#this is about the like. transition at the middle of each episode

[camembri]

thriller bark is basically like. emotional buildup raised stakes cliffhanger and then suddenly you're just balls deep down Zoro's throat. uvula dangling and everything. dude casually interrupts an emotional scene to display his throat goat abilities. can't believe I resisted watching one piece for so long. this truly is Peak Fiction

[kipperlillyclerickiller]

Exploring Unconventional Bad Kid/Ratgrinder Parallels

Obviously, when Brennan introduced the Ratgrinders in FHJY, some clear parallels in class composition popped up. Every member of the Bad Kids has a corresponding Ratgrinder who shares their general build/role in the party and (presumably) some of their psychological issues as well. But when I was rotating the characters in my mind, as one does, I realized that there were some other interesting character foils to be pointed out. I've listed them below under the read more, along with more detailed thoughts on what aspects of the characters are highlighted with each comparison.

Also I spent way too much time working on this, so I'm including a DNI banner on here (made by @kipperlillyforpresident, who also graciously let me bounce ideas off in the DMs)

Kipperlilly Copperkettle/Gorgug Thistlespring: the first parallel that i came up with. they both have issues around rage that are belied by their physical appearance, with klck being a tiny halfling who experiences an excessive amount of rage that doesn't "benefit" her adventuring-wise as she's a rogue, while on the hand, gorgug is a half-orc who started out as a barbarian in part because it is what he's physically predisposed to be, despite actually having an extremely gentle personality, only transitioning to artificer in his junior year. both have relatively normal middle-class backgrounds but still have issues; klck's anger issues regarding not having a tragic backstory are well-documented, but gorgug also has baggage that made him minimize his presence at the beginning of his high school career, stemming from growing up in a household where rage wasn't really considered at all bc it's an emotion so antithetical to the thistlesprings' way of existence (to be clear, i think the thistlesprings are great parents; it's just that they didn't really know how to address this aspect of gorgug's development)

Ruben Hopclap/Fabian Seacaster: black boys showing off the sensitive side of masculinity. last episode established that the ratgrinders are living in ruben's mansion, which he presumably bought with his rockstar money and lives in without any parental figures, meaning that he and fabian have similar living situations and probably similar issues with trying to avoid loneliness that result in attention-seeking behavior (ruben's music career and fabian's max legend status). finally, the turncoat potential: fabian has admitted to listening to ruben's music and beefed with gertie bladeshield against the rest of the bad kids. meanwhile, ruben's experiencing some sort of guilt/reluctance with the ratgrinders' plan as expressed through his interactions w/ wanda childa. i believe they can bridge the bad kid/ratgrinder divide and i want them to be friends sooo bad

Ivy Embra/Fig Faeth: most straightforward similarity is their sylvan elf heritage, but i think that the similarity that matters the most would be their image/self-portrayal, with ivy being a sort of mean girl with an edge, similar to the type of person that fig wanted to portray herself as in freshman year (even though fig is actually much more soft-hearted/sentimental). this comparison is honestly more of a what-could-be scenario that sheds light on potential alternate facets of fig's story bc 1) ivy being an elven ranger is pretty similar to sandra lynn but has the edgy persona fig only took on after she found out about her tiefling heritage and 2) we have literally no idea what's going on with ivy's emotional landscape. still, this comparison compels me, especially in light of finding out how porter and jace groomed the ratgrinders, and the way that sandra lynn got used by bobby dawn when he was an adventurer. it's like a dark mirror of what could have happened to fig if the circumstances were worse (and the fact that bobby dawn is a teacher in aguefort rn and was also collaborating with porter to an extent.... the cycles are cycling!!)

Mary-Ann Skuttle/Riz Gukgak: just little guys. specifically smaller races often stereotyped as villainous and acting in the service of the party rather than for themselves, though while we see that riz acts for the party out of genuine passion, mary-ann seems to be more apathetic. both are disconnected from regular teenage social norms, generally unbothered/unaware of looking "uncool", and more focused on their personal interests, as mary-ann has her plushies and riz has his mysteries (and his business cards from freshman year lol). even when riz joined all the school clubs this year, he did it for the sake of kristen's campaign/getting scholarship money to help his mom more than for his own reputation. another prominent similarity is a heavy compartmentalization of emotion: we don't really know what's going on with mary-ann but she hasn't shown any emotion even when trying out for bloodrush and seems remarkably unbothered for someone who's been presumably been shatter-starred. riz, in contrast, has a lot of emotions/anxieties but channels them into mystery solving and other activities, an approach encapsulated by the baron quote from fhsy: "You love the truth. You seek it so much that you cut your hands upon the inside of crystals. But, you use deception to protect yourself from something you fear." riz also isn't very forthcoming with his emotional state, evading questions from his mom and Jawbone, as well as his friends. His initial drive to solve mysteries stemmed from the emotion from his father's death, but iirc he didn't even tell the bad kids about how pok died until sophomore. And now, he's grinding in school/extracurriculars for scholarships to avoid considering the possibility of the bad kids splitting up

Buddy Dawn/Adaine Abernant: catty and blonde. (jk) both of them feel anger prominently and express it in their spellcasting (versus a more martial class), but in very different ways. adaine's whole arc throughout freshman and sophomore year has been about accepting that she has the right to be angry about the way that her parents abused her, and that her anger can be a source of power in her spellcasting; contrast the way she brained doreen with the ladle in the first battle with the corn cutie bc she didn't know what to do versus later battles in sophomore and junior year when she's learned adaine's furious fist. on the other hand, buddy uses his cleric spellcasting as a healer in order to sublimate discomforting feelings and avoid dealing with the idea of agency and consequences of emotions like anger. his whole conversation with kristen is basically him going "i don't feel anger because i repress it so deeply and i don't engage in violence, just help other people kill because that is helio's will. my hands are clean tho :)" (he is so funny) additionally, adaine has found a support system in her adventuring party, as well as jawbone and ayda, while buddy is the odd one out in the ratgrinders as lucy's replacement, isolated from preexisting support systems as he has just moved from highcourt and subsequently becoming so very vulnerable to getting shatterstarred

Oisin Hakinvar/Kristen Applebees: idk these are the only guys i have left. ok my original idea was they both have plot-relevance related to adaine's summons, with oisin hijacking adaine's dust mephits to tamper with the cloud rider engine and whatever the fuck is gonna go on with K2 in the next episodes. also have a narrative presence defined in part by the women they're crushing on, with kristen dealing with her attraction to tracker/gertie/women in general throughout all the campaigns and oisin being introduced as seemingly flustered by adaine's attention. but honestly i think the strongest parallel is that they're both haters (kristen calling klck "4dogs" and oisin calling buddy dawn "hayseed", fight!)

and of course, how could I forget...

Lucy Frostblade/Gilear Faeth: the Chosen Ones. both have plot relevance and relation to Ankarna through their ancestry. both just have a melancholy vibe. ppl from mountainous cultures often live off dairy products... i'm gonna extrapolate and assume that lucy loved blueberry yogurt

[piracytheorist]

Episode 32 notes!

Starting off right in the middle of action, right where we left off!

And some great animation there, too!

The thing about Anya is that her plans are so innocently silly that thanks to her young age, they actually work.

She's right there in front of Yor, acting like she doesn't recognize her, and Yor accepts that because a) it's easy and b) well Anya is a little kid, isn't she?

The fact that Anya is visibly sweating and has a very nervous expression shows that she's worried her plan won't work, and the entire family could come apart right there. She knows it's a risky plan... but because of the circumstances, it works perfectly not only to cover Yor but also to cover Anya's knowledge of Yor's secret.

I love her.

Also, a great way to take the fear of exposure away from Yor and help her focus on the fight! Worth waiting the entire week for!

I also love how excited the entire crowd was about seeing two people "play" with what seems to be lethal weapons. They'd do numbers as WWE fans.

The camera focuses on Yor as she's starting to question herself.

Yes you are! You're hesitating to get close because you fear you'll get hurt and you know that will make Anya and Loid sad! (And of course because you'll have no excuse to tell them but okay yeah)

Anyway. I just like how in comparison to the manga, we see her expression there during her inner monologue.

Yor comments about how professional the guy is with the chain, but then she has no problem using the chain's momentum to wrap it around his wrist and then his torso. Some excellent animation there showing the small details of her control of the chain!

~YOU'VE BEEN HIT BY-

YOU'VE BEEN STRUCK BY-

THE THOOOORN PRIIINCEEEEEEEESS~

She even used his immobilized body to make him bow. She's an absolute legend.

I've talked before that this isn't even a five-year-old roleplaying. She's actually getting involved with actual enemies of the state, helping their plans without them knowing, and having a blast. Her moral compass may be a little unhinged but by god is it steadfast XD

And then. The Grand RevealTM

WHITE ASS LEGS

I love him your honour. How did he even combine all that, I don't wanna know. The rainbow-tinted glasses is what ended me.

Anya Forger, professional heart-breaker.

Again. Talking with a guy who believes humans will never understand each other and who wants to wage another war, while Twilight has his own war trauma? No big deal. Anya calling him uncool? THE SHOCK AND DESPAIR OF HIS LIFE.

And off to the next chapter! Great transition in the anime - I can usually notice when they jump onto the next chapter, but this time I was surprised with how smoothly they took it from one to the next.

Turtleneck guy says he can't pick up Yor's scent? Even though he seems to have extraordinary smelling abilities?

Is that another reason why Yor is so good at sneaking up on people? She did sneak up on Twilight, after all...

"The bones" mentioned above... is that Loid talking about the skeleton keychain? There was, after all, a hidden bug in the store Loid and Anya were in...

Some things never change.

I can't wait for the moment he realizes how soundly she sleeps on his arms because she trusts him and he makes her feel safe, just like his mother did for him :)

Zeb! I finally get the name of the guy! I won't lie that calling him Furseal felt so weird, like, apologies if your name is Furseal but hey.

Anyway. His outburst felt so real. This man doesn't belong in crime.

And of course, Olka is way too desensitized to such violence, having grown up in the family, after all, and I kinda like how she goes like "Yo snap out of it". Endo really doesn't hold back from having women tell men off huh. I also love the baby talk she used with Gram. So cute.

This scene has the very same music used in the first episode where Twilight has his flashback and remembers what his reason to become a spy was. I feel kinda sad hearing it here because I'd thought that this melody would be used as [redacted]'s leitmotif, but its meaning seems to be connected with how people broken by war can find the hope in humanity needed for peace. Or something.

McMahon berates Yor for going near the door earlier even though she didn't hear their secret knock, but in reality it wouldn't matter - unless the assassin heard their voices from outside the door - because the assassin shot anyway. It would have been the same if she had protected Olka from the first moment and then tried to assess how to attack the guy. So maybe calm down, dude.

The moment Zeb was like "How are we supposed to sleep like that?" I was certain we'd see him sleeping and snoring deeply. I was not disappointed XD

Me when proper trigger discipline: 🥳💯👀🥳👌💯👀👌👌👀🎊👌🎊💯

First, good ol' focus on the ring on McMahon's finger. Second, I'm confused by the translation here in comparison to the manga. Here it says "as long as people continue to be people" while the manga says "as long as people are the way they are", and that can have a different meaning. The former sounds like conflict is in the nature of humans and that it's something we can never avoid, which doesn't seem to follow the story's ideal. It's what Donovan Desmond beliefs are based on, after all. The latter sounds like people are currently very focused on matters that cause conflict, and have a chance of reaching peace if taught differently.

I think, depending on the interpretation, it can tell a lot about McMahon's character. I will wait to see the rest of the arc to make up my mind.

And after he says that they're soldiers even in time of peace, the manga treats us to a panel of a pensive Yor, but the anime doesn't.

Stop robbing us, anime team!

Yor tells the others they should keep their shoes on - nice detail, btw - and Olka looks very familiar with such a concept, while it's Zeb who is a little surprised but accepts it. It's interesting what a character not reacting to something can tell about them!

As expected, Yor and Olka are vigilant, while Gram and Zeb sleep like babies. Let them rest XD

Some brand new music there! There's a lot of new music in general. And then THIS!

THIS IS THE FUTURE LIBERALS WANT ETC

The way Yor widens her eyes when she realizes what she just imagined! AAAAAAAAAHHHH!

And BOY we talk a lot about Loid's denial but the way Yor is still going like "No, no, no, priorities!" though. THE WAY SHE THINKS OF YURI BEING PROUD OF HER, THEN BEING AN INDEPENDENT MAN SHE MANAGED TO RAISE WITH A FEW ISSUES, AND THEN THE HAPPY FACES OF LOID AND ANYA EATING HER FOOD I WILL GO FERAL

Someone hug her omg she deserves the world 😭😭

Neither Twilight nor Yor are the only people neck-deep in denial though.

"The man decided to live for his job" yeah right. He sees one (1) pretty woman pay him some attention because of Bond and he's like "Well imma adopt a dog then". Bond's doubtful and rejecting reaction was priceless XD

This is so fucking funny to me for some reason aadshadfhsdgh. Look at him. Brought into despair by one (1) five-year-old.

I kinda love how he admits that he does fear the unknown, and has been simply trained to overcome it and try to deal with what he has in front of him.

And currently, his fear is for Anya's emotional state.

Having no idea that she's actually having the time of her life, even though she hasn't realized how deeply dangerous her situation is.

Anyway, I love that she brought Mr. Chimera with her on the trip <3

LOID HAVING HIS VERY OWN OH MAH GAH MOMENT I LAUGHED SO HARD

He is very seriously focusing on how he can make Anya happy. He thinks she asked to go for mini golf because she likes it, so he followed along, he saw her upset with how she lost, and believed she needed to experience winning in order to feel fulfilled, so he was determined to stay there until she won.

Anya takes him to the library and of course he's read everything. And even if he hadn't, he has photographic memory and can practically read through an entire tome in minutes.

But still, he's focused on her happiness, and he's satisfied that Anya is having fun reading comics. She goes for the puzzle (btw I love the idea of having a big puzzle available and leaving it to passersby to solve it. I once visited a school where they had one on a table in the halls and students would sit and try and solve it during recesses) and he analyzes it, thinks he can solve it quickly. Anya reacts in shock, and we hear a tiny hesitant "Oh" from him, because he noticed her sudden change in reaction.

Oh no. Twilight is rubbing off on her a little too much. You're five, darling. Enjoying yourself is your job!!

Just like with the bullet in butt date, Loid cannot understand why Anya looks so angry now after having spent an entire day having fun - and he cataloguing what she seems to be having fun with.

The way that he ends his internal monologue with his fear of the Forgers breaking apart and Operation Strix doesn't cross his mind once, tells a lot about how his priorities are starting to change enough to even silence his "For the Mission" talk. My mans falling hard.

Anya sees how worried Loid has gotten... and maybe she reads even deeper and realizes how genuine of a worry it is? That he's not worried for her as an asset of Operation Strix, but as a kid that deserves to have fun and be happy. And she steps up to reassure him.

And oh, how his face changes! T_T

And the way he alternates between "Loid voice" when he speaks and "Twilight voice" when he thinks. Have I congratulated Takuya Eguchi for this feat yet?

And by the way, he "justifies" Anya being so upset of missing her mama because she's still a "small child". Because of course only small children can miss their mothers, right? Twilight definitely doesn't miss his, right?

Forget neck-deep denial, this man is deep down the Mariana Trench of denial.

And the "Small Daily Life" track from the soundtrack plays, with the beautiful family leitmotif...

I love them. He can be so sweet with Anya, I can only imagine how he'll end up post-identity reveals and especially post-feelings realization.

The final few hours before Olka, Gram and Zeb get safely transferred! I think you can see the tension on their entire faces.

Also some intense, new soundtrack there! Interesting! The composers have done a lot of job this season, carefully mixing up tracks from the previous season with new ones to create the respective mood.

And that's it for this week! I foresee way more action on the next episode! :D

[obsessive-dumpling]

Okay! I saw it! Let's talk about it!

AHHHH! It was so good! It was ALMOST everything I wanted. There were a couple moments I felt like Bones was trying to minimize the gravity of this apology. Specifically, the lack of transition of Izuku's eyes.

When Katsuki first confronts Izuku, and starts at the beginning of their story (them being shown as young children) Izuku's eyes are completely void.

As Izuku begins to realize what's happening (when they reach their middle school timeline) we see his eyes coming back.

By their high school timeline he looks stunned and his eyes are lightening and becoming wider.

As he hears his name, his eyes have come back entirely.

By the end, his eyes are clear, present, his pupils are blown wide and light has finally returned them.

In the manga Horikoshi very intentionally shows Izuku's eyes becoming lighter and more present with every line that Katsuki says. Almost as if, Katsuki is slowly bringing Izuku back to life. Bones opted to leave those details out and that super sucks. This scene is so beautiful and powerful because even though it is BAKUGO'S moment, it's HIS apology that he's been agonizing over for months, it's still equally about both of them. It's still their give and take. It's so /them/ meeting each other where they're at, no matter what, and filling a role for each other that no one else could possibly fill. And by removing Izuku's part in that, you miss the full impact.

BUT it would be wrong of me not to acknowledge all the wonderful things Bones DID do in the episode. The rest of the animation was genuinely stunning. And Okamoto did an amazing job of bringing Katsuki's words to life. He made him so soft and I will forever be grateful for his portrayal. At first I was a bit upset he didn't do the pause indicated in the manga before saying Izuku's name but honestly...I like the change. I like that Katsuki says "Izuku" so confidently and without reserve. Because he knows he can. And he knows Izuku will accept it despite the fact that he probably shouldn't. It was a very nice change.

I loved that we got more shojo glow throughout, I also loved how they handled Katsuki's catch scene and Izuku finally feeling safe enough to sleep. That wasn't in the manga people! The catch was, yes, but NOT the panning in on Izuku's face as he relaxes into Katsuki's arms and falling asleep! That was a nice bonus touch that [not completely] helps balance out the loss of the eyes animation.

Overall, the handling of chapter 322 was done with a care I can appreciate. I can't wait to see how they handle our boys next big scene. 💚🧡

[mccall-muffin]

The Lady and the Major - Part 2/3 // John "Bucky" Egan x OC

Summary: Bucky quickly realizes that Liz is not like any woman he has ever met before. But there is still a war to win, and Bucky has his duties. So, every letter that arrives is a prized possession now.

Warnings: Language, teasing, kissing, sex (not too detailed)

A/N: So, here is part 2 for you. And yes, by now I've seen all the Episodes that are out as of now - so I'm up to date ;)

Here is my Masterlist

Tags: @liebgotts-lovergirl, @softly-writes, @mads-weasley, @brassknucklespeirs, @softguarnere, @shesgonna

As the band transitions smoothly into a slow, captivating melody, the atmosphere of the gala shifts, becoming charged with a different kind of energy. Bucky, seizing the moment, sets aside the formalities with the ease of a man used to taking the lead. He gently takes Liz's champagne flute, placing it on a nearby table with a confident grin. "Care to dance, Lady Cavendish?" he asks, extending his hand, his eyes sparkling with an invitation to step into a moment just for the two of them.

On the dance floor, Bucky guides Liz with a practiced ease, pulling her close enough that their conversation remains private, a bubble amidst the sea of dancing couples. His hands are respectfully placed, yet the occasional, deliberate brush of his fingers along her back suggests a familiarity that goes beyond mere dance partners.

As they move to the rhythm of the music, Bucky can't resist the opportunity to delve deeper into the intriguing paradox that is Liz. "You know, I've been told quite a few tales about the elusive Lady Cavendish," he teases, his voice low and playful. "Word around is that beneath that veneer of the perfect highborn lady lies a spirit too wild to be tamed by society's chains."

Liz, unphased and quick to respond, tilts her head slightly, a challenge in her bright blue eyes. "And just what exactly have you heard, Major Egan?" she inquires, her voice a mix of curiosity and daring. "I'm quite intrigued to know what stories have made their way to your ears."

Their dance becomes a metaphor for their conversation—each step and turn a delicate balance between revealing too much and not enough. Bucky, navigating this dance of words as skillfully as he does the physical one, leans in, his breath a whisper against her ear. "I've heard that you're no stranger to bending the rules, that you find the conventional life of aristocracy stifling. That you've been known to disappear into the night on adventures that would make your family's esteemed guests blush," he whispers, each word carefully chosen to entice and probe.

Liz's reaction is a soft, genuine laugh, a sound that seems to momentarily lighten the weight of her title and societal expectations. "My, my, Major, such scandalous rumors," she retorts, her tone laced with amusement and a hint of defiance. "Let's just say I believe life is too short to be lived within the confines of what others deem acceptable. And perhaps, I do enjoy the thrill of the chase, the excitement of the unknown."

Their eyes lock, and in that moment, a silent understanding passes between them. Here, in the middle of the dance floor, they've managed to peel back another layer of the intrigue that surrounds their budding relationship. Bucky, drawn to the fire he sees burning behind Liz's poised exterior, finds himself more captivated than ever, eager to discover what other secrets lie hidden beneath her aristocratic facade.

As the song comes to an end, they remain momentarily in each other's arms, the last notes fading into the background. This dance, both literal and metaphorical, has drawn them closer, weaving their stories together in a way that neither had anticipated. And as they step back, rejoining the world around them, it's clear that this evening has only served to deepen the intrigue and attraction that pulses between them.

Liz's invitation to step outside carries an undertone of challenge, a silent test of Bucky's willingness to navigate the complexities of her world. He accepts with a nod, the unspoken communication between them sparking with anticipation. However, as they make their way toward the grand doors leading to the estate's gardens, they are intercepted by none other than the Duke and Duchess of Wellington themselves.

With hardly a moment to prepare, Liz leans in, her voice a hurried whisper, instructing Bucky on the proper etiquette for addressing her parents. "Remember, it's 'Your Grace' for both of them," she murmurs, her tone urgent yet composed. Bucky, despite the sudden shift in situation, nods his understanding, a quick study in the art of aristocratic manners.

The Duke, a figure of imposing stature and dignity, eyes Bucky with a mix of curiosity and the guarded warmth of a father protective of his daughter. "And who might this be, Elizabeth?" he inquires, his voice carrying the weight of authority and expectation.

Liz, ever the adept navigator of her family's expectations, steps in smoothly. "Father, Mother, this is Major John Egan of the US Air Force. We met recently at a charity event where Major Egan was sharing some of his experiences from the war. His stories were quite enlightening," she explains, echoing the innocent tale she'd spun for her brother.

The Duchess offers Bucky a polite smile, but it's the Duke's reaction that holds the room in suspense. After a moment's evaluation, his expression softens, a nod of approval directed at Bucky. "A pilot, you say? Well, that's commendable. Our Edward has told us much about the bravery required in such a role," he says, his voice revealing a hint of the pride he holds for his son's achievements.

Bucky, sensing the importance of this moment, responds with the respect and humility befitting the situation. "Your Grace, it's an honor to serve. And it's been a privilege to share some of my experiences with those who understand the sacrifices made in the skies," he replies, his tone sincere.

The Duke nods, seemingly impressed by Bucky's demeanor and the shared bond of aerial combat. "Well, Major Egan, it's a pleasure to have you among us tonight. The bravery of you and your comrades in the Air Force is something we hold in high regard," he states, extending a hand in a gesture of respect and acceptance.

With the formal introductions made and the Duke's approval subtly given, Liz and Bucky are allowed to continue on their way, stepping out into the cool evening air. The brief encounter with her parents was a test, one that Bucky passed with the grace of a man who, despite his unorthodox entry into their world, understands the value of respect and common ground.

As they move away from the light and music spilling out from the mansion, the night around them feels charged with a new energy. Liz's challenge, Bucky's acceptance, and the unexpected approval of her father have all conspired to deepen the connection between them, setting the stage for whatever comes next under the starlit sky.

As they stand together on the balcony, the cool night air mingling with the tension of their conversation, Bucky watches Liz closely.

"You know why I turned them all down? All those ass-kissers of earls, viscounts, and so on who threw themselves at me?"

Her confession hangs between them, a raw and honest revelation that strips away the layers of aristocracy and high society, revealing the woman beneath. He's moved by her vulnerability, by the glimpse she's offered into the gilded cage that is her life.

"Why turn them all down, Liz?" Bucky prompts gently, already suspecting the answer but needing to hear it in her own words.

Liz's gaze meets his, steady and resolute. "Because marrying one of them would seal my fate. I'd be trapped in this world, expected to play the perfect wife, the dutiful daughter, forever," she confesses, her voice laced with a mixture of defiance and resignation. "I want more than what's expected of me, more than this life can offer."

Bucky's respect for her deepens in this moment, his initial attraction evolving into something more profound. He sees her not just as a challenge or a conquest but as a fellow soul seeking freedom from the confines of their respective worlds.

"And inviting me here tonight?" Bucky asks, the pieces falling into place. "Was that your way of rebelling against all this?" There's a note of understanding in his voice, a recognition of her courage in the face of stifling expectations.

Liz nods a small but significant gesture. "You're... different, Bucky. You don't belong to this world, and yet, you stood your ground. That confidence, that defiance—I wanted that for myself, even if just for a night," she admits, her eyes not leaving his.

Bucky steps closer, closing the distance between them, moved by her honesty. "Liz, I may not know all the rules of your world, but I do know about feeling trapped," he shares, his voice soft but firm. "If you're looking for a bit of freedom, even for just one night, then I say we take it. No expectations, no strings. Just two people enjoying the moment for what it is."

Liz's response is a smile, one that reaches her eyes and lights up the night. It's a smile of relief, of gratitude, of a burden momentarily lifted. "I'd like that, Bucky. More than you know," she says, her voice barely above a whisper.

As they stand there, two figures against the backdrop of a world that demands so much from them, they find solace in each other's company. For Liz, Bucky represents a breath of fresh air, a chance to experience life unfiltered by the expectations of her status. And for Bucky, Liz is no longer just the enigmatic aristocrat but a woman of depth and courage, fighting for her own identity.

In the moment their lips meet, the world around them—the chatter of the gala, the soft rustle of the night breeze, the distant melodies spilling out from the ballroom—fades into insignificance. Bucky, taken aback by the intensity of the kiss, finds himself caught in the current of Liz's boldness and expertise. Her playful bite, the confident dance of her tongue, signals a depth of experience that both surprises and entices him.

As Liz wraps her arms around his neck, pulling him closer, the connection deepens, their bodies speaking a language of their own making. Bucky's hands, resting initially at her waist, venture slightly lower, his touch light but daring over the fabric of her dress, a silent exploration of the territory between propriety and desire.

When they finally part, the look Liz gives Bucky is one of playful challenge, a silent dare that speaks volumes. Her wink, a spark of mischief and promise, leaves him momentarily stunned, a statue on the balcony as she turns to make her way back inside. Yet, the invitation in her glance, the unspoken command to follow, ignites a fire within him.

Liz's graceful navigation through the gala's attendees, each step a tantalizing lure, leads Bucky on a path he knows is fraught with both risk and exhilaration. As she ascends the staircase, her silhouette a beacon in the sea of guests, Bucky's decision to follow feels not like a choice but a necessity, a call to adventure too compelling to resist.

The journey to her quarters, a silent procession through the dimly lit corridors of Wellington House, is charged with anticipation. Bucky, aware of the boldness of this pursuit, understands the unspoken rules of the game they're playing. This isn't just a physical attraction; it's a mutual rebellion against the confines of their respective worlds, a shared quest for authenticity and freedom.

As he follows, maintaining a discreet distance to avoid drawing attention, Bucky realizes that this night, this moment, could redefine the course of their acquaintance. Liz, with her daring and defiance, has challenged him to step beyond the bounds of his own experience, to engage in a dance as risky as it is irresistible.

The decision to pursue Liz, to accept her silent invitation, marks a turning point. It's a step into the unknown, a gamble on the promise of something profound. In this game of hearts and wills, where every gesture is laden with meaning, Bucky and Liz find themselves on the brink of a discovery that could either shatter the world they know or forge a new path forward, together.

As the door closes behind Bucky, marking their entry into a realm removed from the eyes of the world, the air between him and Liz becomes charged with an undeniable intensity. What unfolds is a dance of two souls, a private exchange of affection and connection that transcends the physical space they occupy.

In the seclusion of Liz's quarters, away from the rigid expectations of their external lives, they find a freedom and a fervor that is as much about rebellion as it is about attraction. The room, with its soft lighting and the distant sound of the gala continuing below, serves as a backdrop to a moment of vulnerability and honesty.

The exchange of kisses and the exploration of touch speaks to a deep-seated desire for authenticity and understanding. It's a conversation without words, a dialogue where every gesture, every breath, carries the weight of unspoken dreams and desires.

As garments become mere whispers on the floor, the world outside, with its rules and roles, fades into insignificance. What matters in this secluded space is the connection that thrives in the absence of pretense, a bond forged not just in the heat of the moment but in the shared recognition of each other's true selves.

The rustling of bedding, the soft sighs, and the gentle caresses are chapters in a story that is theirs alone—a tale of discovery, of the courage to seek out the spaces where they can be unapologetically themselves. In the quiet aftermath, as they lie entwined, the significance of this encounter is palpable. It's a promise of possibility, a testament to the power of finding someone who sees beyond the facade to the person beneath.

This night, in the privacy of Liz's quarters, is a declaration of their mutual defiance against the constraints of their worlds. It's an acknowledgment that, despite the challenges that lie ahead, they have found in each other a rare and precious solace, a sanctuary where they can explore the depths of their connection away from prying eyes.

As dawn threatens to reclaim the night, the reality of their respective lives looms large. Yet, in this moment, they are grounded in the profound realization that what they have discovered in each other is a strength, a partnership that might just have the power to redefine their destinies.

Two weeks have passed since Bucky's return from London to the base, and the changes in him haven't gone unnoticed by those closest to him. Gone is the relentless flirt, replaced by a man who seems preoccupied, his attention drawn inward. Buck Cleven, ever the observant friend, can't help but notice the shift, especially in light of the increasing pile of correspondence that seems to capture Bucky's focus each morning.

This particular morning, Bucky is more animated than usual, a smile playing on his lips as he carefully unfolds a letter. Buck, curious and a bit concerned, nudges him. "Who's got you smiling like that, huh? Someone special?" he teases, trying to catch a glimpse of the sender.

Bucky hesitates, a brief struggle visible in his demeanor before he decides to share the letter with Buck. It reads:

Dear Major Egan,

I hope this letter finds you wallowing in the misery of our separation, desperately missing my company. I regret to inform you that I've taken up with a prince, a real one this time, who showers me with the adoration and luxuries befitting a lady of my stature. So, it seems our little dalliance must come to an end.

Please, don't despair too much. I'm sure you'll find a way to mend your broken heart, perhaps with one of those American heiresses desperate for a title, or maybe with a nice farm girl? Someone who can appreciate your... what was it you do again? Oh, right, flying planes.

Do not fret, dear Major. You will always hold a special place in my heart, somewhere between my love for my horse and my tolerance for my brother's tedious war stories.

With all the affection I can muster (which, as you know, is quite limited),

Liz

P.S. I've included a photograph, as you so tiresomely begged for one. Please try not to wear it out with your ogling. I expect it back in pristine condition, or you shall owe me a new one.

Tucked within the letter is a photograph of Liz. The image captures her essence perfectly—beautiful, aristocratic, and brimming with the sly humor that Bucky has grown so fond of.

Buck, reading over Bucky's shoulder, lets out a laugh. "She's got you on a string, hasn't she?" he chuckles, handing back the letter. "You've got good taste, I'll give you that."

Bucky, looking at the photo once more, can't help but laugh as well. He can almost hear Liz's voice as she penned the letter, her teasing tone, the twinkle in her eye as she crafted each sarcastic remark. It's a comfort, a tangible connection to the woman who's managed to upend his world and settle under his skin.

"She's one of a kind," Bucky admits, a warmth in his voice that speaks volumes. Folding the letter and slipping the photo into his pocket, he feels a renewed sense of determination. Whatever it takes, he knows he has to see her again, to bridge the distance the war has placed between them. Liz might tease, might play her games, but beneath the sarcasm and jests lies a connection neither can deny, a story far from over.

Buck watches Bucky with an incredulous look. "Alright, spill it, Egan. Who's the dame that's got you all twisted up? I never thought I'd see the day when John Egan, the lady-killer, would be mooning over some broad," he teases, the smoke curling up into the air between them.

Bucky, feeling a mix of defensiveness and pride, takes a moment before he responds, choosing his words with care. "Her name's Liz," he starts, the corner of his mouth twitching into a smile at the mere mention of her name. "Lady Elizabeth Cavendish, if you want to get all formal about it. Met her in London. She's... different, Buck. Not like anyone I've ever met before."

Buck raises an eyebrow, taking a long drag from his cigarette before flicking the ash off to the side. "Lady Elizabeth Cavendish, huh? Sounds like a real high-class bird. Got you good and proper, didn't she?" he chuckles, the humor not quite masking the genuine curiosity in his tone.

Bucky can't help but laugh, shaking his head. "Yeah, she did. But it's not like that. She's sharp, Buck. Got a wit that could cut glass and a spirit that's just... infectious. And she doesn't give a damn about all that high-society bullshit. She's trapped in it, sure, but she's fighting it every step of the way."

The more Bucky talks about Liz, the more animated he becomes, his usual reserve giving way to a barely contained enthusiasm. It's clear to Buck that this isn't just some fling or a passing fancy. Liz has managed to break through Bucky's well-guarded exterior, touching a part of him that perhaps even he hadn't realized was there.

Buck, sensing the depth of Bucky's feelings, nods slowly, a new respect in his gaze. "Sounds like a real peach, John. A dame like that, yeah, I can see why you'd be hung up on her." He takes another puff of his cigarette, his expression thoughtful. "Just be careful, alright? These broads from the other side of the pond, they play a different game. But if she's got you willing to jump through hoops, she must be something special."

Bucky's response is a simple nod, his mind already drifting back to Liz, to the memories of their time together and the anticipation of what might come next. The conversation shifts as they move on to other topics, but for Bucky, Liz remains a constant presence, her image, her words, a steady pulse beneath the surface of his thoughts.

In the barracks filled with the coarse banter of soldiers, the smoke of cigarettes hanging heavy in the air, Bucky finds himself in a world apart, his heart anchored across the ocean, tethered to the enigmatic Lady Elizabeth Cavendish, who's managed to do the unthinkable—capture the heart of Major John Egan.

As the morning light spills into Liz's room, illuminating the delicate furnishings and the soft, luxurious bedding she's entangled in, her initial irritation at being awakened fades the moment Mrs. Baxter mentions the letter. Liz's eyes, still heavy with sleep, light up with anticipation, a rare show of eagerness that Mrs. Baxter notes with a soft, knowing smile.

"Seems like your American soldier can't quite keep you off his mind, my lady," Mrs. Baxter says, her tone playful yet respectful, as she hands over the letter to Liz.

Grasping the letter, Liz's usual morning grumpiness is replaced by a flutter of excitement. She carefully opens the envelope, her fingers trembling slightly with anticipation. The letter reads:

My Dearest Liz,

Hoping this note finds you shining bright over there. I gotta say, even the best days in Thorpe Abbotts don’t hold a candle to you. Your last letter? A real knockout. It was like a splash of color on a dreary English day, and let me tell you, that’s saying something.

You teasing about ditching this budding thing we got for some high-and-mighty life with the blue bloods almost had me. But behind all that sass, I know there’s a warmth that keeps me going, has me lying awake thinking about you.

That picture you sent is my new prized possession. Seriously, it’s with me everywhere. Every time I look at it, I see that spark in your eyes, that smile of yours, and it hits me hard—how much you’ve come to mean to me.

Even though we’re worlds apart, you’re always on my mind. The thought of seeing you again is the light at the end of this tunnel. I’m holding onto the hope that this mess of a war gives us a break soon, so I can be back by your side, soaking in your glow.

Till then, just know I’m here, waiting and hoping.

Always yours, Bucky

Liz reads the letter, a smile playing on her lips, touched by Bucky's words that manage to be both teasing and heartfelt. The sincerity in his tone, the open declaration of his affection, strikes a chord deep within her, warming her more than the morning sun ever could.

Mrs. Baxter, observing Liz's softened expression, can't help but comment, "Seems like the Major has a way with words, my lady."

Liz, looking up from the letter, meets Mrs. Baxter's gaze, her smile widening. "Indeed, he does, Mrs. Baxter. Indeed, he does," she replies, her mind already racing with thoughts of how to respond, how to match Bucky's blend of humor and sincerity in her next letter.

For a moment, the challenges and restrictions of her world seem distant, as Liz allows herself to be carried away by the promise of what's to come, buoyed by the words of a man who, despite the chaos of war, has become an anchor in her tumultuous life.

What she doesn't know is that soon everything will change.

Next part >>

[thebeautysurrounds]

I’ve been thinking a lot about how people’s reactions to certain queer shows and something I think we need to examine how we treat more ‘dark’ and ‘emotional’ shows versus more ‘happy’ shows in this case I’m gonna be talking about the “debate” between Young Royals and Heartstopper.

Firstly these shows exist in two different lanes, and draw in two different audiences and potential age ranges, in my opinion, Young Royals is for older teenagers (think juniors or seniors or someone who is about to graduate high school and is going into college) while Heartstopper is geared towards those who are just starting high school or in the middle of it and is in that transitional period of their lives. Obviously, if you are not in these age ranges you can still consume and enjoy these shows, But I want to discuss how people act like they both can’t exist and you can’t like both or both shows existing for a reason. I’ve never really been a fan of punching down or belittling queer media (unless it’s harmful) Queer media in all forms is still lacking (especially those mediums centering WLW relationships). That being said the debate of which show is better is honestly so tired.

For people who say Young Royals is so much better (don’t get me wrong it is an amazing show and by all means like whatever you want) but liking it more because it’s “darker and more realistic” compared to Heartstopper which is "much happier" and "unrealistic," To me is so disingenuous because firstly so what? campy shows that feature queer characters deserve to be unrealistic, What's wrong with being unrealistic? Queer media has been subject to the Burry Your Gays narrative for decades or extremely unhealthy tropes and storylines so what's so wrong with having storylines and shows that are unrealistic or extremely happy? (even though the themes in Heartstopper are realistic).

Have you thought about how that may be an intentional choice? Now bare with me here this may be my over-analytic brain at work but Heartstopper has more or less some of the same themes as Young Royals just shot in a very vibrant and colorful manner to showcase how happy and colorful young love is BUT if you actually have watched the show or read the graphic novels you would know the show and graphic novels cover some heavy themes.

SPOILERS AFTER THIS POINT……

I want you to keep the song Pumped up Kicks by Foster the People in mind throughout this...I have a point I promise. Heartstopper is shot in a very poppy colorful way and in my opinion, symbolizes how when you’re young and in love everything feels warm, colorful, and vibrant. While Young Royals doesn't utilize this cinematic style they do use some form of vibrancy to convey tone and emotion. In Young Royals many of the scenes featuring Simon and Willhem's 'good moments' feature the sun especially shining on Simon when Willie is looking at him or whenever they are just in each other's company, this is especially prominent in the last scenes of the last two episodes of season 3.

So while people's criticisms of Heartstopper can be warranted (not saying you can't dislike the show) the comments that it's just so bubbly and bright just aren't true. The last season of Heartstopper saw multiple characters go through traumatic situations and it has been building up that way from the very first scenes in the first season of the show (but for the sake of time I'm only going to discuss both main characters in the two shows) Charlie not only is still struggling with being outed but is also battling with an eating disorder, this is foreshadowed throughout the first two seasons leading up to its inevitable blatant reveal when he is at dinner with Nick and his family where Nick starts to piece together why he is never hungry, passed out on the Paris trip and never finishes his food, which leads his to eventually research the signs of an ED. Nick is also still figuring himself out when it comes to his Bisexuality, while also dealing with the feelings of, feeling abandoned by his father, and having to reckon with the fact his brother is not supportive and dismissive of his sexuality and relationship.

Now before I said keep Pumped Up Kicks in mind that's because while this song has an upbeat, catchy tempo the song actually has a really dark undertone and meaning. So while Heartstopper is shot in a very vibrant colorway most of its characters and content of the show deal with dark themes and it's not all just a happy love story, and if the script for the next season follows the graphic novel closely, then we will see the characters go through even more challenges which also falls inline with the "darker" more emotionally message of the show. So to end this so it doesn't become a dissertation, both shows more or less have the same themes they just exist in two different lanes, I don't know why exactly people are fighting for one to be more valid than the other. When both can exist and be impactful to both or each audience, more queer shows need to exist where the characters are just happy and in love and I need y'all to unpack why you view more doom and gloom (for a lack of a better word) queer shows or movies are more valid than ones where the characters are just happy and have relatively in some aspects great experience when it comes to young love and figuring out one's identity. Sepreatlty why do you want these characters to suffer to find love? Why do characters have to go through something traumatic for their identity to be more valid and for you to relate and want to root for it more versus the latter?

Anyway, this was longer than I intended it to be but I just had to get my thoughts out there. TL;DR: Heartstopper and Young Royals are two great shows and if you think one is better than the other cause it has darker themes you are missing the point or probably objectively missed the dark undertones of the show, and one isn't more valuable than the other.

[fandomsandfeminism]

So, I haven't seen the new FLCL "sequels." And my memory of Progressive and Alternative are...hazy. I only watched them once and...don't need to watch them again. So if this seems off the mark for Progressive, forgive me.

But the thing that Progressive especially like, didn't get, in my memory of it, is that...Haruko...isn't really like....a character? Haruko is a force. Haruko is an inciting incident. Who she is and why she's there and what she wants isn't really...important? And getting bogged down in the nonsense alien pirate magic space cop robot lore isn't...the point.

Naota's main struggle as he transitions out of childhood is his inability to honestly confront the messy, intense stuff in his life. He takes on a detached air, building walls around himself to keep all the loud, messy, hurtful stuff (his dad, his brother, his...situation with mamimi) at arms length. But that's unsustainable.

(Ninamori is a great microcosm for this conflict. Her transition from "it doesn't seem like a big deal"/"it has nothing to do with me." To admitting she wants her parents at the play, and then later saying she told them how she felt and cried about it is her whole arc. She learns to openly and honestly confront and process her feelings, especially when thats emotionally messy.)

When things get messy for Naota, he shuts down and avoids, not telling Mamimi about his brothers girlfriend in the first episode, for example. Naota is stuck in the middle of all these uncomfortable messy problems, but none of them are getting resolved because he just avoids them. So they linger, they stagnante. He can't create boundaries or change uncomfortable situations because doing those things means confronting the problem.

BUT then Haruko shows up. And in each episode, the moment when things get MESSY (mamimi needing to know thay Tasukus new girlfriend, Ninamori forcing him into the play, the resentment against his dad), when Naota would normally shut down, NOW there is a giant robot to fight and Haruko is there to force a catharsis.

That's her narrative purpose. To create these insane, wild, messy situations that Naota can't avoid, and it is in the catharsis of those confrontations that he grows and the issues in his life resolve and heal.

I dunno if the newest flcl "sequels" are any good, but I think the focus on Harukos lore rather than her thematic and narrative purpose in Progressive was the major failing of that series at least.

[linkspooky]

BUFFY THE VAMPIRE SLAYER: "HALLOWEEN"

The next episode in my episode by episode analysis of Buffy the Vampire Slayer, showing how individual episodes fit into the themes of the seasons they're a part of and the series as a whole. This is the first of several Halloween episodes that use the holiday to take a deeper look into the fears of the characters, and the costumes they wear not just on Halloween but every day in their normal lives.

1. Janus

The central theme of the episode revolves around the roman god Janus. Giles helpfully explains for us here.

Giles: Janus. Roman mythical god. Willow: What does this mean? Giles: Primarily the division of self. Male and female, light and dark. Ethan: (appears) Chunky and creamy. Oh, no, sorry, that's peanut butter.

Janus is the god of beginnings, transitions, dualities, and oorways. He's a two-faced god as shown in the idol that Ethan Rayne uses to cast his spell. More specifically he is the god of doors, the gates of an ancient building in Rome are named after him. As the god of Doors, he represents the middle ground between concrete and abstract dualities. Male/ Female, Light/Dark and Chunky and Creamy. These things are traditionally thought to be two abstract categories but the closer you look at them the more fuzzy the boundary line between them becomes.

A Binary Opposition is a pair of related terms or concepts that are opposite in meaning, where two opposites are strictly defined against one another. Up is defined as being the opposite of down. These are considered to be strict categories that are mutually exclusive from one another.

However, these sets can be seen as complementary forces, rather than contradictory to one another. You can't understand one without understanding the other. An example is one cannot conceive of 'good' if we do not understand 'evil'. These pairs which are seen as distinct opposites are actually complementary pairs which are needed to define each other.

Dualism, is the key word of this episode every single character in this episode has two faces. They are representing two sides of themselves, one is the face they wear on their everyday lives, the other is their hidden side that they only have the confidence to show on Halloween. Which one is the mask, and which is the real face that's first asked this episode and repeated again later on in the series.

The basic premise of this episode is that on Halloween you have the confidence to dress in a way you wouldn't normally dress for the rest of your life. This quote from a completely different show the Venture Bros does a good job of explaining it.

Orpheus: This is a night of true magic. Halloween is the night we discover who we are. Are wepeople who make zombie armies? Are we those who condemn others, or are we beautiful children in resplendent costumes collecting candy? Are our choices in costumes provocative? Do we dress up as our ideal self? Or are we not ready to decide who we want to be? We use this one enchanted night to perform the greatest feat of magic there is. We become ourselves. Halloween is the true magic it is the night we discover who we really are.

For Buffy this means dressing like a normal girl, for Xander it's dressing up like a more traditionally masculine tough guy soldier, and for Willow it's dressing a little slutty (until she loses confidence to do that).

Not only does each costume choice inform us about the characters, the characters are physically flipped. As a result of the spell making the halloween costumes flesh, the characters insides become their outsides and their outsides become their insides. I'll be breaking them down character by character down blow.

2. Willow: The Ghost Girl

Willow's costume for the night is based on that old joke that girls dress up sluttier on Halloween because it's the one night of the year they're allowed to get away from it without being judged.

Buffy: What'd you get? Willow: A time-honored classic! (holds up a ghost costume) Buffy: Okay, Will, can I give you a little friendly advice? Willow: It's not spooky enough? Buffy: It's just... you're never gonna get noticed if you keep hiding. You're missing the whole point of Halloween. Willow: (smiles) Free candy? Buffy: It's come as you aren't night. The perfect chance for a girl to get sexy and wild with no repercussions. Willow: Oh, I don't get wild. Wild on me equals spaz. Buffy: Don't underestimate yourself. You've got it in you.

Buffy mentions that Willow is hiding, which is an interesting word to use here because you could say that shy, introverted Willow spends most of her life hiding from the spotlight. Just a few episodes ago Willow's choice of outfit to wear for the school dance in Inca Mummy Girl is emblematic of this behavior, on a night she can wear anything she chooses to wear a giant snow parka that hides most of her body. To a dance which she was hoping Xander would ask her to, and got jealous when he noticed another girl (the mummy girl) and asked her to the dance instead.

Willow is made up of these two contradictory desires. She wants to stay out of the spotlight, but she wants to be noticed as well. Unlike most of the pairs we're going to discuss in this post these two things are mutually exclusive. As Buffy points out "You're never going to get noticed if you keep hiding."

Male and female don't contradict each other, you can be both male and female because male and female are just made up categories that are more ambiguous than most people believe them to be. However, you can't get noticed if you're hiding yourself, because well you're hidden. It's a having your cake and eating it too sort of deal.

Perhaps reflecting how contradictory and complicated Willow's core desires are, she's the only one dressed up as two different costumes. She at first dresses in the more revealing costume Buffy suggests, but then hides it with a traditional white bedsheet ghost costume. Willow is dressed up as two different things because she wants to have it both ways. Giles even comments on the confusing nature of her costume.

Giles: (confused) A-and, uh, your, your costume? Willow: I'm a ghost! Giles: Yes. Um... w, uh, uh, uh, the ghost of what, exactly?

Willow wants to be noticed for who she is, and in general be the kind of self-confident person that Buffy seems to be so naturally, but she's constantly sabotaged by her fear of judgement. When people notice you they will judge you whether you want them to or not. It's not a coincidence that Willow dresses up in costumes again and again, in story. Wearing costumes / theatre / performance is a recurring motife for her, you see Willow's got a bad case of stage fright.

In the first episode where characters deal with their deepest fears, S1E10 Nightmares, Willow's nightmare is being forced to perform the opera Madame Butterfly on stage in front of everyone when she doesn't know the lines.

STAGE MANAGER: Man, I thought you weren't going to show. Aldo's beside himself. M. C.'S VOICE: Ladies and Gentlemen, we are proud to present two of the world's greatest singers… STAGE MANAGER: I hope you're warmed up. It's an ugly crowd. All the reviewers showed up. M.C.'S VOICE …all the way from Firenze, Italy, the one and only Aldo Gianfranco… The stage manager drags Willow to the curtain. She peers out to see: WILLOW'S POV - A RATHER LARGE AUDIENCE is waiting. Willow backs away from the curtain, starting to hyperventilate. M.C.'S VOICE… and all the way from Sunnydale, California, the world's finest soprano, Willow Rosenberg! WILLOW: But… I didn't learn the words…

As I said performance is a recurring motie for her character. The definition of a motif is a distinctive feature or dominant idea in an artistic or literary composition. Willow's character revolves around the idea of theatre and performnace it just keeps coming up with her, later on in the dream symbolism episode of Season 4 "Restless" Willow is once again forced to step up on stage when she doesn't know the lines. Her dream is once again showing up to the first day of drama class only to learn that everyone is putting on a production of Death of Salesman with a cowboy in it, and she doesn't know any of the lines. Giles also has this to say about acting and the word "hiding" is brought up again.

GILES: Acting is not about behaving, it's about hiding. The audience wants to find you, strip you naked, and eat you alive, so hide. GILES: Now, costumes, sets, um, the things that you, uh, you know, uh, you, um... you hold them, you touch them, uh, use them, um... HARMONY: Props? GILES: No. RILEY: Props? GILES: Yes! (Points at Riley) It's all about subterfuge. (To Harmony) That's very annoying. (To everyone) Now go on out there, lie like dogs, and have a wonderful time. Now, if we can stay in focus, keep our heads, and if Willow can stop stepping on everyone's cues, I know this'll be the best production of "Death of a Salesman".

Willow's dream also has this repeating line, said by many different characters.

BUFFY: (to Willow) Your costume is perfect. (Whispers) Nobody's gonna know the truth. You know, about you. WILLOW: (bemused) Costume? BUFFY: (pouting) You're already in character! Oh, I shoulda done that! [...] BUFFY: (straightens up) Play is long over. (Stares at Willow) Why are you still in costume? WILLOW: Okay, still having to explain wherein this is just my outfit. (Gesturing to her clothes) BUFFY: Willow, everybody already knows. Take it off.

People constantly refer to Willow as being "in costume" when she's just wearing her normal everyday clothes. Giles says that acting is just the art of lying and hiding who you are in front of everybody, and Willow's default behavior is to always hide in the shadows. Willow's everyday self is just as much of a costume as the costume she wears on Halloween.

You would be forgiven for thinking Willow is not as layered or interesting a character as Buffy until the midpoint of season 2 because she really doesn't get much focus in Season 1, with I Tarzan You Jane being the only real episode that centers around her. She doesn't seem to be anything other than the standard shy best friend / sidekick to the more self-confident main character girl. However that's yet another role Willow plays, because as someone who fears the spotlight, Willow has a tendency to hide in Buffy's shadow.

Willow is a shy introverted teen girl with low self-esteem who's basically only had one friend her entire life, until Buffy suddenly drops into her life in high school. Willow's life suddenly became "special" because Buffy was there and Buffy is special. She transforms from a geek with a few computer skills to a literal magic witch in later seasons. Buffy is the "chosen one" but Buffy chose Willow as her best friend in the first episode when she could have chosen Cordelia. Willow's compromise for wanting the spotlight for herself but being too afraid of it is to cling to Buffy instead, Willow isn't special but she becomes special by being Buffy's friends.

That's why this is the first episode where Willow starts to become her own character so to speak, because when Buffy is rendered useless by the spell into a typical damsel the role of leadership for the group falls onto Willow. When Willow is forced to take charge she's shown to be perfectly capable of doing so as long as Buffy's not around (she also stands up to Giles in Reptile Lizard Boy, and asserts herself more and more later on this season) so the problem isn't really that Willow's not capable of taking charge but she's not usually confident enough to. This is the first episode where Willow becomes the protagonist and Buffy the supporting character.

It's something that will happen again and again later on, Willow attempting to fill in Buffy's shoes. The season 3 opening she makes a pun and tries to stake a vampire the way Buffy does only to fail miserably. When Buffy is gone in season 6, Willow becomes the default head of the group. Willow is always in Buffy's shadow, but she's also shown to be perfectly capable of stepping out of that shadow on several occasions, it's just Willow herself who chooses to stay there.

Which really goes to show how deep Willow's fears and insecurities run. Willow is a hacker, she's smart enough to get into any college she wants, and yet Willow's opinion of herself is abysmally low, she's cripplingly afraid of what other people think of her.

Except on Halloween, the one special night you can choose to dress up like a slut and get away with it judgement free.

2. Buffy: The Normal Girl

While Willow gets to play the hero for the night, Buffy gets to be the damsel-in-distress being rescued by others instead of doing the rescuing. Buffy's desire to be a normal girl and how being the slayer keeps her from a normal life where all she has to worry about is which boy she's going to the dance with is a long running theme with her character, but there are some interesting themes with gender going on with Buffy and Xander's characters this episode.

The central "idea" of Buffy is that Buffy as a blonde high schooler would usually be the first victim in a horror movie, the girl running away from the slasher but instead she's the thing monsters run away from. Certain episodes play with this idea by changing her back to her more traditional role and show just how weird and out of character that is for Buffy. This episode she's practically helpless for the entire episode. There's an episode in season 3 where she loses her powers as the slayer, and spends the entire episode losing all confidence in herself because she lacks the strength to fight back against monsters and other men and is made to feel like a victim. In Season 5 there's "Superstar" where Jonathan makes himself the main character of Buffy by using magic to turn the world into his self-insert fanfic, and despite still being around Buffy acts more like a sidekick or "The chick" of the group despite the fact she's supposed to be the slayer.

Buffy is a girl in a main character role that's usually given to guys. It's a thing both the writers and audience are aware of. It shouldn't be weird that the chosen one is a girl, and yet because of the gender imbalance in fiction it sort of is. That's why characters sometimes ask questions like "How come there aren't any boy slayers?"

However, Buffy being a female character occupying a role usually reserved for main characters is also commented upon in universe by the males in her life. Xander's season 1 arc is him dealing with the fact that Buffy is not the love interest to his story and doesn't conform to his desires of her and accepting her as a friend. Xander gets a flash of that tendency of his rearing its ugly head again when Xander gets mad at Buffy for standing up to him when a jock was about to beat him up, because it'd apparently be better to be beaten up then saved by a girl.

Buffy always wants to be a normal girl, but I think it's important to see in this episode why she wants to dress like a princess from the 1800s this episode. It comes from two of the men in her life making her insecure about her femininity. Xander by complaining about a girl rescuing him, and Angel's lack of attention making her believe she needs to act more like the type of girl that he would be into. Buffy's not just trying to dress up as a normal girl this episode but the kind of girl that would be worthy of angel's attention. What she thinks he wants in a girl.

ANGEL: I don't get it Buffy. Why did you think I'd like you better dressed that way? BUFFY: I - I just wanted to be a real girl, for once. The kind of fancy girl you liked when you were my age.

While Angel says that he likes the kind of exciting girl Buffy is now far better, I think it says something about both Angel and Xander that the kind of girl Buffy thinks they want her to be is someone helpless.

XANDER: You're sure she came this way? ANGEL: No. CORDELIA: She'll be okay. ANGEL: BUFFY would be okay. Whoever she is now, she's helpless. Come on.

Which I think says a lot about Buffy that number one being who she is, disqualifies her from being a "real" girl. There's the fact that she naturally as the slayer sees herself as always existing outside of the crowds watching other people live their lives and protecting them while she can't live hers. However, on top of that she somehow associates the experience of being a "Real" girl with powerlessness and depending on someone else. That being more traditionally feminine somehow goes hand in hand with weakness. Girls are after all traditionally the victims in horror movies, and when Buffy is playing the role of hero she can't be a victim.

Which is you know a whole can of worms, but also effective foreshadowing for the second half of the season. Season 2 is so well-written because there are so many red flags for what is going to happen in the midway twist, and yet the characters drive straight past them. The foreshadowing in this episode being that "normal girl" or "princess Buffy" isn't just scared of vampires and everything that moves, she's also scared of Angel despite Cordelia's insistence he's one of the good guy vampires.

BUFFY: (Re: Angel) He's… he's a vampire! CORDELIA: (to Angel) She's got this thing where she thinks - ah, forget it. (humoring her) It's okay. Angel is… a good vampire. He'd never hurt you. BUFFY: He - really?

Cordelia saying Angel is a good vampire who'd never hurt her sounds awfully ominous knowing that Angel becomes the main antagonist of this season.

It's not a coincidence either that the traditional proper kind of girl that Buffy dresses up as looks almost exactly like Drusilla, even wearing a brown wig to match her hair color. Angel even says at the end of this episode that he hated the kind of girl that Buffy dressed up when he was a teenager, and then details to Buffy in the next episode his obsession with corrupting Drusilla's purity.

Buffy like Willow fails to reconcile these two opposing sides of her. She can't be a normal girl if she's the slayer. She can't be a real girl if she's strong enough to make the men in her life feel insecure. It's almost like being a girl is yet another costume, a performance you make in front of an audience and Buffy feels like she's doing that badly. Not only that but men are continually making her feel that way too, either by being completely emotionally unavailable like Angel, or by getting mad at her like Xander for refusing to conform to her expectations.

Ironically, the only man to show a clear preference for Buffy's normal self in the episode is Spike who films her and praises her at the beginning for her strength as a slayer. Then towards the end, when given the opportunity to kill her as the helpless damsel Spike spends way too long lingering on it instead of just snapping her neck, almost as if waiting for her to return to being her usual self.

ON SPIKE & BUFFY: As he looks around him to see that his MINIONS are all SCARED LITTLE TRICK-ORTREATERS (and two high school students). The realization sinks in - and he looks at his hand. It's still holding Buffy's wig, buther head isn't in it. He looks back at Buffy. She's smiling. BUFFY: Hi Honey. I'm home. And she LETS LOOSE on him. All the pent-up rage and frustration from her last defenseless hours comes pouring out. A series of BRUTAL KICKS and PUNCHES send him to the ground. She lifts him back to his feet BUFFY:You know what? It's good to be me.

As Spike is acting as both Buffy's mortal enemy and shadow self, his reluctance to kill her when she's not herself and respect for her real self goes hand in hand with Buffy's self-acceptance when she changes back. Buffy does like and accept her power, and feels confident in that fact, but often represses that side of herself because women aren't really supposed to be confident in themselves in that way. Buffy's desire to be strong and to accept her strength and make it hers is therefore repressed to please the other people in her life and so she can pass off as normal and that repressed aspect of herself manifests in Spike, her shadow self's admiration for that same power.

Spike is even the one who tears off her costume reverting her back to her real self.

The other men in the episode also learn to appreciate the real Buffy after spending the entire episode dealing with the annoying damsel version of her, but they have to learn that lesson where Spike is the only one praising her for her abilities from the start. Because Spike is the shadow self, he's Buffy's self reflection whereas Xander and Angel represent the judgement of other people on her.

One last thing I would like to say is that both sides of Buffy are real, both the normal girl and the slayer. I think there's something deeply sad about this episode that implies that there's a screaming girl inside of Buffy, who does feel scared and helpless in the face of the monsters in her life but she can never allow herself to feel that fear because she has to be strong. The scared little girl half of Buffy is just as real as the strong, self-confident pun-making slayer.

3. Xander: Soldier Guy

This is going to be the shortest section, because Xander, but I would like to note that as a character Xander works best when you realize he basically has no proper masculine role models in his life. His father is abusive, Giles makes it clear he doesn't like him, there's no one at home or school to demonstrate what a normal and healthy adult man acts like.

Teenage boys like Xander don't grow up in a vaccuum, and Xander acts the way he does towards Buffy not out of malice, but out of a deep seeded insecurity. Xander, like Willow is worried about what other people will think. It's better to be beaten up by a school jock then to be rescued by a girl not because he thinks Buffy should be weak, but because he thinks other people will think he is weak.

When Xander's not worrying about what other people think, he's shown to be perfectly fine with having mostly female friends and not dating any of them. Xander is almost as much of a victim of gendered expectations of the people around him as Buffy is. Xander is insecure about the fact that he's not performing the role of a man correctly, the same way that Buffy thinks she's not being a girl correctly.

If Willow is perfectly capable of being a leader and being self confident like Buffy is but usually hides in the shadow, Xander is perfectly capable of being brave. He doesn't need to be soldier guy or to carry a gun because he will jump right into danger alongside Buffy like it's no big deal. The only person who thinks it's a big deal is Xander, because he's suffering under the societal expectation that he needs to be physically strong.

It's like Xander thinks there is an imaginary checklist of things he needs to have to be a proper man and he feels insecure when he doesn't have them. He needs to date a girlfriend in high school. He needs to be the physically strongest. He has an incorrect expectation informed by the society around him. It's not weird that Buffy is the main character and hero, but people think it's weird because the main character usually would have been Xander. The normal high school boy in any other story would hvae turned out to be the chosen one and the girl he liked would have started like him back, but Buffy is not that story.

Xander doesn't need to be soldier boy because he's always someone who will fight by Bufy's die, but just like BUffy and Willow the only time he feels confident enough to dress up like Solider Boy is Halloween.

[persephones-poet-blog]

OFMD Season Timeline

(Obvi season 2 spoilers)

TL; DR: there’s like a month in between episode 5 and 6.

This ended up being a little longer than I planned but there’s pics you can stare at longingly, so that helps, right?

I’ve seen a lot of people assuming that each episode of the show is like the next day and so Stede and Ed having sex would have happened like a day after they agreed to go slow.

But I think it had to have been at least a a couple of weeks and here’s why:

Remember how Ed had to wear the bag (and collar) of shame until people felt comfortable around him?

In episode 6 Ed is back in his regular clothes and everyone seems much more comfortable around him. When Jim and Frenchie approach him and Stede about the party, they even greet them as “captains” (plural), which I sincerely doubt they would have done if they still hated him.

Additionally when Ed and Stede walk into the party, everyone greets them both with drinks and happiness. The animosity, jumpiness, and fear seem to have been resolved or put aside.

This wouldn’t have happened in a short period after everything the crew went through. I know Olu, Jim and Archie were more chill about his return later in episode 5, but it wasn’t the friendliness and camaraderie we see here.

I take episode 6 to have happened at least 1-2 weeks, if not longer after 5. Personally I don’t think I’d get over someone trying to kill me that quickly, but hey, I’m not a pirate.

Additionally, let’s talk about our favorite unicorn for a second:

This is Izzy’s scar in episodes 5 and then 7 (taking place the day after 6)

Waaaaaaay too healed for just a day or even 2. I’ve had numerous surgeries. My scars from surgery 3 weeks ago haven’t even shown that level of improvement. I get Unicorns are magical, but he isn’t Buttons.

Additionally, the way Izzy is so relaxed around Ed… no way has it only been a day. He just got his leg amputated, what like a week before 5? He shouldn’t even be walking on his unicorn leg at that point (but we will ignore that because he and the leg are beautiful). The scene with Izzy and Ed is calm and bitchy in the way you are with siblings and old friends when you get over a small fight. I feel like it might take a little longer to forgive or even be in the presence of the person who tortured you and your crew and took your leg (among other things).

He also tells Stede that he sees how good he and Ed are for each other. That it took a long time to realize it but he does. When did he realize this? In the middle of a storm they thought would kill them? While he was passed out during an amputation? During his bender in episode 4?

That’s all me projecting, I know. Let’s be honest that’s what meta posts like these are a lot of the time (but god I love them).

The only episodes that seem to be exactly a day apart are 3, 4, and 5. And obviously 6 and 7.

So TL; DR: there’s like a month in between episode 5 and 6.

Any additional timeline things you have for season 1 or 2 are great!

Edit: someone pointed out Pete and Lucius’ 24 hour sex spree after getting engaged and this shoots my theory, but maybe they’ve done multiple sprees?

Idk the relationships between all of them are so much more comfortable now and too quickly if it really has been only a day. It kind of feels like we’re missing an episode in between 5 & 6 that would have transitioned everything more smoothly. I still blame this entirely on HBO cutting 2 episodes and not on the writers who were trying to work with what they had.

[dramallamas]

Rewatching Beyond Evil and I’m taking (somewhat) unserious notes! Enjoy my brain worms.

Episode 1 || Next Episode

Ooooo dead body

Mad to think that when I first saw Jihoon’s actor he was playing a bully. This is a complete 180 and he does both roles well.

Intense middle aged running with intense music

(Spongebob style) Flashback~

Ah a church. You will never catch me there

The song they’re singing is oddly fitting to the theme of the show sans the whole God thing

We don’t stan Dongsik slander in this household.

Lee Dohyun <3

The signs in this flashback. The shot of the guitar pick, Kang Jinmuk being seen a lot but in the background, Bang Juseon being rude to Dongsik, Dongsik telling Yuyeon to leave at night (aka he had “motive”) etc

Lee twins crumbs I love it.

The cold filter when Dongsiks mum finds yuyeons fingertips nice touch

The title being “(to) Appear" mwah nice

Love the shots of how everything is “worse”when we transition to Dongsik now

Oct 11 2020 remember that me

HERE HE IS ITS JUWON

Dongsik saying stop in english <3

Pls the dramatic slow mo 🤣

Dongsik is a true justice/law upholder. Never letting things slide if its wrong. He and juwon are alike in that sense.

“Many a mickle makes a muckle” netflix what does that mean???? Like i get it but ive never heard that saying in my life

Everyone turns to see Juwon par Dongsik… that is until he speaks.

Juwon judging people and things right off the bat. Bro is not amused.

Technically Juwon is higher rank than Dongsik because Dongsik is assistant inspector and Juwon is flat out inspector

Dongsik immediately knew something was up as soon as he heard who Juwon’s dad is.

Juwon’s first impression of Dongsik is that he is intelligent and follows the law like rulebook when dealing with people (ofc he also thinks he is a murderer and should avoid someone like him and has already decided he hates his guts)

The tension starts as soon as Juwon drives past Dongsik. They immediately are making notes on each other

YOO JAEYI MY GIRLBOSS BELOVED. She is so much more clever than people give her credit for.

Jeongje and Dongsik being best friends…

OH JIHWA ^^

I love the manyang crew interactions.

“He’s not my type” not now… but he will be. you have no idea whats coming for you, Dongsik

Ew Hna Kihwan

I love these dinner scenes with Juwon. They so clearly reflect him and his attitude at the time as well as his relationship with his dad as well as how they change over the show.

아버지 and not 아빠 really emphasises the father-son relationship they have (or lack thereof)

Their first interaction and they already dont like each other.

Everyone sucking up to Juwon and trying to work with him and hes like yeah… no. Y’all are weird.

THEN GETS OFFENDED WHEN DONGSIK SAYS HE DOESNT WANNA WORK WITH HIM LMAOO

so hes like… two can play at this game bitch and calls Dongsik a nutjob.

Their reaction when Sangbae pairs them up is top tier

Juwons inner thoughts: “Day one… fuck my life”

Dongsik started teasing Juwon off the bat

They both have a super impressive memory wtf

“There are no secrets in this town. You are always being watched by someone.”

Dongsik nags Juwon about his aggressive driving and immediately drives aggressively because he can

Ah the reed field…

Juwon traipsing through the mud was me last week when I had to walk home (our area flooded)

We dont give the score for this show enough credit its so good like

“Why did you just stand there when a gust of wind was coming? You’ll learn once it slaps you in the face.” Metaphorrrrrrr

Juwon is already accusing Dongsik like 40mins into the ep like damn

Fresh out the shower dongsik is so yes.

Juwon in that white jumped is also a yes.

Mate respectfully I don’t think you got how relationships work. “People at my school or in my hometown want to be my friends by showing me unwanted kindness or attention. But at get-togethers they all talk about what I have or my connections. They gossip and laugh about it. In the end they all come to me for favours.” Dongsik is right in asking “Is it that simple?” Because it isn’t. (I will make a full post about this omg)

“What could you possibly have that makes you think you are the most important person in the universe?” THE MEANINGS OMG

Man gets so offended when people are like you have mysophobia then ends up roped into a get together.

Juwon trying to text a fake excuse to get out of the get together is so me because I have done that (its the anxiety for me)

Juwon is so awkward bless him.

“You’re supposed to stay glued to your partner all day, and know the colour of his underpants.” Dw Jihoon Juwon will learn ;)

Everyone clapping for Jinmuk and calling him the most important guy in manyang…

Juwon not liking his dad being brought up and Dongsik joking about it to diffuse the situation and also poke at Juwon

All important scenes happen when it rains.

Juwon quickly learns to not believe what dongsik says half the time XD

“I don’t want you to like me.” “It’s up to me to like someone or not.”

“Leave before you get caught.” What interesting phrasing Dongsik

Ah yes the Juwon and Hyeok brother dynamic. I find it interesting and think its an underrated Juwon relationship.

Hyeok trying be Han Kihwans son and Juwon is like “dont. Trust me.”

We mention Dongsiks wall of notes and stuff on the Yuyeon etc case but we dont talk about Juwons enough. Mf has two. Two fricken boards. One he makes in his closet (?) above his computer and the other next to his bed.

The! Score! Ugh im a lover

It takes a whole day to get to the reed field this time??? Cause he arrived in the morning (i assume) at the police station and then the sun is set by the time he gets there. I think he may have procrastinated bc of the mud or he actually arrived in the afternoon and the sun sets ridiculously early in late october?

Juwon getting jumpscared by Dongsik again XD

I love how this episode brings us full loop to the start of the episode but includes Juwon the second time to add fresh perspective and the aftermath.

Juwon’s step back and shaky hand is a give away that he knows her and Dongsik immediately picks up on it. Yet Dongsik tells Jihoon to leave knowing this must be a secret.

And Juwon doesn’t miss a beat when Dongsik says its a woman. They’re both one upping each other all the time

We give Juwon shit for constantly grabbing juwons collar/shirt but Dongsik did it first! (And it was hot because he smooths out Juwons shirt after) Juwon just copied and repeated.

And Dongsik quickly realises why Juwon is in Manyang and decides to just play with him and be a little shit.

Mate you guys are at the first ep and already in each other’s faces

Ok fin see you next episode ^^

[cross-my-heartt]

Three Act Structure of TBB

(Part Two: Season Two aka Act Two)

Part One here

Here we are finally discussing season two. This one was more difficult to write for a few reasons, namely that:

Act two generally has the least defined internal structure of all three acts

Season two doesn’t have the same clear cut internal three act structure as season one

The midpoint, the most commonly found element of act two, is harder to pinpoint here

All of this isn’t to say that season two is a bad season. Like I said, a vague internal structure is characteristic of the second act and season two acts more as a transitional season than one that could potentially stand on its own (like, say, season one).

How does season two hold up as a second act though? In my opinion, pretty well.

Act 2: The Middle (Complications)

To quote my reference material:

"Moving into ‘Act 2’, the protagonist is working toward their goal. As such, they are learning new things, testing what they learn, making mistakes, and probably meeting new people. […]

The bulk of the middle of your story will be a series of obstacles, challenges, tests, trials, etc., known collectively as The Road of Trials. This is where your protagonist comes face-to-face with antagonism. In many stories, the protagonist will use newfound knowledge and skills to get past these obstacles, or they’ll experience setbacks. If nothing else, these challenges can show that the protagonist is learning from their mistakes and growing (or not)."

This is all stuff that is present in season two. We have many examples of Omega learning new things (from the batch, from Phee, from Riyo, etc.) as well as the batch still learning to adapt to life with her and any new circumstances they’re faced with.

On a more thematic level the batch is applying what Omega helped teach them: the value of helping others, the values of family/community, of doing the right thing.

As for challenges and obstacles, each mini arc has its own while also sometimes putting the group face to face with the main antagonist: the Empire (Spoils of War, Tribe, Clone Conspiracy, Metamorphosis). And we can’t deny that we get our fair share of character growth (Hunter’s shifting priorities, Tech’s development as Omega’s brother, Omega applying her new skills, Echo resolving to stay with Rex, etc.)

(Don’t worry, I am purposefully omitting Crosshair for the time being.)

These mini stories don’t only serve to build character but also contribute to the development of important subplots. For example, the episodes where we learn more about Phee and Pabu set up the question of ‘should the batch settle down?’

Mistakes are made (losing the Marauder), new relationships formed (meeting Phee) and overall there's a good variety of mini arcs.

So tldr, season two is doing a great job in this regard. What about the midpoint then? Well, for starters, what is the midpoint.

The midpoint is found in most three act structure models. It could be a mid-act climax or a twist but most importantly:

"[...] your protagonist has a moment of clarity or revelation about something. They might learn something new that allows them to see their journey differently. Perhaps they’ve learned something that makes them view The Other World differently."

Knowing this, we have two candidates (or at least I’d argue we do).

One is the more obvious one, ie the two episodes smack dab in the middle of the season that deal with a big revelation, as well as a smaller twist that affects our protagonists. I’m of course talking about The Clone Conspiracy and Truth and Consequences.

My only issue here is that the events of these episodes are more closely related to the show’s subplots rather than its main plot.

Is the fate of the clones important? Yes. However this arc establishes something that's been foreshadowed from the very beginning: that the clones are being phased out. The fact that Palpatine achieves this sooner rather than later ups the stakes while also giving Echo the final push in making the decision to stay with Rex (the revelation that changes his course as a character).

And I’d argue that this… doesn’t really affect the main plot as much. Clone prisoners are still being transferred to Tantiss. Rex’s operation is still functioning. And Echo’s departure, while significant, sets up the theme of ‘settle down’ vs ‘continue the fight’ and the batch having to deal with his absence, both of which are subplots.

The thing that sets the act’s climax in motion – the batch’s attempt to save Crosshair – could still happen even if Echo had stayed with them. (yes, Echo was pivotal to getting the data but it’s really not that hard to rewrite those events without him).

So what’s the other possible candidate for a midpoint?

Well, here is where my biased self comes out and suggests that (you guessed it) it’s actually a Crosshair episode. The Crosshair episode of the season.

Although it’s positioned further on down the line, The Outpost accomplishes several things at once: there's a revelation, a twist, a character changing their viewpoint and the whole thing plays a huge role in the events to follow.

It's an episode where Crosshair not only manages to regain his status as protagonist, but also does it while having his very own mini hero’s journey, with classic elements like meeting a mentor (Mayday) who later dies tragically to push the protagonist’s story forward.

These events serve as the catalyst for the coming climax: Crosshair’s imprisonment and subsequent actions lead to a rescue attempt and that’s where everything starts to go wrong.

In a way you could say that Crosshair hijacked the midpoint of the whole act… and I love that for him.

After this we get a few more mini arcs such as Pabu and Tipping Point until we eventually reach the act two climax. The rock bottom, the crisis, the big change that leaves our heroes devastated and hopeless.

This could either be The Summit and Plan 99 or just the final episode, depending on what you define as the beginning of the crisis.

And here we are. A dire hopeless situation (Tech seemingly dead, Omega captured, Crosshair still imprisoned) that awaits its resolution in the form of act three.

That's where the protagonists rally before the final act three climax, followed by a deescalation of the action as the remainder of the story’s subplots are tied up (more of my thoughts on that here). Unless it's an open ending of course... but I guess we'll have to wait and see.

Either way, the odds of a happy ending are in no way low. I promise.

(Thank you for reading this far if you did! I hope you enjoyed and dropping my little tag list here: @lightwise @kixs-husband @ladykagewaki @intellectualfairy @arcadianmoonshadowjedi @tigerthespahget)

[itsmyfandomandilikeit]

A Minor-to-Medium Prediction for Prodigy Season 2

All right so I'll admit, I haven't gotten to the TOS episodes about Organians yet, so I'm kinda making a lot of assumptions.

(season one spoilers under the cut)

So I've been thinking about Dal's Augment abilities, and I think it's really important to the story that they remain fairly minor. The series is about Dal's growth as a person, and him getting a bunch of random superpowers does not help that. I find the story of someone who starts from nothing and fights to become somebody very inspiring, so I do truly hope his character remains more important than his DNA, and I also think it would be a mess if we had to sit through an episode about each of the minor traits he gets from each of his component species. He's his own person, that's like the point of the series.

But I do think he'll still have some variation in ability. He's got his neck-tail thing, he seems to be pretty acrobatic, and telepathic abilities seem to be a recurring motif.

I think he might not be able to really rely on his ability to swap bodies, at least not to the degree that he can cheese it like a Quirk or anything, but I do think he'll be able to use it and skills like it again. I think it will be interesting to see how the minor telepathic abilities of his component species can interact, especially since the way they work seems to be so... undefined. He can swap bodies with a person he knows, so long as there's SOME form of physical contact, like a phaser beam across starships. It's transitive. But we don't know what all this can interact with, and how else it can be used.

Next season will take place, it seems, largely on Solum. A planet that exists in two separate timelines, one in which it is almost entirely devoid of life and one in which its future remains uncertain. It sort of reminds me of Dal, whose past is pretty dark and empty but whose future could be better, we'll have to wait and see.

Anyway I'm kinda rambling but I think next season he's going to swap bodies with Gwyn. I don't know when and how this will impact things, but I think it's where the story is going. Honestly he'll probably go to a place where she is in the other timeline and think about how he misses her, and they'll swap places and have to deal with each other's situations. That's my theory. I don't think this will be the ending to the season or anything but I think it'll happen in the middle somewhere so they can provide some insight to the other's situation that helps but doesn't entirely solve some problem. It also, as in Mindwalk, really doesn't allow them to talk.

I think it's going to turn out that the reason Solum was so conflicted about joining the Federation is that they would have to give up genetic engineering. We've seen they have advanced technology in other fields, but I think we saw in Kobayashi that Gwyn was genetically engineered. I think the reason the word "progeny" was emphasized so much is because it has to do with how Vau Nakat reproduce. Gwyn isn't an exact clone of her dad- they don't have the same facial markings.

Overall I've almost convinced myself that Dal will learn and grow under Janeway, but ultimately leave Starfleet to forge his own path. It's unfair but I think neither he nor Gwyn can join Starfleet and for the same reason- and we're less than a year out from the events of Picard S1. But I think, if things are going the way I think they are, it'll be a powerful story nonetheless. I think Dal as an independent actor who attains far more success and influence than the likes of Okona could be a very satisfying ending. Not to mention the fact that I don't think I'd like watching him be treated like garbage by Starfleet and still decide to dedicate his life to it.

At the very end of season 1, Janeway walks off and asks the children if they're coming with her on their new ship. They all chase after her, except for Dal, who stops and watches Gwyn’s shuttle leave. I think that was foreshadowing. I think he'll grow under Janeway's guidance but ultimately become his own person.

[wnterslder]

HEAR ME OUT , okay ?? every single episode of the win.ter soldier is named after a person that has affected / influenced his life in a significant way, with each person and episode focusing on a different decade or point of his life.

the middle episode titled after mama sonia, focusing on that time between 2014 - 2016, when she took him into her home to the the time where steve finds bucky in the apartment sonia had entrusted to him. the shift in cool tones of the night when bucky would stay up trying to jog his memory with information he's collected to the warmth of autumn sun peeking in through mama sonia's curtains while she fixes up a bowl of soup, steam and the aroma of fresh vegetables and herbs in the air. cut fruit splayed out between them. burnt yellows, sage greens, orange-reds with that deep red-purple shade of plums that pops out between scenes. the slow transition of trying to become someone he saw and read about in the met museum, to someone who is attempting to just live a simpler life and accepting that he won't ever be that person before the war and tws. mental and emotional healing being slow, progress not always so clear, but bucky is happier now that he's got some sense of control of his own life — he can decide what he wants to eat or do that day. most likely goes by james over bucky at this point in time.

and of course mama sonia's visits over to the empty apartment she let him borrow, she'll never reveal why it'd been empty, but one could guess with a close eye. talks over tea, both her hands circling around the old mug to savor its warmth, or saying goodbye to each other for the night before it gets too dark.

———  other episodes being one about steve / captain america + the howling commandos during the 40's, natasha during the mid-50's to mid-60's ... :') don't look at me i'm really going through it.

[ltwharfy]

Talk to us about Arnlee! How did they become friends? What do they bond over? When does each realize that they have feelings for the other? Were they afraid to tell each other how they felt or were they confident? Would they date early in life or later?

So, I'm not sure how long it's been since I got this ask! I think a couple of weeks? But I want to start by saying how much I appreciate it. Most of the asks I get are in response to ask games or are questions that are sent to lots of members of the "Bob's Burgers" fandom- and I love being included in those! But it was really nice to get an ask related to one of my fics, and particularly about Arnold/Kaylee, the rare pair that I wrote the first fic for!!

That said, one of the reasons I didn't respond sooner (in addition to being busy and forgetting about it for a while) is that I'm still sort of figuring where I want to go next with Arnlee. I literally just noticed them dancing together in "Ancient Misbehavin'" one night and wrote a little background story for it the next day- I didn't really think about where I would go from there! And since there is less to go off about them in canon, that makes it harder for me to come up with ideas for them- I like having a clear canon starting point for my stories (several of my fics are episode tags or prologues or missing scenes- including the Arnlee story!)

But here's my current line of thought for your questions:

I really do like the idea that I came up with in "The Life of the Symposium (aka Party)" for sort of being the beginning of their friendship. I see Kaylee post-"Prank You for Being A Friend" trying to be more social and still finding it difficult, but then happening to strike up a conversation with Arnold and making a connection. I think that Arnold and Kaylee are both kind of nerdy outsiders- and I think Kaylee would like Arnold because he is more comfortable in embracing his nerdy outsiderness. He's the youngest and smallest kid in his grade, he wears his karate gi to school almost everyday- but he seems remarkably confident and comfortable in his own skin. And I think Kaylee- the girl who wants to wear her wizard cape everyday- would like that. (And I think the ability to embrace being an outsider makes them a bit different from Louise and Rudy who- if they don't actually aspire to be considered cool or popular- at the very least both seem to care too damn much about what Chloe Barbash thinks of them.)

And I guess that's sort of the dynamic I imagine for them as friends- and eventually more- is as these dorky outsiders who are just kind of happy to be themselves together. I could see them inviting the other to check out their interests- Arnold inviting Kaylee to his dojo; Kaylee getting Arnold involved with the Thinkgineers. I can see them sharing nerdy creative hobbies and interests- like RPGs, maybe even LARPing.

In terms of realizing that they have feelings for each other and dating- I see that as happening when they are at the end of their Wagstaff time/entering high school (which, yeah, is also kind of what I tend to write for Louise/Rudy. I'm a sucker for childhood friends to lovers and that time just sort of seems like a logical point for that transition. Also, it's possible that I'm a little burnt out with being a single middle-aged adult and would prefer my beloved fictional characters avoid that fate...) For Arnold and Kaylee, I think it is particularly interesting because Arnold skipped a grade so he's a year or two younger than her- which means nothing when you're an adult but can mean a lot in adolescence.

I imagine Kaylee developing feelings first and being uncomfortable with and it denial of it. Even if she managed to overcome her shyness/social anxiety to connect with Arnold and others as friends- I think that the idea of trying to make a romantic connection would still be very daunting to her. As I noted during the WIP ask game, the song "Young In Love" by Sweet Nobody gives me these series "Kaylee Morganstern with a crush" vibes, and someday I hope to write a fic on that concept using lyrics from this song as a title.

Especially with Arnold being younger, I imagine him as basically being oblivious to her feelings to him. But when she eventually tells him her feelings he's totally blown away- like he hadn't even been thinking about the possibility but as soon as he finds out she's been feeling that way he's just so happy about it!

Those are my current thoughts about them- they might change at some point between now and whenever I write another fic about them! But I truly do appreciate the opportunity to think and talk some more about my beloved nerds!

Thank you so much for the ask!!

[angelosearch]

Here's a long mushy post because today is a special date.

Way back in the early oughts, I was talking to this guy on AIM (blast from the past, I know). We started talking in November of 2008 and from the first time we chatted, I felt like there was something special about him. We became fast friends and would chat into the early hours as we put off doing our homework. He was funny and smart and would help me with my physics homework and occasionally Rick Roll me.

One time, we worked together to try and figure out if every person in the world moonwalked against the earth's rotation on the equator, could they get the planet to stop spinning (inconclusive, but probably no).

The first time we spoke on the phone (the first time we heard each other's voices) it was the day that Obama was inaugurated. I remember this because I felt overwhelmed and awkward. I didn't know what to talk about, so I brought that up.

I got the sense that he liked me - or at least I hope he did, because I liked him. A super nerd, captain of the fencing team, loved his dog - I DEFINITELY had a crush.

But I wasn't certain that he liked me until February 10th, when he messaged me on AIM and quoted Newton's third law. He said something to the effect of "Newton's Third Law states that reactions are equal and opposite. I really like you - does the law apply here?"

Well, that guy and I have been together 15 years now. After a long distance relationship through the rest of highschool and college, we moved in together in 2014. We got married in 2016. His sister Rick Rolled us at our wedding. We got a congratulations card from Obama (someone mailed him our wedding invite, to this day I don't know who).

It's been an eventful couple of years. We've had jobs and apartments and dogs and roommates. We've gone on amazing adventures, engaged in so many hobbies together, and played through a bunch of videogames side-by-side. There's been hundreds of hours of audiobooks and probably months worth of television. Oh, and A LOT of BeatSaber.

He has been very excited about my return to fanfiction and my renewed love of FFVIII. He has never played the game but he will let me talk about it endlessly and bounce fanfiction ideas off him. Everytime I finish a chapter of something, I send it to him and he gives me feedback. If that's not love, I don't know what love is!

He was there to help me into the car when I was loopy from having my wisdom teeth removed. Before I learned to drive, he took me anywhere I couldn't reach from walking/transit without question. He has seen me through my career ups and downs and is now my biggest cheerleader as I apply to grad school.

Once I hosted an event for a job I had. Doing that always pushed my mental health to the brink. I was staying at a friend's place in the city after the meeting with the plan to metro home in the morning, but the wave of a manic episode that had manifested over the week crashed into my mind and I was caught in the riptide of a panic attack. He drove out during a blizzard in the middle of the night to bring me home and rubbed my back as I laid on the floor of our apartment, sobbing.

Our relationship survived a whole pandemic. When I had struggles with my birth family, we became each other's family, and his family welcomed me too. Then he saw me through my darkest timeline and has supported me through every step of my mental health journey. Just a few hours ago, I was stuck in some memories and he talked me through it. I am tremendously grateful everyday to have such an amazing person in my life.

In October of last year, we moved into our home. For the first time in my life, I feel safe and comfortable in the place I live and waking up to be with him, here, everyday brings me so much joy. I recently heard this song, which really captures how we feel in this moment of our lives:

So happy anniversary to "my Rinoa" - @tharinock (funnily enough the same handle I first got to know you by). Here's to the next 15 years of fun and love.

[cookinguptales]

Okay I’m finally at a good point in my actual work that I get paid for, so TIME TO WRITE SOME META ABOUT FAMILY MAYBE?

I am obsessed with the way this season seems to be all about family, what makes someone family, and what family can look like. Like I’m so obsessed with it on so many levels that I’ve been having a hard time knowing where to start...

The way that Colin Robinson, who cynically claimed last season that the best way to use and abuse workers was to make them feel like they’re your family, ended up being utterly dependent on these people as his new family? And the way that his presence (and dependence) is the reason why they actually are starting to pull together and act as a family? And how that might actually be how baby energy vampires feed?

The way that they all seem to know instinctively that they are a family of some kind, but as this last episode demonstrated, even they aren’t entirely sure what their roles inside it should be?

The way that Guillermo has at least two competing families -- and I would argue that they’re clearly setting him up for three competing families -- that he can’t quite seem to incorporate into each other? And the way that he’s having a very difficult time deciding which of them is the most “real”?

The way that The Guide keeps trying to scratch at the edges of this family to see if she can make a space for herself in it? The way that the wraiths are the closest thing that she has to a family and that she, too, is finding herself in the middle of two factions?

The way that Nandor’s conceptualization of family has grown and changed over the centuries but he still hasn’t seemed to figure that out? And how he’s trying to go back to the familial role he had when he was alive but that he outgrew centuries ago, and how he can’t seem to reconcile who he was back then with who he is (and what he wants) now? (See also: Nandor’s emotional transition from husband to wannabe guywife.)

The way that both Guillermo and Laszlo, while not particularly fond of each other (thank you, Guillermo, for the most petulant “baby...” of all time) are both fond of Colin and that’s helping them work through their weird relationships with their own childhoods and in particular their own fathers?

The way that Guillermo’s father is such a mysterious and nebulous figure that I’m sure we’re going to hear more about him eventually? The way that Marwa’s father has been listed on imdb for months? The way that fatherhood is a concept that we keep coming back to over and over and over and over again!

aaaaaaaaahhhhhhhhhhhhh

Y’all, I am so emotionally invested in the many, many ways this season is all about family that I don’t even know what to talk about first, haha. Is there anything in particular you’re most interested to hear about? I need some direction here.