#still looking for more people to write&plot with

[damiansgoodgirll]

could you write rhea x jey x reader smut. Like however you wanna write it just no cheating please

I’VE NEVER WRITTEN ANYTHING LIKE THIS AND I DON’T THINK I’LL MAKE MORE CAUSE THIS ONE IS BAD, YOU’VE BEEN WARNED ‼️

rhea ripley x reader x jey uso

likes, comments and reblogs are always appreciated!!

‼️a little bit of angst, feels, insecure reader, fluff, romance, smut so stay away kids, not much of a plot, soft!rhea, soft!jey, dom!rhea, not so dom jey, threesome(?) and more i guess‼️

eyes on me

you didn’t exactly know what led to have you naked between rhea’s and jey’s bodies, but somehow you ended up there. maybe it was the constant tension between you and rhea. the way she would always make sure you were okay after a match, the way she helped you train everytime you were at the gym together or how she always made sure to compliment you, even if you were just wearing baggy clothes and had dark circles under your eyes.

you never meant for that to happen. after the painful break up with dom, rhea needed someone that stayed by her side. you and damian were her best friends so, of course you were both there for her.

she took your advice seriously when you told her that she had to move on. in less than two weeks she was already seeing jey uso and you were happy for her. maybe feeling a little jealous that she didn’t need you as she used to but you couldn’t lie that jey was the right person for her.

jey was always kind and gentle with you. respecting your friendship with rhea and never overstepping.

but if rhea and jey were a happy couple, why were you naked on their bed?

“we don’t have to do this if it makes you uncomfortable…” rhea softly whispered in your ear, gently kissing your neck.

it wasn’t making you uncomfortable. it was making you wonder what had changed during that dinner with rhea and jey at her place.

one minute you were all happily eating and watching a comedy show, the next minute you were straddling jey’s lap, his hands were moving under your shirt as rhea moved to massage jey’s shoulders and neck, leaving soft kisses on his skin.

you remember jey carrying you to the main bedroom, rhea leading the way. you still remember the feeling of rhea’s hands as she undressed you, taking her time admiring you. you remember how jey undressed rhea, him watching her with loving eyes, making you feel a little insecure because you didn’t have someone waiting at home that would look at you like that. you remember how rhea softly dragged you down on the bed with her, bringing a hand to your cheek and looking for any sign of discomfort in your eyes. when you showed none, she tested the water and brought her lips over yours. no rush, just a gentle kiss. one, turned into two, and two kisses turned into a full make out session with her as jey undressed himself and laid next to you on the bed. one of his hands tenderly caressing your hips. leaving soft kisses from your neck, to your collarbone, into your belly.

he stopped his movements when rhea said those words. he was too lost in his thoughts that he actually didn’t think that it might have been uncomfortable for you.

he looked between your faces and noticed the hopeful looked that rhea had. he knew that rhea thought of you as more than a friend, he talked about it with her and they both were on the same page. they both liked you, they both had feelings for you and if you were okay, they were ready to let you in their relationship.

“i’m okay with this…” you soft voice whispered. rhea and jey were able to hear you and they both relaxed when you said those words.

“but you’re thinking of something, aren’t you?” jey questioned, making you nod your head “what is it babe?”

you blushed under his staring gaze “it’s just…i don’t want this to ruin what we have…”

“i promise you, it’s not” rhea added “nothing is gonna ruin what we have…we promise you”

“okay…” you smiled, earning a smile from her side “but uhm…i’ve never been with two people at the same time so i don’t really know what to do” your cheeks turning red.

“it’s okay beautiful, we will take care of you” jey reassured you, making you nod your head.

your heart pounding in your chest when rhea started kissing you again. her lips were so soft and kissable that you were kinda jealous that jey had the chance to kiss her every day. jey moved between your legs, with his big hands, he softly pulled them apart. while rhea was assaulting your lips, jey started kissing your thighs, grazing at your naked pussy but never touching it.

“i wanna taste her…” rhea almost moaned on your lips when she heard jey kissing your thighs. he couldn’t say no to mami so he moved out of her way and as rhea positioned herself between your legs, the twin laid next to you, popping himself up on his elbow as he watched cautiously every movement your face made.

rhea’s lips kissed your clit, making you slightly move on the bed. when she got the reaction that she wanted from you, she began her attack on your pussy. she took her time eating you out, kissing and licking your clit. jey’s free hand moved over your already hardened nipples, giving them equal attention.

you weren’t a typical screamer in bed, you were shy and it was hard for your partners to understand if you liked what they were doing or not. jey noticed how hard you were trying to keep your moans low and he didn’t agree with your choice “i wanna hear your pretty voice” he whispered into your ear, while his lips left kisses behind your neck “moan for us y/n…” and that was all the confidence you needed because in the exact moment rhea licked at your entrance and jey took a nipple in his mouth, a soft moan escaped your lips, making rhea shiver from how good you were being for them.

jey enjoyed teasing your nipples, wondering if you were so sensitive just for him or you were like that in general. his kisses were soft, he was treating you with such care that you found hard to believe that the jey uso was such a romantic lover boy.

rhea told you about the first time they had sex and how he basically destroyed her. of course, she enjoyed it, and by the way she told you that story, you were sure that those two destroy the bedroom at least twice a day. but this was a different side of jey, and a different side of rhea.

still taking the lead, she brought one of her skilled finger over your clit as her tongue was working over your entrance “fuck baby, you taste so fucking good…” she moaned against your pussy, making you shiver. the added pressure over your clit sent goosebumps all over your body. seeing your thighs trembling, jey knew that you were close and he needed to see you coming for them.

he moved his head from your nipples to your lips, gently kissing you, his tongue fighting for dominance “you coming baby?” he whispered in your ear. too lost in pleasure, you couldn’t find a proper answer but the way your thighs shook and the way your body went rigid and limp in a minute was enough as an answer for jey. grabbing the sheets, a very pornographic sound left your lips, shocking everyone in the room, you included. no one ever made you cum so hard in your life.

rhea worked you through your orgasm, stopping only when she cleaned you up with her tongue. when she was done, she brought her face down to your face and softly pressed a kiss onto your cheek “you were so good for me…” she whispered in your ear. she watched your blissful face, eyes barely open and mouth agape, you were a vision for her.

“you should taste how sweet she is…” she grabbed jey’s face and brought him to her lips, making you taste yourself on him. jey moaned into rhea’s mouth, swearing that you were the sweetest thing he’s ever tasted.

rhea’s hand teased jey’s cock. you saw it tweaking in her hand as she gave it some attention too. pre-cum already spreading along his shaft, making him whimpering as rhea mover her hand up and down. you watched in awe how confident she was, how confident she was moving and you wished you could have a little bit of her confidence. you were there, watching her pleasuring her boyfriend and you felt yourself getting wet again.

“baby…” jey moaned against her lips “i wanna try y/n’s pussy…” he said, almost as if he was asking for permission. you saw the look rhea gave him, almost a smirk and she couldn’t say no so she nodded, kissing him one last time before sitting on the bed next to you.

rhea fantasised about you multiple times. she fantasised about having you naked just for her, having you naked for her and jey and now she couldn’t believe that you were actually there.

“you doing okay love?” she asked, making sure that you were okay and not overwhelmed.

“yeah…” a whisper left your mouth.

jey checked with rhea and she signed him to go, that you were okay and ready for him.

“if at any point you wanna stop, you say the word and i stop okay baby?” jey asked you, and you nodded. he wanted this to be pleasurable experience for you and hurting you wasn’t his intention.

he was big. probably the biggest dick you’ve ever seen and you haven’t had sex in a long time, you weren’t so sure he was going to fit.

“what about we stretch you out first?” rhea asked, mostly to jey. she might have sensed your worry or maybe she remembered when you told her that the last time you had sex was months and months ago.

jey nodded, understanding that this might have been a little overwhelming for you. he brought his middle finger over your entrance, teasing you, making you whimper. he took time with you. his finger slowly thrusting inside of you. your walls immediately clenching around him.

she’s not going to fit - he thought - she’s too tight.

“let me know if i hurt you…” he whispered, reassuring you with a smile.

“okay…” you smiled back. you trusted jey, you trusted rhea, maybe you didn’t trust yourself much but you knew you were in good hands. they would never hurt you on purpose and rhea reminded you that no matter what, you had control over your decisions, whether you wanted to continue or not.

his finger moved slowly inside of you, jey finding that spot that made you crawl to him. he found it when he heard a strong whimper coming from you “oh, like that uh?” he watched as you nodded your head, not being able to answer him. rhea admired the whole scene in awe. she had dreamed about this multiple times and she couldn’t believe that now you were actually there, naked for both of them. she was mesmerised by your beauty, by the way your body reacted so well to both her and damian. she couldn’t get enough of you.

“i wanna feel you coming on my cock…” jey’s voice was low, delicate even. you nodded, anticipation building in your core “if at any point you want to stop just let me know, i don’t wanna hurt you baby…” jey was dead serious. you weren’t rhea, he didn’t know you or your body as well as he knew hers but by the time you’ve spent together he saw how more of a delicate person you were, he knew he had to be careful otherwise he would scare you.

“i will…” you reassured him.

he brought his dick through your folds, collecting your juices before slowly thrusting his tip inside of you. he was big, probably the biggest one you’ve ever been with. he made you feel inch by inch, thrusting deeper inside of you “breathe baby…” rhea reminded you.

once he was all settled in, he waited for you to adjust, leaving soft kisses on your collarbone and breast, whispering praising words “you can move jey…” you nodded your head when he gave you a questioning look.

he moved slowly at first, his eyes never leaving your face, making sure there was no sign of discomfort.

when he hit that spot inside of you, you couldn’t contain your moans low any longer, pleasure was building inside of you and rhea’s hands touching between your shoulders and your breast weren’t making it easy for you to stay quiet.

“faster…” you moaned, making him smile. he sped up a little, hitting all the right spots inside of you “oh fuck…mh…” you felt tears forming inside your eyes, you’ve never felt that much pleasure in your life.

your thighs shaking a little, making jey speed his movements as rhea lowered her head and took a nipple into her mouth, biting and kissing it “you’re being so good for us baby…so fucking good” she murmured against your skin. you loved her dominant side, you trusted her with your life and you gave control over your own body.

“jey…oh-fuck…” you opened your eyes, meeting his staring look. a few tears fell and rolled down your red cheeks “please…” you didn’t even know what you were begging for.

“please what baby…you like it?” he whispered into your ear, only earning a nod as a reply “good girl…baby, you’re made for us…” he quickly looked down at rhea, noticing how her lips were playing with your nipples and her hands were playing with her pussy, bringing her own pleasure. the room was filled with moans, your skin shining from the layers of sweat upon it. jey’s body moving in sync with yours as you were both chasing your orgasm.

“jey, i’m so close…fuck” your voice whimpered, making jey slowing his thrusts as he could take a good look at you. he brought a leg over his shoulder, moving deeper inside of you.

“oh fuck…come for me baby…” he almost cried when he felt how your walls were squeezing him. you were close and he knew it “keep your eyes on me baby, i wanna see your face…” he ordered and you tried your best to do as he said “eyes on me…” he whispered, voice so rough and yet so soft.

rhea was about to cum as she played with her own clit and her moans vibrating against your skin where enough to send you over the edge.

“jey…oh fuck…i’m…” you weren’t even able to finish your sentence that you were already coming on his cock.

“yeah, i know baby…i wanna feel you” he sped up his movements as you were coming all around his cock. your own orgasm led to rhea coming all over her fingers. jey couldn’t hold himself anymore and he quickly pulled out and came all over your chest. he wanted to cum inside of you but as a first experience with him and rhea, he didn’t want overwhelm you. “oh shit…” his eyes rolled back as he leaked all over your chest and red breast.

you took time catching breath, your chest heavy while rhea softly kissed your reddened skin. your whole body was sensitive, legs still shaking and tears still falling from your eyes. jey moved to get a washcloth from the bathroom to clean you up.

“you did so good baby…” rhea whispered as she moved closer to your body. she laid down on the bed and she gently grabbed your body so you could lay against her. your head over her shoulder as she softly whispered praise words into your ear.

jey admired the two of you, feeling so grateful that you trusted them both.

he quickly cleaned himself before coming back to the bedroom, his hands moving to wash your sensitive pussy and chest, to clean you up from all of his juices and when he was done he moved to lay back down, next to your and rhea.

“are you okay baby?” he asked, meeting your eyes “anything that hurts?”

you smiled “no…i’m perfectly okay, nothing hurts…” and they both believed you. you looked so peaceful in jey’s eyes that he wished this could be a permanent thing and not a causal one.

“i should probably go home…” you whispered, feeling like you didn’t belong there. it was fun, it was good, but you didn’t want to crash rhea’s and jey’s romantic relationship more than you already did.

jey and rhea looked at each other, worried that they might have done something wrong “what are you talking about love?” rhea softly asked.

“i mean…this was just one night thing, right? i don’t wanna be the reason you two break up or have problems…” you mumbled, shying away.

“what? hold up! what is that coming from?” jey intervened.

you took a deep breath “i mean…isn’t this what you wanted? just an experience?”

“absolutely no…baby, why would you think that?” rhea was partially shocked and hurt “what i said at dinner, it’s true…i’ve always thought of you as more than just a friend and just because because jey and i are dating, doesn’t mean we don’t want you too…if you want us” she smiled at you.

they wanted you? not just for the sex, but they wanted you.

“i know that your pretty mind is overthinking right now…” jey murmured leaving a soft kiss over your shoulder “but we want you, if you want us…”

“like a relationship? the three of us?” you definitely didn’t expect that proposal.

“yeah…” rhea breathed “the three of us…we can take things slowly, we are not rushing you and we definitely will never make you do things you are uncomfortable doing…but it’s pretty clear, we like you more than just a friend and the idea of not having you with us it’s killing me…”

“okay…” you whispered, meeting rhea’s face and her hopeful eyes.

“okay?” jey asked, smiling a little too much.

“yeah…okay, let’s do this…” you knew you were in good hands so why not giving it a try?

——————————————————

I CANNOT BELIEVE THAT I WROTE THIS 🙅🏻‍♀️ enjoy 💋

[absolutely-not-my-main-blog]

Every time one of the Sunny cast is in something else that's marginally successful, you always see articles like "This proves it's time for It's Always Sunny in Philadelphia to end" and I need to be dragged out of the room kicking, biting, maiming because yes, while it's great the actors are branching out and I want them to be able to do so and get the recognition and respect they deserve for their skills, that doesn't mean there's not still worth in their other work, and what it all boils down to in the end is: people don't respect Sunny or all their skills already on display in Sunny, they never have and never will. To them, Sunny running so long is a 'blemish' on the record of their career, a growing mold they can't scrub clean, a shackle on the arms of ambition that's been dying a slow death and refusing to set them free, and not the incredible feat, work of passion, and still very much alive (and important to so many people) thing it really is.

And these people don't even have stake in the situation! Many aren't even fans, never understood what they were doing to begin with, admit to having only seen a few clips or episodes here and there, or, even worse, have been saying the same thing every single year even when Sunny WAS in its prime because they see something (especially of a certain genre and presumed quality) on that long, they only look at it on the very surface and default to expecting it to have continually gotten worse regardless of whether or not it has, and I won't argue Sunny hasn't had its share of speed bumps and slumps, but by god at every turn they have also worked to get over them—especially succeeding in their latest season balancing old Sunny with the new —and keep delivering new plots and new ways to work with these characters that they have put so much thought and love and work into over the years, and even though it's a comedy show, they deserve to be seen as more than just a bad punchline to an overused joke. Their life's work deserves to be seen as more than just a joke. Because it may not mean anything to the people writing the headlines, but it means something to a lot of people. And the love for creating it is still there. The love is still there. Anyway, woe, wall of text be upon ye, I hope Sunny lasts forever.

[siriuslyobsessedwithfiction]

Alina Starkov - the most inconsistent main character. A tragedy of not wanting to have an identity.

The main character in Shadow and Bone trilogy, a prime example of "she deserved better". A.k.a. soldier, Sun Summoner, Sun Saint. In reality, a false saint and a false hero, who has less personality, goals, spine and consistency than her three love interests. How did this happen? Short answer - bad writing. Long answer? Here we go.

Her character at the beginning - a blank slate.

Physically small and weak, sickly, fragile, with a sour face and sourer attitude. Grew up in an orphanage funded by a Duke, who they were taught to basically worship while looking down on religion and beliefs in saints. Children in the orphanage were beaten if they misbehaved or didn't do chores, but were given education and fine food, which means they were faring better than peasants and farmers. Alina had not many, but several options in her life. She could learn a trade that would not require physical labour, like sewing. Or, she could marry and hope her husband was gracious enough to buy a donkey instead of making her carry heavy sacks of salt on her back, as we see a random man do to his wife. But Alina had no hobbies, interests, aspirations or ambitions in her life. Except her childhood friend Mal. Mal gets a mandatory draft in the First Army, and of course Alina follows, and settles for being a mediocre cartographer. Mal thrives in the army, showing off muscles and hooking up with women, while Alina dutifully waits for him saints know why. She doesn't have other genuine friends, she doesn't like people, she doesn't like anything. This is not a bad start in a sense that there is much room for growth and improvement.

Refusing to belong

Alina discovers she's a long awaited sun summoner, who can vanquish the Fold and unite Ravka. She doesn't want to be special, but not for the reasons you might think. Instead of fearing the burden of such an important task or genuinely becoming paranoid of being assassinated (she gets over those in five minutes), she just...doesn't want the responsibility of actually being useful for something. She'd rather not have powers at all, and go back to being in a constantly sickly state. She'd rather be tailing Mal like a mouse. Which doesn't make any sense for following reasons:

Alina's insecurities in SaB:

Not being pretty and talented

2. Not being as pretty and talented as Grisha

3. Being an orphan, being unwanted.

Being a Grisha actually solves all those problems for her. She gets prettier and healthier once she stops repressing her powers, has a unique cool power, and a community that cares for her. Plus, the support from important figures in Ravka. In time, she could have a family.

Instead, she refuses to acknowledge she's one of them, doesn't train properly, preferring to cling to her prejudices and make digs at Grisha. She'd rather complain that they're prettier, confident and pampered than acknowledge they are serfs, nothing but glorified servants with no basic human rights. Instead of her superstitions and prejudices being shattered when she starts living with them and realizing what Grisha have to go through, becoming rightfully enraged that her people are being treated this way, she still doesn't feel any empathy. In fact, she still doesn't see the General as a HUMAN BEING WHO MIGHT HAVE FEELINGS, even though he makes time in his busy schedule of running an army to make sure she's comfortable, jokes along with her, listens to her fears and reassures her, etc. Why would he go through the trouble if he was heartless? He's the General of the Second Army, by the King's law, she's his soldier. She is obligated to obey him regardless.

The narrative supports her delusions.

I get missing her friend, I get struggling to adjust, but it's more than that. Alina is getting dragged along from a plot point to a plot point kicking and screaming, as if she has anything better to do. She doesn't have a life, why is she so against of getting one? Once she finally somewhat adjusts to her life in the Little Palace, it turns out Darkling has had malicious intents towards her powers all along! Aha, you were right to be prejudiced, Alina! Now abandon your people, your country, and run!

“He … he said that Darklings are born without souls. That only something truly evil could have created the Shadow Fold.”

Imagine telling a person who saved your life that he was a soulless abomination, even though you do not know him, and he is still kind to you and reveals as much about him as he can. There is no grooming and manipulation here, it's just called not being a bitch. Darkling tells Alina he's over 120 years old, Alina is an adult, and the damned kiss was consensual. Of course he didn't tell her everything. Even regular people don't reveal their life-long ambitions and deepest childhood trauma to their crush after several conversations. It took Alina months to stop being in denial about being a Grisha, still didn't like being one, you're telling me if Darkling set her down and explained the complex political situation and his plan to overthrow the corrupt monarchy and bring an end to the war, Alina wouldn't jump out of the window?

Alina running away, not confronting the problem, and straight up deciding Darkling was evil incarnate with no evidence snowballed into Darkling deciding she couldn't be trusted and taking more drastic measures. Liberation of his people was on the line and one pesky girl screwed up a carefully planned coup because she couldn't handle her feelings.

False badassery

Throughout the whole three books, every time Alina makes a decision, it's immediately followed by self-doubt, shame and scorn. But no actual objective criticism. We often see variations of "It was foolish, but I didn't care", "I knew it was reckless but I couldn't bring myself to care", but never her actually analyzing why, or deciding not to do something like that again. Her small victories are immediately followed by thoughts on how would others feel about it, even though the person in question isn't even there and couldn't give less of a shit: "Never is it to be said that Ana Kuya didn't teach us manners", "A cheap trick, but a good one. Nikolai would be proud". Ana Kuya was an abusive mother figure, Nikolai was using Alina's status to get the throne. Sure, it's good that Alina is capable of learning useful things from every kinds of people, but she doesn't think "That was smart of me. I learnt that. I'm proud of myself for an accomplishment". She thinks "Is it good? Would they like it? They like things like that, right?". She attaches herself to people that fit her view of "deserving" and helps them, even though it might not be for the best. Extreme lack of self-worth, combined with entitlement.

When Alina hears a rumour Darkling ordered his heartrenders to sew a traitor's mouth shut, she's horrified. Even though that's hardly the worst punishment for a traitor in an army. But when some pilgrims insult Genya, she orders to have their tongues cut out after they're given only one warning. When Alina commits violence at slightest provocation, it's baddass. But when Darkling commits a controlled necessary military act to stop enemies from overrunning the country, it's madness and is falsely labeled genocide. Look up the definition, genocide is what was happening to Grisha.

The Darkling never kidnapped children and put them in the war zone. He only lied to Alina that he did, a clever strategy with no bloodshed. Meanwhile, Alina let her cult fight for her, whose members were brainwashed children, some only twelve years old.

When Alina faces a dilemma or a tense military situation, her go-to strategy is suicide. That is not martyrdom, nor it is badass.

Darkling became a bad person out of good intentions and desperation, Alina is just a bad selfish person.

Desperate people are the ones capable of the worst acts. Darkling didn't go nearly as crazy as he could, and frankly had a right to on behalf of his people.

"Aleksander had marched south with the king’s soldiers, and when they’d faced the Shu in the field, he’d unleashed darkness upon their opponents, blinding them where they stood. Ravka’s forces had won the day. But when Yevgeni had offered Aleksander his reward, he had refused the king’s gold. “There are others like me, Grisha, living in hiding. Give me leave to offer them sanctuary here and I will build you an army the likes of which the world has never seen.”

It doesn't matter how much genocide, prejudice, abuse and dehumanization the Grisha suffered through for centuries all around the world, Alina never bothers to look at the big picture. Her help is only for those who she deems worthy of it.

She attaches herself to people who fit her narrow-minded view of "worthy". She immediately believes Baghra's rather flimsy expose of Darkling, even though the old woman has been nothing but unhelpful to her, only insulting her and beating her. But Alina associates her with her only mother figure, Ana Kuya, another old hag she had a toxic relationship with. And even though Baghra is an immensely powerful Grisha who refuses to help or even lift a finger, or just spit out vital information, Alina coddles her and provides protection. Instead of telling her to fess up the useful information and save her unhelpful comments, Alina looks up to her as a mentor.

When Genya tells her story, Alina feels bad for her, but not bad enough to see things her perspective. She only becomes protective of Genya once she gets mutilated, out of pity. If it was genuine compassion, she would've forgiven and understood her from the start.

Every Grisha has been hunted and shamed for merely existing, almost every Grisha has lost a loved one to war. But Alina pointedly ignores it, because she doesn't personally know and care for those people. Therefore, she doesn't feel empathetic. Because if she feels empathetic, she might start feeling guilty about how she runs away from her responsibilities at every given opportunity. Just look at this passage:

“You know what he plans to do, Ivan.” “He plans to bring us peace.” “At what price?” I asked desperately. “You know this is madness.” “Did you know I had two brothers?” Ivan asked abruptly. The familiar smirk was gone from his handsome face. “Of course not. They weren’t born Grisha. They were soldiers, and they both died fighting the King’s wars. So did my father. So did my uncle.” “I’m sorry.” “Yes, everyone is sorry. The King is sorry. The Queen is sorry. I’m sorry. But only the Darkling will do something about it.”

The Darkling never wanted power for selfish reasons. He didn't want to take over other countries or lift Grisha above regular people. He wanted his kind to have basic human rights. Centuries of diplomacy and servitude only gave him enough power to make a school for Grisha children and save adults from slavery and getting slaughtered by serving nobles. He wanted to use the Fold as a border, to stop enemies from invading whenever they pleased, so he would have the time to save Ravka from collapsing. What has Alina done? Started a civil war, destroyed the Second army and helped put a morally dubious man with no claim on the throne to continue an outdated absolute monarchy tradition.

Alina Starkov was meant to be the sun, but turned out to be a trick of the light.

Every time it felt like Alina was emerging from her cocoon as a beautiful butterfly, embracing her true self, she went back to the toxic situationship and the toxic mindset. The narrative also always struck her down. Every book begins and ends with her being sickly, fragile, missing an essential part of herself. It would be good if it was written differently and showed themes of being disabled or having a chronic illness accurately, but it's not. It started out well. Alina was removed from an abusive environment, found a purpose in life, started loving her newfound powers, outgrew the stupid crush who she was way too dependent on, but it all went downhill from there. And then some. This constant vicious cycle does not fit the theme of growth and improvement, and neither does the ending, where Alina loses her powers and goes back to the orphanage. Once again, she's frail and strange, servants (who she now employs) don't respect her, sneer and make fun of her, while her now husband Mal turns a blind eye. Everything is back to the way it was: Mal thrives, Alina is...there. The ending is supposed to be bittersweet, a couple who survived a war building a new life together, but I don't see the sweet part.

Trick of the light - definition: something appearing different from what actually is as a result of the quality of light.

Darkling wanted her to be a strong Grisha, his equal and balance. Grisha wanted her to be a capable leader, Bataar twins wanted a living saint they could worship, Nikolai wanted a wife interested in Ravka and politics. Alina tried to be all of that, but never really wanted to be any of those, so she half-assed it. Mal wanted the version of Alina who was small and insignificant, because anything more made him insecure, and he got his wish.

Illusion, mirage, spectre.

No matter how much the author tries to tell us that Alina's every problem is Darkling's fault, her thought process and actions paint a different picture. Alina was never mentally healthy and she never addressed or resolved her problems. Growing up in a controlled and abusive environment affected her more than anyone, including herself, wants to admit. I am not a licensed psychiatrist, so I will refrain from officially diagnosing Alina, even though she's a fictional character. I am NOT saying I know for certain that Alina has these, if any, mental problems, but she does have some alarming symptoms. It seems like depersonalization. While her symptoms don't fit into one particular mental disorder, I am reminded of psychiatric infantilism, but it is not a mental illness with symptoms. Psychiatric infantilism doesn't necessarily mean the person acts outwardly childishly. To explain very roughly and simply, it means the psych is not as developed as it should be (even if the person is very smart and clever). It shows in avoiding responsibility or not feeling it at all, problems with social connections, not seeing the big picture and taking it seriously, etc. When Harshaw tells the story of his brother getting brutally murdered by people who hate Grisha, even brash Zoya is appalled and expresses her condolences. While all Alina thinks about is that Harshaw might base his hope of having a better life on her now.

Alina also might have Dependent Personality Disorder, but it's hard to say, since we are never shown her being on her own long enough to see whether or not she can take actually care of herself. But her relationship with Mal, Darkling and Baghra (after she no longer objectively needs them) is weird, to say the least.

She never gains the sense of self or an identity, she refuses to become something, then delivers an inner monologue of accepting her fate and five minutes later goes back on her words. Her willingness to sacrifice her life is never out of thinking of the greater good and future, justice, or patriotism. She just doesn't want to live, especially without Mal, who has been doing nothing but shitting on her. Her titles are slapped on her, and she peels them off. Her personality never really changes. Everything she went through feels like a really bad exchange program she was in for a year, and from which she has learnt nothing.

P.S. I don't hate Alina's character, I just mourn her lost potential.

If you have made it to the end, I salute you, congratulations and thank you. 😊 🙏 ❤️

[hephaestuscrew]

"Minkowski's been talking about Sondheim again…": Minkowski's love of musical theatre and what it reveals about her characterisation and her relationships

TL;DR: Renée Minkowski's love of musicals, while it might seem just like a mundane character detail, is used to give depth to her character because it contrasts with expectations of her from both the listening audience and the other characters. Her willingness or unwillingness to share this interest in different circumstances reveals her relationships with other characters at various points. Since this is a long one, if you'd rather read it as a document, you can view it here: Google Doc version.

"She actually really cares about these talent shows": Episode 8 (Box 953)

In the early episodes of Season 1, Minkowski is presented (largely through Eiffel's unreliable perspective) purely as a strict no-nonsense authority figure without much emotional depth, the kind of person who only likes things that are useful, purposeful, or mandated by Command. In contrast, musical theatre is a creative pursuit that has nothing to do with the mission of the Hephaestus and is viewed by many people as fairly frivolous or silly. The gradual exploration of Minkowski's passion for musicals is one of the many ways that the show expands and challenges our understanding of her as a character. 

The first indication that we get of her interest in musicals is through her entry into the infamous talent show, something that is required as part of the mission. Minkowski really cares about 'crew morale' activities in general, even when they actually have a negative effect on morale and even before she's friends with any of her crew (for example, the Christmas and Thanksgiving dinners in the earlier stage of the mission), perhaps partly because doing things in the "right way" is important to her. 

But Eiffel senses that the talent shows aren't just about rules for her: "it’s bad enough when she makes us do something just because it’s military protocol, but I think that she actually really cares about these talent shows". This might be the first indication that we get of Minkowski caring deeply about anything that isn't inherently part of her role as a Commander. Moments like this are part of the gradual process of giving us insight into her character beyond the Commander archetype that she tries to embody. And yet, she only indulges her theatrical passion because something mandatory gives her permission, or an excuse, to let another part of herself out.

Of course, to satisfy the needs of a talent show, she'd only need to provide a performance of a few minutes. But Eiffel mentions "the second act of the play" - which along with Hera's comment that "Isabel isn't the biggest role in the play" - implies that Minkowski was intending to put on the whole of Pirates of Penzance as her talent show act, rather than a few of the songs or some kind of medley. (I suppose that Eiffel could be exaggerating or Minkowski might have been planning to do extracts from different parts of the play, but I prefer the interpretation in which Minkowski gets to be more ridiculous.) 

Even though no one else would be willing to be in her production of Pirates of Penzance, Minkowski casts Hera as Isabel, a role with two lines and no solo singing. I found some audition notes for this play which said "The traditional staging gives [Isabel] more prominence than the solo opportunities of the part suggest, so she must be a good actress" which does make me sad in relation to Hera's inability to have a more significant role by being physically present on stage. 

It’s sweet that Hera still wants to take part though. She tells Eiffel "Pirates of Penzance is a classic of 19th century comic opera", so either she’s absorbed what Minkowski has told her about the show, or she’s done her own research and formed her own opinions. I enjoy the fact that Hera is the one Hephaestus crew member who shows potential to share Minkowski's musical theatre appreciation; I like to think that this is something they could explore together post-canon.

Anyway, I'm obsessed with the idea that Minkowski was planning to play every character except one in Pirates of Penzance, a show which is designed to have 10 principal characters and a chorus of 14 men. It seems that her contribution to the talent show was supposed to be an entire two-hour two-act musical, with costumes and props, in which she would play almost all of the parts. This is very funny to me as the perhaps predictable consequence of giving an ambitious and frustrated grown-up theatre kid a position of authority and asking them to arrange a talent show. Minkowski knows that the audience will be made up of her subordinates who are theoretically obliged by the chain of command to watch and listen, so she absolutely tries to make the most of that opportunity. There's probably also a degree to which she limits other people's involvement in her musical because - as with her other endeavors - she wants the outcome to be almost entirely within her control (something that is usually pretty much impossible in as collaborative a medium as musical theatre).

Of course, Minkowski's behaviour in most of the talent show episode is affected by her being drugged by Hilbert. This creates an exaggerated situation which is the first real opportunity for Minkowski to be something other than the strict sensible authoritarian Commander and the foil to Eiffel's jokey laid-back attitude. I don't agree with ideas that being intoxicated brings out anyone's true self (especially in the absence of consent for the intoxication), but it seems pretty clear that being under the influence of whatever was in Hilbert's concoction caused Minkowski to fully commit to a level of manic enthusiasm for her musical production that might have otherwise been obscured by her professionalism. It's a particular kind of person who belts showtunes when drunk, and Minkowski is that kind of person, even if that's not how she wants to present herself. (As a sidenote, I seem to remember that they took Emma Sherr-Ziarko's script off her to help her sound more drunk. It's an excellent performance.)

Minkowski wants interval ice cream. She wants "pirate costumes" (and she'll threaten to shoot a man to get them). She wants "swashes and buckles". She wants whatever props she can get her hands on (including a real cannon). This show is important to her, even though only three other people will witness it and two of them actively don't want to be there. It’s important to her for its own sake.

Eiffel says Minkowski wants "a second pair of eyes to tell her if the prop sabre for her Major-General costume was a bit much…"  While I certainly wouldn't put it past Goddard Futuristics to have a prop sabre on the station for no apparent reason, it feels more likely that she might have made it or adapted some existing item. Which suggests that maybe she was that passionate about the props even before Hilbert drugged her. 

Even so, it does feel significant that Minkowski's love of musicals is only revealed in the episode in which she is drugged, exhibiting lowered inhibitions, exaggerated behaviour, and an "impaired euphoric effect". Her love of musical theatre is initially revealed through a professional structure that provides permission, and then further emphasised by a forced intoxication that exaggerates some impulses that perhaps she already had.

"Some hobbies other than making trains run on time": Episode 17 (Bach to the Future)

After Eiffel tells to find Minkowski to find something else to do while her work duties have quietened down, they have the following exchange:

EIFFEL: You must have some hobbies other than making trains run on time. Something to do with friends? Boyfriends? MINKOWSKI: Of course I do, but, well, there aren't really a lot of opportunities for rock climbing or trail hiking in the immediate vicinity. 

Even though this quote doesn't mention musicals, I've included it here for two reasons. Firstly, it's very funny to me that, even after the talent show debacle, Eiffel acts like he's never had any evidence of Minkowski's hobbies. She tried to perform a whole play almost single-handedly and it didn't occur to him that this might indicate an interest of hers outside of work. I think this reflects the fairly two-dimensional view that Eiffel has previously had of Minkowski, which her interest in musical theatre didn't fit into. 

Secondly, it feels notable that Minkowski doesn't mention musical theatre here. She wants to show that she has non-work interests, but without undermining her own authoritative image. Her interest in rock climbing and trail hiking - while it may be genuine - fits with how she wants to be seen as a Commander. These are hobbies which portray her as physically capable, with a high degree of stamina and a willingness to adapt to perhaps less hospitable surroundings. Of course, Minkowski does have these traits and they serve her well on the Hephaestus. But there's not really anything particularly surprising about her expressing these interests. The surprise in this scene comes from the reveal that she has a husband, a character detail which - like her love of musicals - isn't something we'd necessarily expect from the archetype-based view of her we are initially presented with. 

Her interest in rock climbing and trail hiking never come up again, because these details don't really deepen her characterisation (or at least, they aren't really used to deepen her characterisation beyond proving that she isn't entirely all-work-and-no-play). In contrast, Minkowski's love of musicals is brought up over and over because it shows another side of her that she struggles to reveal on the Hephaestus, and that allows more interesting things to be done with her characterisation.

"You wanted to write showtunes": Episode 35 (Need to Know)

Alongside the more high stakes discoveries prompted by the leak from Kepler's files, we also learn that Minkowski applied to - and was rejected from - the Tisch Graduate Musical Theater Writing Program.

Up until this point, we've only had evidence that Minkowski enjoys performing in musicals. But here we learn that Minkowski doesn't just love watching or performing in musicals - she wanted to write them too. This suggests a creative side to her that we never see her fully express.

The course

The Tisch Graduate Musical Theatre Writing Program claims to be the only course of its kind in the world and it accepts just 30 students each year. The current application process requires applicants to: upload play scripts or recordings of songs they've written; answer a large number of extended response questions about their creative process and views on musical theatre; write a 'statement of purpose' which has to talk about why they are applying and include 3 original ideas for musicals; provide a professional resume and a digital portfolio; complete an exercise of writing in response to a prompt; and undergo an interview. The process might have changed somewhat since Minkowski would have been applying (which, if it was soon after she finished college, might have been around the early 2000s) or it might be different in Wolf 359's alternate universe, but I think we can safely assume that applying to this course was a serious undertaking that required an intense amount of commitment and work. 

Applying to a course like that isn't something you do half-heartedly or on a whim. You couldn't apply to this course if you hadn't done a fair amount of musical theatre writing already. (The course requires applicants to choose to apply as bookwriters, lyricists, or composers, but I'm not going to make a guess here as to which of these Minkowski went for.) The fact that Minkowski wanted to study this course suggests that she was seriously considering trying to make a career out of musical theatre writing. In Once In A Lifetime, she tells Cutter that commanding a space station has always been her dream job, but we've got evidence here that it wasn't her only dream job. There's something kind of funny and kind of sad about the idea that writing musicals was her back-up / fall-back career path. She does not like to make life easy for herself.

The revelation 

This information is revealed against Minkowski's will. It's not something she wanted people to find out, and she isn't happy about them knowing:

JACOBI: "Dear Renée, thank you for your interest in the Tisch Graduate Musical Theater Writing Program..." MINKOWSKI: Oh, come on!  JACOBI: (pressing on) "We are sorry to say, we will not be able to offer you a spot in this year's blah blah blah." Oh this is too good. You wanted to write showtunes?  MINKOWSKI: Number one? Shut up. Number two, why are my personal records on there?! [...] How is it in any way relevant?! JACOBI: Oh, I think it's very relevant. I mean, if you're sending someone to pilot ships in deep space, you want to make sure that they can, you know... paint with all the colors of the wind.  Jacobi CRACKS UP - and, although to a lesser degree, so does Lovelace. Minkowski looks at her: really?  LOVELACE: Sorry, Minkowski. It's... it's a little funny.  MINKOWKSI: No, it isn't!

Minkowski seems defensive and embarrassed here. She obviously doesn't trust everyone there with this revelation (Jacobi, Maxwell, Lovelace, and Hera are all present). She considers this information to be "personal" and irrelevant and not even "a little funny". She's used to reactions like Jacobi's (and to a lesser extent Lovelace's); in Ep41 Memoria, she says "most people think it's hilarious that I like musicals" (see below for more thoughts about this quote). But the fact that these mocking reactions are expected doesn't mean that they don't bother her. She wants so badly to be taken seriously and, in this scene, her interest in musical theatre seems to be incompatible with that. Jacobi reacts the way that he does because of the idea that I've already expressed, that a passion for musical theatre does not fit with the serious authoritative image that Minkowski has often presented. It's not the typical hobby of a soldier, especially not a Commander.

To me, the way Lovelace laughs suggests that she might not have previously known about Minkowski's love of musicals, or at least perhaps not the full extent of it. At any rate, it's definitely news to Jacobi. And Minkowski clearly hasn't talked about it enough for it not to feel like a big reveal for her.

The rejection 

It's notable that this reveal is not just that she wanted to write for the stage, but also that she failed to get into a course that might have helped her work towards that goal. This of course compounds Minkowski's discomfort at having this information revealed. Not only did she want to write showtunes, but she encountered rejection in her attempts to do so. This detail implies that perhaps it wasn't just the appeal of her spacefaring dream that stopped her going down a theatrical career path. 

I'm about to move more into headcanon territory rather than just straightforward analysis, but I personally believe that, while Minkowski auditioned for a lot of musicals (particularly as a child / young person), she was never cast as the main role. She seems embarrassed about her interest in musical theatre in a way that (at least judging by people I've encountered) people who were always the lead in their school / college productions don't tend to be. 

We don't have much evidence about her actual level of singing/acting ability, given that she is inebriated during the only time we hear her sing in the podcast. However, it resonates with other aspects of her characterisation to imagine that Minkowski was generally good enough to get an ensemble part but never quite good enough to be cast as a main part. I think she might see only ever being cast as part of the ensemble, and failing to get into the Tisch Musical Theatre Writing programme, as slightly more down-to-earth examples of the same pattern as her repeated rejections from NASA. She is desperate to prove herself. She is "someone who very much wants to matter. To do something important." When she casts herself as almost every part in Pirates of Penzance, she is finally taking the opportunity to be a main character, an opportunity which I imagine had been denied to her over and over in both a literal and metaphorical sense.

"It's just from a play I saw once": Episode 41 (Memoria)

The next scene I want to talk about is from a memory of Hera's, which took place on Day 57 of the Hephaestus mission and in which Minkowski appears to be talking about the Stephen Sondheim musical Sunday in the Park with George:

MINKOWSKI: Oh, it's just from a play I saw once. It doesn't matter. (BEAT) The guy who sings it is this famous French painter. And his entire life is kinda falling apart. But he can always turn what's happening around him into these beautiful paintings.  HERA: And? MINKOWSKI: And... That's, I don't know. Reassuring, maybe? (BEAT) I don't know why I'm going on about this. You don't care.  HERA: I think it's interesting.  MINKOWSKI: Yeah? Most people think it's hilarious that I like musicals.  HERA: I don't see what's funny about it.  MINKOWSKI: Well, thank you Hera, but you're not exactly... you know.  HERA: I'm not... what? 

There's a couple of different things I want to pick out from this exchange. Firstly, the line "Most people think it's hilarious that I like musicals" makes me sad. I don't think she's talking about people on the Hephaestus there. Judging by the quote I talked about from Bach to the Future, Eiffel definitely wouldn't have registered Minkowski's love of musicals at this stage, and I doubt Hilbert cares at all about the hobbies of his fellow crew members. So Minkowski is talking about experiences that she's had on Earth, of people mocking her interest in musicals and thinking it doesn't fit with who she is. You can hear the impact of those experiences in Minkowski's reluctance to elaborate, in the way she says that something she obviously cares about doesn't matter, in her assumption that Hera doesn't care.

Secondly, this scene is a complicated one for Minkowski and Hera's relationship. On the one hand, Minkowski freely talks to Hera about something she's passionate about, and Hera listens and expresses interest. Hera validates Minkowski's interest in musical theatre without making a thing of it being weird and Minkowski thanks her. Again, it’s shown as an interest they could could potentially share.

But on the other hand, it seems like part of the reason Minkowski feels able to open up to Hera is because at this point Minkowski doesn't see opening up to Hera as fully equivalent to opening up to a fellow human. She doesn't just accept Hera not making fun of her interest; instead it seems Minkowski is about to imply that this lack of judgment indicates Hera's difference from humans (although she does have the decency not to say it outright). Minkowski's expectation of judgment from others contributes to her saying something very hurtful to Hera here. (This kind of potential consequence of negative self-attitude is explored a lot with Eiffel, so it's interesting that Minkowski can sometimes have a similar issue.)

Minkowski and Hera's conversation is interrupted when:

The DOOR OPENS.  EIFFEL: Hey, Minkowski, we've - What are you guys talking about?  MINKOWSKI: We were just discussing how I'm going to take away your hot water privileges if you don't reset the long-range scan.

Eiffel can obviously tell that he's walked in on a conversation that is about something other than work, or he wouldn't have asked. But Minkowski actively chooses not to tell him that she was talking to Hera about musicals. Perhaps she doesn't know how to open up to a human subordinate about it. Perhaps she doesn't trust him not to make fun of her. Perhaps she just doesn't have any impulse to talk about her interests with him. Either way, if Minkowski's love of musicals is something which reflects a side of her personality outside of her Commander role, this is a moment where she chooses not to take an opportunity to share that side of herself with Eiffel. This reflects the emotional distance between them three months into the mission, which forms a nice contrast with the next couple of quotes I'm going to talk about.

"Composition. Balance. Harmony.": Episode 54 (The Watchtower)

When Eiffel comes directly face to face with alien life, he discovers that music is the human invention that fascinates the Dear Listeners:

EIFFEL: You haven't figured out music?  BOB: ORDER. DESIGN. TENSION. COMPOSITION. BALANCE. HARMONY.  EIFFEL: (low, to himself) Minkowski's been talking about Sondheim again…

I only learned in the course of writing this post that in this moment the Dear Listeners are almost exactly quoting a repeated phrase used throughout Sunday in the Park with George. The titular protagonist lists various combinations of these qualities in multiple songs in reference to his art. In the closing song, the lyrics are "Order. Design. Tension. Composition. Balance. Light. [...] Harmony." It's not only Eiffel's references that the Dear Listeners are incorporating into their speech - they've picked this one up from Minkowski. This also suggests that some element of her appreciation for musicals and the way she talks about them has fed into the Dear Listeners' understanding of the human phenomenon of music. The Dear Listeners aren't just parroting - they understood the quote enough that they left out the word "light", arguably the only quality in that phrase which isn't a big part of music as well as visual art. Eiffel likes music too, but I don't think that this is how he'd talk about his favourite songs.

This is a refrain about finding order and beauty out of the chaos and uncertainty of life, which was also the aspect of Sunday in the Park with George that Minkowski focused on when talking about it in Memoria. It suggests that art/music could be something governed by rules and principles, which is potentially something that appeals both to Minkowski and to the Dear Listeners.

Eiffel's response to this reference is one of those little hints that reminds us that Eiffel and Minkowski have spent a lot of time together and that not all of that time has involved them being at each others' throats or actively in a life-or-death situation. Some of it has just been Minkowski going on about a musical she loves and Eiffel (willingly or not) paying enough attention that he recognises this phrase as a Sondheim quote that Minkowski has talked about. I suppose that this quote might have been in Eiffel's pop-culture-brain anyway, but judging from Eiffel's general tastes and the fact that I don't think Sunday in the Park with George is one of the more commonly known Sondheim musicals among non-musical fans, it seems more likely that this quote is something he only knows because Minkowski has talked about it. 

Eiffel sounds exasperated at the mention, like he's heard Minkowski talk about Sondheim far too much. But I'd argue that this still says something positive about their relationship, when we contrast it with a couple of other moments I've already mentioned. Firstly, when her previous musical theatre ambitions are revealed to Jacobi, Maxwell, and Lovelace in Need to Know, Minkowski seems embarrassed and defensive. Secondly, in the memory from Memoria, she avoids telling Eiffel that she was talking about this same musical. Yet, by the time The Watchtower takes place, Eiffel is sick of hearing Minkowski talk about Sondheim. She doesn't have the same barriers up in sharing her interests with him, even though he doesn't have the same interests. I think this is a demonstration of how comfortable she feels with him. It's a hint at the kind of easy downtime that they've sometimes shared.

"One day more": Episode 61 (Brave New World)

Eiffel recognises another musical reference of Minkowski’s in the finale. As the crew are preparing for their final confrontation with Cutter and co., Minkowski quotes Les Misérables, mostly to herself - but Eiffel recognises the lyrics and joins in:

EIFFEL: Hey - chin up, soldier. We're almost through. Just one more day, and then we're done.  MINKOWSKI: Yeah, one more day. (more to herself) The time is now, the place is here - one day more.  EIFFEL: - one day more.  They both stop, dead in their tracks. MINKOWSKI: Did you just - ?  EIFFEL: Was that what I - ?  They look at each other: No way. And BURST INTO LAUGHTER.  EIFFEL: Man... this is really it, huh? The end of everything. 

It feels really important that Minkowski and Eiffel share this moment of togetherness before she tries to send him back to Earth and before the rest of the action goes down. I think there’s some nice symbolism about them finding a way to communicate that they both understand. Making references is Eiffel's thing, and musicals are Minkowski's thing, so this is a synthesis of their two approaches. Again, there's a contrast with Minkowski's previous unwillingness to share her musical theatre passions with Eiffel (at least without the mitigating circumstances of a mandatory talent show and some kind of intoxicating substance).

I talked about the significance of the fact that they reference this particular musical in this post from ages ago. I don't think it's too much of a spoiler for Les Misérables to say that the revolution that the song One Day More is building up to does not end well for the revolutionaries. When Eiffel says "Just one more day, and then we're done", it encompasses both the possibility that the crew will escape to travel back to Earth and the possibility that they will all die. Minkowski's reference to a famously tragic musical suggests that it's the latter possibility that's at the forefront of her mind (right before she tries to send Eiffel away from the danger). But Les Misérables is also a story about people standing together in solidarity against powerful oppressive forces, which gives particular resonance to the way that this reference brings Eiffel and Minkowski together in a moment of being completely on the same wavelength as they prepare to fight Cutter and Pryce's plan.

When they laugh here, it's not about the 'hilariousness' of Minkowski's interest in musicals, it's about their unexpected unison - Eiffel's recognition of Minkowski's reference and Minkowski's surprise at the fact he joined in. It's a laugh of togetherness, of shared understanding, of friendship. It's a moment of lightness in dark times. And that moment is provided by Minkowski's pop culture interests, not Eiffel's. In spite of all they've been through, she's not lost that part of herself, and in fact, she's more open about it, at least to Eiffel.

I'll finish by highlighting what Eiffel says when he's trying to get into character to impersonate Minkowski so he can turn the Sol around:

EIFFEL: Umm... yes, this is Lieutenant Commander Renée Minkowski. I'm... uh... well I sure love schedules, and, uh, musicals. And that man, who I married…

I just think this is a nice example of Eiffel not defining Minkowski solely by her professional Commander role. Sure, she likes schedules (probably in a personal as well a professional capacity to be fair), but she also loves musicals, and her husband. It is a fairly reductive overview of her as a person, but it feels reductive in a fond way, like these things are part of Minkowski's brand to Eiffel in a way that he might affectionately tease her about. (Credit to @commsroom for this thought.) His view of Minkowski has come a long way from "our resident Statsi agent" or even just "you must have some hobbies other than making trains run on time." He doesn't see any contradiction or inherent humour in Lieutenant Commander Renée Minkowski's appreciation of musicals.

Conclusion

Minkowski's love of musical theatre is used to deepen her characterisation and is one of the ways in which we gradually begin to see her complexity beyond the strict Commander archetype. The degree to which she is prepared to share this interest at various points is used to illustrate the nature of her relationships with other characters: a general unwillingness to show a less serious side of herself; a complicated potential shared interest with Hera; and the growing understanding between her and Eiffel.

If you read this whole thing, well done / thank you 😄 It wasn't meant to be this long - it just happened… Feel free to share your thoughts!

[stikybug]

POLYCULE BRAINROT 2 ELECTRIC BOOGALOO?

More likely than you think! The Mystery event gave my little gayhearted mind a delight AND spark of inspiration? More polycule hcs , love wins ! Again, under the cut because this did not just run away from me it yanked me and dragged me around like a giant dog breed.

First hc dump post over here

I'm sure after the successful murder mystery party Lars sets up little hobby activities around st shelter for him and his partners to have excuses to spend more time together.

reactions differ.

Clarence sighs and says he's a bad influence at this point, he joins anyway, work can wait a bit for them ( time itself could arguably stand still for them, he wouldn't mind that at all either )

Alkaid makes 'tiny' suggestions when on normal dates as offerings for more ideas, Lars catches on quickly, this becomes a sort of exchange habit they make. Lars jokes how his 'little spy' is good at setting things up.

He'll probably stop after doing that for the first time, a joke really isn't worth the expression Alkaid made for a split second ,,,

Ayn doesn't need to think twice before agreeing, an entire day spent with the people he loves sounds wonderful

Cael can't help but laugh to himself, his boyfriends are more trouble than he bargained for. Though it is 5 against one with little painter taking his other partner's side

Following Cael getting annoyed while also being unable to ignore the mess he got himself into, Ayn's concert has a sequel!

Which is, Lars outside his apartment with his partners in the background to 'serenade' him.

He has half the mind to ask them how they all got here without him knowing, but he's too busy trying to stop himself from laughing due to the sheer silliness of the stunt

Honest to god, he got closer to failing by the second. When he eventually asks Lars why he's doing this the most concrete answer he got was to come downstairs to see for himself

Seeing all his partners around, light glinting in the streetlight catching on their ring fingers he seemed to get it.

Matching promise rings for all of them.

He almost teared up with this also. He has never taken it off unless it's absolutely non-negotiable

Life seems to slow down when he has it on, every day proves itself to be sweeter than the last.

Aside from the very big changes they have all noticed small changes in their dynamics - It's been feeling more comfortable.

Many things have been admitted that nobody but lovers would be allowed to know, not for the sake of taboo, but as a matter of vulnerability.

The breakdown of these barriers probably started when Alkaid sent a message in a group chat

Recalling an odd movie that he's been losing sleep over - Of some sort of awful future that was in store for him.

Everyone knew what he was about, but none of them confirmed it until he finished talking.

He talked about an awful future where he became everything he feared he was; an elusive 'spy' who hides his thoughts and feelings even from the people he cherished dearly. A duplicitous 'wolf in sheep's clothing' of a person.

Maybe he wouldn't avoid becoming like that in the future, becoming an awful partner who wouldn't deserve any of them. Going behind their backs, deciding what's 'best' for them.

Before he has a chance to spiral fully Clarence says he knows what he's talking about.

He saw an odd movie too, where he gave everything for the sake of a future, and a person he wasn't sure he'd see again in a heartbeat, unaware of how much it would break her heart to see him give until his spark was extinguished.

He was also quick to point out that they, unlike movie characters simply yanked around by the plot for convenience, had a say in the matter of how they'd wish their fate to play out.

It's not like those flaws weren't there, his were hidden gracefully where most wouldn't take notice either.

But surely, if they could support each other without any judgment they'd spare all the heartbreak.

It turned into something of an admission session then. Ayn saying he saw the same type of thing, unable to get to the 'future' with how tightly he clung onto the past that was too far away.

Cael said something similar, the movie showing a past he was sure he'd want to remember - That eventually crumbled from it's own state of stagnation.

And Lars lamented how he'd be doomed to loneliness if those movies were real, and surely a lifetime of misery without his partners at his side, roaming endlessly without a companion.

It was a relief for all of them. Even with everything embarrassing laid out in the open, nobody ran, nobody decided that was enough to end it.

Despite their fears, it seemed that did the opposite of what they were expecting. With all the weight off their shoulders just serving to deepen what they already had.

There wasn't a doubt about it, they had each other and everything would be alright.

[nobodysdaydreams]

Giving a complicated tragic childhood backstory to your favorite character is all fun and games, until you realize you need to account for how old all the other adult characters would have been at the time and realize that scenes that would work perfectly if one character was twenty three and the other was fourteen stop working when you need other characters who are played by adult actors clearly younger than they are to be in college at the same time so your story beats line up thematically.

[deus-ex-mona]

has chizuutan been sitting this close to aizo in class all this time…?

[drifloonz]

didnt wanna ramble more in my newest post but like. The implications of steven having 4 charizards in doors open is so fucking confusing, and unironically i am glad nobody takes doors open for characterization bc fanon steven would be even more confusing and worse. If we took s!3v3n characterization from doors open every interpretation of fanon s!3v3n would be "I HATE YOU IM GUNNA KILL YOU!!! IM YELLING AND IM GUNNA KILL YOU!!! THE YEAR 2010! SCARY! DIEDIEDIEDIEDIE" ( <- hyperbolization but literally how he is in doors open just exaggerated Literally only a bit. ) instead of a creepy tall guy who lurks in the shadows or whatever.

Canon s!3v3n in doors open and strangled ( not strangled red hes just kind of creepy and silent there ) is like. The mental asylum pov video on tiktok. Which is really funny but not a good character(*&^

I am certain its just a "he has four bc they spell out one letter of MIKI in each of their names in order!" and its probably just for that but like. whyyyy does he have four of them.

Who gave you four charizards. Did he clone more. Did he get that insane. I dont want to seriously think abt lore implications of doors open other than the small details it gives abt stevens appearance and mikis moveset, because it is once again, Not Fucking written Well its just GRRR ill KILL YOU i HATE YOU IM GUNNA KILL YOU!!! so its not narratively interesting, especially from characterization standpoint for steven/s!3v3n and therefore i dont trust it but God.

Why does He have four of them. Did they split. The seven (aka four) miki souls ??? omega s!3v3n. This is going nowhere.

[sskk-manifesto]

Ep 5!!!

[cosmicrhetoric]

i don't know if fishman island era sanji is genuine flanderization or im somehow giving him too much and too little credit at the same time. and maybe i was just frustrated that he regressed so bad after two years on Gender Island when i erroneously assumed (after watching iva + co at impel down express that queerness is as close to the ultimate ideal of freedom that one piece is about as you can get) that he would be better for the experience. and i know im going to turn around on him by the time i get to whole cake island but literally brother can we cut this shit out lmao

[icewindandboringhorror]

Recent game related things .. hrmm...

[bereft-of-frogs]

I wrote a longer and more overwrought version of this post when I was slightly drunker (yay distillery book club) but the shorter, more sober-clarity version is: it's so ridiculous that about 50% of my current fandom experience is based on things that are now 25 years old (thanks for the reminder, lucasfilm) and yet I'm terrified of being left behind because I 'can't move on' from something that is now barely 5 years old

you could probably attempt to make some sort of sweeping statement about this, like the lifespan of media now versus the early 00s, but what it's really about is my own issues with abandonment which is affecting both my ability to move on (I really struggle with the 'crew breaks up between installment thing', always have) and also the general fear of behind left behind, rather than any real trends in fandom as a whole

ok I think that's enough for superb owl sunday

[aroaessidhe]

2024 reads / storygraph

The Final Curse of Ophelia Cray

fun YA adventure

follows a girl who’s seen as cursed because of her recently hanged notorious pirate queen mother, and runs away to the navy where nobody will recognise her

and her half-sister who’s desperate to find her before she’s arrested for using a fake name, to bring her home to their dying father & save the family business

both get on the bad side of some pirates and have to brave storms to find each other

aroace MC, sister relationships

arc from netgalley, out april 9

[themidnightcircusshow]

@heartofstanding tagged me in this meme months ago and unfortunately it took me this long to get to it because I had a mild crisis over how long it's been since I've read a novel, let alone one that I loved 😅 so this is nine of my favourite novels (not books, because if I included manga/short stories/comics/etc this would be giant)

0The Picture of Dorian Gray -- Oscar Wilde// Pyrrhus-- Mark Merlis//The Scarecrow--Ronald Hugh Morrieson//Unnatural History--Kate Osman//Tunnels of Blood--Darren Shan//The Coffin Dancer--Jeffery Deaver//Hero--Perry Moore//Frankenstein--Mary Shelley//One Flew Over the Cuckoo's Nest-- Ken Kasey

[kingdom-creatin]

the timeline

If you've ever wondered just what the hell I was doing with the fics I was putting out and this timeline I kept talking about, this is what I meant lol

It's actually got quite a few more characters listed out to the right but for the sake of relevancy and size I just kept the first few columns.

The notes are either specific key events or (italicized) published fics. I started making this into an actual timeline sheet just a bit before I dropped out of the fandom entirely so I haven't been able to flesh it out as much as I like, but now that I feel like getting back into stuff I'm sure it will populate pretty quickly lol

Color meanings (majorly as relevant to Techno and his pov):

Maroon - Living in the Nether

Soft Green - Traveling with Phil

Yellow - Living in Hypixel

Blue - SMPE and the Antarctic Empire

Neon Green - DSMP

Red - If an MCM was held that year; If the character participated in an MCM that year

Black - Character is not yet born or is dead

[egscribe]

having so much fun coming up with titles for the chapters of my story...why can't I come up with a title for the whole book!!