#that name never appeared in the episode‚ as he's mostly referred to simply as 'a tramp'‚ and it certainly doesn't appear in the credits as

[mitsvriii]

Memories

TW’s: Mentions of death, William Afton, cursing

Pairings: Michael Afton x reader, Glamrock Freddy x reader?, past Michael Afton x Jeremy Fitzgerald, slight Glamrock Freddy x Glamrock Bonnie

Reader type: Can be any but reader uses gender neutral pronouns

Word Count: 1.3k+

A/N: the urge to write lookalike like look-a-like, i hate putting Michael and William’s names in the same color, Glammike Au, yes William is his own trigger warning even if he’s only mentioned as “father” like once, i screwed with the timeline to fit the story, Michael’s a dumbass but we love him, humanoid animatronics because i can’t describe animatronics for the life of me, Glamrock Bonnie is silly goofy, might make a short series of this if it does good, Glamrock Bonnie’s personality and design is not accurate as he is not in-game, Glamrock Bonnie makes Bugs Bunny references because he’s like that, i wrote this during a hyperactive swing so it’s gonna be quirky

Michael remembers. Something that he’s never been fond of. He remembers his siblings, his parents, friends, old jobs, animatronics, souls, his old lovers. The memories fade in and out, something he blames on the programming in the stupid human form of an animatronic.

Don’t get him wrong, he didn’t hate it. But it was tiring to say the least. Having to put on shows with kids climbing and clinging onto you, it always brought him back to when Elizabeth would clutch onto him. Begging him to convince his father to let her near Circus Baby.

But at least the rest of the animatronics made it manageable. Glamrock Chica always made bubbly jokes, Roxanne gave decent good advice, Monty was…well Monty. And then there was Glamrock Bonnie.

He reminded Michael of Jeremy to an extent, he even gave him the nickname “Bon”. Bon cracked jokes and had the sense of humor that Michael could stand. He gave him cheeky smiles and seemed to beam whenever he showed up near the bowling area. If Michael didn’t know any better he’d assume Bon liked him.

But whenever Michael contemplated asking him of his feelings, his mind traced back to you and Jeremy. Although it was mostly you. Michael had dated Jeremy on and off until he died after being bit by Mangle. He then somehow found comfort in you.

You two had met up somehow when he moved in your neighborhood after he moved away from his birth state. You had lived in the neighborhood for a while, and he learned early on that you were quite a busy bee.

He remembers how you brought him over some cookies as a housewarming gift, apologizing in advance if he didn’t like the flavor. He simply brushed it off and took them anyways.

Your visits got more frequent to the point were you two become close friends. You would stay over at his house to watch “The Immortal and The Restless” with him, not quite understanding why he seemed to be so obsessed with the show.

But despite your jests and teases you always stayed and watched every episode with him. He seemed to enjoy your company, always managing to fall asleep with his head on your shoulder.

He was cute when he sleep, although you never told him that until later on when you two were together. You had a habit with playing with his hair, running your hand through his chocolate locks.

Throughout the numerous compliments and flirts about his appearance, you never said anything about his eyes for some reason. He found that weird but didn’t push it. Maybe it was another quirk of yours.

The rest of the memories of you were blurry. He could never make out a full memory of you two while he was working at Circus Baby’s, nor when you two got together. He does remember how tightly you hugged after he showed up a few days after retching up Ennard. Not caring about the smell or the fact he was a corpse now.

He was evem more surprised when you still stayed with him when he blandly told you about his new condition. He remembers how things seemed to get rougher in your relationship, between his quest to free all of the souls and the frequent night shifts.

He let out a chuckle as he thought back on the face you made when he told you he burned down a building with his dad in it. You didn’t seem to know whether to laugh or scold him.

Burn down a building….

He frowned as the thought crossed his mind. The last fire he started was the one that quite literally turned his life upside down. His soul must have been stuck in some sort of coma because he doesn’t know how long it had been.

One minute he was burning, ready to go see ve with his siblings and mother, leaving his father behind and the next he was being tested for malfunctions. He wondered if you were even still alive. He would go look but it’s not like he could leave.

And god forbid he try to ask around for information about you. If you were dead he’d be seen as a lunatic and if you weren’t nobody would probably know who you were. For all he knew you might not be even living here anymore.

Michael jumped as he felt a finger tap his shoulder, he turned to glance at who poked him. Bon was stood there with furrowed brow, a lip tugged between his teeth as he chewed on it nervously. A pet peeve Michael picked up on his first week as Glamrock Freddy.

“Are you okay? You seemed…off”, Bon spoke, tilting his head a little, “Did you not get your software update done last night?”

Bon’s joke seemed to do little to help with Michael’s mood, causing him to frown. His jokes always helped him, even if it was a little bit, so why not now?

“Fred? You good?”

Good, Michael hadn’t been “good” since he was with you. Bon sighed before shifting closer to Michael, peering at him with curious and worried eyes. “Fred? Anyone in there?”

Michael shifted his eyes back from the floor to Bon’s, a blush of embarrassment covering his face as he realized his lack of response. He shifted back a little, causing the humanoid bunny’s ears to droop a little. Though he quickly covered it up.

”Say Bon…do you know a {name} {last name}?”

“Uh”, Bon chewed on his lip again as he seemed to rack his brain for answers, “Not really? Actually I’m gonna give it to ya straight doc I don’t.”

“Right”, Michael sighed as he leaned against the wall. He looked around the Pizzaplex, his eyes seemed to dim. Bon said nothing as he leaned against the wall beside him, hesitantly grabbing Michael’s hand as an act of comfort.

“Are they uh, are they your friend or?…”

Michael opened his mouth to speak but he couldn’t seem to get the words out. What was he to say anyways? Hey my name’s actually Michael Afton and I’m possessing this humanoid animatronic. My dad’s a serial killer and my family’s dead.

“Bon do you trust me?”

“With my life”, the response was almost immediate and his grip on Michael’s hand seemed to tighten.

“I need to tell you something”, Michael glanced at Bon before releasing his hand, motioning for him to follow, “C’mon, we’ll go to my “room”.”

If someone were to search up a picture to match the word flabbergasted, Glamrock Bonnie’s current face would show up. He was gaping like a fish out of water at him, shifting on the orange couch.

Bon let out a dry laugh, “You uh, you sure are funny doc I’ll give you that. Seems like you really did miss that software update.”

Bon only chuckled nervously at Michael’s blank expression. A low and long sigh leaving him at the sight of it. “Okay Michael…so what do you want me to do with this information?”

“I want you to help me find out about {name}, just anything at all. You could ask Vanessa, you two are close.”

Bon raised an eyebrow as he got off of the couch, stretching, “She hates me. And she’s always looking at me like she wants to kill me or something. It’s weird.”

“I’ll help you the best I can Fred, but it’s only a matter of time before like, you’ll have to spill the beans”, Bon walked over and gave Michael’s shoulder a playful punch, “I’ll report back in a few sergant.”

Bon mock-saluted before leaving the room, leaving Michael alone once again. A sigh left him as he watched Bon almost hop away from the window. He could only hope that he would return with good news.

[danwhobrowses]

House of the Dragon - Eps 1&2 Thoughts and Review

Fire cannot kill a dragon, and yet we can afford to be burned twice.

In Spite of the bitter taste of Game of Thrones' finale, I like many others have plunged myself into House of the Dragon with tempered expectation of the prequel. Now that the first two episodes are out - and totally not because I forgot to do a standalone one for episode 1 - I'm gonna start giving my blind thoughts on the matter.

To be clear, I'm not super familiar with this story, I know it's covered in a book and other reactors inform me that the book has two unreliable accounts (a Maester and a Court Jester) and this is a 'how it really happened' version for the tv version rather than the book version - so there are some changes and age ups - but otherwise I am blind to the direction it's going, so here's my thoughts on it.

Spoilers for the first two episodes of course, and a bit of Game of Thrones too, give them a watch first if you don't want some plot points ruined for you

So this is a good start, I think I am still a bit hesitant to go fully into it but I am liking what I'm seeing so far.

The first episode was good but I must admit I found myself more unsettled than entertained, purely because of the graphic C-Section scene and the presence of pus, I mean I never wanted to see it with the Jorah greyscale scene and I didn't want it here either, same with the sound of choking babies, it was perhaps too uncomfortable. I think the dragon CGI looked a bit wonky at times, it could be the gold on Syrax is just not great for CGI (I'm sure we all recall The Witcher's golden dragon) or perhaps the smoothness of its scales. I do feel 50/50 on the frequent need to reference Game of Thrones even though it's a prequel, on one hand I get it because it bridges the gap but on the other hand if this show is a prequel by over a century it's a little too on the nose.

Episode 2 was a lot better, but I think it suffered a narrative flaw of 'character a does not talk to character b' when it came to Viscerys announcing his marriage to Alicent, he made no effort to even discuss with Rhaenyra his intent to wed her best friend, which will inevitably start the rift between them showed in the trailers. It also doesn't make Viscerys look any better to go against his better counsel and alienating one of his strongest allies because Laena Velayron is 12, especially when Alicent is apparently around 15. The time jump is a little abrupt, though I feel that we may have more to come.

I will praise heavily the attention to detail when it comes to costuming, something the GoT universe hadn't ever had a problem with thriving on, but I will say that sometimes it does look like the helmets don't fit as well as they should. Then again, this could be an intentional design flaw since this is considered a more peaceful period of Westeros.

I like the characters so far, mostly at the least. So far the star of the show is Matt Smith's Daemon Targaryen, the sociopath prince who has become social media's latest beloved bastard, both cunning and childish he fits a balance of being a villain but also one who still cares about his family. Rhaenyra and Alicent's younger actors have done really well, as has Rhys Ifans' Otto Hightower. Paddy Considine has been really good as the grieving king Viscerys I, completing subverting the descendant of his namesake we're familiar with by appearing at the least as a fair King and a decent person put under a lot of pressure by traditions. Sian Brooke did very well as Queen Aemma, given how she would be the first major casualty of the show, it is a shame we won't get more of her. Episode 2 got to showcase Eve Best's Rhaenys (George making it really easy to second guess every Targaryen's name and spelling) and Steve Toussaint's Corlys a bit more but we still need more of them, same for Graham McTavish's Ser Harrold and Fabien Frankel's Criston Cole, who have simply looked formidable among the crowd. We are yet to have a slew of charismatic characters equal to Tyrion, Tywin, Cersei, Ned, Arya, Bronn, Littlefinger, The Hound and Varys, but we can give it time.

Story-wise, I wish we had more time with Rhaenyra and Alicent before their rift, they established their friendship well but it probably would've hit deeper if we had more time with them, I understand the time jump but we could've had a bit more in between. While I don't think Daemon's a good guy, or that he'd be the worst king (more that he'd be a ruthless one), I do agree with him that the Small Counsel are trying to manipulate Viscerys for their own gains, seen most blatantly by Otto and Corlys throwing their daughters at him. Daemon being rescinded as an heir is grief-driven, especially since we never see him say it, but Daemon's reaction to it as detailed in Episode 2 doesn't do him any favours towards making it seem unfair. Viscerys as I pointed out is a good guy, but he seriously needs to work on his communication, from not telling Aemma his choice to let her die to try and save his son, to not discussing his marriage decisions with anyone or even trying to prepare his daughter for the throne, there is a difference between 'You will learn' and 'Let me teach you'. Alicent seems sweet, for now at least Arya and Daenerys once seemed sweet too, she is in a tough spot that makes me sympathise with her, I don't sympathise with Corlys as much, Viscerys should have married his daughter (or at least sought another way to merge their houses) but his own reaction going straight to Daemon proves that his ambitions are greater than his loyalty.

Of the two episodes I think my favourite scenes so far have been the jousting tournament - both for its visual spectacle but also as a strong introduction to Cole to what I guess will set up a feud between the two - and Viscerys confronting Daemon from Episode 1, and the Dragonstone standoff from Episode 2, not in that order though. The show has promise but since we're still in 'setup' we'll see on the next episode if it can up the ante.

[ashintheairlikesnow]

Misread Details: Robert

CW: Dehumanizing language, BBU blanket warning, serial killer/death talk, descriptions of death/abduction/murder, blood, whumper death, some real vague implied noncon references, creepy whumper, sadistic whumper

Part One: Nanda | Part Two: Brute | Part Three: Robert

The Dark Discovery in Robert Weber’s Basement: Box Boy Killer, Part 3

r/LetsTalkTrueCrime

•Posted by u/oshaycanyousee

3 days ago

After Part One, where we learned about the mysterious, but possibly entirely natural, death of Nathaniel “Nanda” Benson, and Part Two, where we saw Henry “Brute” Hanlon’s double life lead to his untimely gruesome murder, you see the single thread that connects these two men who otherwise never met, interacted, or even shared a single person in common… a nameless Box Boy, present at the death of Nanda even if he isn’t responsible for it, and the proven killer of Brute.

It’s my theory that this Box Boy may have accidentally killed his legal owner, Nanda, and then picked up a taste for the act and moved on to taking shelter with those he turns into his victims.

With Brute, he simply didn’t know the man had a wife and children and entire other life, and may have assumed no one would come looking for him or recognize his death. With our third individual, Robert Weber, it seems like our Box Boy Serial Killer got in over his head.

I give you… the Accidental Vigilante death of Robert Weber.

You decide if our unknown killer is simply the unluckiest guy in the world or a killer who even now may be somewhere living with - and earning the trust of - his next victim.

-

One bright and sunny day in the quaint, old-fashioned California town of Rancher’s Rest, Robert Weber was late for work.

Weber worked in a vehicle repair business owned by lifelong “RR” resident Randy Niles, who had known Weber since his childhood and had been his boss since Weber was eighteen years old and fresh out of high school.

Niles, who is now nearly seventy-five and still spends his days in the shop with an Australian Shepherd named Cody and a blind pit bull named Sue keeping him company everywhere he goes, stated that Weber had no living family he knew of beyond his sister in Vermont, and he was just about the closest thing Weber had to a relative just from having known him so long.

“He didn’t have too much to do with his sister,” Randy said in an interview with Unsolved Mysteries. (You can see the interview on the new Netflix reboot of the show! It’s a really good episode, definitely recommend. It’s how I got into this case in the first place.) “Or nobody, really. Just us at work, the guys at the bar, that kinda thing. He was quiet, kept to himself really. You’d never just strike up a chat around town or anything. But he got on just fine with the boys here in the shop. He was a bit of an egghead, too, always going on about this thing or that he’d seen on the news. Little… odd. Little bit off, you might say. But really, who isn’t? In any case, you know, I’d known him since he was a little boy, so he was just Bobby Weber to me.”

Then, of course, one day Robert Weber didn’t show up to work. Randy Niles immediately felt that something was very wrong.

“When nine, nine-thirty came and went and he wasn’t there,” Niles said, “I knew someone needed to go check on him. Bobby showed up for work right on time or ten minutes early, rain or shine, for twenty years. My first thought was maybe he’d had an accident at home, or some kind of, you know, health thing. Almost never called in sick, took one vacation a year, that kinda thing. So I drove right on over there. This would’ve been, oh, probably ten or ten-fifteen when I got to the house. Had my dogs with me, and they never did like Bobby much, but as soon as I opened my door and got out of my truck they just lost their damn minds. Barking, growling, Cody’s hackles were up like you wouldn’t believe. I know it sounds damn crazy, but I’m sure those dogs could smell that evil had been done in that house.”

On camera, Niles goes quiet, here, his gaze slipping away from the interviewer as he scratches at the side of his nose. When he looks back, the hint of good humor that seems to be an eternal part of his expression is gone.

“I didn’t know what Bobby had been up to all this time. None of us knew. I’ve known Bobby Weber his whole life, and I… I had no idea.”

Randy Niles was unable to convince his two dogs to exit the truck, and eventually rolled down the windows to give them some air and a way out if they chose (he is insistent on this point in the Unsolved Mysteries episode - “don’t you dare say I left my dogs locked up in a truck on a sunny day, I sure didn’t - Cody even knows how to pull a door handle if it’s the right kind”) and got out to knock on Robert Weber’s front door.

No one answered.

Niles knocked again. Still no response.

The front door was locked, but Niles was able to locate an unlocked back door into the garage, where he found Weber’s car neatly parked and nothing out of place. However, once he used an interior door in the garage to enter Weber’s home, what he found was so shocking he still struggles to describe it today.

“The, uh. The first thing I saw,” Niles says in the Unsolved Mysteries episode, wiping at his mouth with a handkerchief, “was a cage. Big old cage in the living room. Like a kennel for a big dog, Great Dane or something, except… except, you know, kennels’re usually mostly wire, not that heavy. You can fold ‘em up, put ‘em away. This was… geez. This was pure metal. Bunch of blankets all piled at the bottom, too. Here’s the-... you know, my mind just didn’t want to even make the thought, but I just, I looked at it and-”

In the episode, Niles has to take another moment, here. His eyes grow wet, and his voice is hoarse when he speaks again. “People cage. Bobby had a damn man-sized cage in his living room. That’s when my stomach just fell out. Even then, though, I couldn’t-... I just thought, oh, well, what people get up to in their own homes is their business. But still, I just. I just decided, find Bobby, figure the rest out later. So I kept walking around looking for him.”

Randy Niles continued to call out, hoping to hear Weber’s response, but received none… at first. The radio in the kitchen was playing a local public radio station (“Bobby always hated the country western and classic rock we played at work, he was a big news man, big into classical, jazz, you know.”)

Niles noticed, he says, that the cage next to the couch had a wooden top, as though it were meant to act as a side table, and on that table was a small woven basket. Inside the basket appeared to be several State IDs and Driver’s licenses. Niles took note of this but his first assumption was maybe that Robert Weber had stolen some IDs or something.

Which was technically true, just… not quite the way he thought.

The kitchen, hallway, and all three bedrooms were equally empty of life. Every room was clean, everything neatly in place. Empty bottles of Jameson whiskey, Weber’s favorite brand, were lined up like décor along the mantel, and one half-full bottle was next to two clean, empty glasses on the kitchen table.

Even the beds were perfectly made.

The only thing missing was any sign of Robert Weber himself.

The question of Weber’s whereabouts was answered when Randy Niles heard a sound coming from the open door to Weber’s unfinished dirt basement.

“Like a ghost,” Niles said in his interview. “Just this low moaning sound. Hardly even thought of it as human, you know. But I just-... I called out, ‘Bobby? That you?’ and the moaning got a little louder, like whoever it was was tryin’ to answer. I could still hear my girls in the truck just going nuts, probably worried about me knowing what they maybe could smell even out there. I figured… I figured I’d best call the cops and get them out here. Seemed like a plan. So I picked up my phone and dialed, and then I headed down those basement steps.”

What Randy Niles discovered in Robert Weber’s basement was a dying man, battered and stabbed eight times, lying in a half-dug grave.

Robert Weber had been beaten with the very shovel that had done the digging. The shovel lay off to the side, caked in dirt and blood. Police would find some of Robert Weber’s hair on it, too. Then, the individual who had beaten him had gone back upstairs - blood smears were found on the railing to the stairs - and taken a kitchen knife out of the knife block on the countertop. A bloody fingerprint was found on the side of the knife block. They had then returned to the basement where Weber was stabbed, almost entirely through the stomach and chest, twenty-six times, until the cheap knife simply broke from the force.

Randy Niles admitted in his interview that he became very ill at this time. “From the shock,” He elaborated. “I haven’t been able to smell much since I was in a car wreck when I was young, so I didn’t smell what-... what my girls prob’ly smelled from outside, and what the cops smelled. To me, it was just… just a little off, is all. It was the sight of it that got to me, not the smell. The sight of the-... the hand.”

Behind Robert Weber’s body, the hand of another person was sticking up out of the loose dirt, as though someone was trying to dig their way out.

“I remember… I remember her nail polish was pink. That’s when I got sick, actually, was when I saw that hand with the painted nails. That’s when it just hit me all at once what Bobby had done.”

Randy Niles went back up the stairs and waited for the cops to arrive. Rancher’s Rest is a small town where everybody knows just about everybody else, and Niles was on a first-name basis with every single police officer he spoke to that day and in the days after. He would learn alongside the investigation that Robert Weber was not simply the quiet, intellectual car mechanic he had always seemed.

Instead, Robert Weber was a serial killer whose potential final victim had managed a miraculous, deadly escape.

Robert Weber never answered a single question about his own murder - he never fully regained consciousness and died in the ambulance on the way to the hospital. His injuries were simply too severe. His autopsy showed that the cause of death was a stab wound that went deep into his chest and that he was first stabbed only after the beating with the shovel had taken place. Like Brute, most of his stab wounds were applied post-mortem in a rage rather than as part of the killing itself.

Medical examiners also found scratches on Weber’s face and arms, indicating that he had attempted to defend himself - or someone else had attempted to defend themself from him.

So why was Robert Weber killed, and why was there already a body in his basement? Investigators would piece together the story over the following days and weeks from a crime scene that only seemed to become darker and more baffling as time went on.

Excavating the basement was originally thought to be something that would be brief, but after the first body was removed, another one was found beneath it. Then another off to the side of that. And another, although this was simply bones.

Every time the forensics team thought they’d found the last human bone, they dug a little deeper or in a new spot and found more.

Eventually, the remains of twenty-two individuals would be removed from the basement of Robert Weber’s home, not including Weber himself. The oldest located victim was identified as Melinda Traxson, an Iowa woman reported missing by her family after she ran away in March of 1996… more than two decades before Robert Weber didn’t come to work one day.

Investigators are still working to match up every body with a missing persons’ case. For nearly all of them, the cause of death could not be easily ascertained due to the deterioration of the remains, but some showed signs of skull fractures. Identified individuals so far include:

Melinda Traxson, 19, from Iowa, ran away from home in 1996.

Billie Mortimer, 21, disappeared from a day out with friends at Lake Tahoe one year later in the summer of 1997. Her friends went to get lunch from the car after a swim and when they returned, she was gone.

Matthew Ranger, 22, went missing during a road trip to Yellowstone National Park in 1997 (only five months after Billie). His car was found abandoned by the side of the road with a flat tire.

Karl Janssen, 24, a tourist from the Netherlands who was also visiting Yellowstone, disappeared a month after Matthew. Last seen by an employee of the park who witnessed him speaking with another young man and getting into the man’s car. The employee said that the two seemed to be friendly with one another and did not seem like strangers.

Hannah Pointer, 26. She was reported missing in 1999 by her mother after failing to return home from work in Reno, Nevada. This disappearance occurred more than a year after Karl Janssen’s. Investigators would later discover that during this time period, Robert Weber dated a young woman from his hometown and he may not have wanted to risk her finding out what he was doing.

Isaac Jackson, 26, a Rancher’s Rest resident who disappeared after going out to a local bar to see his friend’s band play in 2000. His car was found submerged in a small pond two years later. This is the first time Weber apparently killed anyone close to home. He was actually briefly suspected in Jackson’s death, as he was the last person noted to see Jackson alive, but was cleared of suspicion at the time.

Dustin Swill, 21, who was driving from Colorado to California to visit his sister who had moved to Berras to work for WRU in 2001. He was last seen in a gas station near Yellowstone, where employees noted he spoke to a man who was smoking outside, who gave him a cigarette. When Swill left, employees saw the man put out his cigarette and leave shortly after. They did not find this unusual or noteworthy at the time.

Maria Vargas, 25, a Rancher’s Rest resident who was reported missing in 2002. Her family is intensely private and have shared few details about her, but it is known that her boyfriend at the time suspected Weber, who had attempted to convince her to leave the boyfriend for him and had apparently threatened her. He remained a suspect but there was never enough evidence to charge him.

Jennifer Striker, 28, from who never arrived for an appointment with a realtor in 2011. The long pause between Maria Vargas’s murder and Jennifer’s appeared to be due to Weber keeping a man named Finn Schneider within his home for more than a year after abducting him, as well as Weber serving five years in prison for a violent assault on a man he believed had sold him a defective vehicle. (Schneider was no longer in the home before the assault and prison time.)

Riley Nievelt, 25, was staying at the Big Meadow Campground with six friends during a weeklong vacation in 2012. She vanished while on a trip to purchase supplies. Her cell phone was found on the ground in the parking lot of the Food Lion in Rancher’s Rest, a short and easy drive away. At this time, with multiple individuals vanishing after being seen in Rancher’s Rest or being residents of the town, police begin to suspect and start hunting for a possible serial killer.

Alexander Peterson, 29, was a long-haul driver who vanished while working. He was last seen at a rest stop in 2014 on the California/Nevada state line, and would likely have passed right through Rancher’s Rest on his journey. He was reported missing by his ex-wife in South Dakota when he did not return as scheduled for a custodial visit.

The most recent victim, and owner of the hand that Randy Niles saw sticking up out of the dirt, was Yolanda Pierce, 26. She was a Rancher’s Rest resident with a troubled relationship with her husband, who had stormed out after an argument and was never seen again. She is believed to have died the same day as Robert Weber.

More remains exist but have not yet been identified. If you or anyone you know has a friend or family member who went missing during this time period in or near Rancher’s Rest, Yellowstone National Park, or Death Valley, it may be worth looking into, as those appear to be Robert Weber’s “hunting grounds”.

Disappearances in Yellowstone and Death Valley almost always matched up with Robert taking one of his rare weeklong vacations from work.

When investigators located three large diaries hidden inside a locked box in Weber’s closet, the first two fully filled up and the third nearly two-thirds finished, they found an exhaustively detailed record of Robert Weber’s crimes.

In these records, they discovered Weber’s first three victims were killed within 24 hours of abduction, with the rest being kept alive for longer and longer time periods. It is believed all of them met their end in Robert Weber’s basement.

Diary entries included records of two victims who were not a part of the bodies buried in Weber’s basement, both of whom may still be alive:

Finn Schneider, 19, a German tourist who disappeared in 2003 during a visit to Death Valley. Until Weber’s journals were found, it was believed he had perished in the park and had simply never been found. Robert Weber also visited Death Valley during this time. No one linked the two together. Evidence found in Weber’s home after his death, including the aforementioned diary entries and photographs, shows that Schneider was alive in Weber’s home for nearly sixteen months. It is believed Weber purchased the “human cage” that Randy Niles noticed around this time. The last diary entry that mentions Schneider states that he was “traded” on June 16th, 2005, to an individual only referred to as “Mouse.” What Weber received in exchange is unclear, but he was seen driving a new, custom-painted truck around this time, which he said he bought “from a personal ad” when asked by Niles about it. Schneider has never been found. However, his mother did receive a phone call in 2013 from an individual she believes to be her son, telling her that “Finn” was okay and to stop looking for him.

Our Box Boy, 334235, purchased by Nathaniel Benson years prior, whose whereabouts had been unknown since he murdered Brute Hanlon. Weber believed the Box Boy to be in his early twenties, according to his diary entries, and mentioned that he had picked the Boxie up hitchhiking and had intended to kill him before seeing the barcode on the inside of his left wrist and changing his mind. His diary suggests the Box Boy remained in his possession for roughly a fourteen months prior to Weber’s murder. Police have not released the details of what the Boxie was subjected to during this time, stating only that it is not the public’s interest for this information to be known, and they would like to locate the missing Boxie and interview him about certain details.

Four murders occurred during the time the Boxie was kept by Robert Weber. Weber noted that “the dog helped” with either murder or burial, suggesting that he may have worked as Weber’s accomplice in his terrible crimes.

Is it possible that they bonded over a shared urge to kill? Did the Boxie start a captive and become a companion?

Weber’s diary contained other disturbing facts, as well:

Weber also noted three failed abduction attempts in detail, in 1998, 2004, and 2017. In each he described with incredible precision of memory the appearances and descriptions of each person he failed to capture. He also appeared to do intensive research using their license plates and other information to find out where they lived and who they were. The names of these individuals have been kept quiet for privacy reasons.

Other failed abductions were noted, about one per year, without much detail. Or at least not enough for police officers to know who they were. Nearly all these failures were in one of three locations: Yellowstone National Park, Stanislaus National Forest and nearby campgrounds, and in or near Death Valley.

The last entry in Robert Weber’s diary was penned the day of his death.

NOTE: Weber referred to the Boxie as “the dog” in nearly all his journal entries. His last entry went:

May 6th, 20XX: The dog is pissed about something again. He’s always pissed about something. I think the thing in the basement probably kept him up all night with her caterwauling. He never gets used to the noises they make. God knows I can’t sleep either, at least not well. I’ll handle her tonight, have a drink with the dog after, see if that shuts up his nonsense for a while. Note: missed NPR interview with Senator Carlotta Grant on new leg. about the bb prohibition act. Find that on website later.

Found in Weber’s home, in boxes under his bed, were a series of restraints made of leather, high-quality items that appear to be custom-ordered to specific measurements. These included “gloves” intended to keep someone from being able to claw or scratch in their own defense, five sets of cuffs, a body harness, a leather half-face-mask that police referred to as a “muzzle”, several gags, some of which were deemed to be “designed to cause injury to the inside of the mouth”, and “other assorted items for use in torture and torment”.

You can find some leaked police docs online that go into more detail, but suffice to say they pretty much match the kinds of “toys” found in Nathaniel Benson and Brute Hanlon’s homes, too. And apparently, if you really know where to look, you can find some blurry low-quality photos Weber took, too.

While the items are a bit salacious, they aren’t entirely uncommon in consensual relationships, too, so it’s really not clear if they’re evidence of the Boxie being held against his will or not.

The investigation of the crime scene suggests that at some point after writing his final diary entry, Robert Weber made himself a pizza, which he ate half of and put the rest away in the fridge. His shaving cream and razor were found out on his sink, and Weber’s body was clean-shaven, suggesting he shaved shortly before his death.

He then watched three episodes of Law & Order: SVU. We know this because he texted during this time with his only living relative, the sister in Vermont. Little is known about Weber’s family and childhood, beyond his sister’s recounting of a quiet, strained home life with an overbearing mother and her mention that Robert endured several head injuries as a child and adolescent, including one that hospitalized him for days.

After he finished watching TV, Weber entered the basement and murdered Yolanda Pierce. It is believed he took the Box Boy downstairs with him, either as accomplice or witness. At some point while he was disposing of Yolanda Pierce’s remains, the Boxie became enraged for one reason or another, beat him with a shovel, got the kitchen knife from upstairs and stabbed him to death, and then left the house.

A neighbor remembers hearing odd noises around 3:30 AM and looking out their window to see a shadowy figure walking quickly down the road, but they weren’t able to see well enough to say whether or not the individual matches the description and WRU-provided photos of the Boxie. It does seem reasonable, though, to assume that the neighbor witnessed the Boxie fleeing the scene of the crime.

The Box Boy has never been seen again.

Police are pretty mum about the active investigation into the Box Boy’s whereabouts. I was able to get ahold of one source closely related to a member of the investigative team who said that there’s just not a lot of urgency. “Weber killed nearly two dozen people, just that we know of,” The source said. “The cops are a little bit ‘good riddance to bad rubbish’ about the situation. Unless the Boxie comes back to RR, they’re just inclined to let sleeping dogs lie.”

The sense of “let it be someone else’s problem” would be understandable… if this Box Boy weren’t responsible for one other direct murder, possibly two.

Police believe the Boxie has not left California, and is likely to be continuing to survive by engaging in prostitution or perhaps panhandling or some other hidden way of making money. Unconfirmed sightings have been located in three cities in central California, but all of these are unverified and should be taken with a grain of salt.

It’s also possible he hooked up with a pet liberation movement group, in which case he may be hiding out in a safehouse, protected from the consequences of his actions by the pet lib movement’s understandable insistence on total secrecy and anonymity for the Boxies they take in.

If he’s an innocent victim of circumstance, that’s fair.

If he’s a burgeoning serial killer with three victims under his belt and a taste for inflicting terrible violence on those who take him in… well… anyone who gives him shelter may be next.

Is our Boxie a purposeful killer or just supremely, almost incomprehensibly unlucky? Will he kill again? Was he Robert Weber’s accomplice or his victim?

Will he strike again?

Should there be an audit of WRU’s psychological testing on potential sign-ups to see if, perhaps, a Box Boy-wannabe with an urge to kill slipped through the cracks?

What do you think?

-

@astrobly @finder-of-rings @burtlederp @whump-tr0pes @raigash @eatyourdamnpears @orchidscript @doveotions @pretty-face-breaker @boxboysandotherwhump @outofangband @whumptywhumpdump @whumpfigure @thehopelessopus @downriver914 @justabitofwhump @butwhatifyouwrite @newandfiguringitout @yet-another-heathen @nonsensical-whump @oops-its-whump @endless-whump @cubeswhump @gonna-feel-that-tomorrow @whumpiary

[renegadewangs]

Van Zieks - the Examination, part 12

Warnings: SPOILERS for The Great Ace Attorney: Chronicles. Additional warning for racist sentiments uttered by fictional characters (and screencaps to show these sentiments).

Disclaimer: (see Part 1 for the more detailed disclaimer.) - These posts are not meant to be taken as fact. Everything I’m outlining stems from my own views and experiences. If you believe that I’ve missed or misinterpreted something, please let me know so I can edit the post accordingly. -The purpose of these posts is an analysis, nothing more. Please do not come into these posts expecting me to either defend Barok van Zieks from haters, nor expecting me to encourage the hatred. - I’m using the Western release of The Great Ace Attorney Chronicles for these posts, but may refer to the original Japanese dialogue of Dai Gyakuten Saiban if needed to compare what’s said. This also means I’m using the localized names and localized romanization of the names to stay consistent. -It doesn’t matter one bit to me whether you like Barok van Zieks or dislike him. However, I will ask that everyone who comments refrains from attacking real, actual people.

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9 Part 10 Part 11

Let's bring this thing home! It's time for the conclusion of the essay series!

Conclusion With a stupidly long essay series behind us, it's time to look at what we've learned! Let's go back to Part 1 and review what we needed from Van Zieks's character development for a fully rounded redemption arc, shall we?

1) Present an antagonistic (possibly immoral) force who personifies Ryunosuke’s biggest personal obstacle/weakness, in this case racial prejudice. 2) Humanizing traits begin to show. OPTIONAL: A backstory to justify any immorality he has. 3) Over time, Barok has his realization and sees the error of his ways. 4) Barok atones for his immorality, not simply through apology but by taking decisive steps. 5) The cast around him acknowledges his efforts and forgives him.

And looking at the main game (plus additional dialogue), we have...

1) Antagonistic force:

Etc. etc. I have many of these. We can all agree that as an antagonistic force, he does his job quite well. CEO of Racism and White Privilege in the flesh. It works, since we as the audience get very frustrated and want to see him defeated.

2) Humanization:

Giving him an old friend to be a defendant was a brilliant move, really. Albert's reflection on the friendship and the person Van Zieks used to be really helped flesh him out and make him appear more like a human being with, y'know, emotions and weaknesses. The little snippets of dialogue in his office really help too. Presenting evidence can also lead to fun tidbits. All in all, considering how gruff and distant Van Zieks is, they really did their very best to humanize him. The writers were given very little to work with but they exploited every opportunity to come their way.

OPTIONAL backstory:

Again, I don't think we needed a tragic backstory to have a well-rounded, redeemable character. Still, it ties in very expertly to the game's plot and the motivations of quite a few other characters. The story of Klint van Zieks and his death isn't necessarily Barok van Zieks's backstory, it's the center of an intricate web which also holds Kazuma, Stronghart, Gregson, Jigoku, (S)Holmes, Mikotoba, Sithe, Drebber- I could go on. A LOT. So because of how very integrated it is into the main narrative's recurring themes and characters, I'll give it props for being relevant and well thought out. The bigger question is: Does it justify his immorality? Not entirely. I think the game could have gotten more out of this if they'd involved the other two exchange students in this tale just a bit more. They could have given more attention to how Jigoku's aggressive behavior in the trial impacted Van Zieks, and explained whether he might've suspected Mikotoba of sabotaging (S)Holmes's investigation. If the narrative had done that, all three Japanese people to come to London would have been ‘the bad guy’ in Van Zieks's eyes and it would have given more credence to his racial generalization. They could have also given more attention to how the people around him reacted to Genshin being the Professor, because I'm sure Stronghart and Gregson stoked the fire in terms of xenophobia. As it stands, there isn't really enough there to justify hatred of an entire race as opposed to just one person.

3) Realization/Redemption

We see him already start to realize the error of his ways around the end of 1-5, which is technically only about halfway into the full narrative. Unfortunately, thanks to 2-2 being played afterwards (but chronologically set before 1-5), any progress made in 1-5 can become invalidated in the player's eyes. Growth works best when it's done linear. Don't get me wrong, flashbacking to earlier times when a character is still more morally tainted can work well, but it needs to be executed properly. Barok's behavior in 2-2 is downright insulting towards the audience itself and therefore, it causes emotional friction when relaying the narrative endgoal of redemption. It also makes it extra jarring when we hit 2-3, and suddenly Van Zieks is meant to be relying on the protagonist's desire to expose the truth. How on earth can we as the audience trust that Van Zieks believes in Ryu's abilities when we just came fresh out of a case where this man actively sabotages Ryu's efforts?

Still, the line of redemption continues from 2-3 into 2-4 well enough. He admits that he was wrong- that his hatred was illogical and that he needs to change. This is the very definition of redemption. I need to stress once more this is not to be confused with atonement, which comes next.

4) Atonement

Here it is. It's not enough to simply acknowledge mistakes; one needs to work hard to fix them. Since Van Zieks is the defendant for two whole episodes, equaling roughly 20% of the full narrative and 67% of the time following his first true realization (chronologically), there isn't much that he can actively do to atone. Because remember, not only do these actions need to fit the situation he's currently in, they need to fit his personality. These two limitations ensure the atonement mostly takes the form of dialogue. Of apologies.

One might want to point out that he never apologizes specifically for his racism, but there's a reason for that. If you pay close attention, you'll notice that there isn't a single character who ever uses a word like “racism”, “xenophobia” or even “racial prejudice” in this game. It's for the same reason you'll never see an Ace Attorney character utter words like “alcoholism”, “drug abuse” or “depression”. These things may be implied very strongly, to the point where you'll know for certain a character is suffering from it, but it's never given these exact labels. It has to do with the tone of the game. In Great Ace Attorney's dialogue, Barok van Zieks is only ever described as holding “a deep hatred for Japanese”, which is then the only thing he could apologize for. And he does, so long as you aren't looking for a literal phrasing of “I apologize for my deep hatred of your people”.

Regardless, he can't take more active, decisive action until he's freed from prison and two scenes with Van Zieks later, the game has ended. He still manages to take two actions, though! The first is to publicize the truth of the Professor, taking the blame of the mass murders off Genshin's shoulders (and losing his own privilege in the process). The second is to take Kazuma under his wing as his disciple. I'm not certain there's anything else the narrative could have had him do. What is decisively missing, however, is the following:

5) Acknowledgment

The above aren't good examples of cast acknowledgment that Van Zieks is taking part in a redemption arc, rather, they're the best I could find. Characters are acknowledging that he's changing- that he's being kinder to them and they can get along with him now, but they're not acknowledging that he caused hurt in the first place. This, in my opinion, is the Great Ace Attorney's biggest narrative flaw. I've talked before about how Ryu's reaction to Van Zieks's racism is 'indirect communication', a typically Japanese manner of dealing with negativity. I've also talked about how Ryu is not in a position to speak up, as he's a literal minority who is there to represent his country in an official capacity and can’t afford to make enemies. However, characters like Susato and Kazuma are far more outspoken in their opinions, as is Soseki. The only one who ever calls Van Zieks out on his racism is the British judge, and even that is done very meekly. When an old crusty white guy is the one who condemns white privilege in a cast full of minorities, you've got a problem. The Japanese cast's refusal to acknowledge that Van Zieks's words were harmful is like Team Avatar telling Zuko that sure, he can join since he's a good guy now, but never once acknowledging that he burned down villages or betrayed everyone's trust in Ba Sing Se. There's something very vital missing, see? If indeed the cast had called Van Zieks out more actively on his harmful ways and how necessary it was for him to change, he in turn could have taken more atonement steps in response.

So, for the conclusion: Does Barok van Zieks tick all the necessary boxes for a complete redemption arc? Yes. In a very technical sense, all the requirements are there. But does that mean it's a successful arc? Not necessarily. The game has a few slip-ups, a few things not executed as well as they could have been. For that reason, whether the audience is satisfied with the arc is entirely up to them. Taking into consideration that they had to cram a whole lot of story into just two games- the second game in particular, I can acknowledge they did their very best with the limitations that were there.

And there we have it! That’s all I could think to say on the matter. I hope everyone who read this till the very end enjoyed it, maybe even learned a thing or two. I’m always open to questions, input and constructive criticism!

[gammija]

How the Web helped Magnus mark his Archive

Have you ever seen people talk about how the Web was involved with getting Jon marked, but didn’t feel like going through every episode to find every little reference to spindly spidery legs? Well, worry no more! Because in this list I’m going to do just that. With quotes, ‘cause I never half-ass theories on tma

In chronological(ish) order, ranging from: - Undeniably Spider-involved - Suspiciously Web-adjacent - (and Web!Tapes propaganda) Let’s go!

- 22, 123: Prentiss being in Carlos Vittery’s basement

Martin may be the one who lead Prentiss to the Institute, but only because Prentiss was hanging out in Vittery’s cobwebbed basement, for an unknown reason: 

022 Colony Martin: “I turned on my torch and shone it around, but was disappointed to see that all those spider webs that I remembered seemed old and unremarkable. If there were spiders there, none were easily seen, and… for a second I thought that the only interesting part of my return trip was that it would land me in prison if I wasn’t careful. Then, I heard movement. From the other side of the basement.”

The same Vittery who had already told Annabelle about his experiences: 

123 Web Development Jon: “I-It’s apparently a list of people whose names appeared in the various pieces of text Mr. Cox was pasting into the code. It’s unclear if they were meant to be users or victims, but I cannot help but note that there seem to be the names of several statement givers who found their way to the Institute, including noted arachnophobe Carlos Vittery.”

Which might mean nothing if it weren’t for:

- 38, 40: A spider lets Prentiss be found

Not only does a spider cause Jon to knock down the wall to where Prentiss was hiding in the tunnels...

038 Lost and Found Sasha: “A spider?” Jon: “Yeah. I tried to kill it…. the shelf collapsed.”

...But according to Tim’s speculation:

040 Human Remains Tim: “I think they were almost all in the Archives. I have a theory, actually. I think they weren’t ready to attack when you found the tunnels.”

Which, if true, means that if the wall hadn’t been broken, Prentiss might’ve attacked with bigger force and killed Jon outright, instead of neatly marking him.

- 35, all of s2: A Web table lets a Stranger into the Institute

Although it’s never said who or what ordered the table to be delivered, the addition of the Web lighter with it makes it easy to guess. As Jonah says in 160:  the Not!Them mark turned out not to have been necessary because of the Unknowing, but this was certainly a nice back-up to have. 

- 80: Jon steps out for a smoke

Giving Jonah the opportunity to brutal pipe murder Jurgen.

080 The Librarian Jon: “I’m going to have a cigarette. Don’t… Don’t.” [...] [SOUNDS OF BRUTAL PIPE MURDER] [...] Jon: “Sorry, I’ve been quit for five years now, but th -”

While nothing in the actual text of the episode points to Web involvement, addictions like smoking fall under their domain. Add to that the recent gift of that lighter, and Jon saying he didn’t smoke anymore, it’s certainly suspicious.

- (91: Daisy only went to the Institute when she got the tapes

Okay, this one is mostly web!tapes propaganda, but I think it’s compelling web!tapes propaganda. I’d link the post I made about this earlier, but it has simply vanished from this universe, as far as tumblr is concerned... In any case: 

091 The Coming Storm Daisy: “You ask me to take a tape over to this murdering freak, and I’m all set to tear you a new one for it. But then I get the cassette in my hand, and suddenly all I want to do is deliver his tapes, and spill my guts.”

If it’s from Jon, not only would this be the furthest reaching compulsion by far, in only in season 2 no less, but it would also be the only one that is transmitted via the tapes/another person outside of the Institute(Basira) instead of just Jon speaking directly to the person. While, if it’s the Web’s doing, making someone want to do something they don’t realize is weird at the time, is totally in their wheelhouse! And it’d make them responsible for convincing Daisy that Jon’s a monster, ergo, his Hunt mark.)

- 121: Oliver was sent by the Web

121 Far Away Oliver Banks: “Honestly, I’m still not exactly sure why I’m here. But you know better than anyone how the spiders can get into your head. Easier to just do what she asks.” 

Aka, the man who told Jon what he needed to hear to wake up, nice and alive and marked by both the Stranger and the End, when he hadn’t been able to for 6 months.

- (130: The Web leads Jon to Jared)

130 Meat Jon: “I found this tape tucked in a corner of my desk drawer, covered in cobwebs. I suppose subtlety has gone out the window a bit, and the question is now simply… how much I trust the Spider to have my best interests at heart.”

Not only did this one tape lead Jon to get his Flesh mark, which Jonah had conked up by getting Jared to the Institute too soon, but arguably it also made Jon confident enough to go into the Buried. Which the rib didn’t even help with!  What did help though, was...

- (134: Tape recorders and Martin got Jon out of the Buried)

Even if you don’t believe that the tapes are from the Web, there’s still this conversation: 

134 Time of Revelation Peter: “What does – puzzle me though, and I mean that genuinely, is – why you were piling tape recorders onto the coffin while Jon was in there.” - Martin: “I don’t know. And I just – felt like it might help. He’s always recording, and I thought it – it might help him… find his way out.” Peter: “Interesting. Were you compelled?” - Martin: “I don’t know. Maybe? I-I, I definitely wanted to do it. [But] I’m not sure where the idea came from. Peter: “You should watch out for that. Could be something dangerous.”

Implanting ideas in someone’s mind, specifically making them want to do something, without them knowing that the idea is coming from outside, is something the Web isn’t a stranger to (056, 059). It might also be the Eye, but wouldn’t Martin know what an Eye compulsion would feel like, by now?  On a meta level, it’s a curious thing to point out. Would anyone have protested if Martin got the idea of the tapes on his own?

And there you have it! 8 instances of arachnid involvement.  There are more small mentions of Web-like interference with Jon here and there in other episodes, and of course his first Fear mark in 081, but these are the ones that seem to very clearly point towards the Mother of Puppets, or some of her avatars, having helped Jonah in bringing about the end of the world. There’s still the question of why, what their ‘plan’ is now, but I’m sure we’ll find out about that soon enough - Dare I say, March 25th or earlier, even

[kaypeace21]

Stranger things is about mental health & trauma- deal with it!

I’ve seen a lot of people claim anyone who mentioned this topic immediately be gaslit and told they’re “just crazy” and “rudely projecting their own issues on to the characters.’ Like- no you don’t have to believe my  Will DID/Lonnie theory ( I could be wrong). But to claim one of the show’s central themes isn’t about mental health/trauma (screams either complete lack of lit comprehension or denial cause you have your own negative biases towards such people). So let’s just go into what’s literal text-not subtext/symbolism. Just the super blatant stuff.  RIGHT IN THE SHOW!

S1

-We have El when she first appears on screen  asked by Benny if her parents starved and hurt her and if that’s why she ran away. Benny then calls CPS to say El “may have been ab*sed or something.” After this Lucas says there is “seriously something wrong with her-wrong in the head. She’s probably from the NUT-HOUSE in curly county.penthurst” We also see El  cannonically has PTSD-all of s1 she’ll see something benign (a cat, a coke commercial, a closet) and is triggered to see a traumatic flashback. That’s literally ptsd.  There’s also hints throughout the seasons she’s developmentally behind in both language, telling time etc (neglect like El’s irl can cause an intellectual disability-analysis on El/that subject here).The real pethurst in pensylvannia (not the one in stranger things/ Curly county)  closed in 1986-  it was a facility for people and mostly  kids with intellectual disabilities (it wasn’t technically a psych facility like the one in st)-but it was infamous for it’s abuse of these intellectually disabled patients kept there. We also have Brenner be a ab*sive psychiatrist.

- Hopper after suffering from the loss of his daughter. Is popping pills like candy, drinking and smoking constantly. He later says he used to hallucinate and forgot what was real -seeing and hearing sarah and says if he didn’t confront the pain he’d “fall down a black hole he couldn’t get out of.” NO... subtext here about what the void represents nope.

- Both mothers (Terry & Joyce) are dismissed as being mentally ill and simply grieving the loss of their kids . But both end up being right about the supernatural.

- “Terry pretends Jane is real. i mean it’s all make believe. you know the doctors all say it’s a coping mechanism.”

- While with Joyce the whole town pre s1 already questioned her mental health. Jonathan says “She used to have anxiety problems (pre s1).” And Jonathan, Hopper, and Lonnie all assume she’s hallucinating: talking to Will via lights, seeing a man without a face, saying Will’s body is fake -due to grief. Plus Lonnie mentions the fact Joyce’s aunt Darlene also used to hallucinate as a possible reason  (terry’s aunt also had mental health issues mentioned in s2 by Becky). Lonnie even says everything Joyce is seeing  is “all in her head.”  Hopper and Jon both say she needs to sleep and accept reality and Lonnie says she needs to see a “shrink”.  Hopper “i’m not saying that you’re crazy”. Joyce : “no, you are.” Joyce also says to Lonnie “Stop looking at me like that... like everyone else like i’m out of my damn mind.” Hopper also says about Joyce she’s “on the edge”. Callahan says in response , “she’s been on the edge for a while now” (referring to her mental health- even before Will’s dissappearance)”. While Lonnie says Jonathan is “feeding into her hallucinations ... you’re going to push her right over the edge.” In s2 Hopper says “ I think everyone is on edge- you, me, Will most of all. (when talking about Will’s ptsd/trauma)” 

- in s1 They claim Will just “fell” over the edge of the quarry’s cliff. Later the only other queer coded character (Mike) jumps off the quarry cliff (where Will’s body was found) cause the homophobic troy forced him too jump. Troy even says earlier dead-Will is “flying with all the other fairies all happy and gay” (to Mike). And Troy says to Hopper El made Mike “fly” after jumping off the cliff. Friendship saved him from jumping off the edge metaphorically ( and he’ll prob eventually be happy and gay too).

s2/3

-Will is seeing a therapist . And we are told he has ptsd and will experience the anniversary effect, personality changes,nightmares, having episodes, etc. And things “will get worse before they get better”.  Mike also asks if what Will is seeing is “real or like the doctors say all in your head?” And Will continues to see hallucinations of the mf/upsidedown that only he can see initially.

-Hopper also agrees with owens mentioning how he knew guys with ptsd . joyce : “it’s not like he’s describing a nightmare. He talks about them like they’re real.” Hopper: “Yeah, because they’re not nightmares they’re flashbacks.I think he’s right about trauma.I think everyone is on edge (bringing that s1 ref back), Me you, Will, most of all.Nothing’s gonna go back to the way that it was. But it’ll get better.In time.”

-Nancy suffers from survivor’s guilt and drunkingly says she killed Barb. Jonathan says like Nancy he has “a weight that you that carry all the time . i feel it too.” (cough depression). He also says he tries to be there for Will but says about Will “he’s not the same. maybe things can’t go back to the way they were. (mirroring Hopper’s words earlier that season)”

-Jonathan said in s1 Joyce had “anxiety issues” than Nancy says in s3 “you really are your mother’s son... you worry too much.” Then we see him look worried after the comment.

- in s2, Axel & a scientist both call El and Will “schizos” because of their powers. In s3 mrs driscoll isn’t believed about the supernatural cause she’s schizophrenic-but like Joyce/Terry was right.

- Kali saves a woman named Dottie (a british slang term for crazy)  from a mental hospital and then compares herself and El to dottie. saying her non-powered gang is “Like us ...outsiders... society discarded them.”  In graphitti we even see the title “obedlam” a british poem about discarding the mentally ill and leaving them homeless.  El before this sees a mentally ill man screaming “we’re all dead!” Kali’s friend says to El, after this encounter they were “dead all of us” until kali “saved them here” (points to head) “and here” (points to heart). Pointing to the theme of love and friendship helping those with such issues. Similar to the cliff analogy.

-The cycle of ab*se. Max in s2 says she’s afraid of becoming like Billy (her ab*ser). We see Billy mimic his ab*ser neil and inflict pain on max. In s3 we see the roots of his behavior are linked to mimicking Neil- Neil in a flashback says  about baseball “what are you scared?”  “ did i raise a p*ssy for a son”. So young Billy later in a fight says to a boy “ what are you scared to fight me? fight me p*ssy. (as he beats the boy)” Deflecting his anger of his father on to someone else. In s3, We see as a kid he used to say to Neil “don’t hurt her” (his mom)-specifically after  Neil backhand slaps her -but we later see possessed Billy backhand slap Max (just like neil).  The resentment to his mother leaving - festered into how he views women and max negatively . And his attraction to mrs wheeler prob is linked to him subconsciously missing his mother. Max in s2 even says  he can’t take it out on her mother so he does so to her instead (we even have Billy hallucinate hurting mrs wheeler).We see in s2 the cycle of abuse is there- Billy mimics Neil, and then Max mimics Billy. Billy harrasses Max and yells “SAY IT!” (mimicking Neil).  Max like Billy later  yells “SAY IT” and uses a bat /violence to stand up for herself against Billy- which earlier she said she was trying to combat … explaining she can be angry like Billy sometimes but she never wants to be like him (her nickname symbolizing this: aka ‘mad max’).  Billy’s last dying words were an apology to Max- for becoming her neil. And we hopefully will see Max break this cycle.

- Will says his now memories (that he describes like dreams) are “growing “, “spreading “,and “killing”. While Kali says they need to face their father and (as Brenner) says El has to confront her “wound” or else it’ll “grow”, “spread” and “eventually it’ll kill her.” Kali says she used to be like El . She used to bottle her pain away and it “spread.” But she then says  “I confronted my pain and I finally began to heal (from those wounds).” We also see with jonathan and nancy when describing “shared trauma” zoom in onto the scars on their hands. The wound heeled into a scar so to speak.

S2 & 3 ENDINGS

both have Hopper do a speech that delves into dealing with trauma/depression but still finding good along the way.

-s2 Hopper outside the snowball: “how are you holding up? Yeah, that feeling never goes away. It is true what they say, you know. Everyday it does get easier.”

-s3 Hopper monolouge : “ Feelings jesus. For so long, i’d forgotten what those even were. I’ve been stuck in one place,in a cave you might say , a deep dark cave (cough s2 supernatural cave). For the first time in a long time, i started to feel things again. I started to feel happy. Life... yeah sometimes it’s painful .sometimes it’s sad, and sometimes it’s suprising... happy.. And when life hurts you, because it will .remember the hurt . The hurt is good. It means you’re out of that cave.”

BUT YES- St has nothing to do with mental health/trauma, we’re just “crazy” and “projecting”. It’s not like some of ya’ll  act pompous when you just have a bias and get pissy at the idea of relating to characters you “other” as “crazy” or “damaged” irl or anything (so attack people for pointing it out). Or (benefit of the doubt) you are just like.... oblivious... or just a kid who doesn’t know better XD

[florrickandassociates]

TGF Thoughts-- 5x07: And the fight had a detente...

This episode is a wild ride, so if you haven’t seen it yet and you aren’t spoiled, don’t read this. Just go watch it.  

Ave Maria plays over a photo montage of cancelled men, including Kevin Spacey, Louie CK, and Scott Rudin. (Scott Rudin, if you don’t know the name, is a Broadway/Hollywood producer who treated his assistants like absolute shit. He’s the inspiration for the possessed producer episode of Evil—I think it’s the third episode of the series—and Robert King does not like him one bit.)  

And then the episode opens with Wackner, Del, and Cord discussing the Armie Hammer cannibalism ordeal. Whew, this is not what I wanted to be thinking about first thing on a Thursday morning. I do not think I can put into words how boring I find debating whether or not someone should have been “cancelled.”  Cancellation is usually about rich people facing consequences for shitty actions, and those consequences have never involved anyone’s rights being infringed upon, so why should I care about someone being cancelled? And, while I know that society/people on Twitter don’t always understand nuance, I’d like to think that when it comes to the most notable examples of cancellation... no one is losing their livelihood over false or minor allegations.  

There are so, so, so many issues in the world. Cancellation affects a handful of high profile, usually white, straight, male, celebrities. Why should I give a shit about, like, Louie CK not being able to make as much money as he used to? I just do not and cannot find it interesting.

I’m not surprised David Cord and Del Cooper find this topic interesting—Del likely hates worrying that all of his comedians could get cancelled and put him in a financially tricky spot; Cord probably says things like “Woke Mob” unironically. And as for Wackner, he almost certainly has a skewed understanding of what actually happens when someone’s cancelled and sees a place where he can step in and add some order. Blah. It’s just so boring.

"People are getting canceled without a trial, no evidence presented against them,” Wackner says. This is not it, Wackner! This is such a strawman argument. We don’t need the legal system to adjudicate people being assholes to each other, and in cases where a crime is committed or a particular individual can sue for damages, that is what happens. If you act shitty and then your sponsors realize you’re toxic and drop you, like, it is what it is. You can feel free to respond via a Notes App screenshot where half of your apology is actually just whining about cancel culture and then you say “I’m sorry if anyone took offense at what I did” instead of saying “I’m sorry I said/did hurtful things” and when people don’t take that seriously, maybe it’s because you didn’t take it seriously, either.  

“There are a lot of reasons these accusations never go to trial. The victims finally get to accuse the victimizer face to face,” Wackner explains. Were the victims asking for this?

Marissa shares my question, noting that if the victims don’t want to speak up, then the victimizer would have the court to himself. This raises a new question: who is even bringing these cases? Are Wackner, Cord, and Del just deciding they want to do things as cases and then getting everyone else on board? This sounds bad!  

Apparently, according to Wackner, “if #MeToo relies on mob rule, it’ll exhaust itself.” What... evidence is there for this? I get why people panic about the POSSIBILITY of this happening, even though I don’t share their panic, but is there any actual evidence that #MeToo is losing steam because of false allegations because cancellation isn’t a formal process? I don’t believe there is.  

The test case we have the pleasure of seeing this week is about “Louie CK two,” whom I shall refer to as LCK2 instead of learning his name.  

Now, suddenly, Marissa is asking one of LCK2’s victims to testify. She doesn’t want to participate because it’s just another way for LCK2 to get his career back. Marissa decides to be idealistic and say this is a real opportunity to confront LCK2 with his crime. I suppose she isn’t wrong, and that is what happens next, but, again, meh.

Apparently David Cord is going to defend LCK2. You know what would get cancelled in five seconds? A David Cord funded show that has David Cord actually on it, railing against cancel culture! Can you IMAGINE the thinkpieces?

God, when is this episode going to move on from this extremely irritating premise?

Marissa decides she wants to be the prosecutor. Wackner says if she prosecutes LCK2, she has to prosecute the academic who used a word that sounds like the n-word and lost her job for it.  Marissa thinks the academic shouldn’t have been fired, but Wackner insists she has to take both cases.

“Let’s go into court,” Wackner says, and, thank goodness, we do go into court: REAL court, where we are talking about REAL issues.  

In court, Liz and Diane are suing the police over the death of a black girl who was tased by the police. Her friend is on the stand and it’s quite emotional. Also, Diane tries to pass Liz a note and Liz ignores it. Why would you have two name partners on this case if they aren’t even going to try to work together?  

You can tell things are tense between two TGF characters when they talk at the same time in court but are on the same side.  

Hiiiiii Abernathy! ILY!

The victim had a heart condition, which the police lawyer argues is the actual cause of death. Police lawyer also argues that since this witness posted some ACAB lyrics on Instagram, she must be biased. Eyeroll.

Liz calls the other lawyer racist; the other lawyer tries to make Liz look like she is only on her client’s side because she’s black and that Liz is being absurd.  

Cancel culture court happens. We’re dealing with the academic case first. I don’t feel like talking about the cancel culture shit too much, so here is my take on this case as a whole: (1) I don’t think the actual word in question, which isn’t actually the n-word, is enough on its own to get someone fired (2) I also don’t think anyone can use that word, regardless of its meaning or history, without understanding how it will come across. (3) The teacher did not get fired for simply using this word once (4) This teacher believes that anyone who is from a group that’s been marginalized in history should have to confront that marginalization with as little sympathy and respect as possible because it will help them be more resilient. So basically, if you are from the dominant group then you don’t get challenged. She believes it is her job to do this. She is an egotistical asshole who has no business teaching.  

Cord wants everyone to have to say the full word in question. He says this pretentiously (though I don’t think saying “Said word” is that pretentious, tbh) and Wackner rules against him and also makes him wear a powdered wig for using “obtuse language.”

Marissa is not trying at all with this case at first, since she doesn’t believe in it. That’s shitty, Marissa. If you want to be a lawyer at a firm like RL you’re going to have to fight for all of your clients.  

Marissa makes a Latin joke and ends up in a powdered wig, too.  

The prof says, in one sentence, that she didn’t know what she was doing using the word and also that the black student who took offense thinks college is supposed to be warm, cuddly, and unchallenging. So it was a challenge, then, prof?  

I like this student. And I love that she calls Marissa out for obviously not trying.  

“The optics matter. Racially,” Diane says to Liz, who agrees. Diane, strategically, makes it about gender first (the cop is male, some jurors may react to a woman questioning a man), then makes it about how she should be the one questioning the cop since Liz is black. It would make the jury more “comfortable” (hey, there’s that word again!) Diane says. She says she is being pragmatic.  

Diane says that she could be “more dispassionate”. Be or come across as, Diane? Either way, Liz, who knows full well what the optics look like given that this isn’t her first time in court, doesn’t agree with Diane that they need to come across as dispassionate.  

Then Diane just changes the subject to the firm drama. “Liz, you’re shoving me out of my name partner position because of my race.” Like that’s the issue!  

“I am doing nothing. You are the one who got our racist clients to whine to STR Laurie about us,” Liz counters. “Those clients bring in a great deal of money, and they are not racists,” Diane insists. Yes. Sure. Diane just happened to choose white male clients who were “comfortable” with her to talk to. I have no doubt they’d have reacted poorly to any change in representation, but Diane was counting on those particular clients having some discomfort with their new lawyers.  

Liz calls her out and Diane’s still trying to play it like she just had to inform her long-term clients and it just had to be done this way. But, when Liz asks if Diane thinks the clients would’ve had the same reaction if their new representation were to be white, Diane says that maybe her clients are worried about racial grudges. So, what you’re saying is you knew exactly what you were doing, huh, Diane?  

I get why Diane doesn’t like being pushed out, because who would, but Diane, this isn’t about you. And if you didn’t want to make it about race, perhaps you shouldn’t have appeared on a panel about how great it is that your firm is majority black? You can’t have it both ways.  

Liz notes that Diane felt “entitled” to her name partnership. This is accurate, though based on revenue and stature I don’t think it can be denied that Diane deserves name partner status (generally speaking). Diane went over to RBK, was like, “sure, I’ll be a junior partner, thank you so much for the opportunity, I can’t even pay my capital contribution right now but what if I were name partner in three months?” and that is both entitlement and knowing one’s own worth, but mostly entitlement.  

(Liz does not act entitled, but if we want to get into who deserves their partnership more—again generally speaking, not their partnership at a black firm specifically—it is definitely Diane! Liz literally only has this job because her dad was important.)  

“I think that Barbara Kolstad was shoved out because you felt entitled to her position,” Liz shouts. OMG, a mention of Barbara?!?!?!??!?!? THANK YOU, WRITERS!!!

(This is a slight bit of revisionist history but I’ll allow it, and I think it’s right in thought even if it’s not right on the details. Barbara wasn’t shoved out—Barbara chose to go to a different firm that offered her a better deal—but I don’t think Barbara would’ve been on that trajectory had it not been for Diane’s presence at the firm. Barbara was in charge of a firm that shared her values when, suddenly, her partner decided that they needed to pursue profit over all else and needed Diane to execute that strategy. Maybe no one made a move directly against her, but Adrian and Diane changed the mission of RBK until it was no longer somewhere Barbara wanted to work.

“We can’t work together if you don’t respect me,” Diane screams at Liz. “No, we can’t work together if you use race cynically,” Liz responds. Diane gets even angrier, swears a bunch, and then says “You want to come after me, you come after me with an honest argument about my lack of competence, my lack of worth.” Diane, you are fighting a completely different battle here! You can be entitled and also correct and also good at your job. This is what you used to accuse Alicia of all the time. The fact you’ve turned this into something about your skill level when it’s about the meaning of having a black firm is only proving Liz’s point.

“Your unworthiness—which you don’t seem to want to acknowledge—is that you can’t be the top dog in a black firm,” Liz says. Exactly. But Diane just storms off.

Now the cop is on the stand. He did not know the victim had a heart condition. Uh, obviously, why would he have known that?  

Liz is aggressive in court; Diane thinks this is the wrong strategy. Without knowing who is on the jury, I have no idea which one of them is correct.  

The next move is to get the cop’s ex-wife, who he abused, on the stand.  

Goodie, it’s cancel culture court. Things go well for Marissa, but Del wants to know why Marissa wasn’t that passionate about the n-word case. Marissa says she feels like it’s not the n-word, like that is a valid reason to not represent your client to the best of your ability. “It is. It always is,” says Del.  

Marissa heads back to RL, and as she walks, the camera follows her and moves through the space until we end up in Liz’s office, where she gets a news alert about the cop from the COTW. He’s been killed, seemingly in retaliation for his actions. The news is quick to suggest the trial might’ve encouraged the killing. “Oh, fuck.” Diane says as she watches the news. Aaaand credits (at 20 minutes in!)  

From the promos, I thought this was going to be a Very Serious Episode about police brutality. From the opening, I thought it was going to be an insufferable episode about cancel culture. I was wrong! (Though, I suppose, some of the cancel culture stuff is still insufferable.)  

Yay for Carrie Preston, who directed this episode. I read an interview with her and she talked about how there’s a “look book” for directing TGF episodes and I have never wanted to see anything as badly as I want to see this look book. (Am I exaggerating? Probably. But I might not be.)  

After credits, Marissa finds Carmen and Jay to ask them if “n-word-ly" is offensive. She acknowledges she’s being annoying but they let her continue anyway. Jay finds it offensive. Carmen does not. This seems fitting with their characters, and I love that this scene acknowledges that not every black person is going to have the exact same reaction to everything.  

I want Carmen to have more to do! While I’m glad the show isn’t forcing her to have a large role in every plot just because, I feel like she’s gone missing for the middle part of the season. My guess is that their priority with Carmen is setting her up to be an ongoing part of the cast who grows into being someone we want a lot from rather than forcing her plots from the start... but surely we could get a little more of her! I doubt she’s a one-season character like I assume Wackner will be.  

The cop’s murder changes the vibe in court. Abernathy calls a moment of silence in his memory. “We’re fucked,” Liz whispers to Diane.  

And indeed they are. The cop’s ex no longer wants to talk about how abusive he was—she wants to talk about how great he was. Whose idea was it to still put her on the stand?! Idk about legal procedures but this seems like a really avoidable mistake!

Diane argues that the cop’s death has prejudiced the jury. Abernathy decides to call a “voir dire de novo,” using an obtuse Latin phrase that would not be permitted in Wackner’s court. (Love the little parallels in this episode, like this, the transition between courts earlier, and how much of Marissa being called out on her whiteness feels like a thematic extension of everything going on with Diane.)

Cancel culture court continues. Carmen shows up.

I don’t really get how June, the victim of LCK2, potentially losing a headlining gig for a bad set instead of retaliation from LCK2, scores him a point. One, if she was a rising store, one bad set shouldn’t have damned her career. Two, isn’t it enough to prove that he masturbated in front of women who didn’t want him to do that???????  

Having June perform her act with no prep in Wackner’s court so they can judge whether or not she is funny is a wildly bad idea. So now Wackner is an arbiter of humor as well as cancel culture?  

This whole system is silly and I reject the whole premise but June should not lose two points for the logic that Wackner + the audience don’t find June funny --> June must’ve had her career derailed because she just isn’t funny (how’d she book the headliner gig, then?) --> LCK2 scores points??? He still masturbated in front of her without her consent!  

Using cancel culture to show Wackner’s court is going too far/slipping into bad territory: I’m on board with this. Using Wackner’s court to actually comment on cancel culture: Ugh. The writers seem to be trying to do both.  

Lol at Abernathy having Stacey Abrams’ book on his desk.

Marissa argues the n-word case more passionately, because these writers love to make situations that seemed clear cut seem more uncertain. It’s no coincidence they have the sexual harassment case look murkier (though, again, June being bad at comedy does not negate the sexual harassment!) right before they have the n-work case begin to tilt in favor of the professor’s cancellation.

Hahah what bullshit about trying to prepare the students for a world that won’t be kind to them. Do you seriously think your black students need YOU to prepare them?  

This lady thinks history classes have to describe rapes in detail to get students to sympathize. No, no they fucking do not.  

She also says she’d use the n-word if she were teaching a topic where it might come up. Um, no?

Mr. Elk (this is what I call Ted Willoughby, Idiot Reporter, after he said “things of that elk” in his first appearance) is attacking Diane and Liz on his show. Diane and Liz are, apparently, “Marxist slip-and-fall lawyers” and Mr. Elk plays a clip of Diane saying cops need to be held accountable. Obviously, this was before the cop’s death and meant to be about the legal system, but it looks like Diane’s calling for his murder. I also love how they go out of their way to only pause the clip on unflattering frames of Diane.  

Liz wants to use this in court—I forgot that Liz is super sneaky but this tracks; she is always quick to use things to her advantage and we’ve known that about her since her strategy with the DNC in 2x07 (to make outlandish allegations and then drop them before presenting proof). Julius wants to get Liz and Diane security.

That security is, apparently Jay. I think they’ve shown Jay as security before when Lucca went viral. I didn’t understand it then and I don’t understand it now.

I was, briefly, worried for Liz and Diane’s safety, especially after I saw all the angry cops waiting for them in court. Then I thought, oh, well at least they’re in court, they should be safe from being shot there. Then I remembered 5x15. Then I laughed at myself.  

Liz’s new strategy works and Abernathy uses more Latin. But, they can’t get any more jurors thrown. (They’re going for a mistrial.)

Oh, Carmen is back again! She did SO MUCH in that court scene where she appeared and then disappeared! She’s chatting with Marissa and spots LCK2 in the RL offices.  

Apparently, LCK2 negotiated a contract with Del, with David Lee’s help. (Why would David Lee be doing entertainment law?) Suddenly everything makes sense to Marissa.

She calls Del to the stand. This—and, honestly, everything after this—makes me wonder how much of this would ever make it to air. Why would Del televise this?

What a shock—Del wants LCK2 back on his streaming service (which I don’t think has a name LOL).  

Somehow Marissa’s questions become about Wackner and whether or not Wackner is an impartial judge, which doesn’t seem like the core issue. Wackner has made it pretty clear that his stance is that he doesn’t care if others are corrupt around him or try to use him; he’s going to be impartial no matter what. Why not play that up instead of making the entire show look staged and Wackner look complicit, Marissa?  

Like, why is Marissa asking Wackner if he’s prejudged the case?! Why isn’t she just trying to like, get him to declare a mistrial because there is a conflict of interest? She can make a version of this argument without accusing Wackner of PREJUDGING, which she knows—I know, so she knows—will set him off. Wackner truly believe he thinks he is impartial. It’s not smart strategy to question that (even if we all know that Wackner is not impartial!)

Wackner blows up at Marissa and shouts at her. He tells her to get the fuck out of court.

This is certainly dramatic, but again, would Del ever choose to air this? I doubt it.  

On her way to work, Diane notices hot pink spray paint in the elevator. When she exits the elevator, the whole firm is gathered in the lobby. Someone has painted COP KILLERS across the elevator bank. “Security doesn’t know how they got in,” Jay says. “Of course they don’t,” Diane responds. “They suggest we call the cops,” Jay says. I love this little exchange. I wasn’t exactly wondering how someone got in, but I like the show making it clear how unprotected Diane and Liz are right now and why.

Julius appears and says that Mr. Elk is saying something new. Diane and Liz sit down to watch and the tone of this episode completely shifts.  

I had forgotten completely that Liz’s dad’s assault issues are out in public until Mr. Elk called him “a disgraced civil rights leader.” It doesn’t feel like they’re out in public! Also I would believe Mr. Elk calling him disgraced for no reason at all.  

Y’all, when Mr. Elk said the name “Duke Roscoe,” my jaw dropped. WHAT A CALLBACK.  

This scene, and really, everything in this plot from here on out, is a delight. It just keeps going and going. It is the best kind of fanservice.

1x11 has been, for no real reason, on my mind since 5x04. It popped out to me as an example of this show’s humor so I talked about it in that recap. I nearly mentioned it in my 5x06 recap when Diane laughed at Julius’s suggestion that they start a firm together. I rewatched 1x11, by complete chance, like two weeks ago. How weird that I'm somehow on the show’s wavelength about this!  

Also I made a joke about Mr. Elk last week without knowing he’d be back this episode. I would like to think I conjured this.  

(1x11 is a really pivotal episode for TGW, even if it isn’t one of the most notable episodes overall. It's composer David Buckley’s first episode and that ending, with Diane laughing, is one of the earliest moments of TGW showing its sense of humor and playing to its strengths.)

Mr. Elk notes that they “rarely see” Kurt, which is apparently evidence that Diane is a lesbian. Hahahahahahah. Mr. Elk also wouldn’t want to note Kurt, despite his recent controversy, because to his viewers, Kurt’s beliefs would make Diane seem more sympathetic.  

GUYS, THE WRITERS DECIDED TO MAKE A CALLBACK TO AN ICONIC MOMENT FROM AN EPISODE THAT AIRED OVER A DECADE AGO AND THEN BUILD ON IT. I cannot express how fucking happy this makes me.  

Now, Mr. Elk says, Diane and Liz are an item!  

What’s better than Diane laughing hysterically at the original allegations? Diane doing it again, eleven years later, JOINED BY LIZ.  

This also works super well to cut the tension between Diane and Liz. I assume this isn’t the end of the name partnership drama, but I think it might be the end of Diane and Liz being pissed at each other. Since the name partnership drama was never really about Diane and Liz (Liz seems to want Diane to stay on...), I’m fine with that.  

Because this is an episode full of callbacks that delight me, Del asks Liz when he gets to meet her son! HER SON STILL EXISTS!  

It sounds like Liz and Del still aren’t fully official, which clarifies why they don’t seem to be a couple in public.  

Del brings up the Diane rumor (jokingly) and Liz jokes along. I love that we get to see this playful side of Liz.  

Wackner’s watching his outburst with regret. Del calms him down and notes that this is good TV (why... would Del air this... it makes DEL look worse than anyone!). Wackner calls Marissa to apologize; she picks up and accepts his apology.  

Abernathy calls Liz and Diane into chambers. He’s worried he was “insensitive”-- he's noticed the tension between Liz and Diane, but now he thinks it was a lover’s spat.

Diane puts on a poker face and leans in towards Liz. She starts nodding attentively and thanks Abernathy. Liz smiles and doubles down: she’s not just going to play along, she’s going to milk it. She gets a juror kicked for homophobia, which means a mistrial. Shameless. I love it.  

Diane and Liz playing off each other as Abernathy tries to look like as much of an ally as possible is comedy gold.  

Diane even calls Liz darling. Omg.  

LCK2 is on the stand, being charismatic and annoying. Of course he is. This is what happens when you give someone who is known for being able to connect with a crowd... a crowd and the benefit of the doubt.

LCK2 is talking about “stupid women” in his new set. Why... is Del giving that a platform at all? See, the fact that Del thinks it is not only interesting but also somehow essential to let LCK2 make jokes about sexual harassment is why I can’t take this episode seriously. Why should I be more outraged about someone who did something shitty not getting a trial for his shitty but legal behavior than I am about powerful people continuing to offer shitty people platforms? Only one of these seems outrageous to me.

Wackner decides that the professor did something “awful but lawful” and that’s it. So you’re saying that if it isn’t illegal, it doesn’t get decided in your court, either? What was the point of this, then?  

The professor says she doesn’t want that—she wants the school to know she’s being punished so she can get her job back. The student storms out, rightfully. Wackner’s job isn’t to offer someone who wants punishment some form of penance, like she can exchange community service hours for offensive remarks. It’s to... well, idk what it is to do, since this whole thing doesn’t really make sense and he makes the rules, but I don’t think his verdict has to be about giving anyone what they want. I’m disappointed that Wackner comes up with a punishment and I don’t think it’s going to get her her job back.  

LCK2 loses, too, because he hasn’t made amends. Wackner doesn’t want to fine him because he’s too rich for a fine to matter. Cord argues that LCK2 deserves a second chance. I mean, sure, but is he being denied a second chance? He doesn’t deserve an easy path back to his fame just because he wants it.  

Wackner mentions prison. At first I was like, oh, that’s a nice throwaway line that he mentioned prison! This ties into what I was saying a few weeks ago about how Wackner likes the institutions that already exist—he just thinks they’re imperfect! It’s fitting that he’s not a prison abolitionist!  

And then the episode actually went there: Wackner, thanks to David Cord’s private prison company, actually sentences LCK2 to prison. This is deeply uncomfortable (and of questionable legality). Wackner’s system is just going to recreate prison? Worse, private prison? He’s creating an unchecked, privatized legal system?! This sounds bad! Kudos to the show for taking this to some place so dark—I knew Wackner’s system would start to show cracks, but I didn’t realize they’d go this far.  

And I’m not sure what the end game is with this! All I know is I’m not on board with Wackner sending people to prison (except as a plot—I am very on board with this plot) and neither is Marissa.

I do not think viewers of the reality show will like the prison twist or the fact that Cord is financing a court and prison! Can you imagine the scandal!

And what do the contracts look like that allow Wackner to sentence someone to prison? Can LCK2 leave any time he wants? If so, then how does the prison sentence help? If not, is that legal?  

Del wants it to be a 2 week sentence, not 3, because this means LCK2 will have to miss his taping in two weeks. I have many questions. (1) Is Wackner’s show airing live? If not, then why do they need to rush the taping of the special? They could push it quite easily. (2) Why can’t they push the taping? This guy is a huge deal and enough potential $$ that Del wants to rehabilitate his career... so why does the taping have to be on this particular day and time?  

Is there really an Exxon Mobile case, I wonder?  

I like that we spend a good amount of time watching Marissa’s reactions to this latest addition to Wackner’s court. Combined with the score, Marissa’s facial expression serves to underline that private prisons are not good here! This isn’t Wackner getting legitimate methods of enforcement... this is just opening a pandora’s box of highly questionable extrajudicial practices.  

I do love that this episode ends up here: it starts out like it’s going to be about cancel culture silliness and ends up being about the escalation of Wackner’s tactics.

Funny how both of the cancelled people end up being found guilty by Wackner, huh! Almost like they actually did something wrong and faced the consequences!  

Liz and Diane get called in to talk to Liz’s favorite department: HR. They’re asked to sign “love contracts” to confirm things are consensual. I find it hilarious that HR gives them the paper before even asking if it’s true.  

Liz grabs a pen and signs. Diane follows her lead. They look at each other and smile politely at HR.

I am... not sure how to read this last scene! Is it a fuck-you to HR? A way of easing tensions? A way for Liz to get people to stop talking to her about removing Diane as name partner because no one will want to ask if they’re really involved? Something else? Help me understand!

Curious to see where things go next. I can see LCK2 coming back for another episode but it also wouldn’t surprise me to never see him again. Similarly, I could see some glances/discussion of Diane and Liz’s romantic relationship next week, or I could see it never being mentioned again, or I could see it being mentioned next season out of the blue.  

[aesthbaby]

Ghost

Summary: Do you remember the episode Demonology where we learned of Emily’s past? What if I told you, you were apart of it. After years of silence on her end, you end up meeting her again.

Pairing: Emily Prentiss x Fem!Reader

Prompt: here

Warnings: Cursing | Sadness | Typos

Word Count:

Masterlist

An: Dedicated to my hundredth follower. Ahhhh I'm too hype about this! I also made a slight change to the prompt but everything else is the same :)  Anon, I hope you enjoy.

Indignation

The screaming crawls up the walls of her oversized, child hood home to shake her ear drums. The thunder only adds fuel to the fire that is the rage possessed by both Prentiss’ as they continue their screaming match.

“Don’t you dare walk away when I’m talking to you!” Elizabeth’s voice matches the rain. The way she stomps behind her daughter looks almost comical.

“Back off mother.” She mumbles this more to herself than her mother.

She stops walking, planting her feet firmly on the Brazilian Chestnut flooring. “I will not ask you again.” She comes to a stop, takes a breath, and slowly turns to her mother. Not meeting her eyes, of course, because it’d hurt too much to see the hate in her eyes. “Look at me.” The mother growls. She slowly moves to meet her mothers eyes and finds nothing but rage there; energy matched to the thunder and rain outside. “You will not see that-” The derogatory term gets caught up in her throat.

Taking a step towards the elder, “What?” Daring to ask the question to which she already knows the answer. “What do you want to say mother?” Her jaw tightens, a sign that Emily knows all too well. “Spit it out.” Its taking everything in her not to raise her voice again and spew the word out for her mother.

Elizabeth takes a breath of her own before replying. “You are not to see that girl again or so help me, I will make sure she goes back to where she came from.” Before Emily could object, she speaks again. “That is final Emily.” Her voice holds strong, and suddenly the storm ceases its assault. 

All is quiet in the Prentiss house yet the tension remains; so thick that you could cut it with a knife.

Disregard

The next morning you arrive to school earlier than usual, but for good reason. Some random college hoodie wrapped loosely around your torso and a dainty neck tucked under it. Your school uniform has never fit you quite right because of how late in the year you transferred, you know...left overs. Phone is going absolutely crazy in your shirt pocket but now isn't the time, you’re looking for somebody. You’re looking for her. Mr. Ricci’s voice can be heard on your left, telling a group of guys its time for class. Emily...where the hell are you?

As the day progresses you still see no sign of the brunette until now. “Emily!” Running up to her you deliver a swift punch to her shoulder. “Where the hell have you been?” When her eyes meet yours they puffy, like she’s been crying. “Em- I-”

“First of all, ouch. Secondly, I can’t right now.” She turns to walk off with her lunch in hand, but you quickly pull her back by her elbow.

“You ‘can’t’ right now? What the hell is wrong with you?” Its taking everything in you not to become overtly emotional. “And where have you been?”

“Y/n I’m sorry but I really can’t right now.” She pulls away from your grip. Leaving you more confused than before.

You scuff at her wording. “You never calls me by my first name...” Its always been her thing, starting with a joke about how she has another friend by the same name as you so she had to call you something else. The next day was the same, avoiding you at all costs.

But it didn’t stop there.

It felt as though you were left on a physical manifestation of ‘read.’ Her name with the red heart emoji attached, did not pop up on your phone for what seemed to be months but in reality it had only been a few weeks. If she were to simply pick up the phone you would have been able to tell her about your unforeseen departure time. Due to sudden changes in international studies, you had to leave and the academy needed their student back. The one of which you exchange places with in January. Tears spring to your eyes at the thought of leaving. Not only are you leaving her, but also leaving this city you got to call home.

Sunny days always seem to appear at the wrong time, your departure day. She’s not here to see you off, hasn’t been around for a while. Can you really blame her? She doesn’t even know you’re leaving because she wont pick up the fucking phone. It doesn’t matter anymore, your time is up and so is her’s. A line of black and white kittens sprint across the cobblestone streets and that right there is what makes you break down in tears. Seeing the delicate kittens run after a mouse while tripping over their own feet. Random yellow flowers peaking through the stone which you’ve never known the actual name of. That one girl in Chem that would bake cookies for the class on Fridays. Your host dad taking you to his favorite café that served an increasing number of Cuban smokers. Going to eat gelato after homeroom with that one guy who would always make Golden Girls references. Then there was Emily, the girl that gave you a dainty gold necklace for valentines day. The girl that got a random jock to stop harassing you. The person whose lap you’d lay in on Saturday mornings at the park, is the same person who randomly started to ignore you. Maybe you could have fixed things with her if you had more time. You were supposed  to have until June but suddenly everything shifted and all you were told is that you needed to come home, promptly. You couldn’t wait for her any longer, not even sure why you thought she’d come in the first place. Casting one last glance over your shoulder before stepping into the buzzing airport.

At least meet me half way.

Hereafter

"I don’t think so.” You laugh at your friend’s proposition to set you up on a blind date. “I am absolutely content with the way I choose to live my life.” Shifting a bit on the new couch that hasn’t been broken in, resulting in the stiff cushions.

He lets out this weird scuffing noise. “No you’re not. Remember last weekend when we tried to pull an all-nighter but your sleep deprived brain betrayed you?” At your nonchalant shrug, he continues. “You started rambling about just wanting to find some well educated, fun loving, female in this world full of bureaucratic straight men. Your words, not mine.” You throw a pillow at him but he swiftly doges it. “But you couldn’t have said it better.” These recent years have been a series of unfortunate dates that have ended in you lying about having to leave early for something.

“Don’t you have a girlfriend you should be getting home to?”

“Not tonight, I’m all yours. Apparently she has her knitting circle tonight.”

“That's what you get for dating an older woman.” 

“Its a five year age difference! What is wrong with you people?”

You hold your hands up in defense. “Nothing, as long as you’re both legal and she’s good to you, its fine by me.”

“Shut up!” He screeches. “Oh shit, don’t you have a meeting in the morning?”

“Yes sir.” He stands to take your glasses and plates in the kitchen but you object. “Leave it,” At his confused expression, you continue. “Cleaning helps me relax so I figured I’ll wake up early so I can do that and reduce my stress levels by at least ten percent.”

“Dude, you’re seriously weird.”

“Say another bad thing about me and I'm sending you home.”

Throwing him a few pillows from the hallway closet and a comforter just for him to scream, “Its too hot in this cottage core apartment!”

Its not even cottage core themed?? Its just cozy with a plant or two. Am I expected to live in an ice cold home? I feel like he’s just saying this because I’m gay.

Your prepared outfit hands on the back of your bedroom door, mocking you. Making you reconsider the entire thing and simply not go but it feels as though you’d regret it if you didn’t. Maybe not, who knows?

And with that as your final though, you drift off to sleep.

You wake at the amazing time of 6 A.M to see your guest gone with a note on the couch:

I cleaned up the mess from last night and I also did the dishes in your sink. Not sure how u slept through all of that...I made a fruit salad for ur breakfast and a normal one for lunch.

Good luck with your meeting!

And one of those old fashioned emoticons at the bottom corner. Idiot.

You eat the food he left from the fridge, brush your teeth with the news playing in the background, and continue on with the normal morning routine.

Gathering your lunch and the little items you feel like you’d need, phone, charger, paper work, and keys; you know, the works. Finally heading out to your destination with nothing but ambition, you run into a slight problem. 

Overlapping breakfast with an old friend of yours. “Hey, babe, I am so sorr-”

“Absolutely not, I don’t want to hear your excuses.” The positive voice rings through the phone like velvet sheets after a cold shower. “You missed our reservation!” Have to admit hearing them whine is pretty entertaining. “You had one job. One!” You guys met some years ago over some random online forum, arguing over some random movie. You don’t talk as much as you’d like but breakfast is always on the menu--mostly in February.

“Quick question, am I allowed to apologize?”

There’s a beat of silence on the other end, “Yes you may, but only in fruit baskets and coffee.”

“I got you, next time though. I’m on my way to something right now.”

“Something...” In comes the teasing undertone. “Does this ‘something’ have a name?”

Bursting into a fit of laughter at what is implied and replying, “Definitely not, its a work thing.”

“Speaking of work, I have to go. Ciao!”

Just in time to end the call, you pull into the designated parking deck from the email. Going through all of the security procedures was hell but blatantly necessary; the rest was gravy. Floating through the rest of the building gave you a slightly stressful feel because of all the men walking around with perfect suits and casting no glances your direction. When the glass doors labeled BAU appear, you take a deep breath and walk in with confidence. Taking in the buzzing sound of agents at work all around you. Agent Hotcher’s office is glaringly obvious: higher up than the rest, perfect overview of the hive, and in direct eye sight of the entryway doors.

Delivering a swift knock to the office door you hear a faint invitation from the inside. Walking in with a smile and straight back you are greeted with a man in a dark navy blue suit and a stoic look to attached to him. It first starts with the small talk of your experience, early life, skill sets, and what not.

“Agent Hotchner, might I speak out of line for a moment.” He gives you a skeptical look before nodding. “I understand the nature of this meeting but I am not completely sure why it was conducted.” His furrowed brown is not a good sign, making you correct your structure a bit. “Right, well,” God his stare is fucking intense. “What I mean to ask is, why am I here?”

That was bold.

“Agent, are you not aware that this is a Career Analysis Assessment?” As it slowly sinks in an O-shape forms with your mouth. Now you feel like a complete idiot in front of this prestigious, tight suited, man. “You were unaware? Its fine if you were,” You let out a sigh at the confirmation. “I have a tendency to write my emails with an excessive amount of four syllable words so one could see where the confusion originated.” You let out a nervous laugh at the realization that this is basically a job interview.

“I see that you’ve spent time studying abroad.” Indicated by the recommendations from your Italian Psychology teacher. “Why not join the CIA?”

“Dare I say, they make me nervous?” He cracks a small, very subtle, smile at the admission.

“What made you want to leave Human Resources?”

“I got tired of analyzing decisions with nothing but dead bodies and messy crimes and having my primal focus be the agents and not the victims or perpetrators. Using what I’ve learned as material for agents in training when I could have prevented it from happening.”

“Well said, but I need to be completely transparent with you.” This can’t be good. “I will admit that I have serious reservations about adding a Human Resources officer to my team.”

Shit let me stop him before this spirals. He thinks I’m a spy. “Sir, with all do respect, I have no intentions of being a bureaucratic spy. I’d also like to point out that I wasn’t that high on the HR totem pole to the point where I had an explicit say on what happens to agents, who is hire, fired, or how they’re trained. I analyzed and compromised while expressing my findings to an unbiased extent. If I wanted to be a spy I would have joined the CIA.” Besides, Head Quarter’s is the one that does all of that internal investigation stuff, not HR.

He doesn’t say anything or make any sudden movements for a good minute. I fucked up. That spy line was too far. “I’d like to offer you a position on this team, so long as you can start immediately.”

“Yes, of course I can! I don’t have much office supplies besides a pen or two and-”

“Its fine,” He stands from his seat and straightens the dark blazer. “I’ll have one of my agents show you around.”

From across the bullpen you spot a familiar blonde. “Oh my god!” The file in her hand falls to the floor. “Its you!” She practically squeals.

“Penelope, I didn’t know you work here.” You give your old friend a tight, unapologetic hug. She said she worked as a tech analysis but you always assumed it was for an activism group or a tech firm, not the FBI out of all things. Despite having such interesting jobs, you never talk about work with each other. She knows you work for the government but not which. Although knowing how good she is at uncovering people’s secrets, there’s a good chance she already knew you work for the FBI too.

“What are you doing here? Like physically here. I thought you were in Florida.”

“I have to get back, can you take care of Agent Y/L/N for me?” Hotchner says before rushing off without an answer.

And there she goes with the snooping. “Actually, I left the Florida office and went to California.”

“Oh.” Her face twists a bit. “And now you’re here?”

“I thought you were the woman behind the curtains, the all knowing.”

“And wonderful!” She points with her perfectly painted finger.

In comes a slim man with a messenger back, making a click in your mind. “Now where have I seen him before...” Turning slightly to follow his trail.

“That’s our resident genius Dr. Spencer Reid.”

Unbelievable. “He’s twelve.” The young agent’s head snaps toward you and Penelope, “Does he have super human hearing too?” She introduces you to the Doctor who is, as expected, socially awkward in many ways. A man named David Rossi of whom you’ve met at least once during a few Bureau seminars; last you heard he had rejoined the BAU after retirement. Jennifer Jareau is gorgeous with a nurturing nature about her, she immediately recognizes your name from exchanged paperwork but that’s about it. The introductions are brief, everyone seems to be busy with their own things. “Penelope your team is kind of small.” You quietly mention to her.

“Oh!” Guess the realization that two people are missing, finally clicks in her head. She starts walking in the direction of a staircase so you automatically follow her. “This is Derek Morgan.” Standing in front of a round table is a tall man with a really toned body. “Derek, this is Agent Y/n L/n from Human Resources.” His eyebrow arches up in suspicion.

“Oh no I’m not here for anything bad, I’ve actual been transferred into the BAU. Working behind a desk and watching as others do the work I can’t, wasn’t working out for me.” Definitely won’t trust me until I save his life or something. “I’ve heard of you, one of the Academy trainers has shown a few videos of you.” He smirks at the implied compliment and finally holds his hand out for you to shake.

“Where’s...” Pen trails while looking around.

“Oh she’s getting coffee.” The darker man points behind himself.

“Who’s getting coffee?”

Reconciliation

Maybe we wouldn’t be so short handed if they sprung for better coffee. Emily thought to herself while stirring the flavorless, dark liquid. What if they attach a coffee shop to the building? Imagine how much money the shop would make off of overworked agents. But then I feel like we’d start developing a true addiction to this stuff. Her thoughts are interrupted by the approach of foot steps. She meets Derek’s figure and smiles at the resident goofball of the BAU. Followed by Penelope’s pink centralized outfit with feathers. Then there’s you, just as beautiful as the last time you saw each other. If not more. Your hair shines amongst the florescent lights, paired with the perfectly tailored outfit and jewelry. The same eyes that would brighten her day as they met. An almost unnoticeable bounce in you walk, same as it were years ago. As you step towards her there is a flash of gold on your wrist that sends a ping to Emily’s heart, its the necklace I gave you in high school.

Intersect

You would have know about Emily’s transfer here from a few years ago, had her paperwork gone through the HR department but apparently it went straight to the top because this is definitely a surprise. Once you realize its actually her you stop dead in your tracks. Can’t be.

“Y/n,” She stutters out your name in disbelief. “What are you doing here?”

“Emily, I work here.” Ripping the band-aid off like this is an every day encounter; seeing your unofficial ex who you were never actually with in the first place but had the same characteristics as a high school couple. Yeah...that.

She also blurted out a ‘no you don’t’ before Garcia interrupted. “How do you two know each other?”

You both snapped your heads to her simultaneously. “We don’t.” Also said that part at the same time.

“Right.” She drags. “I’m sensing some unresolved tension...”

“What are-” Em tries to object.

“So we’re going to go.” The tech analysis grabs the sleeve of the darker man and practically sprints off in the opposite direction. Morgan having a dumbfounded look on his face.

It feels like you’re at a stalemate, who will make the first move. What will the emotions be? Are they going to fly? Because I’d like to throw a few verbal punches her way. Who does that to someone? I thought I was over it but clearly the wound is still open. Great now watch her blame me for X, Y, and Z,

“I’ve missed you.” She barely whispers, sounding a bit broken yet insincere. Its like she’s detaching herself from the narrative. So unexpected that you almost think you’re imagining this. Why would she say that? This is not the Emily you remember.

Anger bubbles up in your throat ready to unleash upon her entirety. Instead of bursting into flames right on the spot, in the middle of your new place of employment you take a deep breath. Words of disbelief  dance on your lips before speaking. “You did not.” She tilts her head like a curious puppy. Who am I even talking to?

“What do you mean?” And just like that she’s whisked away by a guy in a suit of whom you do not recognize. Your jaw clinches in a desperate attempt to keep your cool, wondering what the hell is going on.

Realization

Besides the surprise of seeing Emily, your first day went great. Everyone kept checking up on you and you couldn’t tell if it was because they were trying to be friendly, excited to have a new teammate, or nervous of your background. “She used to work for the FBI Human Resources Branch.” You heard the skinny one tell Morgan when they thought you weren’t listening.

JJ and Penelope invited you out for drinks but all you really wanted to do was lay in your bed with a face mask and a bag of chips. Waving a farewell to the blonde women and head to your car, but a few feet away you feel a presence. You quickly loop around in search of the energy with your hand on the top of your gun. “Woah woah.” Emily holds her hands up in surrender.

At the realization of who it is you take a breath and clip your gun back in place. You give her a “what the hell look” before straightening your outfit.

“Were you going to shoot me?”

She’s met with wide eyes from your end. “Maybe?! Who sneaks up on someone with a gun?”

“I didn’t ‘sneak’ up on you.”

“Emily, you wear all black and walk like a feather. What were you expecting?” The buried anger is starting showing through.

“Okay,” She does a weird hand movement that kind of looks like she’s trying to calm you down. “I’m sorry. I just thought we could talk.”

“Talk...” You’re not really following.

“Yes, I’d like to talk.”

“Emily what are you asking? I’m lost.”

She take a moment to figure it out before answering. “For a second chance, I’m asking for another shot.”

You uncross your arms at the admission, letting them lazily fall beside you. “Em- I-” She can’t be asking what I think she is. “Its been years. More than a decade has passed since-” The words suddenly die on your lips

“I know,” And it looks like there’s a slight glimmer in her eyes, implying the presence of suppressed tears. “I’d just like to explain.”

“Explain?” You bite, tasting the bitter flavor of annoyance.

“Yes, I at least owe you that.”

And that’s how you ended up here, with her. In a cozy, minimalistic loft at nine in the afternoon with a coffee table separating the two of you.

“I’m sorry.” Was the first thing to break the silence, and this time it actually sounded sincere. “If I could have explained everything to you back then, I would have.”

You lean forward, closer to her and push the rather large vase off to the side so she has to be vulnerable with you. Nothing to help her hide from herself. At her confused face you lean back in your seat and nod for her to continue.

“My mother was always a difficult woman and although she has gotten better over the years, things were at their worst when she found out how much time I had been spending with you.” The brunette takes a minute before admitting the next part. “She was responsible for your early departure. I tried to stop her, give you more time but she’s relentless.” She waits for your reaction but when met with nothing, she continues. “She threatened me by putting our connection on the line, which in retrospect I now realize was impossible to save. She had already made calls to get you out of the country by the time I could sever what we had. I never wanted to hurt you or end what we shared.”

“And what did we share, Emily?”

Her tongue darts from between her lips, doing that weird little biting thing she’s always done since we’ve known each other. It sparks something in you that you haven't felt in a while. “I think you know. The fact that you still wear the necklace I gave you, bracelet, means you never really forgot.”

“I liked it where I could see it, but Em you could have called, texted even.” 

“I couldn’t I was scared. Then after you left I started to distance myself from everyone and everything was really going downhill.”

“How so?”

“I got mixed up with peer pressure and boys.” This doesn’t sound good. “At one point I did anything I could to fit in.”

“What does that mean?” There’s a moment when a tear wells up on one of her eyes, but not dropping. “You don’t have to tell me if you don’t want to.”

“I-” She tries to speak but nothing comes out. “I couldn’t tell my mother and the church wasn’t happy with my actions.” It suddenly dawns on you, like a smack in the face. You want to make her stop and just hold her but this needs to come out. “I couldn’t call you because it would hurt too much. I hated myself at that moment more than I ever have.”

“And you haven’t dated since?”

She sniffles and lets out a little laugh at that. “God no, I’ve dated people but I haven't dated another female since. It felt wrong, like I was replacing you or something.”

“You owe me nothing. You were just trying to protect me and I see that now.”

“I knew better, its been so long and when I heard you joined the academy I-”

“Wait, you knew and didn’t say anything?”

“Y/n I couldn’t bring myself to do anything other that attempt to move on.” Silence fills the room and its not the comforting kind. Its the tense, I need to do something, kind.

“Do you feel anything?” You dare to ask.

“What do you mean?”

“You know what I mean. Were your feelings lost in transit?”

“They froze the day you left, and thawed the day I saw you again. Today.”

“So its not over.”

She appears to contemplate your statement. “No, its not over. We have a chance to start over.”

What now?

.｡.:*･゜ﾟ･*★*･ ･*･'･*:..:*･゜ﾟ･*☆*:. .｡.:*☆

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[thoughts-on-bangtan]

a poem for small things

by Admin 1 & 2

The time has come, the first proper post for this segment we’ve settled on calling a poem for small things, a nod toward BWL and its Korean title. Like we said in our call for submission post, this is supposed to be something like a place full of positivity for vminnies (and perhaps the occasional namjinist) where you (and us) can share whatever we’d like in connection to vmin, both as vmin and as Jimin and Tae the individuals, and have something to raise our mood and also strengthen our vminnie confidence. We’ve gotten several wonderful submissions and quickly realized that for this first post the theme is mostly how I became a vminnie, even if three submissions talk more about vmin moments they enjoy instead.

I think it’s a really interesting theme, especially since everyone’s story is different, and everyone seems to find something else about vmin that captured their attention and hearts so sharing these memories and experiences is a great way to start off this segment. We’ve said it many times before, though I don’t think you can say it enough times, but this bond that Jimin and Tae share is truly special and so one of a kind, it’s wonderful to see how we all relate to and resonate with it in our own way and find something in it that makes us fall in love with their loves, regardless if we see it as platonic or romantic love. Love is love after all. 95z is love.

For the order of these submissions, we’ll simply go in the order in which we’ve received them. Most of them came from anons, which is more than okay. We’ve also opened the possibility of submitting posts for those who would like to submit wordier posts/asks, should we do another edition of this. It all depends on how much you’ll enjoy it and if you’ll come through with more submissions that could be gathered for future posts.

Anyway, enough talking from our side, let’s dive into these submissions below the cut, shall we? Like we said in the original post (and demonstrated in the preview post), we’ll add some of our commentary and observations along the way, too.

From anon: This is going to be long winded story but Vmin is like a Serendipity to me. I've heard of BTS mainly from my hubby when he complains that times sq is packed because of BTS (when they’re in town and doing their rounds of morning shows). I knew they were very popular but it was a great surprise that i discovered them after watching ILand during lockdown. Their songs were great and i started playing their classics like Fire, DNA Fake Love etc. Then they did an appearance in the show...

I love how you heard about BTS because of your husband and Time Square being packed, this is honestly the most original and unique version of how I’ve come across BTS I’ve read over the years. Amazing!

I was drawn to Taehyung's beauty during their appearance in Iland. And my first Vmin ? moment was when Tae commented about being handsome and attractive are 2 things and being attractive weighs more - along those lines... then JM made a comment that its unfair that he's both and Tae was like Im talking about you... I went like ok he thinks JM is attractive- theyre good friends.... then Jimin did the FakeLove choreo and the camera focused on Tae and he had this wide smile...The Iland Tae/Jimin clips made me do a double take but I dismissed it since it was just only a few seconds worth of screen time but still...

I-Land vmin was really something else in both episodes. 

Fun fact: I-Land was the first Korean survival show I’ve ever watched, mostly because it had something to do with BH and since it was streamed online with subs in real time. Unfortunately, my faves—Daniel and Taki—didn’t make it into ENHYPEN, though I’m happy that Taki will be in a future Japanese BH group.

But, going back to vmin, that moment with Jimin dancing FAKE LOVE and Tae looking at him with that boxy smile as though Jimin hung the stars in the sky? I melted, even if it was just one of those brief moments, yet still it’s so cute! And it was all over sns being shared by vminnies and non-vminnies alike. What a great time that was.

Then VMAs Dynamite perf happened- both Vmin looking good. I saw a lot of their promos especially the Jimmy Fallon interviews... and I noticed in hindsight how JF was so careful when referring to Jimin ... Since Tae was my first bias, I searched YT for Tae related content eventually saw in my YT feed Vmin moments. Theres a lot of Vmin content in YT or maybe the T*ek*ok ones didnt really register as extraordinary to me. But defo the Vmin moments were extraordinary to me,,,the BV4 sleeping together, kitchen role play & BV3 JM excited to see Tae and them holding hands and then Tae crying and then Tae's busking with Jimin cheering him on were all amazing to see. Up to this day this specific YT vid stood out to me first 

I actually went to check what video this is, and also looked at the comments where my favorite was this one: The staff member went straight to Jimin to tell him V was crying. That's all you need to know. They’re not wrong with that one, are they? That is pretty telling. BV3 vmin were a work of wonder, truly. Jimin watching Tae sing that Sam Smith song during the dinner in the sky looking all soft and endlessly fond?

Jimin encouraging Tae to busk and gently petting his hair was just such a pure moment and showed how much Jimin appreciates Tae and the talent he has, how in moments when Tae might brush aside wanting to do something, is a little hesitant and unsure, Jimin will stand up for him and give him strength/encouragement, which reminds me of Tae’s vlive in April 2020 and the fact that Jimin had told him that he wants to be his source of strength. Beautiful. And it shows that it wasn’t just pretty yet empty words, but something he truly meant. They both do.

Then i came across vid trans of Friends & cried first time hearing it especially when it got to the part "One day when the cheer dies down, stay hey.." It felt raw and honest to me. Then there's MOT:E concert and that part in Dynamite where they bumped their heads seemed bizaare to me - i was like were they fighting? because JM looked really fierce(or maybe emotional) then i saw the close up. i couldnt remember the exact moment I became a Vminie but it made quarantine easier...

This, I’ve noticed, seems to be a recurring theme among quarantine ARMY and vminnies, the fact that becoming ARMY and vminnies made it easier, and it fits with what we’ve been saying about BTS for years: they will find you when you’ll need them most. And in these trying and uncertain times, it’s certainly proven true once again.

Thank you of much for your submission and sharing your story with us, and I’m glad they could make quarantine a little easier for you.

From anon: I've been following BTS on and off since BST, but only really consider myself a true fan late 2019. I can't recall having a bias at first, but I was captivated by Jimin's everything when I binge-watched all their content. I must admit, my first OTP is T*e/k*ok, where I fell down the route of considering Jimin 'an interfering 3rd party' in their relationship, and it shamed me. Since then I've been cycling through Jimin ships, namely yo*n/m*n, j*n/m*n, m*ni/m*ni, and I even thought that j*/k*ok was real at some point. Strangely, Vmin never struck me as something extraordinary. I don't want to blame anyone, but Vmin caught my eye after I watched official BTS content without filter (presumed bias/judgement) all in their glory. I realized that while other ships may go up-and-down as in one day there's a frenzy and another day quiet af, Vmin has been and is still going constant. That's what makes me love Vmin, and for the first time in my fandom life, I have no qualms about whether they are real or not. Their bond, whatever it is, is already precious and something to be cherished forever. Thank you for providing us vminies a special corner to speak up about our experience 💜

You’re very welcome! I hope you’ll like how this turned out as well. Thank you for sharing your story with us and personally I find it fascinating how, despite Jimin being the one who captivated you most at first, you still fell into the “he’s an interference for my ship” trap that’s quite popular with that particular ship. I’m glad though that that never ruined your love for Jimin. It’s also really interesting for me how you went through different Jimin ships yet it took you the longest time to notice vmin. I feel like, because vmin and vminnies are more “low key” than the other bigger and louder ships, as well as Tae and Jimin simply being quieter in their interactions (not always but you get the point) as compared to, for example, Jimin’s interactions with Hobi, Jungkook, or even Namjoon, it takes people a while to really notice them.

This is my favorite part of what you wrote, and I think it’s a great way to describe vmin in general and what makes them different from other ships in the grand scheme of things: I realized that while other ships may go up-and-down as in one day there's a frenzy and another day quiet af, Vmin has been and is still going constant.

From vminot7: So i fell into BTS hole after watching blood sweat and tears mv casually on youtube. Jimin immediately stole my attention with his unique voice, graceful moves and handsome features even though i didn’t know their names at that time. I watched more MVs and jimin continued to hold my attention but i was also extremely drawn to taehyung's voice and facial expressions. So i started looking for more content such as RUN BTS and other compilations and realized my love for all 7 of them. I also noticed how jimin always had a soft spot for taehyung and was curious about their dynamics. I started looking at more of vmin content and i was really surprised to see how in the early days they were nowhere near as soft with each other as they are now. I think they have a unique bond and i have never come across anything quite similar. Now vmin are both my biases and my bias wrecker is hoseok.

I admire jimin for being a hardworking, passionate perfectionist but also a caring soul who is always ready to offer love and comfort to people in need. I love taehyung for how he looks at the world in his unique ways and how he has a childlike awe for things and how he is so passionate over the things he loves. The thing i love about vmin together is how they are so different yet work so hard on their relationship when it would be easier to just not try that hard.

Ah, another mention of the queen that is Blood, Sweat and Tears. The MV truly is such a masterpiece so I’m not surprised that it caught your attention, and especially Jimin since he was…something else in that MV, or like Tae said, his eyes were temptation (this boy, I swear). Since you mentioned how in the first years they were nowhere near as soft with each other as they are now, I think watching their dynamic and relationship change and evolve over time showcases the one thing I think a lot of people (as well as movies and TV shows) forget or gloss over, despite it being so incredibly important: in order to make a relationship of any kind work, especially in order for it to grow as deep and strong as the one between all members and especially vmin, you need to put in the emotional work to make that happen. You have to make an effort, have to learn to understand the other person and teach them to understand you as well, learn to appreciate and love their little quirks and how to accept others. And it’s so clear that that’s what vmin did, continue to do, and it more than paid off in the long run. I’m glad you highlighted that in general but also as something you love about them.

While the overall bond between the members is a class of its own, I think especially what vmin have achieved is a whole masterclass in relationships and fostering strong ones, in and of itself. There is a lot I think we can learn from them and I’m so happy that people recognize how special they are.

Thank you so much for your submission!

From anon: There’s this small moments in Dear Class of 2020 that i just adore! I’ve watched it at least 20 times this past month

It starts with “Spring Day”- tae and jimin laugh and look at each other and it’s just so sweet!

Also, maybe it’s my delusional mind but after tae’s and jin’s small and adorable moment- it seemed that jimin did the same with junkook right after maybe out of i duuno if jealousy but like “pay attention to me too” kinda way- dont know really and maybe it’s me being extra🤷🏻‍♀️

I agree partially, in that Jimin watched Tae’s and Seokjin’s adorable moment, obviously must’ve thought of it as cute just like we did, and thought he could do the same with JK. I don’t think it had anything to do with jealousy, especially if we work off of the idea that vmin are a thing, but also because it’s a performance and these things primarily serve the purpose of being cute and entertaining use, in other words, it’s fanservice (which isn’t the evil word some portray it as). Also, within that same performance, Tae and Jimin actually sang some of the lyrics toward each other, therefore they, too, had a cute moment they shared with big smiles and everything, just like you mentioned.

But we’ve gotten to see much more of Tae’s friendship with Seokjin in 2020, and especially the second half, so it was really sweet to see them interact during that song. Their friendship and dynamic is really a beautiful one, just like JKs bond with Seokjin, which I feel we’ve also gotten to see more of in recent months. Part of me (and that part can very well be wrong) feels that perhaps once the members caught on to Seokjin feeling the way he said he did/does, they decided to give him an extra dose of love and affection, off camera but also on where we can see it. That isn’t to say that they didn’t show him any of that before, but maybe they increased the intensity a little, a reminder that Seokjin truly is loved, that he deserves all of this, that it’s just his imposter syndrome (or at least what sounds like it) lying to him.

I’m still so touched and moved by the fact that he trusted us enough to share his feelings with us, to gift us Abyss and how it came to be, and that Bang PD was on his side and coaxed him into pouring his feelings into music, even if it would be “bad”, that the fear of it potentially being “bad” shouldn’t hold him back (and Namjoon helping in even if just a tiny bit with the lyrics). It was one of those times where I feel like we were all reminded that regardless of our opinions of BH and their doings, the members are surrounded by kind people who have their best interest in mind. After all what’s good for Bangtan is also good for the company, a win-win for everyone.

…wow, okay, I kind of went off on a tangent, I’m sorry…

Either way , then we have “Mikrokosmos” where we have a sweet moment at their part and towards the end where they switch mic and hear each other

I love this performance overall and especially “spring day”- jin’s and j-hope’s lovely voices and of course tae’s!! This song fits them so well and all the members of course

Well this is my rent , i love your blog and always wait for another post! Also i love the new idea and look forward to it!

Thank you so much for your submission and for bringing up their Dear Class 2020 performance. It was a truly magical one, and after reading this the first time, I did go and watch it again. To this day I’d still very much like to know how and when and why the mic switch between vmin happened, and I kind of hope that we might get a Bangtan B*mb or EPISODE about this eventually and it might shine some light on that question. Overall it was one of my favorite performances on 2020.

From Sky: While I enjoy cute, physical moments with VMIN, I really do value how emotionally attached they are to each other. For example (I don’t know if it fits as vmin moment but), I love how Jimin asked V to take the Promise cover photo, and how he ended up putting V’s name for credits on the cover. (Special Thanks to V, Best Photographer) This really shows a lot. Coz he can easily choose any Bighit photographer to take it. He could have chosen JK because we know how he takes good pics and vids too (and also apparently alot of people say that vmin had a falling out and that Jimin and JK were much more closer, lol). Or he could’ve asked Suga too bec he’s into cameras too. But he didn’t. He chose V, and chose to shout it out to the world how thankful he is for V’s help. RM co-wrote Promise, and maybe had offered more help in this project, but he didn’t put it in the cover. I’m not saying Jimin is ungrateful for not crediting RM in the cover. The difference is that he and RM had a vlive regarding the making of this song, a lot of people already know RM’s participation, he was officially credited as co-writer and Jimin really showed how thankful he is to RM. But no one knows of V’s participation (except for a snippet in that Run ep), so Jimin felt the need to tell it to everyone. I’m sure it’s not only the photos, I think he wanted to acknowledge how V helped him through the process, whether directly or indirectly. Also, remember this is Jimin’s first non-album solo single. By putting V’s name in it, he is sharing this very special song with his soulmate. How endearing it is! V also included Jimin in his first full English song. He used the two bears given by Jimin as Winter Bear’s cover photo and he included the photo Jimin took (sleeping V in the plane) in the MV. Like, seriously, they are trying to consciously imprint each other in their life’s milestones, openly or subtly. I’m crying. 😭

This was lovely, and yes, Jimin could’ve asked whoever to take those pictures, could’ve chosen any other ones, and yet he wanted Tae to be the one to take them, wanted those specific ones as covers. It’s very sweet and creates this subtle connection between Jimin, the song, and Tae. Sure, it isn’t the first time a picture Tae took is the cover for a SoundCloud song (the picture of JK on the 2U cover was also taken by Tae if I remember correctly), but it’s the fact that Promise is Jimin’s first non-BTS song, his first solo release, that makes it that much more special. Even more so when you think about how meaningful that song is to Jimin, and by having Tae as cover picture photographer, he’s in a way forever attached memory wise to that song as well, right?

The same also goes with Winter Bear and the two ceramic bears. Remember how excited Tae looked when I kinda spoiled that gift being a thing happening in an upcoming RUN episode during Jimin’s vlive during the summer 2019? Adorable. It’s also curious how though the title is singular—winter bear not winter bears—there’s two ceramic bears. One for Tae, one for Jimin? Maybe, or maybe I’m reading too much into it. Either way, it’s really cute, and it was a very thoughtful gift, even more when we think about just how much Jimin loves that song.

From anon: Love this idea it's super cute!! 1st thing that came to my mind is a rather simple moment, jimin bopping taehyung's nose and making a lil game out of it

Taehyung asking for more and that dazed smile 🥺 he had the same expression in that concert when jimin placed his face just above him, tae's smile afterward... it was so pure u could almost read "love" in his eyes lol

What a lovely note to end this post at, thank you for that. I don’t know what got into them during that photoshoot for Season’s Greetings 2020 but this was so disarmingly adorable. I remember when that moment appeared all over every sns and everyone just melted, myself included. Their smiles, the cute clothes, Tae’s head on Jimin’s chest, the softness and innocence of it, just all of it. It truly was so pure and like this sweet visualization of ‘love’.

And with that, we’ve reached the end. Did you like this? I had a great time reading your submissions and adding my little comments to them. If you’d like for us to continue this, same rules as last time, send in a submission marked with “VMC” and once we’ll have enough of them gathered, we’ll do this again, if you’re interested in more, that is. Send in whatever positive vmin you have, a thought, a moment, a memory, whatever you’d like.

Thank you once again to everyone who participated! :)

[khxpresh]

// This is an updated version of my old post, in regards to the main big differences between Yami Seto Au and the normal DM stuff. This is also a quick run down of the timeline.

The very first duel: Set wasn’t aware that the pharaoh had returned, he was blinded by a mix of his and Seto’s ego as well as pride. Because of this, he enabled and further fed into  Kaiba’s plans of kidnapping Yugi’s grandpa. Set “remembers” of his  original mission, when they are defeated and Yami Yugi “shatters their mind”. It’s important to highlight that Set has been sharing Seto’s body, years prior to the serie’s events.

Read more due to the length

Duelists kingdom arc

Because Seto is the wielder of the millennium rod, there is an even bigger motivation for Pegasus to try take over KC. The stakes are even higher here, than compared to DM;

They still go through with all the pre-DM stuff that ties them to Pegasus, however Set always remains well hidden within the back of Kaiba’s mind whenever they are in his presence. He always feels an odd sensation, while in the presence of illusion industrial president. The spirit isn’t aware that the man is in possession of the millennium eye.

The next big change happens in the duel against Pegasus. At some point during it, Set realises that their opponent has Aknadin’s item and tries to banter with Seto for them to swap places. After all he knows how the eye works, but due to their current situation, everything they had previously gone through against Yugi not too long ago and Seto’s insistence that he will save Mokuba by himself prevents Set from even attempting the minds swapping strategy. The duel’s outcome is the same, Kaiba is defeated and his soul is stolen. Leaving Set behind all by himself, in his body. This is the first time, his existence is revealed to everyone;

Both Yugi and Yami Yugi, have only had the slightest bit of clue from the existence of the other face (Set). Until this point.

Set is taken hostage, and can’t do anything but wait within his jail cell. By the end of it, he is reunited with both Seto and Mokuba;

Before they find Mokuba however, they have a brief encounter with Shadi. Who investigates their soul rooms, in search of the eye’s thief. It’s here that Set learns about Pegasus’ fate (he is quick to assume that Bakura must have had something to do with it), as well as how it has become impossible to traverse/get inside of Kaiba’s soul room.

Prior to the start of DM’s events, Kaiba and Set have a run in with Y!Bakura who comes close to stealing the rod. (Post going into more details about this event, will come soon).

The dark RPG arc

The game is still something Seto has been working on for a long time. Set has been a helping hand, in testing the VR technology. Thanks to the programming, he and Seto can co-exist with separate bodies;

Seto is kidnapped leaving Set try to get to him, all by himself. However, as imagined he can’t get to him due to lacking a party to take on the game’s late quests;

When Yugi’s party catches up to Set, he and Mokuba try to pass him off as some sort of NPC;

Mokuba still is the one who frees Seto, Set is working alongside Yugi’s party and following their pace.

Battle city:

Malik still is the main antagonist of this arc, however he doesn’t wield the rod. Likely has another millennium item, in his possession;

Set also maintains his presence/existence a secret from the Ishtars. He, alongside with Ishizu, convince Kaiba to start the tournament;

While he may have contributed to the start of BC, there is a huge debacle between him and Seto in regards to the use of the Obelisk in duels. Set refuses to use the God card, out of fear of angering the deities (this is in reference to when he was a pharaoh. He never used the God Kas, during his reign). Whereas Seto, obviously couldn’t care anyway less about the spirit’s concerns in regards to it, and clearly takes immense pelasure out of using its power;

Set participates in the following duels:

The double duel agains the rare hunters, in Atem’s side. vs. Ishizu, that is when he reveals himself to the Ishtars.

Up until Ishizu’s duel, Malik’s primary target was Atem. However, it changes to Set when he reveals himself to be the pharaoh responsible for the creation of the tombkeepers;

Set reveals himself to be someone with far greater knowledge, and control over shadow games than both y!Malik and Bakura. AT some point, they try taking on him, but their attempts prove themselves to be in vain. He is keeping Kaiba and Mokuba safe, from them;

They have another brief run in with Shadi. Seto doesn’t learn how to read hieroglyphs, since Set is there to do that for him. Set also feels y!Bakura being erradicated by y!Malik;

Virtual world:

Set has heard of Seto and Mokuba’s story a dozen of times, but not the thing in its entirety. Not only that, Seto has never learned what happened in his early memory loss episodes when Set woke up. It is here, that the truth is brought to light.

At the start, Set only saw Seto, as nothing more than a vessel for him to fulfill his duty of serving/helping Atem in the present time. And he would speak of him in such manner, with Gozaburo. Needless to say, but learning such things is bound to put a damper in the brothers’ trust on Set.

Unlike in the Dark RPG arc, Set is bound to Kaiba’s body. It appears that no one outside of Gozaburo, are aware of his existence in the first place. Which catches Noah by surprise, when they finally come face to face;

Set is the one who initiates the duel against Noah, under the justification that he was the one responsible for Gozaburo’s death and not Seto. However, he has to swap places with Seto once Noah starts using Mokuba as a meat shield. They are unable to continue, and are turned into stone as a result;

From the duel against Gozaburo, all the way to their escape Set and Seto are in complete sync with one another, in the same way that Yugi and Atem are always seen.

By the end of the duel with Gozaburo, Set finishes what he began all those years ago, the ritual to feed the man’s soul to his BEWD ka. His punishment for all the crimes, against him.

BC’s finals

There aren’t any major differences between them. Set and Y!Malik exchange a few words, mostly just so he can both taunt him and send him after Atem. By the end of the tournament, Set finally gets the confirmation that his pharaoh is indeed back.

Pyramid of Light

Again, there aren’t any major differences between them. Set picks up on the sudden shift in Kaiba’s behavior, he is mostly there as an observer. He gets sucked into the millennium puzzle, when the pyramid of light is played, that is where he stays for remainder of duel/story. He returns to Kaiba as soon as he is fred from the puzzle, and takes over the body while the other is recovering.

In relation to Anubis and the fake relic: Set had yet to be promoted into his high priest position, however he was around to witness Aknadin punish him. He wasn’t aware of the fake relic’s existence, and simply saw the sentence as just another of his mentor’s lessons. But, he recognizes Anubis.

Waking the dragons

The first duel against Amelda: Kaiba still is the one dueling, however Critias is unable to interfere in the duel. Leading to him being defeated, but Set manages to take over the body in time so his soul is the one taken by the orichalcos seal instead. He doesn’t return until the Leviathan is defeated, by the end of this arc;

Seto is trying to recover Set, while attempting to salvage what is left of his company. He doesn’t relate at all to Atem’s situation, even though at first glance they seem to be on similar grounds.

KC Grand prix

Once more, there aren’t any major differences between them. Set is aware of Ziegfried’s existence, but he really doesn’t get to do anything or much of relevance throughout this arc’s events.

He also mocks Ziegfried’s hair & mannerisms, in a similar way that Kaiba does. The other is unable to tell both apart.

Memory world

They travel to Egypt in order to join Yugi and his crew, this means that Kaiba participates in the MW’s events a lot sooner. At first, he is tasked by Set to look for any clues to Atem’s name. There is a fallout between them, when Seto becomes aware that Set isn’t trying to change the course of events, even though he knows what is coming/about to happen;

It should be worth reminding that: Set remembers most things about his life, with the exception of most memories assosciated to Atem’s existence, he doesn’t remember his name neither why he erased it from existence or anything that could possibly lead/hint to learning the name prematurely.

Set is saved from Aknadin’s control with the help of Kisara, Seto and Atem;

Seto and Set are the last ones to leave the MW, because there is one more portion of this story that is exclusively meant for Kaiba to see. Which is the aftermath, of Zorc’s battle. When Set regained consciousness and found himself all alone with the puzzle.

Ceremonial duel

They split up during the ceremonial duel, just like Yugi and Atem and watch over it like that.

DSoD

Taking place about 1 year after the end of DM. Kaiba’s goal is to meet with Set, one more time. Even though, everyone around him seems to just assume, he is after Atem.

At some point, he recovers the millennium rod and keeps it to himself, even though it has no power. What Yugi says about the spirits being gone, is true. He also can’t feel Set’s presence in his relic. The rod vanishes when Atem returns to his realm.

Kaiba and Set duel each other, Kaiba is the winner and safely returns to his realm.

[yomiel]

Think fast! *shoots you with special interest laser set to "Supermental"*

OH SHIT FUCK MY SPECIAL INTEREST okay this ended up WAYYYYYY longer than expected so look under the cut for me rambling about these fellas.

so basically it’s a planned video game about a pair of young thieves who according to the cancelled kickstarter unknowingly steal the very perception of reality. it stars victor “smack” alifraizer, a respected psychic pugilist who can stretch and contort his body as he pleases, and his best friend jackson “pent” pent, a gambling boomerang slinging young man with a fondness for alcohol and video games.

it takes place on the fictional island of nickville square that we don’t know very much about besides that everyone goes by nicknames and it has several interesting features like a volcano, a beach, and a huge building for an unknown “itg corp” but it’s likely these things have no real bearing on the plot

speaking of the plot, aside from the previously stated ‘stealing the perception of reality thing’ we don’t know very much. we Do know a little about the titular artifact, the supermental, an object from another world. it’s said that when completed that to put it simply, it takes thoughts from the user’s mind and makes them into tangible things. though you can’t choose what happens, it just does.

we also know the main antagonist: a mysterious man known as deja. he’s mostly a mystery thus far, all we know is he’s a kind of madman “can’t comprehend his own motive”, “committing to wild actions of his own volition”, and can speak french. the latest promo seemingly shows him killing smack and saying he did so because his “pride demands it”, whatever that means.

we first learned of this whole project when it started to slowly be incorporated into the creator, connor lavery’s, notable youtube series khonjin house. it began with the introduction of pent being split from the titular khonjin, alone in a dark void angrily yelling out to an unseen smack. his appearances are infrequent in the following seasons, popping up a couple times to ask the characters gino and gay spaghetti chef about a mystery person named shelby uavou. at the end of a seemingly normal episode, it’s revealed smack is indeed somewhere in hiding. he doesn’t make himself known except for a letter left to gino, saying that if he wants to be ruled by someone he hates rather than someone who hates him he should give the enclosed supermental piece to khonjin. this all comes to a head in episode 50, where khonjin touches the piece after being tricked by gino. thrust back into the void, the two other main characters of khonjin house are confronted by pent, who disappears gay spaghetti chef and punches gino, who calls for smack to do whatever it is he had planned. then the two thieves confront eachother. pent attempts to use his reality bending powers as he is the one who created the world of khonjin house but to no avail, as now khonjin has the piece. after a brief hostile exchange, pent insisting shelby isn’t dead and that his and smack’s reality doesn’t need him, pent lunges at smack and is promptly frozen by khonjin. he tells smack to leave and he does, taking the still froze pent with him, being the last we see or hear of them or supermental in the lighthearted series

it has since been revealed that pent IS shelby, a deeply closeted trans woman. during the events of khonjin house her very identity was erased from her only leaving a husk of a person who has only very fragmented memories and no sense of self besides what he’s told he’s like

however, in 2018 during a massive overhaul of the channel to remove jokes that would get the channel flagged or just simply didn’t meet the creator’s standards, all of these events were removed without a trace. it’s a little iffy as to why afaik but people have archived the original videos. you can still find little references though like pent’s theme used in the credits for the 10k subscriber special!

there was also an arg/riddle in the final episode of the series (at least final before it started again) given by pent leading to a locked tumblr, uavoulock, but alas it was never solved and most of the clues/references were wiped as the creator was unhappy with how it was going. however, the tumblr was unlocked and was simply an image of an unknown character with a striking similarity to pent, presumably her post transition or her ideal self.

as of right now, supermental is planned to be released in short animated “highlight clips” rather than full episodes or traditional trailers. there are three from around the time of the kickstarter and one from the beginning of this month, with more already storyboarded! anyways wow that took forever sorry about that, if you made it this far ty and good job!

[lais-a-ramos]

On Lovecraft Country and the way the narrative presents queerness

"No masters or kings when the ritual begins

There is no sweeter innocence than our gentle sin

In the madness and soil of that sad earthly scene

Only then I am human

Only then I am clean"

Hozier, Take Me to Church

oh, boy...

i knew some of these deaths could happen in the finale, but i definetely wasn't prepared for any of this, wow.

i guess that, with the events of the finale, including atticus' death, there really is no point in getting the show renewed for a season 2, as as i hoped and wished before, because all of the conflicts that were set up were resolved. i mean, there's always the possibility of using time-travel to do a retcon and bring all the dead characters back, or, at least, two of the protagonists and the villain, but, maybe it would take too many alterations in the narrative, because it seems like the whole thing was planned for a mini-series.

so, now, all we have left is to do a breakdown of what worked and what didn't in lovecraft country's limited series run.

i think that, overall, the message of black ppl taking back the power of ancestry that was stripped from them by white supremacy and structural racism was well-done, and the symbolism was very well-crafted in the final takedown of the season's main villain, which was a representation of how the racism based on indifference born out of white privilege is almost as bad as the racism based on pure hate and despise, which is a valid message, considering the former is a bystander to the abuses and rise to power of the latter.

although i still find the timing was poorly chosen because, well, as of now, all over the world, it's not white ppl who dub themselves "liberal" or "progressive" and claim themselves to not be racist but refuse to act anti-racist that present an actual threat to our human rights, but literal, actual fascists and neo nazis...there are bigger fish to fry now...

but i digress...

on the final score, i guess that when it comes to queer/LGBTQ+ representation, the show fell actually felt real short for a product that crafted so well the race issues, proving that there is still a lot to go before we get to see intersecting identities being portrayed in media the same compex way they exist in the real world.

no, lovecraft country is not guilty of queerbaiting, unlike some of the same ppl in fandom that are the firsts to either erase the half of a couple that is a BIPOC or to deny a canon cis het biracial ship to hype up a fanon white wlw ship and other problematic stuff plenty of times in LGBTQ+ fandom spaces might say.

but that doesn't mean that the treatment of LGBTQ+ issues was satisfying or can be considered good rep, and it actually repeats some of the same tired tropes about queerness and blackness.

while we can say that the show did a relatively good job with montrose as an individual, the same can't be said of the other characters and the final messages.

like, for example, introducing a trans/non-binary indigenous, the Arawak two-spirt Yahima, only to kill them on the next episode was insensitive, to say the least.

while it's true that misha green apologized for the mistake, and said she and the writers tried to make a point that even oppressed groups are capable of oppression, the final score was that a trans/non-binary character was introduced as a plot-device and brutally murdered before having even a chance to properly develop.

in other words, used as a prop.

in a world in which trans ppl are brutally murdered at alarming rates, and most of the victims are BIPOC trans ppl, that is something that we can't let it slide just because the general message of the show was good for cis het black ppl.

the same can be said on the treatment of sammy in the narrative.

while it's true that montrose being aggressive and acting the way he did, pushing ppl he cared about away and shunning every chance of vulnerability due to internalized homophobia, toxic masculinity and misogyny, as this very interesting critique by amani marie hamed of nerdist pointed out, his characterization nonetheless falls into the same old stereotype in american culture of accusing black ppl of falling behind when it comes to queer acceptance and associating black masculinity with homophobia.

also, the author of the article says it better, but, overall, sammy's existence ends up being just another plot device, serving to say to the audience that the producers and writers know that queer ppl existed in the 50's, but, at the same time, repeating some of the same tropes as usual, like associating being queer with being clandestine and deviant instead of showing it as a natural thing that was perceived as deviant at the time, as we can see by that scene of sammy having a sexual encounter in the alley behind his bar.

the author even mentions that queer ppl overall had houses, and most of the encounters actually happened there, and that scene reinforces the idea that queerness is inherently animalistic.

the article also points out how sammy is mostly there just to be shutted out, first by montrose and latter even atticus, and, ends up being another prop to lift montrose to deuteragonist status, being rejected and abused by montrose solely to highlight tic's father journey with his personal issues that apparently he simply wrapped up in a span of 2 episodes.

the fact that sammy was a also a more feminine gay man, even participating in ball culture as a drag queen, and yet most of his appearences involved him being degraded or shut out or overall mistreated by montrose, even tic, and that scene in which atticus forgives montrose after he revealed he never acted on his homosexuality and cheated on tic's mom, even though it's implied she did cheat on him with his brother george, just reinforces the idea it's ok for black and brown men to be gay, as long as they are not THAT GAY™️.

the introduction of thomas in episode 1x09 only to be murdered in the riots is another example of how queerness seem to come with a price in this show if you act on it.

once again, a gay character was introduced in the narrative to further montrose's pain and trauma.

and his introduction was absolutely not necessary, because being a survivor of a massacre like the tulsa riots and a survivor of parental physical abuse is already was already enough for making tic and the audience begin to emphatize with montrose's pain, there was no need to kill another queer character just for that.

not to say we should agree with everything the nerdist article says, of course.

at times, it felt like the author was saying that addressing these issues in the black community is a problem on itself, and that is definetely not the solution.

but, when we consider the setting of a limited series with a plot-driven approach to the scripts, the way the topic is addressed ends up being superficial and rushed, and what could have been a delicate approach to a complicated man discovering his sexuality if the show was an on-going series, ends up being just a narrative built to put montrose in the spotlight in an attempt of getting a few emmy nominations for outstanding performances, and that's about it.

now, what really serves to cement the LGBTQ+/queer representation in lovecrat country as a disservice is the treatment of ruby, christina and their relationship.

i did a few metas explaining christina's and ruby's characterizations, including one i posted before the finale started explaining why ruby was so important to queer black and feminine-aligned nbs being a dark-skinned fat black queer woman discovering her sexuality and figuring out there was more to life than the social roles that were pushed into her, and how the parallels between her and christina, two different women separated by race and class but with the common feeling of being interrupted by social restraints that binded them, were a way for a character like ruby to be treated by the narrative the same way white women get to be treated in fantasy stories, as someone worthy of being courted and romanced as a light-skinned and thin black woman like her sister leti.

but with that finale, and the way the whole thing played out, with not only christina and ruby dead, but also with christina killing ruby, felt, ironically, like the very same trope that's been the norm for queer characters for a long time.

if we consider the tropes of the genre the show and the source material draw inspiration from, pulp fiction magazines, a medium that was very popular until the rise of the cinema and TV in the 50's and 60's that also served as an inspiration for them, then we know that in this medium some of the harmful tropes about queerness that exist until this day were particularly prevalent, including that of the queercoded villains.

to talk about this, i'm going to refer to this amazing article by tricia ennis on the history of queercoding for syfy wire.

first, a definition:

"queer coding, much as the name suggests, refers to a process by which characters in a piece of fictional media seem — or code — queer. this is usually determined by a series of characteristics that are traditionally associated with queerness, such as more effeminate presentations by male characters or more masculine ones from female characters. these characters seem somehow less than straight, and so we associate those characters with queerness — even if their sexual orientation is never a part of their story."

between the hays code in cinema going from 1934 to 1968, the comics code authority in the comics industry from 1954 to the early 21st century (with dc comics and archie comics being the last to break with it in 2011, mind you), the code of practices for television broadcasting from 1952 to 1983 and its predecessor for radio NAB code of ethics, the authors all over mass media couldn't approach the topic of queerness and portray openly and proud queer characters under the risk of being persecuted by the censors, and so, begin to hide queer chracters under the disguise of subtext.

and given the content creators couldn't show any form of positive queer/LGBTQ+ representation under the risk of being punished by the censors, the alternative they found was to portray the queer characters as the villains or antagonists or degenerates, and punish them with death.

the syfy wire article says it better than i ever could:

"even dangerous LGBTQ tropes rose out of this time period, as the depictions of pulp noir femme fatales and other deadly women rose in popularity. these women were usually written as promiscuous and sexually devious, both with men and sometimes with women. they were also evil and usually met their end as a result of their sins. While depictions of LGBTQ characters were frowned upon, depictions of them in this specifically negative light were not. you were not endorsing an “alternative lifestyle” if your gay characters always met an untimely demise. Instead, they were merely paying for their poor choices. this trope would eventually give way to what we now refer to as 'Bury Your Gays.' "

and the thing is, all those censorship laws are over by now, but the tropes/clichés that arised on that era are still prevalent in pop culture 'till this day, consumed by the audiences and reproduced by content creators, in the industry or in fan spaces, whether they are aware of said trope/clichés or not.

now, that is where ruby, christina and their affair on the show enter.

to explain how problematic and harmful the way these characters have been portrayed is, and what kind of message it sends about black queerness, i first have to explain christina's function on the story.

christina, as a character, was basically the texbook pulp noir femme-fatale, checking most of the boxes of the tv tropes description of the trope, from the "red equals evil and sin" imagery to being a wild card, that character who changes sides according to their own desires and individualistic goals.

in her specific case, helping the white supremacists and the black heroes alike in her pursue for unlimited power to protect herself from the oppression that comes with being a white woman, particularly a wealthy one, in which the very same presumption of innocence that gives them privilege over BIPOC is used to infantilize them and strip them from their agency, putting their bodies and choices under the tutelage of cis het white men.

so, her function on the show was basically to manipulate the characters on the two sides alike.

and that is where the problems in queer representation come in, because, to manipulate them, she acts as a sensual seductress.

and what does the script uses to highlight that this is a character willing to go to the most immoral places to achieve her goals? it makes christina a sexually fluid and gender fluid character.

that is basically playing a move straight from the hays code era.

not only does the show plays christina's sexual and gender fluidity as her being "freaky" and a proof of her deviant nature, but it makes her seduction of ruby as a central part of the scheme that positions her as the main villain of the show.

this portrayal of christina as a textbook femme-fatale with a touch of white feminism is already very problematic on its own, especially when we consider her death and how brutal it was, because, yes, while it's true she is privileged because she is white and wealthy, she is still a woman and a queer one at that, and giving her the same traditional treatment for femme-fatales in pulp fiction ends up reinforcing harmful stereotypes about gender and sexuality.

but, when we consider what it means for ruby as a character, it gets WAY worse.

ruby is a character that's been shown to feel very frustrated about the ways in which societal structures of power interfere in her life, not only on a professional level, but even on a personal level as well, making her feel "interrupted".

dealing with the same issues that all black women and feminine-aligned nbs who don't fit into the eurocentric standards of femininity and of beauty do, and not matching the criteria for being hypersexualized by society as the black women considered conventionally pretty -- with thin bodies like the white women or hourglass body frames, being light-skinned and so on --, ruby has her humanity stripped from her because everyone expects her to be stronger than it's humanly possible.

everyone seems to expect something of her at home, her younger sister took advantage of her money for years, and not only all of her goals in the professional realm seem to be frustrated by social structures of oppression, but even her relationship goals as well, given that most of the men that she gets involved with, whether they are black or white, seem to believe they have the right to abandon her and treat her like trash because she doesn't feel a thing and is "strong" enough.

ruby feels frustrated and tired, and she has every single right to do so, because, as what happens to most black women and feminine-aligned nbs, she is disrespected and disregarded by everyone, white and black alike.

so, when christina comes in with an offer of improving ruby's life with magic, of course she takes the opportunity.

and it seemed like the show was willing to deal with the moral complexities of christina's shapeshifting potion and validating ruby's feelings, or at least, sort of validating.

but, by killing her at the end, it just played out as if ruby's feelings meant she was merely a traitor to the race, and not a woman who was tired of feeling frustrated with all of these impossible obstacles society sets for black women and feminine-aligned nbs, especially dark-skinned and fat ones like her, and justified in her anger and frustration.

she did everything right and accomplished nothing, and, when she finally decided to rebel and focus on herself for a change, she met her demise.

but that is just the tip of iceberg, really.

what makes this situation with ruby so frustrating is the fact that, when the show presented christina's queerness as another sign she was "on the wrong side of the tracks" and a villian that should be defeated by the black heroes, which consist in a family, the narrative is implying that a person has to choose between their queerness, on one side, and their blackness and community on the other.

of course, one might argue that the fact montrose was turned into a gay man himself in the adaptation prevents this from happening. but, when we consider montrose was forgiven by tic only after reinforcing he never did cheated on dora and acted on his queerness and lived his gayness, when he really had every single right to do so, especially because it's implied dora slept with his brother george and the three of them knew she was just montrose's beard, then we have the message that it's ok to be queer as long as you don't act on your queerness at all.

there is a part in the review for nerdist that i mentioned above, in which the author says that one of the book's best qualities was that "the source material also illustrates the importance of family and community ties between Black protagonists", and that the TV show ruins it when it "introduces abuse, alcoholism, and family dysfunction, and strips Black characters of their own magic."

that is a part of the article, published in october 14 2020, that now no longer makes sense after the finale, because that message is there.

but, the actual problem is that the ideas of family and community shouldn't be taken for granted bc they are always under political dispute, and are oftenly used to reinforce backward messages when it comes to gender and sexuality, serving as a tool for the control of the bodies and authonomy of ppl of various marginalized groups and intersecctions, including women, BIPOC and queer ppl alike.

while these things are not inherently good or bad, and they are also part of the culture and identity for plenty of BIPOC ethnical identities, the concepts of family and community are usually weaponized by conservatives and used to justify things like queerphobia and the restrictions over reproductive rights.

queer ppl in all walks of life and skin colors all over the world have to deal with plenty of conflicts about coming out because, by deciding to live their own truth, they can never know for sure whether coming out will put them at odds with their families and community until they dare to do so.

so, ruby's dillemma for not knowing what to choose, her family or a life with christina, plays out as the type of experience queer ppl have to deal on a daily basis, and when we consider the intersection with race/ethnicity, it gets even more cruel because our gender identities and sexual/romantic/aesthetic orientations, that are natural parts of us, make us being invisibilized and silenced in our own cultures and feel like we have to give up on our own communities in order to be able to live our queerness.

there are few things more gut-wrenching than that feeling of fear that you might be disowned by your family and relatives and your community -- whether is it a neighbourhood, a village, a small town etc -- because a part of yourself is considered at odds with your heritage.

and when we consider all the christian imagery in the show, the final result is a really troubling one.

while it's true that being christian and believing in god doesn't authomatically makes anyone a bigot (i actually still retain some of the beliefs i was raised into as a catholic latin-american), it's also true that now, more than ever, we can't ignore science, including history.

the entire way in which they referred to magic as a devil's work was very troubling and evocates the same discriminative rethoric that white european colonizers used to justify the destruction of the ancient old religions and beliefs of BIPOC in their own homeland, the ancient culture of our ancestors, and also the oppression of peasant women in europe.

while we can't generalize, given each culture had its own particularities, there's an agreement in the scientific community that, overall, the cultures of the first nations and indigenous folks from the american continent, the african continent, the asian continent and oceania/pacific islands were far more accepting of different manifestations of queerness.

that means that queerphobia was part of the colonial project, once the traditional family values of christianity were used as a tool for the white colonizers to regulate the bodies and sexuality of the colonized and keep them under control.

and that is why the association of these ideals of family and community as inherent to blackness ends up being problematic, because we can't discuss racism without discussing colonization, and we can't discuss colonization without considering the ways in which queerphobia and religion were used as tools of colonial oppression.

the worst part is that, when it comes to ruby, the producers and writers really didn't need to do kill her at all.

and while the show did right in not showing how christina killed ruby, sparing the audience from watching another black body being brutalized, it's also true they didn't have to kill the character to get her out of the way from the final confrontation between christina and tic's family.

they literally went and changed her background from her book counterpart and made the woman a musician, and a blueswoman at that.

all they needed was to have her share a goodbye scene with christina the same way she had with leti, saying that she wanted to be with christina but couldn't fight her family and friends like that, grab a copy from the safe travel negro guide and set off in a bus to travel all over the U.S., singing very sad blues songs about falling in love with a white devil once.

that's all the producers and writers needed, to use the "sent in a bus" trope.

but the choice was to portray ruby as a character facing the consequences of following her desires , which ends up feeling like a punishment for a dark-skinned and fat queer black woman for daring to question the position society has placed her because of who she is.

this is in no way an attempt to "cancel" the producers or the writers, because a) their work is still important as a team of mostly black creators and b) canceling doesn't seem to have significant consequences, and seems to lead only to more social media wars than anything else.

but now that it finally seems diversity is getting more space in media, this type of discussion gets more important.

there is a slow increase on more representation of queer/LGBTQ+ characters in media and more productions involving queer/LGBTQ+ creatives, but, most of the time, the characters and are white, or, when there are biracial couples, the characters of color are just token minorities, and the same happens with the creatives involved in the production.

there is a slow increase in BIPOC characters representation in media and more productions involving BIPOC as creatives, but, most of the time, the characters are cis heterosexual, and the same happens with the creatives involved in the production.

but, for pop culture and media to be truly diverse, there has to be more space for the narratives of ppl that exist and belong to the two groups to raise our voices and be heard, whether is it in the entertainment industry, society at large or even in fandom spaces.

because she shouldn't be forced to pick between one identity over the other.

our existences shouldn't be interrupted just because society doesn't know how to deal with them.

and if that make us sinners, then so be it.

[popculturebuffet]

Ducktales Review: The First Adventure! or Baby Donald Says Eat the Rich

Welcome back. I’d been looking forward to this one for some time in the hopes of getting one thing i’ve been waiting for.. sadly that thing didn’t come, we’ll get to that, but this was still a fun episode so let’s hop right in. Spoilers in a second but my tag is spoiler tagged soooo.  ---------------------------------------------------------------------------------------------------

We open in the 1960′s. Austin Powers just went into Cryo Freeze to prepare for Dr. Evil’s eventual return, The Marvel Universe was in full swing, a teenager in baltimore was battling racisim via a dance show, and Black Heron had just been caught by Agent 22, aka Beakly when she was young and just as gorgeous then as she is now. Heron once again engaged in her usual cartoonish supervillian, and now SHUSH has her.  Meanwhile in a nearbye room a young accountant by the name of Bradford Buzzard is outlining his plan for Director Von Drake: The way he sees it every time a villian costs chaos Shush “Wastes” billions causing MORE chaos to stop it without controlling things. He proposes taking over the world, weeding out the chaos and ruling from the shadows. Naturally, Ludvig isn’t on board with any of this and points out they aren’t super villains. It’s here this episode fully defines something about Bradford’s character. Back in “Let’s Get Dangerous!” when Huey called him a villain, he said he’s not one... at least from his point of view. It’s here, in his youth we get a clear understanding why he dosen’t think so: So far most people we’ve seen in the world of Ducktales take the chaos and insanity of the world in stride: Either just numb to it like most of the citizens, Rolling with it like Daisy and Violet, or diving straight into it like.. pretty much the majority of the cast, either for the love of adventure and treasure like the McDuck/Duck family, or for their own ludcrious ends like Glomgold, Mark Beaks or Magica. To them the world’s fine the way it is and there’s to explore, take or whatever.  To Bradford.. this is madness... he feels all these people are just a bunch of overgrown children, and in some cases actual children, are just making the world worse and worse until one day their going to break it. One day skill, intuition, wit, and knowledge just wont’ be enough. Someday Scrooge, SHUSH or whoever’s standing in the way of evil will fail and the world will fall. This simply can’t go on, and SOMEONE has to control this, someone has to take this world, shake the chaos out of it and MAKE it sane. Make it work the way it’s SUPPOSED to. And to Bradford that’s him. Someone has to, no one else will, so he will. To him SHUSH doing this is just the logical thing: They want peace right? Their fighting for good right? Then what’s better than making the world a utopia? Ending these conflicts and remaking it.  The thing is.. that’s not what Heroes do. As we’ve seen in various stories where the superheroes, the Good Guys take over they do improve things.. but at the cost of free will. At the cost of free thought. At the cost of their morals. They become what they were fighting all those years and have to bloody their hands and keep them bloody just to make THEIR world right. And that’s not Utopia, that’s a dictatorship. The example I always come to, even though there were ones before and after this including Marvel’s incredible Squadron Supreme maxi-series, is Justice League the animated series’ two parter, like most of their episodes really but that’s not the point, a Better World, about an alternate reality where Superman kills Lex Luthor after Luthor kills the flash and hte League take over the world. The thing is.. the world isn’t BETTER. It’s just crime free. You can sweep the chaos and the crime under the rug.. but your not making a better world, your just making YOUR version of it. No one person is a god even if they have a power of one and no one person can or SHOULD be able to decide what’s best for everyone. It’s up to each of us to MAKE the world better, to fight for a better world. That’s what Ludvig knows full well and what Bradford just can’t see. You can’t control the world, you just have to accept the things you can’t change like it being chaotic and change the things you can like injustice. 

Bradford however, who was hired as a favor to his grandmother, can’t though Von Drake lets him off with a warning.. and a laugh about an accountant being able to be a super villian. Bradford however realizes ther’es some truth to that.. he needs someone to teach him out to operate outside the law, and if SHUSH won’t take the world and remake it.. maybe it’s time someone else did.  So in the prison cells of SHUSH, which are conveniently empty outsdide of Heron, Bradford outlines his plan to her. To create a massive orgnization to steal the world and give it the order it needs. To combine their skills: Heron’s for grandeur and crime, and Bradfords for strategy and focus, to take the world. The Orginzation for World Larceny, or OWL, fitting bradford’s hatred for theatrics. Heron objects, adding an F for fiendish, and Bradford relucntantly agrees to get her on board, lets her loose and fakes like he just saw her escape. FOWL is born. And the world would never be the same. Cue credits and cue the rest of the review under the cut. 

After the opening we cut to 1994-5.. sometime around then as it’s hard to get an exact year, and that’s how the crew likes it. Point is it’s the 90′s, and Scrooge is.. busy running his company. We’ll get into the weeds of that in a bit, but this is a different Scrooge, one who while no less capable, has no thirst for adventure or drive. He’s not nearly as miserable as the Scrooge we saw back in Woo-Ooo but he’s still a much less complete man. Anyways alongside him for his planning is Duckworth, whose very much alive at this time, and who tells his boss his sister Hortense left something in his office for him.  To no one suprise, that thing is the twins, at the tender age of i’m guessing 10. Since your probably curious, Della is still voiced by Paget Brewster, just using a slightly different voice like the Triplets and Webby’s voice actors do. It’s just a bit more jarring here since unlike those characters, we’ve seen adult della and thus are used to this voice coming out of a grown woman. It’s not bad and I got used to it eventually but it was jarring at first especially since once again Donald has a completely diffrent voice ACTRESS doing his voice.  This time around it’s cristina valenzuela, of Miraculous Ladybug fame, who I know more for her song work and twitter than her actual work ,but am delighted to see her here and she does a terrific job. I genuneily did not realize it was her, and while not exactly like the late great russi taylor, it is just similar enough to work. 

So we get to see what the Twins were like when they were the Triplets age: Della is about the same, but with more of Dewey’s impulsiveness, and Donald, much like he’d be a few years and some dead parents later, is a bitter, grungey musician whose constantly on his guitar and railing against the man.. which is Scrooge in this case which is fair. Hortense left a note.. which bothered me as I genuinely expected her to show up and was majorly disappointed she did not. We are in year 4 of this series, season 3 and STILL no appearance of Hortense or mention how she died, as she and Quackmore are still alive by the end of this. Given she’s easily my faviorite part of Life and Times, this bothered me, and the only reason i’m not more upset.. is the clever way they wrote around actually using her. The letter she leaves for Scrooge explaining things is the same one Della herself used in the comic strip, and using a bit of the postcard she left in the cartoons, when leaving Huey, Dewey and Louie with Donald, down to the Twins having left a firecracker in their fathers seat, thus leaving him in the hosptial. As disappointed as I am my favorite Ginger is completely absent once again, this is a brilliant reference, and I have to give them credit for it, so it’s a fair enough trade off.  As for his “Angel Nephew and Niece”, Della wants to dive into adventure while Donald struggles to write a song, singing throughout the episode. It varies in tolerablity, though mostly due to the writing, Cristina is doing fine. Della however is disappointed to find her legendary uncle views his past exploits as merley a means to an end to get his fortune and now he has it he can just focus on building it in the boardroom. This is an intresting take.. and one I could easily have seen happening to the Don Rosa version seen in Life and Times. The Scrooge there himself saw building his wealth as the most important thing until his encounter with Teddy Rosevelt, who taught him experince was what mattered and the having isn’t as fun as the getting. It works for me: This is a scrooge who never got that lesson so once he got to be richest duck in the world, having achieved his life’s goal nothing was left. He’s not miserable like the Scrooge we saw at the start of the series, having lost his love for adventure after loosing his niece/daughter, and having lost his fight. This one has retired.. but because he likely just sees no point in going on. He’s the richest duck in the world, has a vast empire.. no amount of treasure is really going to add to that like it used to, and as he points out in a second Shush has tons of agents at this point to clean up what’s left of FOWL. He’s the man who has everything, so why keep going. It’s weird to see a scrooge without the hunger to keep going, but it makes sense when his belly is full. Without someone to get him to see there’s always another rainbow, he just stopped chasing them. Also a fun nod to the comics I almost forgot to mention is when hearing about the “Gift”, i.e. the twins, Scrooge dreads it’s another surprise party, a nod to life and times where Hortense threw Scrooge one that went.. badly and lead to their entire relationship collapsing. Though Donald did get back at Scrooge for screaming at his parents and Auntie Matilda

However his busy day is disrupted with a call from Beakly. They’ve found the last known cordinates of Captain Yellowbeak, but FOWL is on them and Scrooge is the only one Beakly trusts for this since they have a leak. Beakly is also director of SHUSH at this point, with Von Drake having retired or died or both at this point. Scrooge reluctantly accepts, while Della is excited at the prospect of a real adventure and Donald ends up sharing her enthusasim as it’d make a good song. Scrooge, naturally, has no intention of bringing them with him to their disapointment and leads Donald to sing another “Suck it the man song” which totally isn’t about Scrooge.... spoilers: It entirely is, he’s just a little dumbass grunge baby and I love him.  We then get a cute sequence of Della popping up in Scrooge’s Luggage and Trunk to try and convince him to let them tag along, before we cut to the Limo, driven by Duckworth at this point, which solves that mystery. Scrooge is firm in having his butler take them back and have them work with him and Duckworth’s fine with that.. but wants overtime, which is fair. Scrooge, being Scrooge, grumbles about not being made of money, proven wrong by gold spilling out of him. Though I do like the update of Scrooge’s classic cheapness when it comes to pay: INstead of barely paying his employees like a monster, he’s simply reluctant to pay extra if he dosen’t have to, and would rather drag two 10 year olds with him on a dangerous adventure than pay overtime, which tracks. It’s also clear if he had to he WOULD actually pay it, either due to legal reasons or his moral standards, he just isn’t happy about it. So he agrees, though he wants Donald to leave the guitar behind which.. given the most Donald’s been able to come up with is “Suck it THE MAN” and “This guy’s a greedy asshole”.. he’s extremely correct and when Donald tries to pull a “YOU CAN’T CENSOR ME MANNNN”, Scrooge just chucks it out of the car.  At the airfield while Della is excited like an rabid chipmunk, and genuinely thinks she can fly a plane because she’s played Outrunner 2.. which I have only vaguely heard of before now. And is apparently just a pc game where you run a lot so I genuinely do not get where Della gets piloting from that.. but she IS Dewey’s mother. So with that in mind the family take off and Scrooge explains what their after: The Papyrus of Binding. It’s a dangerously powerful magical artifact from Ancient Egypt that will make whatever’s written on it happen. The dangerous part is that it’s incredibly literal: As Bradford puts later in the episode, ask for unlimited power, it might zap you dead with a million volts, ask for infinite wealth, prepare to be crushed underneath it. It’s a nice twist on a Monkey’s Paw or Jackass Genie situation. Instead of either the source of the wish granting magic just being inherently evil, or some dickhead screwing with the hero.. it’s just an object that has no ability to interpret nuance, just like your phone with the goddamn autocorrect. It can’t judge intent or tone or meaning, it just gives exactly what it’s asked. It’s a thoroughly interesting concept. 

Something I really like about this episode is the fact it answers some little questions. While none were Hortense related, and I am still grumpy about that even with this coming out a good 17 hours after I watched it due to getting caught up with other stuff, it does have little touches that explain small parts of the lore: Who drove Scrooge? As just mentioned, Duckworth. Who flew scrooge? Paid pilots. Did he have a plane before the sunchaser? Yup. It fills in some small gaps in the world. Stuff we weren’t dying to know but’s stil lintresting. Said pilots in this case however are Heron and Bradford. This episode also fills in Heron’s character, as while we’ve already seen bits and pieces this season she LOVES being a classic, take over the world james bond type villian, like she stepped out of a duck version of kim possible.. and i’m just now realizing there probably IS a duck kim possible somewhere in this world as while far after disney afternoon, it fits too neatly to not be wedged in there with your tailspins and goof troops. I wouldn’t be suprised if there were brid versions of every human based disney afternoon and one saturday morning show. My.. my head’s swimming from this. I could be, and probably am wrong but the sheer idea of this... it’s amazing.  Back to Heron, she just LOVES being evil and destructive, letting the world know she exists and operating on a grand scale. Now we’ve seen more of her while she’s Beakly’s nemisis.. she’s really an evil scrooge.. yes another one. Like Scrooge, at least how he normally is,  she simply gets how the world of Ducktales operates and can take advantage of that to the best of her ablility. Just like adventuering, cartoonish supervilliany is about risk and reward.. sometimes you faceplamnt hard, that’s the risk, but the rewards and rush is worth it. She’s as addicted to grandoise villiany as Scrooge is to adventure by this point. And like Scrooge, and unlike her partner Bradford, she sees the world as it is: Chaotic and one big sandbox to play in. She contrasts Scrooge by the fact that while Scrooge is willing to bust down doors, he still has morals, as well as the wisdom to not go overboard Heron often lacks. It also makes her a good contrast ot the equally skilled Beakly: While Beakly is taciturn, controlled in all things especially her emotions, Heron is bombastic, gloating and borderline insane, and while deadly in a fight, dosen’t exercise any control in her plans, preferring it big and loud despite her partner usually being right about reiging it in.  So Heron evacuates dramatically, taking a grumpy Bradford with them, and sending the plane into a tailspin. 

I can’t wait for Next Year’s Tailspin episode. I swear to god. I’m hoping for Shere Kahn but this episode has taught me to be okay with disapointment, if a grumpus. Della however shows her natural talent and despite having no real experince with planes, lands it gracefully. While that’s going on, Bradford berates Heron for her plan, pointing out that they COULD have simply landed the plane, then captured the McDuck family and executed them quitely, versus leaving a chance they’ll survive which they do. They AREN’T supervillains.. or at least he thinks he isn’t. Heron does show off her competence though, pointing out that this way they can simply stay low, and FOLLOW the Ducks to the treasure. Bradford is impressed for a second.. till Heron’s evil shows as she plans to use the Papyrus. Bradford loudly objects to this, listing the possible risks shown before. If not used CAREFULLY, it could kill them, and she balks and wants him to just embrace being the Villian already. It’s what I love about their dynamic set up here: While they are equals, Bradford is a better strategist, able to think and plan way in advance, and prefers subterfuge, and if present day is any indicatoin probably used Heron’s flash to distract from the real mission or goal often or to do something on the down low while she kept SHUSH busy. His last two plans, while again requiring some pizzaz, relied on misdrection: having the ducks take care of an immidate threat like their used to.. while he gets exactly what he wants while their busy and whatever they get out of it is either nothing (Impossibin) or something he couldn’t use just yet and thus if he didn’t get it, no loss, but if he did it just moves up the timetable. Not only that but he’s outlasted all three other big bads, lying in the shadows till it was too risky to leave scrooge and play and even THEN, only coming out into the open when forced out. IT’s why he’s Scrooge’s most dangerous opponent: He knows how Scrooge’s other enmities operates as well as Scrooge himself. And since he knows everything he can maneuver Scrooge exactly where he needs him to do exactly what he wants. It’s unknown how the family will beat him, but he’s easily the biggest challenge they’ve had. 

But back to the show and the past, Scrooge bonds with his niece and nephew, retelling stories of his past as they get closer, with Donald ending up high at one point and thus seeing the ship stranded on a mountain. As he recounts a fight with El Capitan, the villian from the ducktales 87 pilot, he counts the story as as a loss: He didn’t get anything from it, no treasure no new contracts. But Della shows him the point he’s been missing; He got a story. Sure he lost.. but he got experince, a tale to tell and a legend grown.Just because you don’t get everything dosen’t mean it wasn’t worth the experince and you can’t hold it in your heart. And this episode shows why this scrooge needed his family: Without Teddy to mentor him, he simply never got that adventure wasn’t about gains or what you get.. it’s about the thrill of it, the enjoyment of discovery and the memories you make.. it’s about the Journey not the destination. 

As Scrooge starts to warm up to that, he finds a gap, with Della volunteering Donald to jump but Scrooge just having the kids hop on his back and pogo caneing across. The family find the Papyrus, and find out why the ship is all the way up here: Captain Yellowbeak, who’s a character from one of barks stories and the one who had the scroll last, wished to escape.. but that just stranded them. He asked for water.. and it drowned his crew.. and finally with the document hteir reading he asked for release... and thus is now a skelington. The kid are happy to have reached the goal.. while Scrooge is back on his Zack Morris phone trying to reschedule things and schedule a SHUSH evac, to the kids annoyance. However Scrooge raining on their parade gets interupted by Heron and Bradford, as Heron can’t resist popping out dramatically and Bradford is UTTERLY furious since she blew his cover, and Scrooge recognizes him from his christmas party, a nice callback. Scroog being scrooge figures out he’s the mole and Bradford runs , furious at Heron. Their conflict is an intresting one: Both have a point but both will not back down. Bradford is right this showboating nonsense has only hindered Heron’s plans.. and Heron is right that Bradford needs to accept he’s the bad guy. Even if he has well meaning motives, he’s the villian, he works with them, he leads them.. he is one.  He just can’t accept he’s wrong or dosen’t have the answers... huh.. I wonder who that reminds you of. And that’s 100% intentional as Frank has outright compared Huey and Bradford and like last season it’s neat to have the main vilian contrast our chosen Duck for the season. 

Heron outfoxes the kids and gets the papyrus and being just an enitrely black hearted bitch, plans to kill them just to spite scrooge.. writing that “his sidekicks will perish on this mission.”.... but Scrooge’s character development, and her choice of words, means nothing happens. As Scrooge outlines, “Their not my sidekicks their my FAMILY, and this isn’t a mission, it’s an ADVENTURE”. Scrooge has finally accepted his life for what it really is.. and the thrill of the chase over what lies at the end. There’s always anothe rainbow.. and he’s finally become the man who will chase every last one. 

OF course this is interupted, and Heron escapes with the papyrus, when a skeletal pirate attacks.. why is Yellow Beak alive, why’d the scroll do this?

But we get a neat fight as Scrooge fights the skeleton while he sends the kids after Heron. Scrooge gets a cool looking swordfight, while Bradford gets the papyrus, and Yellowbeak even terrifies me what with his bestial roll and fucking centepede crawling out of him.. jesus those things freak me out.  Meanwhile the kids battle Heron, who throws della overboard... and thus for the first time, Donald taps into his beserker rage, snikty snoink, and easily incapaciates the more experinced and fully grown adul, though Della since we’eve been following her kids for the past three seasons, is fine, if suprised by her brother being the goddamn wolverine. 

While heron is out for a second, Scrooge heads after Bradford, and vows to tell Beakly and chase him all across the world. However Bradford gets an utterly awesome moment.. he admits scrooge may be right and probably would.. but since he has the papayrus and is careful in everything he writes his request carefully and perfectly “As far as the ducks are concerned, I was never here.” Grante dit COULD have left scrooge out.. but since he didn’t sday duck family or specificy, and likely knew it’d do that, it instead just means the three bilogical ducks. Bradford dissappears, turning invisble and leaving the papyrus for scrooge, who foils heron by simply writing that this scroll will be lost until one day found by his heirs.

So Heron takes a fall and looses an arm, again.. or for the first time.. the family is triumphant and despite loosing his goal, Scrooge is convinced he and the kids will find it again. See above. Scrooge then pulls out his phone and tells Duckworth to rework his schedule.. but it’s so he can find someone to run his comapny so he can spend more time with the kids. As for why Hortense would allow this before her still mysterious passing.. i’m guessing A) she notices her brother is happier and more alive than he’s been for a while and B) they just blew up their dad’s ass with a firecracker, and she won’t be able to use it for a while, so she’s double mad, so if it means she gets a moment’s peace and is with someone she trusts.. why not?

So we end on Scrooge packing up, preparing for further adventures.. i’d love a spinoff of this one day. I mean Disney plus needs it, and since Frank is probably going over to Darkwing.. maybe matt could take a crack at this. Just saying. You have the cast ready, a giant world to explore, and 15 years worth adventures. Run that baby damn you! But yeah the inevitble happens and Bradford further proves his magificent bastardry.. by appling for the position of running the company as head of Scrooge’s board, and setting up said board. So now FOWL has unlimited resources, he has a direct eye on what he now realizes is his greatest threat, and the complete trust and faith of both Scrooge and Beakly. It also puts Beakly’s breakdown in context: We now see WHY she went as far as she did: While the revelation was bad for Scrooge, finding out one of his most trusted allies was a traitor the whole time and knew everything about him, for Beakly.. it had to be worse. Finding out one of your best employees, one of the FEW people you ever trusted, and someone you DIRECTLY RECOMMENDED TO SCROOGE, was not only the man who set up your greatest enemies, but had compromised your organization for most of your career. IT’s no wonder she broke down so hard.. while I already gave several reason adding “This level of betrayal and self doubt to the list” only makes it that much harder on her. But for now a partnership is started.. one that very well may end scrooge. 

Final Thoughts: A pretty good episode overall. It’s well paced, to the point I probably forgot a LOT, has some good jokes, and fills in a lot of the gaps in the lore, while giving us a nice insight into bradford and heron. Even without hortense this was a pretty good episode. 

Upcoming Reviews: LIfe and Times; Master of the Mississippi Ride of the Three Cabbleros: The Three Cablleros (House of Mouse) Tomtrospective: Lava Lake Beach

[everybodylovesrand]

Rafe Judkins Q and A

Q: Who’s the most significant S1 character you invented for the show?

A: There’s no one fully invented. Anyone “new” is either a character pulled from somewhere in the series and changed or a composite of groups or types of characters personified in one individual. Other than STEVE. Obviously.

Q: How difficult was it to change or leave out characters from the books for screen adaptation

A: Sometimes very difficult, obviously. People who drive the story or shed light on our characters’ back stories or the world of the show always will be more likely to make an appearance. But some people are there in glimpses or subtle nods just for our enjoyment. Some extras were named as characters and given things / looks from the books, so keep your eyes peeled

Q: How many times did i give you blank stares when discussing possible changes?

A: This one is obviously from Sarah N. There were moments when a thrilled room full of writers would go “we’ve cracked it! It’s amazing! But can ‘insert book canon person/place/thing’ be ‘insert noncanon idea’ instead?” And Sarah’s resounding, withering stare would tell us to go back to the drawing board. RIP Perrin talking to a bear.

Q: In the books we always enter the story on the wind, will that be a convention we see a lot?

A: We’ve tackled the wind in the Pilot inr what I think at least, ha is an unexpected but rewarding way. Excited to see what you all think of it.

Q: Do you have to change character personalities for a screen adaption?

A: We try not to. Most of our job is about making sure that we create a story and scenes that can tell the audience about character motivations and WHY they’re doing something they’re doing when we can’t just drop into their head and say it like you can in a book. This often results in some of the biggest “changes”, but they’re ultimately put in to make sure that the character on screen is as emotionally true as possible

Q: Were there any changes in earlier drafts of scripts that were scrapped in final version?

Yes, tons. We are never afraid to try something and see if it works. But then that has to also go through Sarah and Me (I drive the writers as crazy as anyone with sticking to the books). It also A: then goes to Brandon Sanderson, Harriet McDougal, and Maria Simons, who’ve been huge helps in checking us and helping us go back to the drawing board on changes (or many times,

saying “that works” and giving us permission to release a tiny sigh of relief)

Q: Are there some major characters that appear in the first book that won’t appear in the first season?

A: Yes. And some of them are still slated to appear in later seasons (again, approaching the adaptation of the series, not just each book individually). A few of these characters I bet you already expect this for, and one, at least, I think will surprise you.

Q: Have there been any major locations or cities you’ve had to cut for budget/time/logistics?

A: This is perhaps the biggest source of changes for us. Even with the massive amount of money Amazon has kindly given us to bring this world to life, to go to as many unqiue cities/villages/locations as they do in the books is simply impossible. We have chosen to do a few places extremely well (both culturally and with production design) instead of doing dozens of places cheaply and badly. This results in many changes that have huge ripple effects (if you can’t go to Baerlon, do you still meet Min? Do you still encounter the Whitecloaks? Do you still have dreams of Ba’alzamon? Etc). I’m betting that most things that feel the most unnecessarily

changed to people from the books (even if they’re hugely separated from that specific location) will be borne out of a location specific change.

Q: Do you attempt to keep book dialogue? Or start from scratch?

A: Every writer receives a document when they begin their script put together by our book expert, Sarah, that breaks down every scene in the episode and gives specific dialogue and scene references from the books for it. Especially for scenes that aren’t from the books at all, we will find scenes from the books with the same characters together or talking about the same thing thematically. That said, predictably, almost all the dialogue in the show is not from the books so as to sound as natural as possible with our locations/actors/scenes as they’re played.

Q: How far through the series did you consider when making changes (in terms of repercussions)?

A: We have to consider it for the entire series. Which has led to many in room conversations/screaming matches where someone is like “The Yellow sister Healing someone in this scene CANNOT be Chesmal Emry. Are you kidding me? Do you know anything about Chesmal Emry. What did you just google a random Yellow sister name and pick one you liked? Fuck you and your yellow sister, it’s not going to be fucking Chesmal Emry, I guarantee you that.”

Q: Have you made changes that hurt you/Sarah to make, but were necessary for the screen?

A: The writers room floor is littered with my tears. Truly though, I don’t want people to be unprepared for how different the show is to the books. To do a proper adaptation, it has to be. As a thought exercise, just imagine we can only do four of the cities from EoTW. So from Emonds Field, Taren Ferry, Baerlon, Shadar Logoth, Whitebridge, Four Kings, Breen’s Spring, Caemlyn, Fal Dara, which do you choose? What are the knock-on effects for character and story from the ones you don’t go to? Which characters haven’t met each other now and how can you reconnect them? We have amazing writers and hugely helpful support in Brandon and Harriet to tackle these changes. But they’re not small. Gird your loins, my friends.

Q: What made you change Thom playing the lyre to a guitar?

A: Thom is a good example of changes made for the show. For one, I want characters to appear when we have the time to spend to properly introduce them and get enough scenes for them to attract a great actor for the role. You will never see scenes on this show where four random people appear, say two lines, and then disappear for seasons. It just won’t get you the caliber of actor you need and it doesn’t properly intro that character to the audience. So for Thom, we wanted to give him a proper introduction, and we also wanted him to have a strong masculine energy that made a counterpoint to Moiraine. We saw actors of all ages, races, and vibes to play Thom but when Alex Willaume’s tape came through we knew he was Thom and moved toward his vibe for the character which was younger and grittier than books Thom. The guitar looks much more fitting in his hands and with his voice than a lyre. When he stomps onto stage in the show, it’s a MOMENT, and that’s what we wanted for Thom. Never fear, multi colored cloak is still in existence, but different than you imagine. Isis (our costume designer) nailed it.

Q (from Twitter): How much of the monster / trolloc / fade / dragkhar design is being done practically, vs digital effects? Mostly makeup and prosthetics? And with that, how closely does the design match the text? (Totally smooth faces on fades, varieties of trollocs, etc.)

A: We have worked hard to use as many practical effects and pieces as possible for Trollocs/Fades, but don’t want to spoil all the secrets until you watch the BTS after ths1st Season Developing. Additional questions and answers will be added as they come up.

[3w-writer-with-wings]

10 Most Powerful Scenes in Yu-Gi-Oh! VRAINS

10) Three things

Starting with probably the most well known quote in VRAINS – three things. It would’ve been probably ranked higher if it was not that repetitive and its impact wasn’t scattered to many different scenes, but it is still a very powerful scene regardless. Yusaku was just an innocent six-year-old child who loved to play a card game and yet that same game was turned against him in the cruellest way possible. Suddenly he had to duel for survival and suffered for each defeat. For half a year, Yusaku was trapped in a never-ending nightmare that didn’t seem to stop until he heard Ryouken’s voice. These few sentences gave Yusaku hope to hold on just a while longer and he started using them as his coping mechanism, even years after the Lost Incident. Like Yusaku said it himself, it felt like the life stopped moving for him and despite therapy he could no longer lived his life like others. Thinking of three things to move forward was the only thing that helped him out and knowing there might be someone else still trapped there made him more determined to find out the truth. Since he used this coping mechanism outside duelling, it may also suggest that three things speech is the only thing that kept him from turning into an empty shell like Jin.  

Another thing that makes this scene so powerful is Ryouken’s side of it. Just like Yusaku, he was also just a child who loved the game and most certainly just wanted to play a game with a new friend. It is still unknown if Ryouken was aware of what will happen to children, but it is most likely that he genuinely meant no harm. True his father brainwashed him with his ideas of work for “greater good”, but Ryouken knew it was wrong. He could only report the incident to police and push the memories of it away and yet he reached out to one of the children just before he did. Later it was only further proved just how guilty Ryouken felt and always had a soft spot for the victims. Neither Vyra nor Faust had the courage to report the incident, but Ryouken, a mere eight-year-old child had. Despite his father’s brainwashing, he acted on his own and continued to do so until all the victims were fully safe.

9)      Ai saves Yusaku

From the start of the series, Ai wasn’t a typical partner character like Atem or Astral since he was mostly goofing off and wasn’t really useful when it came to duelling. However, in this scene, Ai shows for the very first time just how powerful he really is and even Yusaku is left speechless at Ai’s abilities. Ai even tells him to shut up back and letting him know that he is far too in this duel to just give up. He even refers to him as his partner and shows he is willing to risk his life for him all the same way. Considering Ai was already using Yusaku as his personal weapon against Knights of Hanoi at the time, this may be the first time he actually started seeing Yusaku as his own person and not just as the tool in his plan. Ai has always been sneaky and successfully covered up his true colours, though in this single scene, he genuinely looks concerned about Yusaku.  

8)      Hope for the future

Hopeful and optimistic scenes are very rare in VRAINS and this is just one of many reasons why this one was included. Shortly after Earth’s death and Go’s decline, Yusaku blames himself for what happened and is again unsure about what they should do. Fortunately, Takeru, Ai and Flame are there to cheer him up and despite the approaching battle, Yusaku is hopeful for the future. Compared to how he used to be, when he told Akira that he can no longer live normally and that he sees no future, this is a major change. Yu-Gi-Oh! protagonists have always been optimistic and even if it was impossible, they believed in themselves and in their actions. Yusaku has always been bold and realistic, so seeing him hopeful and thinking about future in his own realistic terms made it that more impactful. He even smiled several times and ensured both Ai and Flame that they have a plan to keep them safe and if it won’t work, they’ll just think of another one. Watching this scene for the first time really made you feel that despite the hardships, this show will have a happy ending and for a while it really felt that way. Knowing how VRAINS will end this scene may also hint that this is when Ai truly started thinking of Yusaku as his true friend. Ai has been moulding Yusaku into Playmaker from the start and when his so called weapon acknowledged him as a living being and promised to do everything he can to keep him safe – that’s likely when Ai began to realize just how much is Yusaku willing to do for him.

7)      Earth’s execution

 This scene is probably among one of the most heart-breaking ones as it is among surprising ones as well. Villain very rarely wins in Yu-Gi-Oh! and when they do, it’s a big deal. Earth wasn’t around for long but when he was, he appeared as a very nice, caring and socially awkward Ignis. He was likely also the only Ignis besides Ai that expressed love towards someone and he was willing to do anything to keep Aqua safe. What makes his death that much sadder is that he was captured by Go who was by this point a mere shadow of what he used to be. Both Go and Earth were victims of SOL’s greed and ended up as their tools. SOL did absolutely everything to ensure Earth was not a living being, using scientific expressions reserved for objects and not stopping even when he screamed he is his own person and cried his eyes out when forgetting about Aqua. Another powerful comparison was between Akira’s and Queen’s reaction to it. Akira couldn’t watch while Queen smirked and likely only thought of next step which later turned out to be creation of their own Ignis and putting Earth’s data in Go’s implant.

Other Ignis also felt Earth’s death, along with his own origin. Specter has always appeared to be someone who was entirely devoted to Ryouken’s plans and would do anything to destroy Ignis, despite being connected to one. After Earth’s death he felt like a part of him was gone and he even shed a tear and looked disturbed when seeing Go being fused with Earth’s data. Deep down Specter felt the bond between him and his Ignis and when Earth was no more, he likely felt the same pain as when his beloved tree was cut down.

6)      Yusaku defeats Kusanagi

 The duel between Yusaku and Kusanagi was anticipated from the start since it wouldn’t be a Yu-Gi-Oh! if it didn’t include an emotional clash between two best friends. What made this duel that more emotional is that Yusaku and Kusanagi seemingly did not have that best friend dynamic that so many protagonists before them had. They treated each other more like caring co-workers and even Yusaku stated many times that Kusanagi was his acquaintance and not a friend. Many times it also appeared like Kusanagi saw Yusaku as Jin and was doing all of this for his little brother and would likely choose Jin over Yusaku.  Still there were many moments where Kusanagi showed legit concern over Yusaku and apologized many times for involving him into this. As for Yusaku, he appeared to be more or less stoic about it, showing little emotion, which made it hard to tell just what kind of relationship he really has with Kusanagi, not to mention he always used very polite mannerism towards him which was his surname and –san. Compared to Takeru, whom he refer to simply by his first name, that was pretty polite though then again, Yusaku didn’t mind Takeru nor Kusanagi calling him by his first name either.

It was clear that the reason why they kept their relationship strictly professional was because Kusanagi knew there will be a time where he might need to put Jin over Yusaku and yet he still cared about him. Yusaku also did not want to involve anyone since he knew what he was doing was dangerous and even Kusanagi needed a while before he became a part of his team. Lightning knew well about their bond and did not hesitate to use it against them in the cruellest way possible. Even though Kusanagi played along and tried to make it as convincing as possible he was likely breaking inside. It also does not help that the scene where Kusanagi deals multiple damage to Yusaku looks strangely identical to the Lost Incident flashbacks where Yusaku was electrocuted many times. The duel came to a point where Yusaku couldn’t fight Kusanagi and that’s when it was clear that he also cares about him. The flashback to the promise further proved that this duel was something they anticipated and were ready, but what truly makes this scene so heart breaking is when Yusaku outright cries out after dealing the final blow to his friend. It was clear that Yusaku was ready for something like this, but at the same time he didn’t understand just what this meant for him. It truly broke him and another reason why this was so impactful is that duel was a mirror image to Lost Incident. They again took something that Yusaku loved and turned it against him until he was broken to the core. Only this time, there was no Ryouken who could tell him to think of three things in order to go forward.

5)      “You know nothing about me!”

When VRAINS started, no one really had a clue what it will be about besides hover boards and duels in virtual reality. By episode 2 the first hint of Lost Incident was shown and by that point it was clear VRAINS is going to be a lot more complex and dark to previous shows. We all wanted to learn just what exactly happened to Yusaku and what the truth he was so desperate to uncover was. By episode nineteen he is finally close to that truth, but Akira stands in his way, claiming he knows all about what happened and that Yusaku should let Akira handle this. We learn that there were six children who were kidnapped and held captive for months until they were rescued. Akira compared that experience with his own when he lost everything and had to do shady jobs in order to provide for himself and Aoi. He expected Yusaku to accept his help and move on with his life, but instead of that Akira is met by absolute rage. Yusaku and Kusanagi both appeared to be rather cool and collected people, however seeing how Akira was treating everything so lightly made their blood boil and shouted all of their frustrations out. This was followed by Yusaku’s raw description of just what was happening from the point of view of someone who actually experienced this and not someone who merely reported it. It was nowhere as simple as Akira described it and learning that Yusaku still suffers from PTSD and night terrors rightfully justifies his rage. Like Yusaku put it, he tried to move on countless times and did everything he could to forget the pain, but he just couldn’t. Learning the truth was the only cure he knew would help and seeing someone brush it off just like that was incredibly insensitive and gave him all the right to be as mad as he was.

4)      Yusaku doesn’t want to fight anymore

 It is rare to see Yu-Gi-Oh! protagonist to give up and for someone like Yusaku who will do anything to reach his goal, it was absolutely heart breaking to see him give up. This was the second time he was broken apart, only this time he had no one to give him hope. Yusaku has been fighting his whole life and tried to distance himself from others because he knew that he wouldn’t be able to take it if he were to lose them or if something happened to them. He even was getting better at socialising and trusting others more which is why this scene is so sad. Just when he was seemingly experiencing bits of normal life, Lost Incident happened again and this time it took away his friend. He was outright defeated at that point and despite protecting Kusanagi from Lightning’s badmouthing, Yusaku just couldn’t take it anymore. The pain of loss was so great that he simply shut down. In a way it is similar to when Yuma lost Astral and cooped himself in the room for days, refusing to eat or talk with his friends. And honestly can you blame him? This started out as merely quest to learn more about Lost Incident and over the time it turned into fighting with cyber terrorists, protecting thousands of people and dealing with homicidal AIs. Like suffering from PTSD and night terrors, Yusaku had even more responsibility pinned on him and it is understandable that after such ordeal he could not take it anymore. It was only thanks to Kusanagi’s voice that he found the last of his strength in order to defeat Bowman once and for all.

  3)      “If losing a friend means your heart breaks, then are you trying to break my heart?”

Now this single quote may as well break your heart. Yusaku and Ai might’ve started off as an odd pair that regularly annoyed each other, but with more episodes, deeper their relationship became. Ai has always appeared to be this happy-go-lucky goofball and that turned out to be a mask. Not only to cover up his true motives for siding with Playmaker, but his own personality as well. When he was cracking jokes, he was really just covering up the fact that he has been torn apart and hiding in network for years in order to protect his friends. Yusaku was his only hope and even though he has been manipulating him to the very end, Ai grew attached to him and especially after losing other Ignis, he felt alone and guilty. What makes this scene so powerful is that Yusaku tells Ai loud and clear that he is his friend and losing him would as painful as when Ai lost his fellow Ignis. A couple episodes ago Ai said there is only one person he fully trusts with his feelings and this person turned out to be no other than Yusaku. Ai also revealed that he was using Yusaku as his weapon and yet Yusaku still referred to him as his friend. This entire duel was probably the first time the two of them were completely honest with each other and out of all sentences they exchanged, this one was the most heart wrenching.

2)      Revolver's helmet breaks

 Like Yusaku, Ryouken has also been moulded into Revolver, the man in charge of cyber terrorist organization known as Knights of Hanoi.  His father who brainwashed him with his ideas to a point when he was willing to blow up himself with the rest of the network has created his entire identity and Ryouken had little to no say in it. Despite closely following the orders, part of Ryouken still rebelled since he wanted to uncover Playmaker’s identity and the fact that he managed to do it behind his father’s back proves that he wasn’t completely loyal to his father. He always had that tiny bit of conscience that made him report the Lost Incident and learn about the victims. After his father’s death he both felt free and lost, so it was a good thing he took some time off to clear his thoughts. He had time to learn everything about the victims and the case of Windy’s child was likely one of the many reasons he decided to outright eliminate all Ignis. And once that was done, the only thing he was left with were sins of his father. He was even ready to surrender himself to authorities and go to jail if that would help Takeru and other victims to move on. They settled this with a duel and when Ryouken lost, his helmet broke, symbolically freeing him from his burden. Takeru didn’t want him to go to jail for crimes he didn’t commit and rather wanted him to be a rightful Knight of Hanoi – the one who protects network and others so Lost Incident may never happen again.

1)      Ai means »to love people«

 Yu-Gi-Oh! series tend to give their characters rather meaningful names, like how Yugi means “game”, how Yugi’s and Juninchi’s first two letters form a word “friendship” and even in SEVENS, Yuga Oudo translates to “seventh road” which symbolizes Yuga’s wish to invent things for better future. The second Yusaku named Ai, I knew his name will be important part of the story. I already knew Ai means “love” and considering how much emphasis’ series put on relationship between protagonist and his partner, I assumed it will be important someday. VRAINS told a story of an AI who was torn from his world and friends and ripped apart, driven by revenge and goal to get back. In order to achieve his goal, he manipulated a traumatized boy into becoming a weapon he needed, successfully using him until the very end. What he did not expect is that the person he carefully moulded into a tool for his plans would become his closest friend so when he was slowly fading away in Yusaku’s arms and heard what his name meant… that’s when it hit hard in the feels. Ai was an AI with free will, born from the pain and misery that Yusaku had to endure for long months. He was programmed to think freely and yet the fate has drawn him back to his origin, slowly understanding just how much he needs Yusaku and how much Yusaku needs him. Even though there was a way for them to be together, he understood the pain Yusaku has been feeling his entire life, the pain of being used and knowing Yusaku cared about him to the point of protecting him with his life, it was clear there was only one other way. Not wanting to hurt him anymore, Ai sacrificed himself for his partner and once he learned the meaning of his name, he faded away with smile.

What he did was the ultimate act of love for his partner.

[kathyrealmstales]

NEW SMP THEORY! (I cracked the plot!)

Hello! I came up with a new theory, but this time I did some real work and I didn't just throw out random ideas. Crazy, right?

But seriously, I think I have a good theory for today.

Disclaimers: to begin with, spoilers for Dream SMP and Kingdom Heart. (Strange to see that game in a warning for the SMP, huh? Well, we will get to that soon.)

Also, just remember this is roleplay, all the actors are friends. If I see you trash-talking the actors you're being blocked. I don’t like hate.

I also wish to thank my sister for her assistance. I don't know much about the Kingdom Heart fandom except with what the Wiki tells me by watching my sister play it, so my sister had to suffer while I tried to find connections in a block game roleplay. Thank you so much, my loving sister.

Under this line is the theory! Hope you enjoy it!

------------------------------------THE START--------------------------

If you are familiar with the tales of the SMP, then you might already know a common theory.

The theory is that the TOTSMP area, "The In-between," is based on Castle Oblivion from Kingdom Heart. It looks exactly like the interior of the castle in the game, as well as the idea of losing memories. It's a cool easter egg.

However, my theory doesn't stop there, because I began to see more connections, making me believe that maybe the latest plot of the SMP is following a bit of Kingdom Heart plot.

Let me try to break it down into evidence and explanations.

In the latest episode of TOTSMP, Karl travels to this new world, escaping the "In-between" and going to this place called “The Other Side.” A strange name, but what is even stranger is that I felt I had already seen the castle before, so of course I did some research.

For starters, I noticed the In-between warned Karl that if he left, he would lose all of his memories, kind of like in Kingdom Heart when Sora went to that sleep state, he lost his memories. I thought there had to be a connection to the Kingdom Heart and this new world Karl was in now since it seemed to be following a pattern.

I tried to do more research by using Wiki and looking up other castles in the game that it could be. I came up with a few ideas, but none of them stuck. It just made no sense, so I went to the only person I know who knows Kingdom Heart more than me, my sister.

My sister and I love playing these games together, but while I'm just trying to figure how the game works (because of my love for coding), my sister listens to the plot and knows way more than I. Sure, we haven't finished all the games, but she knows enough to help me. So we got on the phone to figure out how this new world was connected, and when I left that call, I saw the Dream SMP in a whole new light.

- The Other Side evidence

We have an idea of what the Other Side looks like but that’s it. My sister believes it resembles the Hollow Bastion, which is intriguing. She claims it is linked to Castle Oblivion, but what makes it more interesting is that she said this place is also usually where the Kingdom Heart stories end. This got my attention since Dream hinted that the story’s end might be approaching soon. (I hope it's not-)

I then thought we had a good idea for the theory, a rather small one about the TOTSMP but a good one. So still wanting to talk to her, I told her why I was asking for her ideas, and then I explained the Dream SMP plot to her. The more we talked about the plot, though, the more my sister and I noticed parallels between the stories.

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Eggpire evidence

To begin, we discussed the Egg People. I jokingly said, "Oh, does Kingdom Heart have mind-controlled people?" She replied, "if you count the heartless." Which shocked me because it makes the Egg People’s ability to pick who is controlled or not make so much sense!

You see, the Heartless are people without a heart (Hearts are similar to people's souls in the game, which is strange. But oh well). The heartless follow the rules of the Darkness. I'm not sure whom or what controls the Darkness, but I do know they are subjected to some sort of mind control or animal instinct. The most important aspect to consider is how they multiply. They seek out characters from whom they can steal hearts of so they can turn back into normal people. However, they need their own heart, not just a random one, so this method is ineffective and just makes more heartless.

Because of this information, I came up with a theory that may be the reason why the egg only works on certain people. I think it is the same reason why only some turn heartless. People with weak souls are usually turned, while people with more light in their souls are typically more difficult to turn to a heartless, implying that while Puffy and Sam had weak souls at the time, they are becoming stronger, making it more difficult for "darkness" or the egg to mind control them.

Also, this would explain why Tommy can't be mind-controlled at all; he is mostly made of light, and everyone sees him as the hero. It would just make sense; it’s really hard to control him.

-

Pandora’s box evidence

There seems to be a correlation with the prison. This one is probably my favorite because it makes the most sense to me.

Most theories believe the prison is similar to Pandora's Box, owing to the prison's name. However, Kingdom Heart had its own Pandora's Box, and no, I'm not referring to the one in Hercules' world. I'm talking about the box that was told to never be opened.

I don't know everything about Kingdom Heart, therefore, I can't go into great detail about this box like I did with the Heartless theory, but basically, the main dude who started the plot of Kingdom Heart had a bunch of apprentices, and he left them with a box that they were never supposed to open. Of course, the bad guys got the box and opened it, only to discover that it contained some time-traveling stuff, which caused some of the apprentices and The Keyblade of all Keybladeds to appear.

If we take that information and put it in place with Dream SMP characters, it looks like where the plot might be going. Dream is the main bad guy who opens the box with whatever he has. What emerges is Wilbur Soot, a man from the past, he takes the place of the apprentices and Tommy is the Keyblade of Keyblades.

What makes me believe Tommy is the Keyblade? I mean, It could be someone else, but the thing is, Dream keeps referring to Tommy as "the Key," and in Kingdom Heart, Sora is also referred to as "the Key." It's also possible that it could be Ranboo, since the key is made of both darkness and light, and Ranboo appears to look as if he is both, but this is all just speculation at this point.

Either way, I think we as a fandom were on the right track, thinking evil black boxes, just not Pandora’s box.

-

Organizations evidence

This is only tangentially related, but Kingdom Heart did have their group of evil bad guys whom, based on what I saw in the cut scenes, didn’t care if you show up to meetings or not. (basing this off of all those empty chairs. Then again, those chairs were really high up, I would miss meetings too if I had to sit in those things.)

Another thing to note about this organization is that they disliked higher authority, but this one opposed them because they were all about good and needed the princess's light, whereas the anarchist syndicate in the SMP were more anti-government. Nonetheless, both are going after government officials.

(The organization also had code names that were their real names, but with an X in them and scrambled around. They weren't as cool as the Anarchists Syndicate’s nicknames, but there was a connection.)

-

Now we'll look at the improbable evidence, as well as thoughts that might not make much sense.

-

Bad guys with correlations

The antagonist in Kingdom Heart had a bunch of copies of himself, procured with the help of time travel. I find this amusing, especially given that we know there are multiple Dreams in canon, including Dream, DreamXD, Mexican Dream, Girl Dream, and (possibly) Drista. It's almost as if he's the main antagonist, especially when considering the-- Norted thing, (that's what my sister called it. I'm not sure about the name, so we'll go with Norted Thing for now) The point is, he can control some people if they are willing, but they can rebel if they have strong hearts (again, I believe this is the case). This reminds me of Ranboo and his enderwalking state in which he hears Dream’s voice in his head. Again, just a hunch.

-

The plot is the same

This is the last piece of evidence I have, and it is the main fact from which I derived all of the connections. After my sister and I discussed the possibility of it being linked, I jokingly said during our call, "There are so many connections between the latest plot of the SMP and Kingdom Heart, The only difference I feel like they have is that the Dream SMP is all about how there is no bad or good, just greyscale, while Kingdom Heart is about dark vs light."

My sister responded, "It's the same thing. Most people believe it is dark vs. light, but the more you play the games, the more you realize it isn't. The majority of the characters begin as good or bad and gradually reveal their true selves. Nobody in the story is completely light or dark."

This shocked me because I always thought Kingdom Heart was about bad versus good. So now we've matched the main ideas as well!

Ohhh boy!

-

This is all I have for now. If you have anything to add, please send it to me as a comment or a submission, or simply make your own post and let me know so I can see it! (I know as I wrote this I found more connections, but I’m saving them for later.)

But, in any case, I believe you can see the idea--Dream SMP has some connections to the Kingdom Heart plot, assuming my theory is correct. It wouldn't be the first time. Dream SMP has loosely copied the Broadway show, Hamilton during the L'manburg war, and I know the writers like Disney at least for right now, so it makes sense.

I'm also going to leave you with this: Our Fandoms are the same, We get information that makes no sense and we have no idea where it fits in the puzzles, and we know (sometimes) the writers don't know either, so we just have to accept and enjoy it.

THAT IS ALL! GOOD DAY!