#there's lots of good quotes from that series but something about the directness of it is haunting

[lialox]

Your thoughts on Joonghwa ? (Og TWSA Specifically)

Omg is this because I said I was on the het side of the fandom in a tag earlier today? 😭 I feel like I cursed myself

OG TWSA specifically hmm…

I hate to break it to you anon but, in a series of mindbending meta foolery, Joongwha did not truly exist in TWSA. 

Hear me out!!

TWSA starts on YJH’s third turn. 

It was in the 0-2nd turn where they had an ‘official’ relationship, getting married, having a kid, etc. 

But you see, none of those turns were ever written. Meaning, it only existed in KDJ’s imagination, and was messed with a lot by him in canon. There’s a quote that’s something along the lines of “since it wasn’t written, I can interfere as much as I want”. I do believe KDJ still pushed YJH in the right direction up until the 2nd regression based on his line of thinking there.

So I can’t actually comment on Joongwha specifically OG TWSA

In the actual TWSA, his relationship with Lee Seolwha was only mentioned. (Unless I’m remembering this wrong) There was never an established couple dynamic that was described. They were never depicted as lovers, but rather as a “it’s okay to be single because Yoo Joonghyuk is single too and he struggles in his love life just like you even tho he’s hot as fuck” for the number 1 yjh kinnie of all time to be able to relate to.

As far as I know, there isn’t a single chapter in TWSA where they’re actively in a relationship.

Joongwha in the OG TWSA to me, is a plot device.

There was never any substantial romance between them since that was not TWSA’s sole reader’s genre. So, they never really bonded in the way lovers do, but were more like very close companions that found it convenient to be with each other. 

Did they love each other? Absolutely.

In the way yoohankim or Joongdok does? Not even close. 

Yoo Joonghyuk loved her enough to let her go in his subsequent turns, but knowing how he’s like with other people…

YJH kept crawling back to HSY to hand her his life, over and over again, in every life.

YJH choosing a literal hell of eternity for KDJ. Plus a million other jd things you already know about.

It just really speaks to me about what love, trust, and devotion really means to him as a person.

Not to mention YJH was happy for her when she got into a different relationship and had a child with another man in one of his later regressions in TWSA. But really? YJH, the PETTIEST person in kimco, happy for someone he truly loves? Content to love someone from a distance?

NO!!! (That’s HSY’s thing)

YJH gets bitter and pouty when Doksoo yap all by themselves (their convo is heavily filtered half the time). He’s clingy. He’s 33% yearning. He is the kind of guy who—when he really truly loves, will do so by your side at all costs!!!

Side note — When I heard that YJH had a child in the 2nd turn my first thought was 🤨 damn he’s supposed to be good at all games so how is his pull out game this WEAK?? Because in NO conceivable way would anyone think it’s a good idea to intentionally get pregnant during the literal apocalypse. YJH really had to do some Star Stream gymnastics to even get the privacy to bang (unless they were into ‘that’) but they couldn’t figure out birth control??

[salemoleander]

🌗 Do you have a favourite quote/favourite quotes?

I think Joe's "Did you get everything you needed?" sign will live in my brain forever tbh- it's a quote I think about a lot when things end, now.

Otherwise despite being very word oriented I tend to remember more impressions of events/conversations than actual quotes tbh!

OH it's difficult to quote bc it descends into unintelligible Bdubs-isms partway through, but "You'll have to defeat- you- GOOD LUCK" from when he challenges the group moving through the Royal Labyrinth for the 2nd time is also a classic

[squish--squash]

I'm rewatching Good Omens, and noticed something in the first episode that has left me spiraling into a theory.

It's in the scene when Hastur and Ligur are handing Adam over to Crowley. Hastur asks Crowley to sign something beforehand, and:

I thought it was a scribble the first time I watched it bc I was trying to figure out what was going on. But it's not a scribble.

It's not a 'C' either, for 'Crowley' It's not a 'A' or 'J' either, for the rest of his name.

It's an 'L'. It gets hard to see as he's finishing it, but it's the letter 'L'

This is how you write a capital 'L' in cursive:

you swoop up and to the right, drop down, swoop left, and finish on the right.

and Crowley does this with his signature:

here's him beginning the letter, swooping up and to the right

Then he moves down,

loops to the left,

And finishes it as he moves back towards the right (and at this point, the complete letter is hard to make out. It's why I thought it was a scribble the first time I watched this episode)

Crowley's signature on the document Hastur makes him sign before delivering the Antichrist to start Armageddon, something that is arguably one of the most important things hell wants to document, is an 'L'.

WHY?

Why not a 'C', for Crowley, the name he currently goes by? Hastur and Ligur confirm the name itself earlier in the same scene ("What's he calling himself up here these days?"/"Crowley.")

Well, if going by what he claims in a later s1 episode that "Crowley" is his last name (Anthony J. Crowley), it would make sense for one of his initials to be put there.

Except it doesn't, because "Crowley" is not his real name. it's not the name he began with, the one he had as an angel.

So then, what would this name be? What would be a name for an angel, who is now a demon? A demon who was there to tempt eve, as a snake, into eating the forbidden fruit. Someone that brought the stars, and light, to the universe. A name that begins with the letter 'L'.

There's one I can think of that matches, and that name is Lucifer.

"But Squish!" I know some of y'all will comment, "What about that line Crowley said in episode 5? He mentions Lucifer, so it can't be him!"

In episode 5, Crowley says the following: "I never asked to be a demon. I was just minding my own business one day and then...oh, lookie here, it's Lucifer and the guys! Oh, hey, the food hadn't been that good lately. I didn't have anything on for the rest of that afternoon. Next thing, I'm doing a million-light-year dive into a pool of boiling sulphur."

Crowley also says in the second episode: "I didn't mean to fall. I just hung out with the wrong people."

A lot of people believe that it's implied that when Crowley said this, it meant he met Lucifer and hung out with him. But when he says it, it sounds like he's mockingly quoting someone else, talking to him.

The "Lucifer and the guys!" might've been directed to Crowley, using his name. This would match that line from a previous episode, "hung out with the wrong people."

"But Squish!" I know some of y'all will comment after reading that, "What about Satan? Lucifer is Satan, and Crowley isn't Satan!"

And neither is Beelzebub. Fun fact, by the way: One of the many names for The Devil, Satan himself, is Beelzebub. But Beelzebub is a whole different character. So why can't Lucifer be a whole different character too? After all, many people still argue to this day that Lucifer and Satan aren't one and the same...

Also, here's something interesting:

Crowley is the only character in the tv series that has mentioned Lucifer, and it was in that line I mentioned earlier. Lucifer is also mentioned once, in the book, but by Shadwell, mishearing Newt's last name as "Lucifer" instead of "Pulsifer". And Satan? In both the book and the tv show, he is never called another name other than "Satan", usually followed by his fancy and long title. His description in the book's "DRAMATIS PERSONAE" is literally "fallen angel; the adversary". No Lucifer.

And how about this:

Crowley was the one who started the universe, we see that at the beginning of season 2. He was the first one, to our knowledge, to say "let there be light." "Lucifer" means "light-bringer" Crowley was the snake that tempted eve into eating the apple in the garden of eve. We see this in the beginning of episode one. Many claim Lucifer was the one who did that. Crowley fell because he asked questions about how the universe should be run, after seeing its creation and being so proud of it. Many claim Lucifer's big sin that sent him falling was his pride stemming from his beauty causing him to revolt; eerily similar to Crowley asking questions after watching the beautiful universe he helped plan be born and growing protective after learning it was going to get shut down so early in its lifetime, isn't it? Crowley was a powerful angel. This is heavily implied in season 2, with the tiny joint-miracle he and Aziraphale made being as powerful as an archangel's. He has the ability to mask his presence powerful enough to fool Uriel, Michael, and Gabriel (the only other character we've seen have that kind of masking power was the Metatron, who Crowley was also the first to recognize). When going through records with Muriel, they claim only very high-ranking angels have clearance to look through the records of Gabriel, an archangel so powerful he single-handedly had the power to stop "Armageddon 2" from being put into plan; Crowley is able to access them. And Lucifer? Often described as having been a very powerful angel.

Lucifer is such an important name, such an important character, in the theologies surrounding Good Omens. So, where is he? Why has he only been mentioned seriously once, by Crowley?

The answer could be this, simple and short: Because he is Crowley.

EDIT:

I dug up the book. It's been a while since I read it (I honestly don't remember much from the book) and here's what it has to say about Crowley's signature...

"Your real name."

.........

HELLO?

EDIT 2:

I found this post from Neil Gaiman's blog. The wording is confusing me, and I can't tell if this debunks or supports the theory..

What Neil Gaiman says is "That was the angel Lucifer. He doesn't exist any more. Now there's just Satan, the adversary." which might throw this entire thing out of the window, but the thing is: he never said Satan used to be Lucifer. He just said Lucifer doesn't exist anymore, but Satan does.

Furthermore, the person who first asked a question asks more questions, two of them: 1. Is Satan what's left of Lucifer after he fell and stopped existing, and 2. If so, does that mean there was an angel that existed that then fell and turned into crowley?

Neil Gaiman's answer is "As far as Crowley is concerned, the Angel that he was no longer exists. (And his name as an Angel wasn’t Crawley or Crowley.)"

He doesn't confirm or deny anything about Satan in that. All he said was "the Angel that he was no longer exists" and that Crowley's angel name wasn't his demon name.

Huh. Funny. He's saying angel!crowley no longer exists, when he just revealed that Lucifer "doesn't exist any more." Either there's a connection here, or I'm going insane.

[felassan]

July 17th DA:TV Game Informer article on returning to Dragon Age 10 years after DA:I - cliff notes:

At one point BW considered making DA:TV a multiplayer game. They did a "hard look" at this

With DA:TV BW want to get back to their roots: storytelling, characters, influencing the world

Gary McKay quote: "And we really felt multiplayer wouldn't do that. But single-player RPG is really where we wanted to spend our time, so after spending that time in pre-production, really honing in on what the vision of this game is, and [being] afforded the opportunity to deliver on the creative promise of this game, [now] we're really excited about what's coming out."

DA:TV's dev team contains both seasoned vets' decades of experiences and new talent with fresh perspectives

Gary McKay quote: "[You] want to have different perspectives, different backgrounds. If you bring a bunch of people together that have only known one thing, that's not where you see creativity. That's not where innovation comes from. Innovation comes when you have [...] that past history and blend it with some new voices and perspectives." 

DA:TV is the game where BW finally said out loud that their greatest strength is storytelling through characters, with intentionality. The game is built around those character moments

In DA:TV BW is doing "storytelling through animation" -

Mark Darrah quote: "If you put on a suit of armor [in previous games wherein each char moves exactly the same way], and you put it on Alistair, you looked exactly the same standing right beside each other. Now, we're able to keep the character coming through in the visuals and the motion, even as you're customizing them, which just wasn't possible in the past."

BW are more confident in and have a better understanding of Frostbite this time

Current game hardware tech is also able to do a lot more and execute it visually to an improved degree

BW worked hard to ensure DA:TV is respectful and referential to previous games while still being understandable by new players

John Epler quote: "So while there are references, there are moments that we have callbacks, it really is its own story, its own continuation with a different cast, with different characters. Historically, Dragon Age has always had a different cast per game, so that gives us a lot of freedom in terms of what we want to lean on in the past and what we want to really bring in that’s new and forward-facing."

Events in DA:TV play out with a storytelling goal for the future of the series. It takes the ball from DA:I, puts its own spin on it in its own direction, and continues the path forward into the future (emphasis mine)

Mark quote: "Dragon Age has always been about change. Every game has had a new protagonist, and it's been exploring its own space all the time, and this game is no different. [Veilguard] does a good job of bridging that gap. The really super fans of Dragon Age have actually made a lot of really educated guesses, and some of them are pretty right about where the franchise is going. The thing we need to make sure is that people who may have only played Inquisition are understanding what the franchise is really about – it's about a new protagonist, it's about change, it's about evolution – and don't come in expecting a direct sequel to a game they played and then are disappointed. This game is something new, something that evolves, something that is greater than what came before, the same as each game [...] before it." [emphasis mine]

Corinne: "For our new players, we're not assuming you know anything about [the DA locations or characters in DA:TV]"

BW took great care in how they introduce each companion and major story figure in the game with that in mind

DA:TV is John Epler's favorite DA game that he's worked on (he has worked on them all)

John Epler quote: "Dragon Age has always been about characters but to some degree, it's almost felt like we've lucked into that," he says. "Inquisition is a story that ultimately, you, the main character [...] have the biggest part to play. We wanted to tell a story this time where you literally cannot save the world without these characters. Beyond that, though, we also wanted to give them their own arcs that can run parallel to the main story and really give them that kind of deep storytelling our fans really enjoy." 

John Epler quote: "They have their friendships, they have their rivalries, and lean into that concept. You're not just pulling together a bunch of people who will do whatever you say. You're assembling a family, and that becomes the core of what the Veilguard is all about. It's about taking this group, this found family, and saving the world, side by side with them." 

[source]

[ot3]

Hi, I just finished the AA trilogy with my bf and we fell in love with it! I found your blog the other day, and it sometimes feels like you're the only one giving correct takes on these characters' writing and the minutiae of everyone's inner worlds (or the fumbling of, see Godot).

I just got here, but, something that's been bothering me about the fandom's approach to the sequel trilogy is like... the imperialist undertones are glossed over, or swept under the rug. Researching "The Dark Age of the Law" and beyond puts a sour taste in my mouth. And with Khura'in the country vs Kurain the village? It all feels racist at best (the concept of the Divination Seance gives me squick). If you have the time, I'd love to hear your thoughts about AA5 and AA6 in relation to the world of AA as a whole. Thanks again for all of your thoughtful and nuanced takes on this series!

so glad to hear you guys liked the games!! thank you for enjoying my posts, i always appreciate it.

the tl;dr of it is that i do think they are genuinely bad enough additions to the franchise that they have signed mainline ace attorney's death warrant. picking out the dark age of the law stuff and aa5 and the imperialism in aa6 you've pretty much honed right in on my two biggest critiques

however i do want to say that although they're being bundled and sold as a 'second trilogy' that's not quite accurate either experientially when playing the games or from a development perspective. aa4 had scenario design/creative direction by series creator shu takumi, with the art director being kazuya nuri (responsible for character design for rise from the ashes in the series previous to this); aa5+6 was spearheaded by takeshi yamazaki, who had been with the franchise since its first game, with the slightly less tenured takuro fuse on art direction/character design. yamazaki and fuse are not without skill, but i think they're both significantly less skilled than takumi and nuri respectively and. it really shows.

pair that with the fact that aa5 and 6 fundamentally do not follow up on any of ace attorney 4's established characters or plots more than superficially, i don't think it's particularly useful to critique 4-5-6 as if they're a single body of work in the same way the trilogy is. apollo justice isn't a perfect* ace attorney game but it's a good one.

anyway i think buying into the 'dark age of the law' stuff in ace attorney 5 necessitates cheapening all of the events preceding it. the implication that 1. the law wasn't that bad before but it Is Now and 2. a single case was the tipping point for whether or not the entire legal system would be bad just ruins the times when ace attorney has managed to acknowledge corrupt systems as a massive source of problem for the everyman in the past

i think this screenshot from the dark age of the law wiki page says a lot:

For starters, that phoenix quote. He would not fucking say that. I don't think there has ever been a point during or leading up to phoenix's career where he thought the legal system had 'glory' he would then want to restore it to. you seem to get it so im not gonna harp on this too much on this but. jesus christ

then, then there's fact that even by stating the most basic details about the franchise's events undermines the whole premise. like okay notice that the corruption that happens during the trilogy/investigations spinoffs is coming from all of the actual agencies that represent law and order/the system: the prosecutors, the police, and the prosecutorial investigation committee. however in aa5 the thing they choose to paint as responsible for supposedly unprecedented levels of corruption in the legal system is defense attorneys resorting to more drastic means, and the general public; aka not the people who are responsible for upholding the legal system but the people who are victimized by it and in opposition to it.

i don't think this was an intentional choice as much as it's just sloppy, inconsiderate, and contrived writing.

aa6 is just flat out racist. 'imperalist undertones' is i would say the gentlest way you could phrase it. like. japanese characters going to a made up south asian country that needs to be taught how to govern itself to quash its internal rebellion is like. so high on the yikes meter.

making a bunch of fake 'ethnic sounding' nonsense names filled with apostrophes to make them into silly sounding english phrasing was a disastrously tone deaf thing for the localization to do. they're really unforgivable. the worst of it all is probably "Inga Karkhuul Haw'kohd Dis'nahm Bi'ahni Lawga Ormo Pohmpus Da'nit Ar'edi Iz Khura'in III" i'm unsure if the names are quite as offensive in the original japanese because i haven't looked too much into what they actually are and have a really limited knowledge of the language. but. this name in japanese is "インガ・カルクール・ククルーラ・ラルバン・ギジール・ホフダラン・マダラ・ヴィラ・ヤシマ・ジャクティエール・クライン３世" which is written in katakana. katakana is, in contrast to kanji and hiragana which are used for writing japanese, used to phoenetically transcribe foreign languages or to write loan words. so the foreign-ness of this character is being emphasized here in the original text as well.

the supposed cultural inferiority of the khurainese people is baked into the game at pretty much every level, down to the gags. khura'in has the 'plumed punisher' show, which is actively criticized by the characters in game for just being a cheap ripoff of the steel samurai. they don't even get to have their own tv.

i believe the reason the racism is pretty much glossed over a lot in the fandom is for several reasons. for starters, ace attorney fans overall tend to fall into three camps: 1. people like me who fucking hate these games, refuse to acknowledge them, and would retcon them out of existence if possible. 2. people who have found things they like about the game and have a Good Version of the characters and plots that they have constructed in their head and 3. people who view all of the hate on these games as completely overblown

the first camp Does talk about how the game is racist but we're all already in agreement about that so it's kind of preaching to the choir and a bit redundant to keep going on about. the second camp tends to acknowledge the stickier aspects of the game but focuses on making content around the elements they like rather than critique. the third camp is the type to throw the baby out with the bathwater re: critiquing a thing they like. it's all haterism to them. but either way i think its kind of fucked up how many people will be like 'aa6 isnt that bad you guys are just mean' without even acknowledging these complaints.

anyway the khura'in country vs kurain village thing is really weird to me it shows both a lack of imagination and a disregard for the series' own established lore. why would a girl from a village where almost everyone is a spirit medium need to go to a place where only, like, two people are mediums to train.

i will say though that the divination seance is kind of one of the only things i found about aa6 to be an interesting addition. for a franchise with ghost summoning and murder solving, the two have a kind of hilariously low amount of overlap so i found the idea of bringing ghost bullshit into court really fun. mechanically speaking, the divination seances also felt a LOT better to play than the mood matrix segments of aa5.

in general, i think the biggest weakness of the mainline franchise under takeshi yamazaki's stewardship is its misunderstanding of stakes. both aa5 and 6 prioritize more bombastic and impressive on paper material stakes. oh no! the ENTIRE JUSTICE SYSTEM BEING GOOD OR BAD depends on this one case! on no! we have to DEAL WITH REBEL INSURGENTS! complete horseshit when there is not competent and functional enough character writing to get us emotionally invested here. yamazaki seems to think bigger is better, and that just simply isnt true for something like ace attorney

i've pointed this out in the past when critiquing aa5 and 6 but if you look at the actual material stakes on the line in ace attorney, they're at their highest after rise from the ashes. ousting the corrupt chief of police is the most impressive and impactful thing phoenix does with his career (arguably until the jurist system, but definitely in the trilogy.) but that's not the big Finale case for his character arc. his finale case is defending his college girlfriend; a nun who lives in the mountains, whose conviction would have had zero implications on the larger fabric of ace attorney's legal system. because takumi's writing clearly shows that he understands what makes a plot impactful is the emotional stakes the characters have invested in the events.

before taking over the main franchise, takeshi yamazaki was responsible for the miles edgeworth investigations spinoffs. i do enjoy both of those games - aai2 in particular is really strong. yamazaki does a great job with edgeworth's character arc even if i have some specific gripes with the duologys writing. i think theyre solid additions to the franchise. but you can see traces of this sort of misalignment in narrative priorities here as well. for example, the last case in aai1 is notorious for still going on for, like, an entire hour or two past the time when the last remaining plot point we care about has been revealed. because yamazaki seemingly had no understanding that That was the thing the case should have been about, and that should have been the final mic drop of the game. it just keeps going! he didn't know the game was done and he added a bunch more bullshit busywork after it that no one likes!

so yeah. without going into anything even as specific as how individual plotlines or character arcs were mishandled in aa5/6 that's really my overview What Went Wrong of those games.

[demiromanticmickey]

On today's "I am SO not normal about Dead Friend Forever": Discussing Catholicism and Colonization in this gay Thai slasher series

Some background on me: I am from a Latine Catholic family. Raised as a non-practicing Catholic (we didn't go to church or pray). Then my parents enrolled me in a Catholic school that I attended from 5th grade to the end of 7th grade. Today, I am not Catholic and have never really considered myself as such.

Ok, so in the flashback episodes of DFF, I have been noticing a lot of things. My findings under the cut.

Let's start with this crucifix and photo of the Virgin Mary and a baby Jesus.

Screenshot from ep. 5.

The camera lingers here a bit so we're obviously meant to pay attention to the phrase. I put the screenshot through Google translate's image translator and the translation it gave me was, "Think good, do good, be a good person." I didn't think much of it when I first watched the episode other than it was supposed to establish that the boys attend a Christian or Catholic school.

But then there was this image posted on Be On Cloud's Instagram (also from ep. 5): X

Zooming in, we can see there's another picture of Mary in the background. Watching the classroom scenes, it's easy to miss because the series itself is more washed out than the official photos posted. But this emphasis on Mary led me to believe the school is a Catholic one. So out of curiosity, I looked up the schools the writers and directors attended because I felt I was onto something here. And boy, was I!

Source: MDL

Ma-Deaw, if you didn't know, is one of the directors of Dead Friend Forever (he also directed Manner of Death and Inhuman Kiss , and lots of other things).

One Google search later (X) and I learned "Montfort College" is a Catholic school. It started out as a primary school that later added a secondary school as well.

Now let's take a closer look at some of the details of this school:

First, the school's motto "Labor Conquers All Things". This reminded me of the phone conversation Tee had with his uncle:

On my first watch, this sounded familiar to me but I couldn't really place why. It wasn't until I saw this other Tumblr post (X) that pointed out it's similar to a bible quote from the New Testament. The quote varies a bit depending on which version of the bible you're using but it's along the lines of, "He who does not work, neither shall he eat".

This is meant to discourage "laziness". Nevermind the fact that people deserve to eat simply because we get hungry and need food to survive. The idea that we only "deserve" things based on productivity is an extremely colonial one. — Reminder also that Tee is being forced into this "work" in the first place. He's just a high school kid. I don't need to like his character to understand how fucked up his situation is.

Then there's the patron of the school. St. Louis de Montfort was a French Catholic priest most known for his study in Mariology. What is Mariology (X)? The study of Mary, the mother of Jesus. I didn't know that was a thing but it's unsurprising considering how prominent images of Mary were in my own religious upbringing. And she's what started me down this rabbit hole in the first place. Mary is a big deal to the Catholics. I'm going to be paying even more attention now if more Mary imagery pops up.

The Garden of Eden and Original Sin

Now I want to draw attention to these images:

Screenshots from ep. 7

Here we have Non and Phee biting into an apple as they leisure around this lush green field. We know they've visited this location more than once because they're wearing different outfits in the screenshots. And I think it's important to note that it's Phee holding the apple and offering it to Non.

The use of the word "bait" in the bts of ep. 7 is quite interesting too. (X)

The Garden of Eden was the paradise in which Adam and Eve resided. In this garden, there were many trees to eat from. The one tree Adam and Eve were forbidden by God to eat from was the Tree of Knowledge. A serpent (Satan), first tempted Eve into taking from the tree to eat it's fruit. And then Eve gave the fruit to Adam. That is Original Sin. And because Adam and Eve ate from the Tree of Knowledge, all humans thereafter are born sinful and bad, and can only find salvation through God.

Of course in the scene between Phee and Non, the sin the apple represents is being gay. And it's after this, and after the bracelet scene, that Non becomes involved with Por's film and his tragedy begins.

Zoomed in screenshot from ep. 5

And I wonder if the bracelet scene is the last time Phee and Non visit this forest location. It would parallel how Adam and Eve were cast out of the Garden of Eden once they sinned.

Final Thoughts

You give me a story that criticizes Western religion and how it's used as a tool for oppression and colonization, and I'm gonna eat that shit up. I am gonna eat it up. Every. Single. Time.

I really wasn't expecting anything like this from Dead Friend Forever. This level in attention to detail is unmatched. I don't think I've watched a more well planned out show. And no matter where DFF goes from here, these seven episodes will always hold a special place in my heart. 💗

[evdarlin]

School Kid Crush

*A/N okay so this is the first thing I've wrote since I was like 18 writing about one direction so I'm sorry if its complete dog shit. I tried and kinda want to make it a series maybe if people actually like it but yeah be easy on me pls*

From the moment that I met Spencer Agnew on my very first day at Smosh as the new Games PA, we instantly clicked. We would spend every lunch together quoting obscure movies or Family Guy. We hung out at each other’s apartments many weekends, me just watching him play video games or forcing him to watch Bridgerton with me. There was something there and I think we all could feel it. Spencer was always the one I could go to geek out about the things I always thought I was being annoying talking about. It was almost like I had met my other half which could only be explained as the most terrifying but best feeling in the world. The whole office knew that there was something there but I might be speaking for myself but I did not want to act on it solely from my own relationship problems and that we were coworkers and did not want to make things so complicated. So for now, we are just good good friends who might just be completely infatuated with each other.

Walking into the Smosh office on Friday morning felt like every other morning on the last day of the week. I didn’t get enough sleep and would rather have been curled up back in my bed asleep but someone has to pay rent. Once I arrived at my desk directly across from Courtney’s, I could see that some sweet angel had placed my dear alani drink right in front of my computer. There was only one person who could have brought that for me and I knew it was Spencer so I took off to the Games pod to thank him dearly. 

“Have I ever told you that you are a godsend and have saved my life on multiple occasions?” I say while walking up to Spencer’s desk.

“Well yes but have I ever told you that you are severely overdramatic with your words?” He said as he swiveled around in his chair.

“Alright that’s rude but I’ll let it slide since you brought me a drink sir.” I rolled my eyes and took a seat on the little couch in the small space. The office was pretty quiet this morning which is unusual but I welcomed it. “How long do you think it’s going to take before someone is yelling in here?”

“I say give it about ten minutes when Angela comes in and sees that she has to take care of that baby today” Spencer laughed and almost on cue heard Chanse cackling at Angela.

“Are you going to Courtney and Shayne’s combined bachelor party tonight?” Spencer suddenly looked nervous asking this question which is new for him around me that is.

“Yeah, I was going to head home after work to change then head over to the place, are you going?” I asked, praying and hoping he was going not wanting to miss a chance to hang out with him outside of these four walls of the Smosh office. 

“Well seeing as you just said you were going then absolutely I am. Um, can I pick you up and drive you to the party maybe?” There it was again, the nervous look on his face. 

“Of course!” I said maybe a little too fast and too enthusiastic, “I mean yeah that would be okay, that way I could have at least one or two drinks while I’m there.” I did not recover from that at all but maybe he won’t notice but seeing that smirk on his face, I am wrong.

“Then I will be there to pick you up at 7:30ish, does that sound okay?” Spencer asked, seeming to be a lot more relaxed now that I said yes.

“Sure! That gives me plenty of time, see you later Spen!” I gave him a small wave and walked back to my desk to get started on my small list of tasks I mentally gave myself to get done before filming started and I had zero free time until 5 p.m. As I walked back to my desk I was brought back to how nervous Spencer was asking me if he could drive me to the party. I mean we carpool sometimes to work and even ride together to function outside of the workplace so this shouldn’t be any different right? Oh god, is this a date? Does he know it’s a date? It can’t be a date when it’s Courtney and Shayne’s day right? I’m spiraling and don’t even notice that I ran right into Tommy.

“Oh my god, I’m so sorry I wasn’t paying attention at all!” I stopped to make sure I didn’t cause some huge mess by running into him.

“It’s okay Y/N! You were really deep into thought there love, you doing okay?” Tommy asked with concern written all over his face, I suppose you can tell I was going through it up in my head.

“Uh well not really but I’ll be okay.” We both started walking towards our desks, I hoped to change the subject so I no longer had to think about what’s going on inside my head but Tommy had other ideas.

“Is it Spencer? I can totally fight him if you need me to or I can hide his Kickstarters until he apologizes to you.” Tommy giggled but stopped as soon as he saw how deep red my face had become.

“Wha- How did you know?” You mean to tell me the rest of the office knew how I truly felt about Spencer, shit.

“Oh honey, the man is completely infatuated with you and I also know you’re infatuated with him. I truly thought you guys were already together and just keeping it a secret for personal reasons. You know it’s okay to like him right? I know about the whole relationship problems you’ve had in the past but I don’t think Spencer is like that actually I know he’s not.” Tommy stopped walking to put his hand on my shoulder and gave it a little squeeze.

“Nope, nope, nope. You’re wrong, I know of no such infatuation you speak of Tommy Bowe.” I avoided eye contact the entire time but eventually sighed, “Is it that obvious?”

“Eh, kind of but hey it’s okay to like someone even if you guys work together. You guys have been attached at the hip ever since you started here and I think you might be the same person. I do not think he’s going to ghost you like every other piece of shit man who has entered your life.” Tommy knew more than maybe anyone about how much self doubt I have put on myself from constantly just men stopping talking to me out of nowhere. It didn’t matter if he said he was different, none of them were. They all were the same.

“I know he is a good person Tommy but I’m not sure I could deal with losing him as a friend and even worse I would have to see him every single day at work. I promise I’m just in my head a little bit, I’ll be okay.” I gave my most convincing smile and headed to my computer to start on my work for the day.

The work day honestly flew by without any more emotional spirals even at lunch when I could see Tommy giving me those knowing looks from across the table anytime Spencer did anything remotely nice for me. I left the office the minute it hit 5 p.m. just wanting to get out of there, I didn’t even wait for Spencer to walk with him in the parking lot. I needed to get to the comfort of my apartment and be alone before I had a full blown panic attack, not to mention I needed to get ready for this party. I made it home in record time with just enough time to get ready and sit in silence and think about what I should do. I decided to say screw it and just bring up my conversation with Tommy and see what happens. Do I know what’s going to happen? Not at all but you know what I need to do something to stop this spiral. I grabbed my bag and headed out the door was I saw that Spencer said he was outside. Spencer was waiting outside his car for me and even opened the door for me, what a gentleman. 

“You were nowhere to be found after work dude, where the hell did you go?” Spencer asked, closing the door as I settled into the front seat.

“Sorry, I started feeling bad so I had to get out of there. Hope you didn’t get attacked in the parking lot without your guard dog.” I laughed as he started his car and headed towards the place where the party was being held.

“You are literally shorter than me which is saying a lot but I was a damsel in distress and you just left me alone to die.” Spencer pretended to wipe a fake tear and looked over at me giggling. “But were you okay? Like nothing happened right?”

“Yeah I was fine, Tommy just got me thinking and I just got a little overwhelmed but promise I am perfectly fine now!” I smiled and let out a breath I didn’t even know I was holding in. “It um actually was about you if I’m being honest?” 

“Me? I swear whatever it was I didn’t do it.” Spencer threw his hands up but I grabbed the wheel and gave him a glare.

“He did say that if you hurt my feelings he was going to hide your drinks until you apologize to me,” I looked over at him preparing myself for what I was going to say next, “He also said he thought we were together and were pulling a Courtney and Shayne”. 

“Hm, Tommy thinks we’re famous enough to hide our relationship like that? Wow, I am flattered.” Spencer laughed looking over at me then stopped because he realized this might be a serious conversation. “Wait, being in a relationship with me sounds so terrifying to you that you had to book it out of the office?” I looked over and saw that we had already arrived at the place but I knew our conversation was not going to end just because we were here.

“No! I just got in my head and was so scared that if you knew that I had this massive ass school kid crush on you, it would ruin this friendship we have built. I have no clue what I would do if you were not in my life, Spencer, honestly.” I realized I have just told him about this crush I have on him with my word vomit so there was no turning back now. “I like you alright, I like you a lot and it’s so damn scary because I’m terrified to lose you in any sense of my life.”

“A massive crush you say?” Spencer started giggling and all I could do was glare at him ready to smack that smirk off his face. “I like you too dummy, I thought you knew already and just saw me as your dorky coworker who also is your best friend. I promise you’re not losing me anytime soon. You’re stuck with me now babe.” He smiled and leaned over to give me a soft kiss. A kiss that I think I have been waiting for what felt like years, a kiss that seemed to let go over all of my insecurities and finally felt safe and confident in a relationship. “Now, let’s go into this party and steal Courtney and Shayne’s thunder.”

We started to walk to the door of the place, hand in hand, and ready to face all of our coworkers. The only thing you can hear as soon as we walked into the room was a far away “FUCK YEAH” which I can only place as Angela screaming.

[0daylighthours0]

My Mother's Unbiased Byler + Milkvan Opinions - Viewing ST for the 1st Time!

(UPDATE)

My Mama has now witnessed Stranger Things in its entirety. Her favourite season was the third, her favourite characters Hopper and Joyce, her favourite pairing would be those guys too, and her most disliked pairing? Can only assume.

I wanted to write out her thoughts on the second to last episode previously, as she'd held many, but before I knew it we'd finished the whole show and I was forced to an income of NEW opinions which ruled out my memory of any old ones. Shucks. But boy did this lady have much to say. The only way I can break it down is by providing a sample of quotes she'd delivered, in order, a day after having finished the series.

All are just things she said about milkvan and byler, as they're this post's main focus. There's simply much to say about these relationships too, being so up in the air over where they ought be expected to turn out. These are all direct quotes too (as I typed as she talked, unkown to her) so you'll have to excuse the natural way in which some lines come off as unfocused, being written after real time conversations. Let's get into it:

Ok I really don't know whether she likes Mike very much. She actively disliked the guy earlier on, and now her feelings appear to be more mixed. A lot of her discussion was solely around this guy's actions.

"It's almost like he's [Mike] forcing himself like- ok Hopper he was kind of very passionate and kissing, you know he sort of instantly- with Mike, from being obsessed and spending so much time with her [El], suddenly he starts cooling off more and more and suddenly- they even separated right? I mean yeah that was out of his control but he, but he didn't really seem like he missed her you know it's like he just got on with it."

This point caught me off guard. I don't know how much I agree with my mother on this. It made me realize that during Mike and El's separation, there weren't many quiet Mike moments in which he expressed worry for her, beyond a couple that blend into him simply having breakup concerns. Any time Mike mentions distress for her whilst she's away, his talk evolves into him simply anxious over the state of their relationship. As a group, everyone in our Cali gang clearly wanted to save Eleven, but Mike really should have gotten more heartfelt moments in solitude (that means without Will you suffer bros) in which it is demonstrated to the audience that he really does miss her, as someone who is in love. Her being away shouldn't simply come off as a writing excuse for him to vent to Will. There wasn't enough of that tenderness milkvan desperately needs, and if anything I watched was an attempt then it really wasn't translated well - never trumping everyone else's familial or close frienship-like fret for El, never showcasing his concern to come from a more personal place. I mean how hard is it to have him in her room, staring longingly at a photo of hers, with a background composed of soft music. Then literally leaving it at that. I mean that is it. No Will rushing in there to insist, "you can tell her that thing when you see her k? It'll all work out trust me ight, you're the heart you're the HEART!" que affectionate gazes, constructs a byler scene for no reason I guess .

"I mean how do we know that he missed Will? He articulated it. Why didn't he articulate this the same way to El?"

True. I mean the fact that I can't remember a moment after they find El in which milkvan ask oneanother how they are, and communicate how much they missed eachother, does indeed say something. They shared a hug and touch when they first reunited, which was gladly interrupted by Will. That pineapple + pizza thing was not long enough, or sensitive enough, to be their moment. There was clear bonding, but it didn't breach a level of romance and chemistry nearly decently. It's good that they got at least that, I mean we need to know that these guys are at LEAST really close friends. And then the camera just felt like panning over to Will about to burst into tears in a corner. Like huh? Bruv you've now made it so that milkvan's pizza bit leaves a bad taste in our mouths. If I were a milkvan I'd be furious.

"You know what, I think it's done purposefully to create that sort of cold, distant, confused, you know they wanted to make people say he's [Mike] bisexual. For people to question. They want to get people to think that."

My Mama believes writers intentionally soured milkvan for viewers to "confuse" audiences, build up anticipation, make them question milkvan's relationship and wonder if our main man will spin to Will. I agree. They want that good ol' triangle comeuppance.

"They really are trying to bring that across- so that people start thinking Mike, you know he doesn't love El, he loves Will. They're really trying to, make people think that. Giving them [milkvan] a really nitty gritty relationship."

Yup.

"When you're gay. Coming out like that it's- it's terrifying. You have to be very careful. And Will could, he could tell. You know when someone is attracted to you. I think, things became sort of- sort of complicated. And Will sensed, he could feel that Mike is attracted to him. And that's why he could open up like that. Because you can always tell. You know, you just know, so that's why Will was able to confess these things to him [she sees painting scene as a confession, whether Mike realized it or not, and so do I]."

Well damn Mama. And there you have it folks. My.. I'm not gonna call her the h word but.. my- notabigfanofgaythingsandwouldbehappytopretendtheydon'texist mother, perceives Mike as a homosexual kid, and just that. Well bloomin heck that's all the confirmation I need.

I didn't expect this as a turnout, I mean so particularly. My Mama actually didn't like byler - I think. Well. Bloomin heck. She actually enjoyed Vickie x Robin, and this shocked me to my core. I don't know whether this is simply due to her being a fan of Vickie's actress (recognizing her from Anne With an 'E'), but I do know that my mother has a bias in gay relationships and sees ones involving females as more "pure" than that of two males. So her language when describing Will has changed since her realization that he loves Mike for sure (which became undeniable in the van scene). She describes him as being 'obsessed' with Mike, and says writers really wanted to get that obsession across. I agree with Will having been one note during season 4, him hopefully having more time to shine in the approaching season, but I thoroughly disagree with him coming off as obsessive. I suppose our camera man displayed the guy's little glances at Mike so often that my Mama felt it was overdone, and unable to be ignored. I also think she's just avoiding use of the word 'love' when describing anything homosexual.

She still doesn't think Mike demonstrates how much he loves El enough to leave no room for debate. According to her, his moments with her seem surface level. Just as a reminder she does not know my thoughts. She watched that entire 'I love you' thing and still isn't secure in any genuineness of the guy. I believe she supposes that we're intended to acknowledge milkvan's romance, but also probe it.

I now wonder whether my Mama was good enough representation for the average audience, because she actually does own a bias - this being that she usually actively dislikes gay things. So I puzzle over whether her brain overanalyzed any of the boys' highlights, wanting to "expose" their homo intentions. At first things were up in the air, but it became clear that Mike did not pass her gaydar, he was simply too intimate with Will to make that pass. And this wasn't the case in other seasons, she never questioned their friendship til now. She also hasn't acknowledged any supposedly queer relationships besides rickie (vobin?) and byler, meaning that other fan favourites such as elmax, steddie, ronance and such else didn't stand out as gay to her. This doesn't signify those other relationships to not have a chance, I'm elmax's personal cheersquad, it's plainly clear that my mother didn't have a tendency to point at every same sex relationship and yell suspicious. Byler was purely undeniable. You can thank Will's love being canoned for this, otherwise noone would have a need to read into Mike.

I don't know whether she supposes byler to have a chance moreso than the milk in the van, even with Mike's ambiguity. It would seem that as of right now her guess is that watchers are intended to second guess both relationships in order to build up interest. However, she doesn't know how unlikely Will's love life is to turn out negatively seeing as those damn writers manipulated crowds into consistently sympathizing for him. Dunno about the rest of you but that sounds like good news to me.

I have no idea how to close this analysis. Is it an analysis? There's much more I want to say, much more she said, but I fear this to be too jam-packed and aimless as is. I'm writing a third part to my most recent milkthevan failing relationship deep dive, and that'll possibly consist of thoughts I wish to input after gathering so much data from my mother.

[itsclydebitches]

We've all rightly been gushing over Trent listening in on the parent-teacher conference and there are a lot of cool interpretations for why he'd eavesdrop: a crush on Ted, a tendency towards gossip (as seen in "International Break"), the fact that you just can't take the journalism out of the boy, Trent is clearly picking up personal tidbits for the book if the group's initial "Don't print that" worries are any indication, etc. So yeah, it's clear why he'd want/be okay with the door staying open.

Meanwhile, I'm slightly feral over Ted letting the door stay open and what that conveys to Trent.

Based on what we've picked up about his personal life and the direction of this season, we have good reason to believe that Trent was a deeply isolated man prior to Ted arriving. His job makes enemies simply by virtue of the profession itself, especially when you "bring the heat" as hard as he did. Roy flipping the press off at the gala in Season 1 and Nate sneaking out at dark this last episode shows us how journalists are treated on the regular: ignored, dismissed, told to "fuck off" as a matter of course. That's often well deserved, as Roy's two personal stories (Trent's article about him + the response to Isaac's attack) attest, but the end result is still a profession that alienates you from anyone other than your peers. When you're a "colossal prick" in your articles, people hate you all the more.

So Trent at least has other journalist buddies, yeah? Well, not that we've seen. I always think back to that chorus of "--The Independent" in the press room when everyone knew what Trent was going to say and how it... wasn't entirely fun ribbing. I think there's a fair bit of mockery there. Even if others disagree, I doubt that was received well by someone who wears their professionalism as an armor, who takes off his glasses as soon as they're complimented, who was, notably, closeted into his 40s. Trent is a man who is deeply aware of how others perceive him (pointing out his "vibe" feels quite calculated now: highlight what you want people to notice rather than waiting for them to find something on their own) and he is likely to read the worst of most interactions. Cue his shocked, "You really mean that, don't you?" when faced with someone like Ted who is not only genuinely nice, but blunt about it in a way that Trent can't misunderstand, or brush off via denial.

What's his home life like? Married to a woman when he's gay and that's putting a serious strain on them both. He tries to come out and isn't believed. The only other family members we know about are a toddler (who, while lovely I'm sure, can't provide Trent with the kind of emotional support an adult needs) and a father who, if we read the series through Lance's headcanons, may not have been very supportive of his son. Who else does Trent know? Uhhh... other subjects who hate him? Owners like Rebecca who want to use him? A random, potential date that he felt so little for he ditched to get a quote?

(EDIT: I can't believe I forgot to mention the strong implications that Ted was bullied in childhood/as a teenager, based on how he reacts to the whole of the club ignoring him -- resigned but unsurprised -- his reaction to Roy telling him to fuck off after he tries to mend that relationship -- disappointedly awkward "I can't believe I even tried that. What was I thinking?" -- and his body language during the locker room scene -- jumping, furtive glances towards Ted, backed up against the shower stall because shit, he's been in this situation before.

So uh, yeah. Trent may not have had a lot of friends growing up either! That was not the response of a social butterfly, but rather someone who is already very used to being ignored/dismissed/cursed out/threatened, not just within his profession, but within the school-like atmosphere of Richmond's family too.)

I'm by no means reinventing the meta wheel here, but Trent has truly undergone a STAGGERING transformation in Season 3 and the result of that is the reframing of his Season 1 and 2 scenes as, frankly, more depressing than they originally seemed. Seeing him now smiling, singing, gossiping, dressing just in t-shirts, casually snacking, making jokes, letting go enough to be a complete, hyperactive "dork" in front of others... it just hammers home how deeply unhappy Trent was before. How closed off. How closeted--in more ways than one.

So what must it mean to someone like Trent for Ted to leave the door open?

It's not just an open invitation towards community--sit near me, listen in, quietly participate, there's literally no barrier between us--but a staggeringly personal one too. I don't care if a 10-ish year old failing science is inconsequential in the grand scheme of things, the fact remains that letting anyone hear a parent-teacher conference with your ex is a hell of a show of trust. That would mean a lot to Trent in general, this acknowledgement that someone trusts the ex-prick journalist with that amount of personal information, but Ted in particular? Oh boy. Ted is the one Trent betrayed with that article! And yeah, Ted forgave him the instant he learned of it, but Trent himself was obviously feeling a lot of guilt, hence him burning his source and orchestrating a firing. Toss in the fact that Ted, despite being a VERY open man on the regular (I still laugh at his "I don't mind" to Rebecca when over-sharing about Michelle) has in fact denied Trent information in the past. No, I won't tell you that was a panic attack. Yes, I will continue the lie that it was food poisoning. Perhaps for Ted it was less about Trent knowing and more about anyone getting at the truth, but at the end of the day it amounts to the same: there was a time when Ted did not fully trust him and Trent justified that fear by writing the very article Ted was looking to avoid, even if Trent approached that situation with as much grace as he could.

So this moment, beyond the humor, just makes my brain go !!!!!! for Trent. Ted Lasso, of all people, has left the door open for Trent Crimm, also of all people, to hear the messy details of his, Henry, and Michelle's life. He is not at all afraid that this information will be spun in a bad light--Local Gaffer's Son Suffers While Father Plays at Coach Across the Pond--despite the fact that Trent is actively writing a book about him. Trent himself is so unguarded in this moment, dressed only in a t-shirt, playing around with his orange, making little quips. The Trent of Season 1 would NEVER. I mean, I think we see small glimpses of the real Trent back then, especially when Ted amuses him enough to coax his guard down for half a second (Trent's reaction to “Make like Dunst and Union and bring it on, baby!" comes to mind. That's a gesture we're seeing a lot now that he's comfortable around the club), but on the whole he was still so, so, so isolated. No one knew the real him: gay, funny, dorky, inquisitive, longing for companionship and using the artificial 'closeness' of journalism to cover that ache up.

Now? Trent is fully a part of the Richmond community and he knows he's a part of it because everyone--Ted, Beard, Roy, Colin, Rebecca--are going out of their way to tell him that, notably in very overt ways. Trent strikes me as someone who wouldn't fully believe it when he's told someone enjoys his company; the kind of wounded, anxiety-prone person who, if casually invited to participate, would assume they're just being polite and he'd actually be an annoyance to them. Trent needs overt, obvious, beat-you-over-the-head-with-it reassurance, which is why Ted is so very good for him because Ted is composed of THE most over-the-top positivity you've ever seen. (Compare that need of Trent's to Michelle thinking that Ted is too much...) When faced with a defensive journalist Ted says explicitly that he liked spending time with Trent. When faced with a still unsure writer who thinks of himself only as an observer--never a part of the team himself--Ted literally begs with monkey noises to hear Trent's opinions. He's blunt to the point of absurdity and someone like Trent who has likely spent the majority of his life hiding/being told that his true self is inadequate needs that level of constant, neon-light reassurance.

So Ted leaves the door open to a personal conversation, refusing to literally bar Trent from his life. The best part? Colin re-opens the door because he understands Trent and he knows his coach; of course Ted wants him included. Colin asks permission to CLOSE the door, not open it, and Trent is seeing this openness again and again over the course of several months, with each episode bringing him further out of his shell as he slowly unlearns that self-doubt. Yes, please stay, please tell us what you think, please offer your advice, please join our Diamond Dogs, please ask us questions (they're no longer perceived as a threat), please become an integral part of our lives. We trust you and we like you and we want you here.

Everyone's waiting for Trent to catch the door again because, you know, the rule of three, but what if he doesn't need to? What if he's past slipping a hand or a foot through the crack and scraping by on what that gets him? He caught the door before it could close to get closer to Colin. He caught the door before it could close to get closer to Ted. Now they've both kept the door open for him, his presence welcomed from the get-go.

Trent doesn't need to sprint for that opening anymore.

[erisweekofficial]

SURPRISE! 🔥❤️‍🔥

We are SO excited to have chatted with Matthew Bassett, the voice actor for Eris Vanserra in the Graphic Audio Production of the ACOTAR series.

Read below for an Exclusive Q&A with Matt ❤️

How long have you been voice acting? How did you get started in the voice acting industry?

I’ve only really worked with Graphic Audio for voice acting, and I’ve been in their roster of actors since 2012. I’ve been a stage actor (with a tiny bit of film) since 2003, and I’ve taught acting in the Washington, DC, area since 2012. When I moved to the DC area after graduate school and started working around here, a number of actors I liked and admired kept mentioning this company that provided steady work on fun material - westerns, fantasy, sci-fi. The comic book adaptations sold me, I’m a huge comics fan. Since 2012, I’ve played countless varmints, monsters, cads, aliens, superheroes/villains, and the occasional good guy. Along with Eris, my larger roles have included voicing The Homelander in all six volumes of GA’s adaption of The Boys graphic novels and Cullen in the World of Lupi series.

Can you describe the process for being selected for the role of Eris (or any other character)? Were there auditions, callbacks, or specific criteria that led to your casting?

Graphic Audio works like a repertory acting company, in that after your initial audition, they maintain your contact information for project directors to pull from when needed. I’ve done a lot of work with Colleen Delaney, director of the ACOTAR adaptations, including several longer character arcs in multiple series, so she thought I would be a good fit for Eris based on similar characters (rogueish, but with hidden depth that is explored over time) I’ve played elsewhere. I’m glad she did! Eris has been really fun.

How did you prepare for the role of Eris in terms of understanding the character's backstory, motivations, and relationships with other characters?

Graphic Audio does a fantastic job of preparing actors and directing us through performances. Colleen sent each actor a brief but rich character description, often quoting directly from the novels, as well as providing a plot description for each specific novel (necessary since the turnaround from offer to recording is very short). During our sessions, Colleen tells me everything I need to know about where Eris has been since the last scene/book and how his relationships have evolved. GA directors also read in as “scene partners,” which, considering they are all performers themselves, makes it very easy to react as I imagine Eris would.

Eris is a complex and morally ambiguous character. What aspects of his personality did you find most challenging to convey in your performance, and how did you approach tackling those challenges?

His vulnerability is very challenging. Eris has had a hard life, despite growing up with every privilege, which is difficult to convey. He hates everyone to some extent, but it all comes from how much he hates his family and himself. The scenes with Morrigan in particular take a while to record - he has all the feelings when talking to her, but he can’t show any of them.

Did you have any creative input into how Eris's voice would sound, or was it a collaborative effort with the production team and director? Were there any specific discussions about the character's vocal tone or style?

Definitely collaborative! His basic vocal character is very close to mine, with the musicality dialed up a bit so he can taunt everyone so well. Where my director really helps is pushing me to find the different levels to his interactions - when he’s teasing (often), when he’s antagonizing (mostly with Cassian), and when he’s speaking from his heart (VERY rarely, usually to or involving Morrigan).

What actors (voice, stage, film, etc) have inspired you? And did any actors or other characters help inspire your performance for Eris?

Hoo boy. Too many to list! For something like Eris, a lot of inspiration from Tom HIddleston’s Loki, Tom Cruise’s Lestat de Lioncourt, and anything Jeremy Irons has ever done. Characters that you can’t take your eyes off of, even as you want to beat the crap out of them.

Were there any specific challenges or unique aspects to voicing Eris compared to other characters you've portrayed in the past? How did you adapt your voice to capture his essence?

Y’know, for all the dirtbags, murderers, literal monsters, aliens, and villains I’ve voiced, Eris is the one with the biggest heart. The biggest challenge is allowing him to have a deep want, hidden from even himself, for some tenderness, the one thing he has been denied his entire life. A character like Eris is easy to just have fun with and play as a smug prick (which he is), but he has moments of aching loneliness that make him much richer. SPOILER: One of my most recent favorite moments was playing Eris’ surprise and gratitude when receiving a “made” dagger for safekeeping. Eris can’t fathom trusting anyone else with something so powerful and important, because he simply wasn’t shown that level of trust or respect. The moment took him by such surprise. It was great to let myself feel that in the playing.

Do you have any advice for aspiring voice actors who are considering pursuing a career in Voice Acting? Any tips for breaking into the business and honing their craft?

Train your voice! I received excellent vocal training as part of my MFA (Master of Fine Arts) in Acting at the University of Tennessee, Knoxville. I learned how to care for my vocal health, how to support with my breath, and how to modulate the dynamics of my voice for character differentiation as well as basic performance beats. You may not have the inclination for that level of training, but a regular voice lesson with a singing coach will give you similar techniques. In terms of breaking in: like anything of this nature, it’s relationships. Build a strong resume, but also build strong relationships with your collaborators and a reputation for reliability. Directors know that I’ll prepare so that I can make strong initial choices, but that I am more than happy to adjust my choices as needed to make the overall production its best.

[fricc-darn]

Something I LOVE to talk about is the process of ascension! Not just the act of transferring consciousness to a digital format, but everything that goes on before that happens. The process is beyond inhumane. 

Ascension was a developing science for a good portion of the series. The Eternity Project was going out on a limb on how ascension worked. Using shoddy practices to back up their theories.

What kind of shoddy practices, you ask? “akin to medieval doctors utilizing leeches attempting to treat a malady.” That’s a direct quote from the Eternity Project’s website! They knew the process was “barbaric” but continued using methods with weak scientific backing to carry out the process.

This, plus the initial idea that 1.) Only kids could ascend, and 2.) The subject that is getting digitized has to have a lot of adrenaline for it to work. Meaning the person had to be awake to some degree to become panicked. The Moon Children Cult/Eternity Project targeted “disenfranchised and outcasted youths searching for a home”. A surefire way to not get caught. This meant it was mainly kids taking the brunt of this torture for a good chunk of time before the adults did.

The third installment of the arg is when the process got somewhat better. Better is used VERY loosely. There is no guarantee ascending won’t hurt because it depends on the practitioner! A practitioner who works for a deeply exploitative organization. Even after all that, it’s still not promised the person will get to be the character they ask for. 

Of course, it doesn’t stop there, because even when digitization is complete, more things can go wrong, such as memory loss!

Don’t even get me started on how all the members that make up BEN were forced into digitization!

[inthedayswhenlandswerefew]

Comet Donati [Chapter 7: Heart Attack]

A/N: Hello all! Only 3 chapters left!!! 🥰 Thank you so much for loving this fic and giving all my eccentric AU ideas a chance. I’m currently in Washington DC visiting one of my best friends, so if I’m a little bit tardy replying to your comments/messages then that’s why. Don’t fear!! I will check in as soon as I can, and I am still amazed by and will forever cherish your support. 💜

Series Summary: Sex, drugs, boy bands. You are a kinda-therapist recruited (via nepotism) to help Comet Donati through a recent crisis. Things are casual with Aegon, very not-casual with Aemond. Loosely inspired by One Direction.

Chapter Warnings: Language, references to sexual content (+18), drugs, alcohol, smoking, Shelby being a bigger plague than the locusts of Egypt, mental health struggles, references to violence and abuse, New Jersey, pregnancy, mini golf, lots of content for the Cregan girlies.

Selected Chapter Quote: “We’re meant to be together. We have so much history.”

Word count: 6.2k.

Link to chapter list (and all my writing): HERE.

Taglist: ​​@doingfondue​ @catalina-howard​ @randomdragonfires​ @myspotofcraziness​ @arcielee​ @fan-goddess​ @talesofoldandnew​ @marvelescvpe​ @tinykryptonitewerewolf​ @mariahossain​ @chainsawsangel​ @darkenchantress​ @not-a-glad-gladiator​ @gemini-mama​ @trifoliumviridi​ @herfantasyworldd​ @babyblue711​ @namelesslosers​ @thelittleswanao3​ @daenysx​ @moonlightfoxx​ @libroparaiso​ @burningcoffeetimetravel-fics​ @mizfortuna​ @florent1s​ @heimtathurs​ @bhanclegane​ @poohxlove​ @narwhal-swimmingintheocean​ @heavenly1927​ @mariahossain​ @echos-muses​ @padfooteyes​ @minttea07​ @queenofshinigamis​ @juliavilu1​ @amiraisgoingthruit​ @lauraneedstochill​ @wintrr13​ @r0segard3n​ @seabasscevans​ @tsujifreya​ 

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You type into Google as you hide in the public bathroom stall, pink tile walls and mint green porcelain, very 1950s, phantom drips of water and humming florescent lights: Can Plan B make your period late?

You scroll through the results, clutching your iPhone with both hands. Faintly, you can hear the rest of the band outside, chattering, laughing, slurping on Slush Puppies, smacking trees and rocks with their golf clubs. Yes, the consensus seems to be; Plan B can delay your period. Incidentally, so can pregnancy.

“Fuck,” you whimper. You peer down at your panties, as if you can force bloodstains to appear: sparce rosy threads of warning, dark red splotches like rust, you aren’t particular. You’ll take anything. “Fuck,” you say again, defeated. You get dressed, wash your hands, and head back out into the cloudless afternoon sunshine.

“Stargirl, it’s your turn!” Aegon shouts as you trot over to them: tenth hole, shaped like an L, featuring an intimidating loop de loop. The course is dinosaur themed; Rhaena picked it. Aegon points to Jace. “This deformed bastard wanted to skip you.”

“I told you,” Jace moans. His speech is garbled and lisping, his face comically swollen, bruised yellow-emerald-indigo and drooling blood, stitches above his left eyebrow. He just had his dental implants placed yesterday; the four teeth that he lost at Club Camelot could not be readily located for reattachment. “I can’t keep track of who’s next. I’m on like four different opiates.”

Baela frets over him. “Shh, shh, baby. Try not to talk.” There’s something about watching someone get almost-murdered that makes you want to forgive them, you suppose.

You grab your club and golf ball, dark blue, from where you left them by a tree. Rhaena gives you a covert little thumbs up and raised eyebrows. Everything good? You smile—too widely, insincere, a liar—and nod. Technically, you have yet to obtain concrete evidence to the contrary.

You take your turn, somewhat awkwardly due to the splint that still encumbers your dominant hand. You are thinking about anything but mini golf. Your ball goes halfway through the loop de loop and then comes rolling back. How many strokes? Four, five, you lose count, it doesn’t matter. Aegon is snickering, though not in a mean way, never in a mean way. Aemond is watching you. He does this constantly; you can feel his eyes—river water, otherworldly atmosphere—on you all the time, you can see him on the periphery of your vision. But when you glance at Aemond, he looks away. You’re wearing flip flops, a black NSYNC t-shirt, and bright pink shorts that Baela insists are of the very short variety. Aemond is staring a little extra hard today. Shelby alternates between glaring at him and at you.

Jace putts next. He misses the ball twice. On the third try, he hits it into a nearby pond. Golden koi fish scatter beneath the rippling sheen of the water.

“Loser,” Aegon declares mildly. “Criston, why the fuck are we in New Jersey?”

“Because you’re playing three shows at the MetLife Stadium in East Rutherford,” Criston says as he putts; his green golf ball sails through the loop de loop, bounces off a wall, and then rolls straight into the cup, a hole in one. “One Direction did it, Taylor Swift did it, and now you’re going to do it too. And if you don’t make it too unbearable for me, I’ll even take you to the beach while we’re here. Okay?”

“Okay,” Aegon agrees. He slurps on his Slush Puppie. “Oh, Aemond, I need the Netflix password.”

“You forgot it again?!” Daeron says. Jace, groaning softly, lies down on the ground in a patch of shade. Baela gets a bottle of Orajel rinse out of her purse and starts pouring it into his mouth.

“Get your own account,” Aemond snaps at Aegon. “I think you can afford it.”

“Bruh, that’s not the point! I don’t know where I left off in Grey’s Anatomy!”

They keep bickering. You stop listening. You can only hear the sounds of rustling leaves, squawking seagulls, the whistling of the warm August wind. You can only feel the weight of Aemond’s half-fascinated, half-resentful gaze on you. He wouldn’t believe me, you think. If I really am pregnant, he would never believe that it was an accident. He would never believe that I was that guilelessly, unambitiously stupid. Hell, I did it and I barely believe it.

You steal a glimpse of Aemond—black shirt and black sunglasses, white shorts, Adidas sneakers—and he turns away, pretending to pick dirt off his golf ball. Interestingly, he will talk to you about things not related to that night in Tokyo; perhaps it would be too suspicious not to, a neon sign for the rest of the band to read. But he never allows himself to be alone with you. And he never touches you, not even a grazing of hands or an absentminded bump as he passes you in aisles or hallways.

Bump, you think miserably. An inauspicious choice of words.

“We should watch Se7en,” Aegon is saying now. “Comet fam movie night.”

You mutter: “We’re not watching Se7en.”

“What’s Se7en about?” Rhaena asks.

“You wouldn’t like it.”

“What’s in the box?!” Aegon shouts dramatically—quoting the beautiful yet doomed David Mills, a name he once borrowed to schedule a Zoom meeting with you—and then cackles. It’s his turn. He clobbers his golf ball and sends it flying through the loop de loop; it pops over the barrier and disappears into a bush. Startled squirrels dart out of the leaves.

“Loser!” Jace slurs as he lies sprawled across the ground, vindicated.

“Stop spitting blood everywhere,” Aemond says. He putts next, and badly: poor depth perception. “You’re getting it on my sneakers.”

“Watch it, cyclops.” Jace points to his own stitches, bruises, surgically replaced teeth. “I let you have this one. Now we’re even. But next time I won’t be so charitable.”

“You’re not even,” Aegon tells Jace, abruptly severe. He whips off his aviator sunglasses, crouches over Jace, glaring and thunderous like a storm. Baela observes this warily. “Not even close.”

Jace is intrigued. “No?”

“No. Your face will heal.” Then Aegon pokes him in the jaw and Jace screams, tears slithering down his puffy, mottled cheeks. Cregan yanks Aegon away before Baela can scratch his eyes out. Criston repossesses Aegon’s blue raspberry Slush Puppie as punishment. Luke wins the game, five under par.

Comet’s first shows in the United States this tour start just like the last few in Asia: Jace is iced, painted with concealer, thoroughly medicated, numbed into semi-consciousness. He does lines of coke in the bathroom under Cregan’s supervision. He can’t perform without it. Criston tried to negotiate a month off for Jace, but the label’s message was clear: get him on stage, we don’t care how you do it, we don’t want to know about it, here’s a blank check, figure it out or we’ll find another manager who can. Now Criston watches Jace with his arms crossed over his chest, his dark eyes wounded and anxious, his shoulders slumped beneath the weight of what he believes is failure.

The story released to the press is that Jace fell down a flight of stairs but is recovering smoothly. He can barely sing; his mic is turned up, and during Jace’s verses Cregan or Luke layer their voice with his. He wobbles and flubs his way through Night 1 in East Rutherford. You spend the show staring up at the stage without seeing it. Baela and Rhaena are with you, but you aren’t really with them; you feel like if they reached out to touch you, their hands would find only translucent emptiness like a mirage. Shelby is flocked by fellow influencers that she’s invited in from New York City. Aemond is somewhere, somewhere: lurking in shadows, brooding, avoiding, musing, suffering, jotting down starlight-colored judgments in his black-paged notebook.

Per tradition, the band and their entourage coalesce in Jace’s suite after the show. Jace himself, the gracious host, promptly collapses on a couch and lies there senseless as the party spins around him like the planets of a solar system. Baela is perched dutifully beside him, holding ice packs to his jaw, wiping away drool the color of one of Aemond’s Brambles. A tattoo artist is inking a goldfinch, New Jersey’s state bird, to the top of Jace’s right foot. Criston is across the room and speaking—rather tensely, it seems—with cigar-smoking label executives. Shelby is snapping photos with her friends; they take turns posing each other out on the balcony, adjusting elbows and wrists and knees, swiping away stray flecks of mascara, rearranging hair, recommending plastic surgeons. Aegon is typing WhatsApp messages—mostly emojis, from what you can see—to Miley Cyrus. At Luke’s prompting, Aemond begins sharing his comments to the presently sentient members of Comet. He puffs on one of his Benson & Hedges cigarettes as he reads aloud. He kindly skips over any criticisms of Jace’s performance.

You can’t stand hearing Aemond’s voice; not because there’s anything wrong with it, but because there isn’t, because you can’t stop remembering what he said to you in that florescent-white bathroom at Club Camelot in Tokyo, because he uses his words on so many people who aren’t you, because sooner or later your time with Comet will be over and you’ll only ever hear him again through Spotify songs and YouTube clips from before the accident, because he will one day be a ghost who haunts you, rattling doorknobs and chilling pockets of air but never speaking. You escape to ask the bartender: “Can I get a Coke?”

“A rum and Coke?”

“No.”

“Like…white powder coke?”

“No, a Coca-Cola. With nothing else in it.”

“Okay, whatever,” the bartender says, perplexed. He fills a glass with ice and dark liquid that pops and fizzes with carbonation, then slides it across the counter to you. You meander out into the hallway where you can be alone, where you don’t have to pretend to be okay.

The carpet is gold but frayed, the walls adorned with faux marble columns and scuffs from recklessly handled suitcases. Even the hotels are worse in New Jersey. You sip your soda—nonalcoholic, huh? you think, then push it aside—and roam past suite doors and vending machines until you reach the cove of elevators. There’s a full-length mirror hanging on the wall there, gilded, gaudy. You frown at yourself, a reflection that suddenly looks a bit like a stranger. You’re wearing a short seafoam green dress, gold earrings and sandals, and an eerily vacuous expression. You turn and move your hair aside so you can peer over your shoulder at what’s been indelibly penned there since Rome: the tiny comet, the lyrics that encircle it.

I wanted to remember this band forever. To remember Aemond. You can feel your stomach drop as it grows heavy with dread. The pulsing music from Jace’s suite has followed you down the hall, Sugar by Robin Schulz and Francesco Yates. I think I might just have more than a tattoo to remember him by after all.

One of the elevators dings and opens. A man lumbers out, towering, broad, monstrous. You gape up at him: brown threadbare coat, heavy boots, unruly dark beard, grey eyes like a bleak winter sky. There is a miasma that colors the air around him with smoke and alcohol, sweat and earth.

“Hello there,” he says, politely enough. His voice is such a baritone rumble that it’s difficult to understand. He has a British accent, but not like Aegon’s, not like Aemond’s. He reminds you of someone you can’t quite place. “I’m looking for a certain young gentleman. I’m hoping you can point me in his direction.”

“Sure,” you reply, trying to disguise your shock so you don’t offend him. He could be someone important. He could be an eccentric producer or a consultant. Or a drug dealer. “Who…uh…who was it you were hoping to speak with…?”

He smiles: sharp canine teeth yellowed by nicotine, glinting eyes like silver coins. “Cregan Stark.”

“Okay,” you stammer. Drug dealer?? “Okay, okay, I’ll…uh…I’ll go get him.”

You hurry down the hall and into Jace’s crowded, smokey suite, clinking glasses and flirtatious titters in dim lighting like late twilight. You return your empty drink to the bartender, then tap Cregan on the shoulder and inform him that someone out in the hallway is asking for him. He doesn’t seem surprised to hear this. Drug dealer, you think confidently. Cregan gulps his vodka shot and follows you out of the suite. He steps through the doorway. He turns towards the stranger. And then he stops dead. His eyes go wide. The blood drains from his face. And Cregan—immovable, inscrutable, unflappable Cregan—shrinks until he is a child again.

Immediately, you know you’ve made a mistake. You reach for him. “Cregan, wait—”

“My son,” the monstrous man sighs. And of course now you’ve realized exactly who the mirrorlike grey of his eyes reminded you of. “My son.”

You can’t stop him. How could you stop him? Faster than you can think, he has crossed the space between you and entombed Cregan in a stifling embrace. Cregan stands paralyzed, his eyes shifting, searching for escape. Tentatively, appeasingly, his hands slowly rise to hug the man in return.

“Criston?!” you shout. But within the suite, he cannot hear you over the music and the berating of smoke-veiled, bejeweled label executives.

“Did you forget about me, huh?” the man asks Cregan gruffly. And as he steps back he grips one of Cregan’s shoulders: not like Criston would, not like a father, like a vice, like a bear trap. He shakes Cregan once, not too hard. “You can fly your private jet all over the world but you can’t call your own father back? Huh? Huh?!” He shakes Cregan again, harder.

“Criston!” you scream. “Security! Somebody!”

Nobody can hear me. Nobody is coming.

You sprint into Jace’s suite, seize Criston by one hand, drag him out into the hall. On the blurry periphery of your vision, you can see Aemond getting up off the couch to follow you. The second he spots the monstrous man, Criston is roaring. “No no no, get away from him!” He pushes between Cregan and the giant, terrifying, wrathful. The man dwarfs him. Criston doesn’t seem to know it. “You can’t be here. We’ve been over this, you’re not allowed to be here—”

The man tries to reach around him to clutch at Cregan’s shirt. Aemond pulls you away from the scuffle. Criston hits the man in the solar plexus; he is momentarily stunned, wheezing. By the time he straightens up, Criston—louder than you, bellowing and fierce—has summoned security. They are swarming the man and escorting him back down the hallway towards the elevators. Aemond goes to Cregan. Criston looks at you. You’re quivering, penitent.

“I had no idea…he asked for Cregan…I would never have…I thought maybe he was a friend of the band…”

“He’s on our no fly list,” Criston says. His voice is tired yet patient. “But you wouldn’t know that.”

You try to apologize to Cregan, but he isn’t listening to you. He’s listening to Aemond. Aemond is speaking to him, low and calm, too quietly for you to hear. “I’m okay,” Cregan says unsteadily. “I’m fine.”

“It’s alright if you’re not,” Aemond tells him.

And you know that right now you are unnecessary, intrusive. Criston goes downstairs to figure out how Comet’s security guards in the lobby didn’t catch this and—presumably—to ensure that the invader is properly dealt with. Aemond slings an arm across Cregan’s shoulders and leads him back to the party where he is cared for, welcome, valued, safe. You hide in your own suite and try not to think about the dates on the calendar—missing blood, summer days ticking down towards zero—as you steep in a hot bath and attempt to scrub everything you’ve done wrong, today, yesterday, ever, off your skin. Then you change into an oversized Backstreet Boys t-shirt and your favorite Cookie Monster pajama pants.

You try to sleep but of course you can’t, surrounded by a silence that only gets louder. When you hear the swipe of a keycard and the creaking of your door, you don’t know who to expect: Cregan, Criston, Rhaena, Luke, Baela, Jace, Daeron, Shelby, Aemond, ghosts. The clopping of his Crocs gives him away, neon pink to match his tank top. “I’m really not in the mood for anything resembling sex.”

Aegon replies as he kicks off his Crocs: “Did I ask, succubus?” He crawls into the bed, throws an arm casually across your waist, rests his head on your belly as your fingers thread through his chaotic blond hair, fond and tender. He burrows into you, into your softness and your warmth and your truth and your mysteries. Sometimes you feel like you’ll give until he falls into you like a trapdoor, the bones of his hands tangling around your spine, his blood vessels spilling into all of your rage-scarlet cavities, hollows of the flesh, hollows of the soul. “You’re sad.”

You stare up at the ceiling. “I have a lot on my mind.”

“Yeah, but I don’t know what. That’s the strange thing. Usually I can tell.”

“You’ve been gone.”

He looks up at you, confused. “I’ve been right here.”

“You know what I meant.”

Aegon doesn’t argue with you, doesn’t try to defend himself, doesn’t make promises both of you know he could never keep. He only lays his head down on your belly again and pulls himself closer to you, closer, closer, melting into your melancholy, dissolving into dreams.

~~~~~~~~~~

“I was eleven when he broke my arm. Thirteen when he cracked my skull for the first time. Then I got big enough to hurt him back.” Cregan looks out over the waves: blue currents, white froth, sunbeams like glinting blades. As Criston promised, Comet is spending an afternoon in Seaside Heights. You and Cregan are sitting on the sand together twenty yards from the others. “I grew up in a two-bedroom cabin with no electricity or running water. We had a metal wash tub outside, ate deer and squirrels and rabbits, never had clothes that fit, never saw a doctor except when what was wrong might kill us. We had a woodstove and chopped down trees to burn in the winter. I had eight siblings, six of whom are still alive. Barnett overdosed. Courtland drove his friend’s Nissan into a brick wall. I’m not sure it was accidental.”

Your words are soft like a whisper, like gentle hands. “Cregan, I’m so sorry.”

“It’s not…” His voice breaks. He stops for a while, composes himself, begins again. “It’s not something I talk about. Not because I’m trying to forget it. I can’t forget it, I’ll never be able to, I understand that, believe me. There’s just nothing to be gained from talking about it. I never feel better afterwards. I always feel worse.”

“You don’t have to tell me anything you don’t want to.”

“I know that. Don’t you think I know that?”

You wait, watching him. There’s something he needs to say. Down the beach a ways, Baela is doing yoga, her bare feet sure and agile in shifting sand. Rhaena, Luke, and Aemond are flying kites in the breeze: black dragons, green dragons. Shelby is, predictably, filming them from where she stands on Aemond’s good side. Aegon and Daeron are swimming so far out that you’re beginning to worry about sharks. Criston is parked under an umbrella with an unconscious Jace, reading Memoirs Of A Geisha and eating a sandwich full of something called pork roll.

“After Comet happened, I got all of them out,” Cregan continues. “My mum, my siblings. Good houses in safe neighborhoods. Security in case Dad makes an appearance. He does, every once in a while. He’s locked up, he’s free, he’s locked up again. He has nothing else to do but haunt us. I’ve been waiting for him to die since I was old enough to understand what a graveyard is.” Cregan looks at you. “Does that make me a bad person?”

“No,” you answer immediately.

“The thing is…” He holds out one large hand, palm down, like he’s resting it on a table. Then he shakes it. “Nothing ever feels stable. Nothing ever feels safe. No matter how much money I see stack up in accounts, I lie awake at night wondering what I’ll do if it disappears. So many people rely on me. I can’t stop worrying I’ll end up back in that cabin somehow. I can still hear drops of rainwater seeping in through the gaps in the roof. I can still smell burning wood.”

“The fact that you feel this way, given your history, is completely logical…even if the fear itself is not. Does that make sense?”

“Yeah,” Cregan says. “Yeah, I think so.”

“Do you think it would help if we sat down and looked at the numbers and did some math? Because I suspect that even with a hundred dependents, you’d easily be able to float them for the rest of your lifetime just using the money you already have. And there will be royalties from Comet’s songs forever. Maybe if we can show you exactly how improbable your worst case scenario is, that fear will begin to fade a bit. Not go away, not completely, maybe not ever…but I think you’ll be able to quiet it down.”

“I’ll give it a try. If you recommend it.” Cregan lights a cigarette and takes a drag. Criston glances over and then pretends he didn’t notice. “I have a daughter,” Cregan says; and you can’t stop the shock from hitting your face like a fist. He smiles faintly, wistfully. “I know. I’ve worked very hard to make sure she is kept away from…” He gestures broadly. “All of this.” Fame. Debauchery. Tabloids. Reddit threads. “I was way too young. And her mother and I…we were never really together. It was contentious for a while, but we’ve sorted through things. I support them financially, obviously. And when I’m not on tour or in the studio, I disappear up to Lancaster for a few weeks at a time and no one is the wiser.”

You study him as wind tears in off the Atlantic Ocean, as seagulls swoop and screech overhead. “I’m sure she’ll appreciate how you’ve protected her once she can understand.”

“I don’t know how to be a father. Not a good one. But I try. I don’t just show up for movie nights and birthdays. I take her shopping for school supplies. I put her back to bed when she has nightmares. I take her to the dentist, to the park, to the library. She really likes pigs, so I adopted a few from a farm animal rescue and we learned how to raise them together.”

“You caring about being a good parent puts you ahead of a lot of people already,” you say. “Nobody in Comet knows?”

“Just Aemond. Once, years ago, her mother needed something and I was out of the country. I had to let somebody in on the secret, somebody I could trust. I chose Aemond. I chose right.” Now Cregan is amused. “He’s the one who suggested the pigs.”

“Of course he did,” you say; and you can’t help but smile. “How old is she?”

“Six and a half. Do you want to see a picture her?”

“Absolutely. If it’s alright with you.”

Cregan pulls his iPhone from his pocket, swipes around for a while, and then turns the screen so you can see. She looks like him, a lot like him, but with round cheeks and long dark lashes. And Cregan is beaming as he says: “Her name is Iris.”

“So you didn’t have to do the Maury paternity test thing.”

He laughs, shaking his head. “No. I knew from the second I saw her she was mine.”

“She’s lucky to have you.”

Cregan shrugs, pensive, evasive. “I don’t know about that.”

“I do.” And he believes that you mean it; you can see it on his face. Aemond is watching you and Cregan, you notice now. He glances over, pretends he didn’t, glances again. You gesture to the crashing waves and say to Cregan: “If Aegon gets attacked by a shark, will you jump in and punch it or something please?”

Cregan chuckles. “Yeah. That’s my main job here, I think. Stopping people from dying.” And then, seriously: “Thank you.”

“Don’t thank me. I haven’t done anything that warrants it.”

“No. Really.” Cregan reaches out, takes your uninjured hand, squeezes it briefly before releasing you. “Thank you, Stargirl.” Then he stands and walks to the water’s edge, letting the surf rush up over his ankles, for just a moment feeling nothing on his shoulders but the sunlight.

Aemond gives Shelby his kite and, as she glares bitterly, makes his way over to you. He takes off his sunglasses so he can see you better and hooks them on the waistband of his swim trunks: black, of course, his usual color. You’re actually wearing black today too, a flowing coverup over a pink swimsuit. You feel very much like hiding. When Aemond speaks, there is perhaps a hint of envy, green like leaves of poison, gleaming like snakeskin. “What were you and Cregan talking about?”

“Fatherhood.” And then you realize how it might sound.

There is a split second where Aemond looks startled; then he remembers Iris. “Right. Not so easy for people like us to navigate.”

People like us. Celebrities, boy band members, haunted men. You scramble for a nonchalant way to feel out the subject with him. “How does Louis Tomlinson handle it?”

“He’s a saint,” Aemond says. And you think: Patron saint of baby daddies? “Freddie was very, very unplanned. The mother was a nobody, a rebound. And a lot of people assumed she did it on purpose to try to keep Louis. Or to get eighteen years of a luxury lifestyle out of him. Or to just get fame in general. Personally, I believe it was all of the above.”

“Right,” you say, sweating heavily beneath your coverup.

“But none of that is the kid’s fault, and Louis is a good enough guy to realize it. So he plays nice with Freddie’s mother and they don’t go to war through tabloids anymore.”

“So, uh…” How can I put this? “You’re good with kids too. Cregan told me you had the pig idea.”

And the look that crosses Aemond’s face, the look: caustic, incredulous, night-dark, self-loathing. “Are you insane? Have you met me? I terrify kids. And I should, but not just because of the eye and the scar. What the hell do I know about being a decent father? What do I know about being a decent anything? I’d have no idea where to start. I’d fuck it up even if I tried desperately not to. I’d end up with kids like Aegon: addicts who hate themselves, people who are irrevocably lost.”

You say meekly: “I think Criston is something like a father to you. He could be a role model.”

“I’m not half as good a man as Criston is.”

Change the topic, change the topic, before Aemond gets suspicious. And there’s something else you’ve been meaning to ask him. “Aemond…after you almost murdered Jace…when we didn’t know if or how he was going to be able to perform until he healed…did anyone ask you to come back to Comet and fill in for him?”

“No,” Aemond says. And he’s thunderstruck by the thought, appalled, petrified.

“You don’t think that it might have been a good idea? That it might make sense?”

“No,” he says again instantly.

“But…in Tokyo…when Daeron made that speech at the last show…I think the crowd’s reaction was pretty powerful, don’t you? People still care about you. They love and respect you. And I think…maybe…it might help you with what you’ve experienced. To get back on stage—even just one last time—and prove to yourself that you still have what it takes. To know that if you do leave Comet, it’s your choice, not anyone else’s.”

“They love who I was,” Aemond says. “Not who I am now. And that’s easy to do. They don’t have to look at me.”

“Goddammit, there’s nothing wrong with how you look, Aemond!” you burst out. “You look fantastic. I never get tired of looking at you. I want to look at you all the fucking time. I’d hang life-sized portraits of you on every wall in my apartment in Kansas City. That’s how much I enjoy looking at you.”

He thinks you’re joking, he thinks you’re trying to make him feel better. You can’t stop him from thinking these things. And yet still, as he turns away, he is smiling: just a whisper of a curl at the corner of his lips, secretive, fragile.

As Comet is leaving the beach, you stop at a souvenir shop on the boardwalk to buy your keepsake for this tour destination. You settle on a pink frisbee that has I love the Jersey Shore! embossed on it in large, abrasive letters. You think your parents’ Australian cattle dogs will enjoy fetching it when you get home. Home feels so much closer—both literally and figuratively—than it did just a few weeks ago.

Criston is browsing through the t-shirts. “Hey, what size is your mom, Aegon? Medium?”

“How the hell would I know? Probably.” He holds up a pair of red, white, and blue bikini bottoms that say Firecracker across the ass. “You think my dad would mind if you sent her these?”

Criston is blushing. “Aegon, stop.”

“You could get her a bikini top too. Oh look, that one over there is red, it matches. And it says MILF across the tits. So that’s pertinent.”

“Stop!” Criston cries, distressed, and flees the store.

Halfway through the hour-long drive back to the hotel, Aegon insists that Criston stop the Escalades so he can get a hoagie from a Wawa. Aegon has never had a hoagie before. He says he cannot truly experience America without one.

At the ordering counter, Jace—slightly less bruised and swollen today, and thus in better spirits—taunts Aegon: “Are you sure you need all that bread? You’re going to be wearing a muumuu on stage by the time we get to the Midwest.”

“You know, just because you said that, now I’m going to get two hoagies…”

On the television mounted inside the Wawa, CNN is reporting on a group of tornadoes that just struck Wichita. And it occurs to you that tornadoes don’t have trajectories to calculate like hurricanes or airplanes or comets; they are climatological sharks. They strike quickly, indiscriminately, and then they’re gone again. They aren’t named. They aren’t enshrined. They don’t even have a belly to cut open and retrieve pieces of your loved ones from. If they take someone, they’re just gone.

While the rest of the band is in line to order their food, and Aemond is scrutinizing the dried fruit and nuts selection, you sneak through the other aisles.

It’s time. I have to find out eventually. I have to know.

You pluck a pregnancy test—cute, pink, nausea-inducing—off a rack, purchase it with truly impressive speed at the checkout counter, and race to the bathroom. It’s surprisingly difficult to piss on a tiny stick of doom, especially when your primary hand is in a splint and only partially useable. Eventually, you manage. You put the cap back on the pregnancy test, set it on top of the toilet paper dispenser, and stare at the metal door of the stall. The Wawa speakers are playing The Fray’s Over My Head.

It won’t be positive. It can’t be positive.

You think of pregnancy test commercials you’ve seen: happy couples rejoicing, happy single women getting negatives. How are you supposed to react to bad news? Nobody ever tells you. Do you scream, sob, beg for forgiveness, schedule an appointment at Planned Parenthood? Do you kick the bathroom stall door down in mindless feminine fury? Do you throw yourself off a balcony?

There’s no way it will be positive. It was one time. Just one goddamn time.

And who knows if that will ever happen again with Aemond. This does not improve your mood.

You pick up the pregnancy test. It is unequivocally positive.

You shove it into the small rectangular trashcan for pads and tampons, things you won’t be needing in the immediate future. You get dressed, leave the stall, go to the sink and wash your hands. Then you grip the cool, slick, white porcelain and gaze at yourself in the mirror under nowhere-to-hide florescent lights. What do you feel? Everything, nothing, things you can’t name yet. You’re a raw nerve, you’re completely numb.

The bathroom door swings open. Shelby enters. She squares up with great purpose. Your eyes roll to her, slowly, with no tolerance left, not a drop of it. “Stay away from Aemond,” she demands.

“Make me.”

She is in disbelief. “I’m sorry, what?”

You turn all the way towards her. “Fucking make me, Shelby.”

“I knew you wanted him,” she says, she seethes. “I saw you in those paparazzi photos from Reykjavik and I knew you were already twisting your claws into him.”

You hold up your hands to show her; your thoughts are fuzzy, dazed, without inhibition. “I have no claws whatsoever. If I did, you’d know about it. Believe me. You’d be able to look down and watch your heart beating through the gashes.”

“You don’t belong here. Some Midwestern farm girl running around in flip flops and Cookie Monster pajama pants? You’re trash. You’re a user. You’re a nobody. And if you’re trying to steal a taken man, then you’re a whore too.”

“I’ve been called worse things by better people.”

“I can make them hate you,” Shelby says indignantly. “Comet. The world.”

“Good luck with that, Malibu Barbie. Nobody even knows I exist.”

“Stay away from Aemond,” she says again, trembling with her futile bleach-blond rage. “We’re meant to be together. We have so much history.”

“And yet no future.” You smile sweetly, breeze past her, step on one of her perfectly pedicured feet with a thoroughly unpretentious flip flop. By the time you return to them, the band is almost ready to leave Wawa.

You’re not hungry, but Aegon coaxes you into taking a few bites from his hoagie. You’re not able to focus on what people are saying, but you hear Aemond mention that he wishes Comet had time to visit a planetarium in some nearby town called Toms River. You think about what it would be like to lie side by side with him under the stars, under the sky where comets appear again after vanishing for centuries. You wonder if there’s anyplace where you and Aemond could ever be truthful with each other.

At night you can’t sleep. There is no shortage of reasons why. You wander from your bed to the gold-carpet hallway to the vending machines, where you stare brainlessly at the options. Am I supposed to not be drinking caffein? Did I get any Vitamin D today? How much sugar is too much? You buy a bottle of apple juice—surely a safe bet—and head back to your suite.

As you walk by Aemond and Shelby’s door, your steps slow. Some nights you can hear them in there arguing: Shelby reiterating all the reasons why they’re perfect for each other, clearly a rebuttal to an accusation you weren’t privy to. Some nights you hear muffled casual conversation or episodes of Cosmos. Some nights you hear nothing at all. Some nights your imagination colors in the gaps before you can stop it: his hands on her, his mouth on her, things you know you have no right to dread and yet you do. But tonight, Shelby is momentarily removed from the scene. You can hear the distant pattering of the shower, and then Aemond alone in the living room gathering up plates and glasses. He’s singing something very quietly, so quietly it takes you a while to recognize it. It’s not even a Comet Donati song. It’s Through The Dark.

You sit down in the empty hallway, your back to his door. And you lean your head against it as you listen to Aemond singing softly to himself, doubt sinking into you the same way that trapped blood fills a bruise: Maybe it wasn’t as good for him as it was for me. Maybe he doesn’t talk to me because he doesn’t want to. Maybe I don’t belong here anymore. Maybe I’ve invented a history that we don’t really share. Maybe he didn’t mean it when he said he loves me.

“What am I going to do?” you whisper, scalding tears brimming in your eyes, shivering hands settling on your belly. In a few months, you’ll be showing. “What the hell am I going to do?”

[twinsunstars]

Behind-the-Scenes Interviews (Part 14) Question: What was your experience with Batcher on set? Omega: Batcher is so fun to be around, she loves to play with me. She is a good actor too. She understands when we need to be serious and follows directions while we are filming. She can get a little hyper sometimes when she’s excited, and she’s always giving a smile to everyone on set. Crosshair: She’s become my hound on-screen, always watching out for me and making sure that I am doing okay. Batcher can become more playful especially when we really need to get some scenes filmed, and she knows how to make sure everyone is doing okay, giving us that needed comfort. Hunter: I was seen interacting with Batcher on-screen once so far, but she loved hanging out around everyone. Ever since we were told that we were going to have a hound with us this season, I was excited to have Batcher around, and she loves to take naps with me on set. Wrecker: Batcher always curls up around me and asks for pets, which I love giving her as much as she wants. I always thought about having a dog, and I would adopt Batcher, I might just if I can. I spoil her a lot with treats, and I often practice stunts with her. Echo: She’s a well-behaved girl. She likes to pounce onto me and lick my face, and I enjoy playing a good game of fetch with her. Batcher is well trained and she loves practicing her scenes, even if it is just Batcher being herself most of the time. Phee: I got to meet her for a bit, and she is the sweetest. I did bring her a lot of treats and some toys, which she enjoyed getting, and Batcher loves the attention she gets from everyone on set. Lyana: She reminds me a lot of my own dog. Every time I get to play with Batcher when I’m with Omega, I feel like I’m back at home playing fetch with my pet. She loves to run around with me and Omega on set. Emerie: I didn’t get to interact with her much, but she loves to get a lot of pets from me. She often nuzzles around my legs, and I enjoy giving her treats. Whenever I play with Omega, Batcher likes to join in, and she’s always barking happily. Everyone loves her. Hemlock: I was mainly with her behind the scenes more since I'm seen as someone who doesn't care for the hounds on screen, but she’s a good girl. Something she likes to do a lot is sneak up on me and try to scare me, she does this with almost everyone but with me a lot. Whenever I notice, she gets a little upset, so I pretend I don’t see her and get scared when she barks and pounces on me, and she’s fun to be around.

part of my Bad Batch Season 3 Actors/Behind The Scenes Incorrect Quotes series!

The Bad Batch Season 3 Actors/Behind the Scenes Incorrect Quotes Masterlist 🎬

[chaotic-tired-fox]

Resident Evil obscure facts PART 3

Since y’all like these so much

(Probably the last part since I really scraped the bottom of my brain here)

Part 1 Part 2

☠️ Hunk telling Nighthawk to go and leave him during RE2 4th Survivor is the first time we see him respond with any emotion or concern for anyone else other than his mission.

☠️ Nikolai and Sergei Vladimir were friends and fought together in the soviet war.

☠️ Sergei Vladimir and Ozwell E Spencer were also old friends which is how Sergei came to rule over the UBCS in the first place. He was completely loyal to Spencer.

☠️ Chris bulking up between Code Veronica and RE5 was a direct response to Wesker being able to beat him so easily. He wanted to get stronger despite Wesker possessing superhuman strength.

☠️ Claire and Leon have a really shaky relationship thanks to Leon’s loyalty to the US Government. He doesn’t deviate from this until RE6 when he decides to defend Helena Harper and sympathises with her actions.

☠️ The knife Leon carries in the RE4 remake is the same knife Marvin gives him in the RE2 remake

☠️ Jake Muller said he was trained by an unnamed mercenary, some speculate this could have been Hunk as he became a mercenary after the Umbrella trials in 2003

☠️ The metal band Ice Nine Kills made a song based on the Resident Evil franchise called ‘Rainy Day’ (and its very good I recommend)

☠️ For Hunk to snap necks the way he does would require a hell of a lot of strength

☠️ Umbrella Corps (which is canon) set after Resident Evil 5 has voice lines from Wesker in it which implies he may be still alive.

Quote: “The circumstances of my death were greatly exaggerated.”

☠️ In Resident Evil 4 The Merchant’s eyes are blue but glow yellow in the dark/at night. In the Remake he doesn’t do this.

☠️ Luis Sera was Catholic which was the original religion of the village before Saddler moved in.

☠️ In Operation Raccoon City Nikolai has a scar on the side of his face but in the Resident Evil 3 Remake he doesn’t

☠️ Chris’s height was changed from 5’11” to 6’2” in later games

☠️ In Resident Evil 7, Ethan loses his left hand, in RE8 he loses his right.

☠️ ‘Master of Unlocking’ is perhaps the most well known ongoing Resident Evil reference not only in the series but many other games as well including most recently as an achievement in the game ‘Killer Frequency.’ You’ll find it most commonly as the name of trophies.

☠️ In Resident Evil 3 Remake RPD, Carlos makes a quote about cameras being used to kill monsters which is a reference to the Fatal Frame series.

☠️ Also in the RE3 Remake, we never truly find out who Nikolai’s client was and Jill never does the ‘detective work’ on it either. It’s theorised that it was Sergei Vladimir as he is the only person Nikolai had any kind of contact and relationship with.

☠️ There is an unofficial Resident Evil 4 inspired puzzle game on the Switch called Safe Room where you organise items into differently shaped grid boxes. Perfect for those that enjoy the satisfaction of good inventory management.

☠️ Crimson head zombies are a mutated variant of regular T-Virus zombies that can happen sometimes if you ‘kill’ them. But they are actually the midway point between a regular zombie and a Licker. (Note the sharp claws)

☠️ Rebecca’s coffee order is an iced caramel macchiato

☠️ Extra fact: I write Hunk related short stories on AO3! I’d love if you checked em out! The link to my fics is HERE

Death Island spoilers below!

☠️ In Death Island, Chris and Leon have matching watches

☠️ As of Death Island, all five of the main characters have been infected with something and cured.

☠️ Chris mentioning Piers in Death Island is the first we’ve heard of him since RE6 (and it hurtttt)

☠️ It’s implied that Chris finding Leon in Vendetta and bringing him back saved his life. We see his mood has greatly improved since then

☠️ We don’t actually have an answer for when Leon and Jill first met but it could have been around the same time he met Chris in 2010

☠️ Once again the trend of Leon crashing every vehicle he touches continues!

[dededaio]

The New Kirby Novel Announcement might hint at the future of the series?

...or as I also would like to call it, yet another installment in the "Klu puts on a tinfoil hat in desperate attempts to predict Kirby's future" series.

So you might've already heard about the announcement of the upcoming Kirby Light Novel in the March of 2024. It's title is "The Dream Onsen is a Good Hot Spring" and If you aren't familiar with it's plot yet, here's the full synopsis:

At first the story doesn't seem too remarkable, there are no promises for new high-stakes adventures on a different planet like in Dedede-focused novel "King Dedede's Great Escape Strategy" or shocking twists like in "Meta Knight and the Knight of Hades", but then it hits you. This novel will feature Elfilin and Daroach. A lot of people who learned of these news did instantly become excited, but not a lot of people seem to have realized just how bizarre this is.

If you aren't familiar too well with the novels in general, their utilization of the extended game cast is quite similar to the way mainline games handle them. As in, they rarely if ever appear if their names aren't "Kirby", "King Dedede", "Bandana Dee" or "Meta Knight". If novels could help it, they only use the main four and occasional recurring enemy/helper like Burning Leo or Chilly (and Chef Kawasaki as a bonus) as the supporting cast. And if the original story requires more important characters, instrumental in the narrative, Mie Takase, novels' author, tends to invent entirely new ones instead.

So far there were only 3 types of novels that primarily utilized game-exclusive characters. I myself sorted them out by type, this is not an official classification or anything. Here's a nifty chart:

Remixes, as I like to call them, are quote unquote "original stories" that feature game characters like Magolor, Taranza or Animal Buddies. But while most of the plot seems original, more often than not it seems as a re-imagining of the actual game plots. Kirby's Labyrinth Rescue is probably the most egregious example, as it's an unholy amalgamation of Return to Dream Land, Triple Deluxe, Rainbow Curse and Amazing Mirror. While a lot of the story might be original, they are "based" on something from the games instead of being wholly original narratives.

AUs are interesting, because they do tend to have entirely new stories that utilize game characters, but this is only with an asterisk that they take place in entirely different world from the main novels/game-adjacent canon.

Adaptations speak for themselves. They might have an original character or two (mostly early on in novels' existence) but they are mostly 1:1 faithful adaptations with some omissions and additions that don't significantly alter the narrative (with sole exception of Planet Robobot's novelization letting President Haltmann live for some reason). Notable thing is, that in case of certain game-adaptations, like Merry Magoland or Kirby Fighters 2, mentions/appearances of extended game cast are omitted or heavily limited (In KF2 novel Magolor and Gooey don't appear or get mentioned at all, in Merry Magoland only Gooey is mentioned among masks of the characters that don't appear in the story in flesh).

As you can see, this newly announced novel doesn't fall under ANY of these categories. It's a brand new, seemingly slice-of-life-esque story, that just so happens to randomly include Daroach and Elfilin. This is highly unusual because novels rarely if ever take risks or go out of their comfort zone. They kind of established the rules and formulas of how they work for years now and it's been working out for them. So why anything would change now?

Well. Heh... What if this sudden change in direction is actually reflective of franchise-wide changes? Shinya Kumazaki talked about how Forgotten Land is going to be the beginning for "the new phase of Kirby". So far it's hard to tell what he actually meant by this. But I would argue that one of the aspects that could be true in this new "phase" is more frequent utilization of the extended Kirby cast.

Novels, in terms of franchise-wide hierarchy, some of the closest things to the actual games in terms of importance, mainly thanks to how much of a juggernaut in terms of sales they are within Japan. Across 10 years of their existence they managed to sell over 3 million copies of all books, which might not sound that impressive, until you realize that these are books for children that until recently were purely Japanese-exclusive endeavor.

These books are the only adaptations, to our knowledge anyway, that get special privileges from HAL themselves in terms of telling some plot and lore details that even fans aren't aware of. Shinya Kumazaki even directly supervised and helped to write one of the books (Return to Dream Land's novelization that came out in 2022). It doesn't mean that novels are canon, but it does mean that they tend to reflect the current status-quo of the series better than most other aspects outside of the games.

So this sudden inclusion of ensemble cast in a random story might signify HAL's willingness to do more with these characters. Elfilin alone wouldn't have been perhaps that surprising, as he was hinted to have more importance past his debut in how he passionately expressed that he wants to stay by Kirby's side forever, but Daroach's inclusion is puzzling because while he did appear in multiple games, he didn't get any merch or notable appearances lately.

Of course, this might mean absolutely nothing! But I feel like this is more notable than most people give it credit for. At worst, this means nothing except that novels will utilize game cast more frequently, which would be cool, at best, it means that HAL is opening up to the idea of returning past characters more frequently, which would be awesome. Let's wait and see, I suppose.

[bottlepiecemuses]

It's Funny How A Decade Ago People Were Ranting How Sexist One Piece Was During The Dressrosa Saga (And Now We Have A Character Like Bonney Who Is Doing Extraordinary Things)

I remember all the discourse back in the Dressarosa arc about how sexist Oda was and how he never let his females do anything. Seriously, it makes me think if the series ended around there it would have probably gotten a reputation from those people for being quote of quote sexist. The things ranged from not giving the women enough fights to damseling to female villains getting redeemed easily to ugly and older women not getting good treatment to you name it everything they could think of. Ever since then I think One Piece itself has refuted a lot of the complaints had then by people who probably won't admit they judged too early.

Since then we have gotten peak female characters, even one people deny is female due to ideology. But we got peak interesting characters that people love and show themselves to be enduring characters who defy everything that Dressrosa critics say females in One Piece are usually restricted in. They have been shown to be physical fighters and have shown to have their own stories outside of romance despite still being tied with men. I say that even some women characters who are mothers and wives and sometimes not even attractive can have interesting characters.

I take for example Chiffon who is shown to be a mother and a wife, but she also has something outside of it where she endure years of abuse due to being Lola's twin because she walked out of an arranged marriage. And again she uses her skills to help subdue her mother when she goes on a rampage even when she wanted nothing to do with her anymore. Also her relationship with her husband is just enduring and how he goes the extra mile to save her from one of her own brothers who was going to kill her.

Also I would like to add Big Mom and Brulee who both get complexity despite being antagonists and ugly. Big Mom in particular due to she could have been one big fat joke when in reality she really is someone who is a product of people who failed her that it turned her into the woman she is today. She truly was a woman with mental problems who could have been a good person if she had good direction but now she directs a household where her children fear her and are under her whim.

Also lastly we got female attractive villains that didn't turn good like Ulti and Black Maria, while they did have redeeming qualities they still remained villains to the end. Ulti was even willing to go physical with male protagonists like Luffy.

Even though it's been over a decade since Dressrosa, I still remember those inane arguments and I think how judging this series too quickly in the middle comes off as foolish especially when you see later stuff. This especially comes to female characters because again people underestimate what Oda has in surprise and how he can grow.