give his entire apartment complex the love and attention they each need. He spends his time figuring out, unasked and unpaid, just because he cares, what will make each tenant happy beyond the landlord business he’s actually called for. He doesn’t have the specific type of strength that saw Max (and Victor) through war, but he has the same drive to help others. 

Max enjoys Penelope’s kids, and has always dreamed of having a family of his own. In the one exchange we see him have with Alex at the dance, he seems pretty good with him, too.

Schneider claims he’s never really thought about kids for himself, and I think that whether he really hasn’t, or he claims he hasn’t because he already decided long ago that he’s not dad material, it’s easy to understand why he doesn’t have kids of his own. His parents growing up were completely disastrous--neglectful, distant, cruel, inconsistent. His best role models were family employees.

But whatever his thoughts on having kids of his own, he’s really good with them. He supports Elena and looks after Alex and is trusted to watch tenants’ grandbabies---a really high level of trust, especially placed in someone who can come off as careless or incompetent.

And so as a guy who has endless piles of love to give, who learned that he couldn’t expect to consistently receive it, Schneider is completely obsessed with the Alvarez family. He puts them in his art projects, he joins all their family gatherings, he tries to contribute and help out and makes them the center of his world. 

He doesn’t need to have kids, to start his own family, because he already found the one he wants. And they let him keep them.

When it comes to his relationship with Penelope, because that’s how we know him, Max is open to a casual relationship from the start, because he likes Penelope and it’s what she wants. But the moment she starts to show signs of wanting things to be more serious, he’s more than ready. It’s actually what he’s wanted all along. He also says ‘I love you’ first, and is the first to bring up kids. 

Schneider has casual relationships only, and extolls their benefits to Penelope, but like Max he’s really open to more, and trying to follow his partners’ lead. He considers marriage twice in two seasons, in one case with a woman whose name he doesn’t even know--this is a guy desperate to belong to someone. 

He tries to get more affectionate with his non-girlfriend then does his best to look like it doesn’t hurt when she rejects him. The moment she claims him as her boyfriend, in complete opposition to what they agreed their affair is, his response isn’t to try putting things back the way they were. He leaps right to a proposal, as though he was just waiting for her to decide they could be more.

Max wins Penelope’s mom over before they even admit to dating, and Lydia holds him up as the ideal specimen of a man forever after. But despite their styles being totally different, and Lydia coming to see Schneider as more of a sweet idiot who she adopted...before there was a Max to literally sweep her off her feet, Lydia was groping a shirtless Schneider and getting him to check out her ass in public. If he weren’t already family, Schneider would almost certainly win Lydia’s approval as a tall, handsome, charming guy, in spite of not being Cuban.

Ben

supports Penelope through her coming to terms with Elena’s identity

tolerates her mother’s quirky intrusion into their dates

respects Penelope’s boundaries

We have less to work with here, as Ben is only around for two episodes. But he’s the first man we see Penelope date, and it’s very telling that the basic reasons he’s appealing to her are also characteristics Schneider shares.

Because of his own experience with his brother, Ben is able to reassure Penelope that she’s still a good mom and she can love her daughter while she works out her own issues. This is how they bond, enough so that she’s actually willing to date him when she’s been hesitant thus far.

Funnily enough, though, after Elena comes out to her and she realizes she feels weird, where does she go? To Schneider, at one in the morning. Before she meet Ben and he gives her hope that things will get better, it’s Schneider who talks her through her feelings in the immediate aftermath.

Ben never makes it to the stage where he would be expected to meet Lydia. But she intrudes on their dates virtually anyway, even hijacking his phone to keep tabs on them. He is pretty cool about that, where another guy might be bothered by it. 

At the same time, Schneider’s entanglement with their family means that Lydia sometimes does the same to him, meddling with his one night stands and sussing out his potential future with a woman he’s willing to take dance tips for. He never minds even a little bit.

One of Ben’s best qualities (that we know of, anyway) before Penelope breaks up with him is his respect for her boundaries. She doesn’t have recent dating experience when they start going out, and her self-imposed rules are a little old-fashioned, but he goes with them. Even when he makes jokes about the number of dates remaining until they take things to the next level, it’s clear he’ll wait.

Schneider wanders around her apartment in a towel, agrees to play her husband at a car dealership, and intimates that he would willingly have sex with her if she wanted because he’s ‘a good friend’...but he is completely respectful of her, he never crosses any lines or even edges near them. No uninvited touches, no lewd remarks, no blatant ogling. With Penelope, he is a total gentleman.

Schneider:

is always there for not just Penelope, but both her children and her mom

is the one she trusts with secrets she won’t even tell her family or her dates

includes her in his hobbies and his relationships, and supports hers

doesn’t lie to her, or encourage anyone else to lie to her

loves her unconditionally, with no expectations or demands

TL;DR Schneider is the guy who Penelope can’t see has everything she’s looking for in a partner, because he’s already standing right there next to her.

[altimys]

Winter 2018 anime reviews

Hello, hello. This is a follow-up post to my initial impressions post. I’ll detail how my perception of the animes changed over the season.

Also note that I will not review Violet Evergarden since I’m way too far behind on it. I’ll finish it sometime in the next season once I’m free.

Dropped Animes

The ones that were unbearable.

Citrus

3/10

Like mentioned in the post from the beginning of the season, it just had this unrealistic, trope-driven, incest (but not really) story. Mostly style and little substance, but not even my style. Well, do take this with a grain of salt. I didn’t even finish the first episode.

Pop Team Epic

7/10

I definitely appreciate the experimental and sarcastic nature of this anime. But it wasn’t really worth spending an extra 15 minutes to watch the same thing a second time, especially since I didn’t find all the skits funny. I probably would’ve watched it if they were broken into seven minute segments.

Sanrio Boys

5/10

Too cheesy. Thanks for the “be yourself” message, but I’m not really interested in bishounens parading this every episode. The protagonist’s broken relationship with their grandmother as a sad backstory made me facepalm very hard. If you had advertised this to me about 6 years ago, I may have gobbled it up, but nowadays it’s not my taste.

Darling in the Franxx

5/10

I didn’t pick it back up, and I didn’t really see anything major from twitter or tumblr, except for gifs of the pink haired girl being with her sexy-cute charm. Y’know, the kind of charm where she’s designed to be appealing in a sexy, vampiric way, but she’s doing something cute like licking her fingers after eating a slice of meat or something. Normally I’d not mind this so much, but remembering how typical the protag was, it definitely gave off the manic pixie dream girl vibes. Art and animation I saw was great though! Unfortunately.

Osomatsu-san

5/10

Skits really fell flat this season. I knew that S2 would lose some drive after the stunt they pulled for the finale of S1, but a lot of skits were utter nonsense. I enjoyed the ones where they experimented with the complexities of each character’s personalities (i.e. Choromatsu and Ichimatsu’s awkward interactions), but it was like wading through a swamp to get a chuckle. I watched most of the season then dropped it, since it wasn’t really worth spending time not having fun.

Mediocre Anime

I don’t know why I watched these but I did.

Garo Vanishing Line

3/10

The story was killing me so much in the end that I would multitask when watching it, and I’m not a natural multitasker. It was just bad writing. Nothing really made sense, and it was quite predictable. Like Sword’s sister came out of nowhere (after she died for Sword’s sad backstory) and was suddenly had HACKER SKILLZ. And I was almost positive that in S1, Sophie’s brother was taken away from her by force, not him wanting to join the El Dorado project. Whatever, does it even matter? The best thing of the season was probably Luke getting a haircut and ditching that awful trenchcoat. Do not recommend.

Touken Ranbu Hanamaru

6/10

Guilty pleasure of the season. Still managed to enjoy the nonsense, with the musicals, and these bishounen and moeblobs being one-dimensional. I did appreciate some of the character interactions and the references to Katsugeki Touken Ranbu, but with these kinds of animes, I really can’t say it’s quality. It’s meant to be aimed at a certain audience, and knowing that I am part of this audience makes it enjoyable to watch. Wouldn’t recommend unless you really like bishounenified swords.

Ms. Koizumi Loves Ramen Noodles

6/10

I previously wrote that I was interested in seeing the stalker girl’s infatuation with Koizumi-san turn into a relationship. Of course it didn’t happen. Yuri? In your dreams. I do applaud this anime for going in depth into the ramen culture and making me hungry every week. There were some hardcore facts about ramen’s origins and experimental ramen. You could tell that they did a lot of research (or were sponsored well). I ate an average of 1.5 packs of instant ramen each week, partly thanks to Koizumi-san. How can I not eat noodles after watching it? Not really any substance to this anime unless you like hearing about ramen facts and watching anime girls foodgasm.

Average Anime

These I could recommend with disclaimers and not feel bad about it.

Junji Ito Collection

6/10

Like with most animes with short stories, there’s a handful of good and bad stories. Since the source material is pretty good, there’s more interesting stories than not. There are definitely some that are ridiculously stupid, but if you are in search of horror anime, this is one you should watch. I wouldn’t say it’s equivalent to Yami Shibai, but it’s good. The animation can’t match the signature entrancing horror that Junji Ito creates, but it’s a decent adaptation. One minor quip I have is that they reuse voice actors in each skit. Might be a budget issue, might be something else. It’s not a big deal, but mostly noticeable to me because Hoshiyan’s voice is too recognizable for me. lol. Oh yeah, the short story with the oil was absolutely disgusting. I enjoyed being grossed out.

Gakuen Babysitters

6/10

It’s like a shoujo but with toddlers. Cute interactions, likable characters. Of course, it’s a light-hearted story, so I guess I shouldn’t expect too much out of it. The comedy bits are well-written, and the art style is absolutely adorable. Great casual watch if you want to feel fluffy without the bullshit of shoujo romances.

Laid Back Camp

7/10

As the title suggests, it’s a pretty laid-back anime. I love the different personalities of the female cast. They shone quite well through the segments of texting. The way that they texted felt friendly, and I felt that I was part of this silly chat group. Also enjoyed learning a lot about camping supplies (and the little pinecones that squealed were so cute). Makes me consider wanting to go solo-hiking or camping to be able to enjoy nature. I’m really glad it covered winter camping, because that’s something that most people never consider, so you get to see the different equipment, activities, and benefits. Recommend if you want something chill with a well-written cast, but not a character-driven story line.

Hakata Tonkotsu Ramens

7/10

Surprisingly, I liked it quite a bit. I was actually expecting this one to tank, because it had a predominantly male lineup, was about assassins, and had a crossdresser. Sounded like someone picked things they thought would appeal to the general public and made an anime of it. Thankfully, I was wrong. Hakata Tonkotsu Ramens is actually based off a light novel series, which really shows through the thought-out plot and layered characters. I wouldn’t say it’s as crazy as Durarara!!, but some of the twists are quite interesting. I also really enjoy the diverse cast and their interactions: Lin Xianming, pseudonym for a Taiwanese assassin who also happens to crossdress; Banba Zenji, a playful, seemingly idiotic detective with a deck of tricks up his sleeves. There’s also a canonically gay character, an ex, a child, a hacker (with an interesting backstory), and more. And these characters make mistakes, get injuries, and have flaws. I’m hoping for a second season, because watching this was quite nice each week.

Karakai Jozu no Takagi-san

7/10

If you wanted fluff with actual romance, here’s the one for the season! There’s also quite a bit of comedy added. I did feel sorry for the protag Nishikata for falling victim to Takagi’s pranks every time, but I always looked forward to what she was going to do, and how it would fluster him. I think the romantic buildup was well-paced throughout the season. Kudos to whoever paced it, because they danced around with my feelings like an expert, giving me enough of a taste to feel the flutters of romance in my stomach, but not enough to make Nishikata and Takagi an item. Some of the skits were directed very well, with surprisingly effective cinematography (see the rain and umbrella skit). The ending was really cute, and I’m pretty encouraged to read the manga to get more content.

Mahou Tsukai no Yome

7/10

Nothing really jumped out at me. I feel like the actions of the characters didn’t follow a logic to it that made me understand the character better. Nothing really sparked an interested in wanting to cheer the characters on. I really felt passive in watching events happen to Chise and Elias, and the ending wasn’t particularly spectacular either. I think it’s a decent one to pass the time, but I could not get invested in the plot or characters.

Koi wa Ameagari no You Ni

8/10

This anime certainly isn’t for everyone’s tastes, but I think I really appreciated the latter half of the series more than the first half. The surface-level summary is about the age-gap romance, but once I was able to hear Kondo’s internal thoughts, especially about being older, the nostalgia of youth, and trying to pick a passion back up, I started enjoying it a lot more. I especially loved the scenes when he would banter with his college friend Chihiro. The only downside of the latter half of the episodes was the awkward tension between Akira and her friend. Her friend would just yell at her, and Akira would take it, and then not really consider it. And somehow it’s resolved. Well, other than that, I did like the characters and ending a lot.

Kokkoku

8/10

I rather enjoyed the setup and the unknown mechanisms of the system. The enemy really had the advantage in intellect and strength, and it was interesting watching how the characters tried to get around that. The last three episodes were a little flat, and the plot armor (kind of) and last bit of exposition was almost unnecessary, but it was there to give us a happy ending, which I did appreciate. Love the grandpa. I’d say this anime did a pretty decent job at the action and strategy, and the ending wasn’t blowing my mind, but I do really commend it on the setup.

Exceptional Anime

Worth your time.

A Place Further Than the Universe

8/10

Drama about girls aiming to go to Antarctica. Strong female cast, with a pretty believable depiction of average high school girls and how they might react and pursue their dreams. The voice acting was pretty spectacular for this show, especially during the second to last episode. ;) I think this anime is very real with what it’s like with concepts we usually don’t think of: having ambitions, lacking ambitions, making friends, losing friends, finding closure. It was rewarding to walk with the girls in every step of their journey. Animation quality was pretty awesome too. I also cried a bit at the end. I didn’t think I would enjoy an anime about high school girls going to Antarctica, but hey, I loved it.

Hakumei to Mikochi

8/10

It’s a slice-of-life about a pair of thumb-sized forest dwellers. Hakumei, the more adventurous of the two, works as a handyman and has a determined attitude. She’s still a very considerate person and is full of compassion and a heart to help others. Mikochi is a bit more reserved and particular. She’s famous for her cooking and has a passion for textiles and clothing. Both characters compliment each other well, and it’s cute seeing them bustle about their daily lives. You also get to see into the lives of other characters they meet, and it feels an established world with all it’s quirks and culture. The general feel of this anime is relaxed and storybook-like, similar to the same kind of vibe I get from Ghibli movies. I honestly thought this was a children’s anime during the first episode. It could be, but I enjoyed it a lot.

[pervincetosscobble]

finished my young justice rewatch here are some Thoughts And Feelings (this is a very long post sorry to mobile users)

let me begin this post by saying bart allen is my one and only true ultimate favorite, and also if you’ve ever wanted to see (um, hear) me cry you can do that now thanks to bart allen

i was surprised by how much some of my opinions/faves changed tbh? i was. god, i was 13 the first time this show aired and 15 when it ended, so it tracks that now, 4-6 years later (???!?!?!?!?) things won’t be the same, but some changes were. significant

i’m adopting conner, for starters

conner loves sociology. pry this headcanon from my cold dead hands, motherfuckers

conner also knows a lot of really weird pieces of trivia

conner was a good student but also didn’t care about school

i remember not being really into conner/m’gann the first time around but i was kind of taken in by them in s1? these two kids trying to find their home in a world that wasn’t made for them.

conner and m’gann had a lot of date nights themed around Get To Know Earth Culture

some of these involved bioship travels and, like, day trips to paris just because they could

some of these were like. improv lessons and pottery classes.

i’m also still not super happy about the hints that they get back together post-s2. like. i hope they become friends again, that’d be good, but i refuse to believe conner would be okay with dating her again after what she did the first time.

point that has only just occurred to me: in the beginning of s1 conner is vastly uncomfortable with telepaths. by the end he’s totally okay with it because of m’gann. and i’d bet money there’s a point somewhere mid-timeskip where, because of her, he was no longer okay with them anymore.

one the note of the timeskip: five years seems RIDICULOUSLY long to me, especially considering that every plot-significant change happened “in the last few months.” like, what was the goal? aging dick up to nightwing? five years is SO MUCH missing lore, so many stories they could’ve fleshed out. make it two years. hell, if two is a squeeze, i could’ve gone for three. but five years?? nah, dude.

the best thing about the timeskip was domestic wally/artemis, which, like, i was totally enamored with them, so much, and their relationship development, and everything about them

i also liked kaldur’s character a lot more this time around, although i’ve got to say i’m not wild about them basically fridging tula?? (i’ll admit to not being super familiar with aquafam lore, so i don’t know how true to the comics that is, but they didn’t have to do it in the show) like, i know that it turns out he didn’t really go mad with manpain grief and turn evil, but i think there’s an equally powerful story in tula being injured and recovering in a world where she thinks kaldur abandoned her, in kaldur having to lie to her face instead of using her memory as justification

in general i think s2 could’ve benefitted from some trimming? i love all the freshmen, i really do, but it wouldn’t have been the worst thing if there were a few less of them.

alternately - and i know, networks and whatever - if s2 had been two seasons, or even had half a dozen more episodes, i think it would’ve benefitted from that, too

gotta say, the light gets old real fast. or at least, like, the whole “everything got super fucked” “no, everything went exactly as we planned it” things. like, you’re telling me the team never once threw them a curveball. never. really

13yo dick’s shenanigans and wordplay were a lot funnier when i was 13

now that i am an adult i feel..... a little more skeevy about canon-era jaime/bart than i did when i was 15 and i actually knew 13-year-olds who were dating 16-year-olds and saw nothing wrong with it? but i maintain that they have a solid friendship and definitely end up dating once they’re in their twenties

zatanna is my hero

this show vastly, vastly underutilized raquel. it’s a damn shame.

you know who else was great? mal. mal definitely saves puppies in his spare time and knows three languages and at least seven forms of martial arts and every teammate’s abilities and fears and favorite colors and everything there is to know about karen

artemis/zatanna is good

you know how jade just showed up and was like “yo roy look at our daughter”?? i like the idea of jade just, like, casually dropping lian’s existence into daily conversation.

“i miss alcohol now that i’m pregnant,” jade says. artemis chokes.

“this mission can’t take too long, i told the babysitter i’d be back by 9,” cheshire says. “the what,” sportsmaster shouts.

i still ADORE the runaway team, including og!roy, and man, i didn’t come out of this rewatch shipping a lot, but i love the idea of the runaway squad being kind of a tangled poly mess. ed is dating roy and asami, tye is dating asami and virgil, asami loves all her boys and understands why roy isn’t interested, etc.

like this fic for the disney film descendants

but also, like, in general, i really fucking love these kids

this show has a lot of really weird dad plots, which is strange for me bc my dad and i used to text after every episode, but also in general it’s interesting seeing the vast range of potential dads. for instance:

clark “i didn’t ask to be a dad” kent, who eventually transitions into an apparently passable dad? it’s not clear

black manta, who is morally a shitheel but also one of the most supportive dads on this show

barry, who definitely wanted to be more of an uncle than a dad

lex, who wanted to buy his genetically-experimented kids’ love

ollie, who really had a hell of a time

and of course dinah, who is the best mom and probably the best parent on the entire damn show

(also bruce, who didn’t do much dadding, but damn if i didn’t tear up at him talking to dick/tim/babs before he left earth)

gar logan is the team’s adoptive little brother. all of them, but especially the original six. and probably also zatanna and rocket.

i’d be able to go into more detail if we had more goddamn information about who joined the team when, which we don’t, because five year timeskip

but anyways since gar and m’gann are pseudo-siblings they’re closest, and then gar also loves conner, because who wouldn’t love their sister’s cool boyfriend?

conner is overwhelmed and kind of pleased by this

after conner and m’gann broke up gar was very worried that his sister’s cool ex-boyfriend wouldn’t want to hang around him anymore

conner did. conner and gar are basically brothers.

gar loves the entire original team, period

also i wanna throw it out there: ik there was a show-specific comic tie-in. i have read none of it. so if i say anything that doesn’t mesh with that it’s because i don’t care a ton about the comics? the show is probably better anyways

god i think that’s just about everything? so to wrap up this extremely long post i’m gonna go out of bulletpoint style here

i’m excited for s3! i really am. i can’t wait to see what they do with it. but also i’ve been convinced since i was 15 that the very last scene, with darksied and apokalips (which i deffo just spelled wrong but anyways), that scene only exists bc the producers were like “fuck it, we’re getting cancelled, might as well go all in” and just threw garbage in to make it seem like there was a conspiracy

like, this is a deep cut here, but there’s an episode of phineas and ferb that ended with a “next time” that was a series of nonsensical dramatic scenes, and then they tried to make an episode out of it and it was basically gibberish, and i’m really concerned that’s what’s going to happen here

but tldr i did enjoy this show a lot, and i’m glad i had the chance to rewatch it, and if anyone has their own thoughts to share y’all are welcome to hit me up!!