#he has no idea he’s the lead in a war comedy

[amrv-5]

Tuttle: Hawk and the Power of Genre Awareness

“[Hawkeye] is constantly and visibly struggling to place himself in some sort of narrative that he finds bearable; it seems telling that when Hawkeye starts to lose occasional touch with reality in later episodes, it’s because he papers a narrative that he likes better over the real one (Billy “saving” him from the lake instead of pushing him in “Bless You, Hawkeye,” and the finale’s “chicken”…).”

#mash #mash analysis #hawkeye pierce #meta #hawkeye thinks he’s an extra in a war movie #he has no idea he’s the lead in a war comedy #Tuttle

[heich0e]

dinner and a show - miya osamu/f!reader (haikyuu!) part 9 in the bff!osamu series tags: angst, childhood friends to pining, mama miya deserves a netflix comedy special or a nobel peace prize, sometimes home is a person and sometimes that person wants you dead, finally a bit of communication i was about to call in UN peace keepers, things r getting FEISTY FROM HERE FYI this chapter is the literary equivalent of the elevator ride at the beginning of the haunted mansion

Mama Miya has always loved variety shows.

For as long as you’ve been coming over to visit the Miya house, if the family matriarch was present, there was a better chance than not that the television in the living room was on and there was some kind of spectacle unfolding on the screen—the louder the better, in her opinion. 

She’d told you once that she just loves the way people laugh on variety shows, so loudly and freely, and that there’s nothing better than the sound of a house filled with laughter—and you know from lived experience that the Miya household had never been one that was short of joy, nor of it’s own chaos, in much the same way as those outrageous shows she loves so much. 

As you grew up, you came to invariably associate that particular type of television show with the woman who had raised you like a second mother; sometimes when you missed her—when you missed home—you’d put one on just to bask in the cacophonous familiarity. But watching a variety show alone in your Osaka apartment pales in comparison to watching them together in the tidy living room of the Miya home, tucked under the kotatsu, sipping tea and eating fruit and occasionally making jokes about which one of the handsome male celebrities joining that week’s episode as a guest would be a better husband—comparing their heights and their jawlines and their variously successful careers in the entertainment business.

But right now, you’re not looking at the dashing star of that new historical drama who’s trying to climb up a rock wall against a ticking clock.

Instead, you’re looking at Miya Osamu who is standing in the doorway to the living room of his family home, and he looks like he’s just seen a ghost.

Though, in his defence, you probably don’t look much better.

Cradled in your palm, your satsuma rests unmoving—frozen in place just like the rest of you. It’s half-peeled to reveal the soft, pale orange flesh hidden beneath the pith, but you barely feel the weight of it as it rests forgotten in your outstretched palm. The scent—the one that just moments prior you’d been remarking was so fresh, so bright—seems duller now. Everything that isn’t Osamu seems to slip away to grayscale and to background noise; unremarkable against the stark contrast of his painfully familiar face.

Neither of you even blink. 

Miya-san had just gone to the market to pick up a few things for dinner, after repeatedly insisting that you stay for a meal and eventually wearing you down. She’d left you in the living room watching TV, promising to make her trip to the store a quick one, and otherwise ignored your offers to join her.

She was supposed to be coming back soon, at any minute really, but suddenly you’re poised to flee. Everything in your blood is telling you, urging you, to run as quickly as you can—to preserve whatever tattered shreds of your sanity remain after the past six weeks of hell.

The six weeks that had felt more like a year. A war. A lifetime.

The six weeks that had seen you finally seek refuge in Hyogo under the guise of housesitting for your parents, who had gone travelling abroad—as convenient an excuse as any to escape Osaka and the troubles that plagued you there.

Little did you know that the troubles would have the same idea as you.

Your eyes flicker momentarily in the direction of the rear door of the Miya home, the one that leads out into the backyard—the yard that backs onto a little wooded grove where you used to play as children, running carefree and wild. The grove where you used to take naps in the shade on sticky summer days. The grove where you had once broken your arm. It’s foolish, you know, to even think about leaving; your shoes and coat are at the door, with only slippers on your feet and a thin sweater on your frame. Your own childhood home may be only a few houses down and around a corner from the one where you currently find yourself, a five minute walk at most even if your pace is leisurely, but dashing out the back door and making a break for it would be inadvisable—not least of all because there is a woman due home at any moment, one who has loved and raised you like one of her own, who is expecting you to be here when she returns. A woman who wants to share a meal with you and hear about your life. A woman who doesn’t know why you had come crawling back to Hyogo. 

A woman blissfully unaware of how much unresolved tension is currently polluting every inch of her living room.

Your conscience is already heavy to begin with. You’d avoided Mama Miya for the past week—having faked a cold for a few days to buy yourself some time alone when you first got to town. She’d called you every day to check in, and she brought you homemade soup and medicine more than once. The very least that you owe her is a proper visit. You can’t possibly leave now.

Osamu’s lips part, his eyes—his deep, infuriatingly kind eyes—meeting yours.

“Ma doesn’t know I’m in town,” he says, and the first sound of his voice feels like a knife between your ribs. “I can go and come back later after… after you’re gone.”

He knows, you realize. He’s watched and understood every terrible thought that has raced through your mind since the moment he entered the room play out plainly across your face. You’ve always loved that about Osamu—how you hardly need to say anything at all in his company, and he still understands your mind and feelings just by reading the lines of your features.

Now it makes you feel sort of sick.

You mull his words over belatedly, having been too shocked to digest them in the moment at which they were spoken. Slowly you nod, the slightest little dip of your chin signifying your agreement to his offer. Accepting, tenuously but decidedly, his olive branch.

He seems to deflate slightly, a flash of hurt behind his eyes.

But it’s all too late, anyway.

“Samu?” Miya-san’s voice rings out through the house, incredulous but noticeably thrilled, the sound of the front door closing punctuating the eager call like a question mark. You hear rapid footsteps and the woman appears a moment later with a wide smile on her pretty face. “What’re you doin’ here?” 

She sets her shopping bags down on the floor at her feet, wrapping her son up tightly in her arms and rocking him back and forth. You watch as Osamu smiles against the crown of his mother’s head—a gentle, peaceful look on his face as his eyes flutter shut—and you avert your gaze, because witnessing the tender moment is strangely and inexplicably painful.

“Just wanted to come home for a visit,” he murmurs, and it takes everything in you not to dwell too long on the way his figure towers over his mother in your peripheral vision—tall and broad and strong now, just the way she raised him.

“Did you two plan this?” the matriarch asks. She looks between the two of you as she finally pulls away from her son’s embrace, though her palms still gently rest upon his forearms.

“Nah,” Osamu laughs lightly, and to his credit he’s doing a very good job at acting like just being in the same room as you is not one of the most hideously uncomfortable moments of his life. “I had no idea she was gonna be here.”

“You didn’t tell him?” Osamu’s mother questions you, visibly surprised. And she’s right to sound so shocked, because if this was any other day—or at least any day that didn’t follow what had transpired between the two of you six weeks ago—Osamu would have been the first person you’d have told you were coming home. Would have been kept up to date, nearly to the minute, with any stop you made in your hometown or any variety show adventures you embarked upon with his mother. Would have known exactly what the two of you were having for dinner, how it was being prepared, and he would have received a photo of the meal when it was finally time to eat just to make him jealous (and because you know he likes to feel included on the visits where he isn't able to join you.)

“Oh, he knew I came home for the week,” you lie quickly, meeting Osamu’s gaze and suddenly hoping above all else that your thoughts are as clear to him as ever. He looks more startled by the sound of your voice than you expect him to. “Just didn’t know I’d be here today, since I stopped by so last minute.”

Osamu swallows, then nods. “Yeah.”

Mama Miya smiles and clasps her hands together. “Well, this is such a nice surprise! Tsumu’s not hidin’ somewhere waitin’ to scare me, is he?”

“’S just us, Ma,” Osamu laughs lightly, and she reaches up to pinch his cheek affectionately. You don’t miss the way his eyes flicker over to you when his mother turns her back.

You’re still holding your satsuma in your hand, but you no longer have the faintest desire to eat it.

“Needa hand with those?” you hear Osamu ask his mother as she picks her shopping bags up from the ground. You hear some rustling, and can only assume she’s elbowed him based on the way he yelps and then laughs. “Ow! I’m just tryin’ to help!”

“Ya hardly just got here yourself, bag’s still at yer feet and everythin'!” his mother chides him, but it’s full to the brim with love. “Just sit down and relax for five minutes, will ya? Yer lookin’ dead tired.”

His mother waves him over insistently in the direction of the kotatsu where you’re seated before she shuffles off towards the kitchen, the plastic bags in her hands swishing as she goes.

His mother is right: Osamu looks, without softening your words, haggard. He’s got shadowy rings under his bleary eyes, his skin looks dull, and his hair still has a faint ring indented around the circumference of his head from his trademark baseball cap. He looks like he did when he first set up his business—tired, stressed, wearing a little thin at the edges from the portrait of his usual self.

You wonder if you look the same in his eyes.

Mama Miya had remarked similarly on your own appearance when you showed up at her door earlier that afternoon, but you at least had the falsified alibi of having been recently ill to hide behind.

Osamu is watching you from the doorway, still hesitating to move any closer—like a man who stumbled upon a beast in the wild, and is equally parts fascinated and petrified.

You look away.

“Sit down,” you tell him, your voice quiet and slightly cold as you stare at the orange in your hands. “She’s gonna think something’s wrong.”

Something is wrong, you both know that truth all too well, but the last thing you want is for her to know that. This entire situation between the two of you is already bad enough without the shame of other people knowing. Without his mother, of all people, knowing.

Osamu nods, and then approaches the kotatsu slowly. When he lowers himself down to the floor, he takes the seat opposite you at the small square table instead of beside you like he normally would. Something in that contrast stings a little bit, though you’re certain you’d be more upset if he was any closer than he already is—you’re suddenly exceedingly conscious of the possibility of your legs brushing underneath the table, and it makes you shift nervously, drawing your limbs as close and compact to your body as you can.

Osamu is so still on the other side of the table that it’s almost uncanny. Statuesque in a way that might make you laugh if this whole mess wasn’t so harrowing, if the wound wasn’t still so fresh. You’re not even sure he’s breathing.

“Just… be normal,” you whisper, finally setting your forsaken orange down and reaching up to rub at your temples where you feel the beginnings of a tension headache thrumming beneath the skin. You sigh, long and drawn-out. “I don’t want her to worry.”

He nods again.

The television show continues to play on across the screen beside you both, and while your eyes may be on the screen, you doubt either of you are paying much attention to it. You roll your half-peeled orange from one hand to the other idly across the tabletop, occasionally picking away at the skin.

Mama Miya appears with more plates of fruit not long after, having taken time to cut them up for you both even though she’s already busy preparing a meal in kitchen—the sounds of sizzling and her knife against the chopping board having filtered down to the living room while she worked.

“Sure ya don’t need any help in there, Ma?” Osamu asks, peering up at his mother as she cranes down to set a plate of apple slices in front of him.

“I fed you and yer brother just fine for 18 years, didn’t I? I know how to make a meal,” she jokes, returning to her full height and wiping her damp hands on the front of her apron. She glances over at you, smiling knowingly as she rests her hands on her hips. “Besides, ya haven’t seen this little thing all week—I’m surprised you two aren’t hangin’ off each other like ya usually do.”

Your eyes meet her youngest son’s, and you both quickly look away.

You can’t help but wonder if the woman before you suspects something then, even if she doesn’t say anything and in spite of your careful attempt to conceal it. But with two boys like hers, her sense of perception has long been honed to a fine art—she knows when trouble is brewing long before it strikes—and it wouldn’t surprise you in the slightest to learn that she’d known something was off even before that small slip-up. Maybe she’d known from the moment you’d shown up at her door that afternoon. Maybe she knew the second she heard from your mother that you were coming back to Hyogo.

Dinner is awkward. 

Maybe not overtly—there aren’t prolonged silences, or tense stares across the table, or any real moments of palpable discomfort—but it’s a careful balancing act between you and Osamu pretending to be up to date with each other’s lives, and neither of you navigate the steps particularly gracefully. You mention one of Osamu’s employees, asking how they are and what they’ve been up to at the shop since you’ve been home in Hyogo, only for Osamu to “remind you” that they had moved up to Sendai to go to school earlier that month. He mentions a project you were tasked with at work, and you awkwardly stumble when you explain that it had changed hands a few weeks prior. He didn’t know you were “sick”, you didn’t know he’d gotten a glowing review from a notoriously harsh food critic. Neither of you even try to mention Atsumu in fear of getting the wires of your falsified stories crossed. 

You try to keep quiet as much as you can, after that. You sit back in your chair, picking at your food and contenting yourself with watching the Miyas chatter away across the table before you.

Osamu and his mother eat the same. You’ve noticed it before, but now you have time to really dwell on the observation. They hold their chopsticks in the same slightly peculiar way, just a bit too far forward to seem comfortable. They pile food on their plates in the same order. They even occasionally reach to sip from their glasses at the same time.

How familiar it all is makes your chest feel achy like a bruise, because there’s an undercurrent of something being just slightly off. You’ve sat at this same dining room table a hundred times, shared meals just like this one too frequently to count them, but this time something feels different. 

Fortunately there’s plenty to drink to accompany dinner, and the alcohol helps balm the sting.

Mama Miya is pouring you another glass of sake when she asks, “So are you two drivin’ back to Osaka together tomorrow?” 

Osamu freezes with his chopsticks lifted half-way to his mouth, and the two of you share a glance from opposing sides of the table, trying to telepathically draft some kind of cover story. You had already told her that you were planning on heading back to the city tomorrow around noon, but you have no idea what Osamu’s plans are.

“Not sure yet,” Osamu says eventually, wiping at his mouth between bites of food. “We were plannin’ to play it by ear. I thought about stayin’ till tomorrow night since I made plans to visit Kita-san in the morning.”

Mama Miya accepts this lie easily, and the conversation continues on.

You resent how easy it is to slip into routine with Osamu. It’s been six long, terrible weeks since you last laid eyes on him, but soon you find yourselves finishing each other’s sentences, passing condiments across the table before even being asked for them, and filling each other’s glasses when they’re empty without thinking. It all comes back to you like second nature.

Because it is, maybe.

“Ya need a haircut Samu,” the woman at the head of the table says, her words a little slurred and her cheeks blazing bright pink thanks to the sake. Mama Miya loves to drink, but can’t hold her liquor for anything—it’s always reminded you of Atsumu.

“Do I?” her son reaches up and ruffles his hair absentmindedly, leaning back in his chair. “Got it under my cap so much I don’t really notice.”

His mother is right: Osamu’s hair is longer than he usually lets it get, as he tends to keep it short and easy to manage now that he’s working at the shop. It hasn’t been this long since you were in high school, and there’s a little tendril of dark hair that curls right beside his ear that you find you can’t stop staring at.

“Maybe I’ll buzz it all off,” Osamu finally says with a shrug.

You and his mother both make similar sounds of disgust.

“You and yer brother are my flesh and my blood, and I love ya more than anything,”—Mama Miya rests a hand across her chest dramatically, her expression somber—“but I’m telling ya right now yer heads were not shaped to sport buzzcuts.”

You can’t help but laugh into your hand at the impassioned remark.

“What about letting that little thing at ya again with a pair of scissors?” the woman beside you juts a thumb in your direction as she questions her son.

“Not a chance,” Osamu snorts, glancing fleetingly over to you.

You’d once cut gum out of Osamu's hair when you were both nine—a gift courtesy of Atsumu—and to the best of your recollection, you did pretty well for someone who wasn’t even tall enough to ride most of the attractions at amusement parks.

“I did a great job,” you gripe huffily as his slight.

“My hair was lopsided,” Osamu reminds you pointedly.

“Maybe I was going for something avant-garde, something high-fashion.” You roll your eyes as you reach for another piece of meat from the dish at the centre of the table—pinching it in two with your chopsticks and placing the other half onto his plate without thinking. “Guess I'm asking too much for a guy who wears that same baseball cap and cycles between three t-shirts day in-day out to understand my vision.”

Mama Miya cackles at the jibe, tipping her glass back to drain it. “Oh, you two crack me up.”

Osamu smiles a little, picking up the piece of meat you’d just given to him and popping it wordlessly into his mouth.

When dinner is done and the plate are cleared, Osamu washes the dishes and you dry them—assuming the roles you two have long claimed after sharing countless meals together. You work side by side at the sink in quiet, with just the clink of dinnerware, the sloshing of dishwater, and the sound of Mama Miya laughing along to a variety show in the other room to be heard between you.

She’s had enough sake now that you aren’t as worried about her picking up on things, so you can let the facade drop slightly—you can just exist in an uncomfortable quiet without fretting so much. 

You’re not sure which is worse: the pretend ease, or the very real discomfort.

“I’m gonna head out now,” you call to the woman laying on the sofa as you poke your head through the doorway to living room, all the dishes from dinner now dried and put away. Osamu shuffles past you to take a seat beside his mother on the sofa.

She stares at him like he’s grown a second head as he settles down next to her, her lips parting as her eyes remained glued to him.

“Aren’t ya walkin’ her home?” she asks, bewildered.

As kids, neither you nor the twins had been particularly concerned with walks home—or anything remotely close to etiquette. The three of you would stand at the corner half-way between your homes, exchange a few parting words and maybe an insult or two, and then go your separate ways—only to repeat it all again the next day. But that changed in your early teens, rather unexpectedly really, and the twins have never ever let you walk home alone since. 

It wasn’t always both of them accompanying you—sometimes it was just one or the other—but one of the two always made the walk alongside you, no matter how short it was, or how late it had gotten, or if the weather was unpleasant. One of the boys always followed all the way to your door and waited until they knew you made it inside, without fail. At first you found this strange development overbearing, and then humiliating when you found out that their mother had told them it was something they had to do, but over time you found that you were grateful for it. 

You grew up in a very safe neighbourhood. You never felt any real danger making the short walk on your own. But doing it with the twins’ company made made you feel cared for, protected almost—even before you knew about all the terrible things out there in the world that made women need escorts home in the first place.

Osamu is quiet at your side as the two of you shuffle along towards the corner where your streets meet. He stands nearest to the roadway, with his hands shoved into the pockets of his jacket and his eyes on his feet. It’s the very same path the two of you have walked a thousand times in just the same way, no doubt your feet falling into the exact parts of the pavement they’ve already tread before. But the walk home has never felt like this. The two of you have never been so unsettled in each others’ company.

You stop when you reach the corner, your feet cementing themselves into place as solidly as the ground beneath them.

“This is far enough.”

Osamu stops, already half a step closer to your house than you are since he hadn’t anticipated your sudden halt. He looks at you, a furrow making itself known between his brow like your words aren’t quite registering in his brain. He’s never walked you just halfway before, and maybe that’s why he’s hesitating.

You blink hard a few times, then move to step past him and leave, already making plans to take an earlier train back tomorrow just to avoid running into him again. Your little neighbourhood is much smaller than Osaka, and Osamu’s presence is too loud here to ignore.

But you’re glad, at least distantly, that you made it through the evening relatively unscathed. Tender and bruised, certainly. But the wounds you’ve been trying so carefully to mend over the past six weeks seem, largely, to have stayed knitted closed.

You can see your house from the street corner as you step towards it, the windows dark and waiting for you. You’re looking forward to scrubbing the day from your skin and then crawling into bed, hoping you can forget all about—

“I’m sorry.”

Your body goes stiff, and your feet—without any conscious command—stop carrying you forward. You stand with your back to him, your shoulders rigid like raised hackles, but you know Osamu is still there.

Still watching.

Still waiting.

Your teeth bite down hard into the flesh of your cheek.

You muster every shred of resolve that you can, and weave the iron of your will into your throat to make sure your next words ring firm. “Osamu—“

“No, I need to say this,” he interrupts you before you manage to say anything at all, and he sounds desperate. “It’s all I’ve been thinkin’ about fer weeks.”

You’re angry. Furious, suddenly. A white hot rage boiling up in your throat that tastes bitter and revolting and wipes away any lingering trace of sake on your tongue. All Osamu has been doing lately is whatever the hell he wants, and it’s really starting to piss you off.

You just want to go home. You just want to throw the meagre amount of belongings you’d carted to your parent’s house with you into your suitcase, hastily dump too much water into your mother’s houseplants to hopefully get them through the weekend, and then get the hell out of Hyogo.

You don’t want to be here.

You don’t want to hear this.

“I know I’m bein' selfish. I know that all of this is because of how selfish I’ve been. What I did that night wasn’t fair.”

You’re listening to him in spite of yourself. In spite of the fury ringing in your ears. In spite of the pain in your gut that feels like stitches tearing.

“I know what I did was fucked up. That it… That I ruined somethin’. That even if you can forgive me, everythin’ will always be a bit different now because of what I did—and I am genuinely, from the bottom of my heart, sorry for that.”

You find yourself softening. Or maybe wilting slightly—withering under the warmth of his words. 

“But I’m not sorry fer how I feel,” Osamu’s soft words sound remorseful only because he isn’t in the way that matters most to you. “I can’t be. I tried ‘n I can’t.”

You feel yourself shaking your head, intimating the dissent you feel but can’t bring yourself to voice. Your feet are still stuck, keeping you there. Trapped by your body against your own conscious will. You’re so nauseated you think you might be sick.

Osamu sucks in a breath that shakes on the inhale. “I’ve loved you my whole life, y’know that? I don’t even know what it feels like not to, so callin’ it that doesn’t even feel right most days,”—there’s a waver in his voice that cuts through you like a blade—“And maybe it used to be different, or maybe it’s always fuckin’ been like this, but I have been a god damn mess for the past six weeks tryin’ to think of a way that I can do this without you and I came up with nothin’, because there’s not a single part of me or my life that isn’t the way that it is because you’ve always been there.”

You’re choking. You’re choking now. You can’t swallow. You can’t breathe. Your throat is a vice that you can’t pry open, that you can force neither air nor words through when you need to. Your heart is lodged, firm and unmoving and worn raw, in the hollow of your throat.

You finally turn to look at him, but your sight is blurring at the edges.

His face is so pale that part of you—the part that has cared for him for as long as you've cared about anything—worries he might faint. His expression so grave he looks like he’s in the throes of mourning. It’s unfair that grief colours him this way. That even in this moment, under the buzzing streetlight, with the world shifting underfoot, that he should still be so handsome. That he should still look like your Samu.

“I know that this is a shitty situation that I caused. But I couldn’t do it anymore. I needed you to know how I felt—how I feel—because it was eatin’ me alive. And even without Tsumu’s party it would have happened eventually. Maybe it woulda happened better, or maybe it woulda happened worse, but it still woulda happened—because no matter how I went about it or what I’m fucking up by sayin’ it, it’s true.” Osamu squeezes his eyes shut tightly, swallows, and then opens them again to fix you in his stare. “I’m in love with you and I always have been.”

“I lost you both, Samu,” your voice is quiet and brittle when you finally find it in the knot of your throat and let it free. “I know that’s partly my fault, but I just couldn’t look at Tsumu and not see you. It hurt too much. Suddenly the two most important people in my life just weren’t there anymore. That’s not fair.”

Because this is bigger than just the two of you. It always has been.

“I’m sorry,” Osamu says to you, but his words are so faint they risk being lost in the cool evening breeze.

“Please stop apologizing to me,” the only reply you can bring yourself to utter reflects every bit of your exhaustion—your voice is flat and lifeless when you speak the words.

The two of you stand there on the street corner, the half-way point between your childhood homes, and it’s so impossibly quiet.

“I don’t know where we go from here,” you say as you pull your coat a little bit tighter around your frame, and for the first time all night it feels like the only time you’ve been truly honest.

Osamu looks at you, and if you sort through all the emotions in his eyes, you know you see the same feeling reflected back in his stare.

On Sunday evening, Osamu makes his way back to Osaka alone, and the house you grew up in is dark and empty when he passes it. As he drives back to the city, he can’t quite shake the feeling that neither of them—not Hyogo, not Osaka, nothing and nowhere in between—feel quite like home to him the same way that they used to.

#osamu miya x reader #miya osamu x reader #osamu x reader #miya osamu #osamu miya #hq drabble #hq writing #writing #bff!osamu

[evablueblanket]

Will you tell me about an LU character you love and why you love them? Please please please ramble on and on! It's my favorite! I get so many fun ideas when people gush about their favorites.

I (think) I've said this before, but I am not the most analytical/observ person ever so most of what I say is probably kinda shallow :') BUT THIS IS MY RAMBLE SO OH WELL

Okay so recently, I've been on a Warriors kick. I just super love how like, everyone portrays him! Most see him as big brother shaped, which I super love. His background is just so vastly different than every other Link, which serves as a very cool contrast imo

The way @somer-writes makes Twi and Wars idiodic brothers is like, my favorite ever. I love love love LOVE how he writes Wars and Twi it's so insane the comedy that unfolds when they're just messing around xD

Warriors has this air, this *vibe* which I'm just super drawn too, I think it's just how my personality vs his works (you could theoretically draw *some* parallels with Sokka from ATLA, at least the way they each hold themselves I'd say. Also big bro stuff) (ALSO how both of them are portrayed as 'smart', which is a trait I typically relate too in characters)

When I like a character though, it's more based on the different types of relationships everyone writes them as though, I'd say. Wars and Time and Wind have this super intriguing bond that I think is cool to see how everyone interprets it! For the most part people write them as they're all aware of the War of Ages and whatnot, which lead to some nice fluff and/or angst. But when there's some time paradoxes, it makes it every so more tragic and it's really interesting to see how that can get written. I recall a fic (I FORGOT THE TITLE AND THE AUTHOR NOO) where Wars was teaching Wind medic stuff, but it was like a year before Wind meets Wars in the war. So Wars is all "sob this is why Wind is such a good medic? *Bc I taught him?*" THIS IS SO COOL AND INTERESTING

Also when there's War of Ages fics that have Time/Mask being a stupid child (/aff) they're just super hilarious. There's a series out there that has the Fierce Deity (sorry forgot the author again xD) act as Wars parent figure/older brother figure and it's just really funny to me bc ofc Wars would be a stupid overworking idiot. Loser smh

Four is also another one of the sillies that live in my brain, and I kinda wish there were more fics on how they interact. Though, if I'm being real idk how they really would cause they don't really have the same synergy as any other Links. I just like my favorites to interact, but I super understand how they wouldn't ^^

Small side bit on serious Wars (the biggest example is "Call Them Brothers" by wutheringmights which I'm almost 100% certain you've read that already cause it's soooo long and it's SO GOOD AHH) and ugh I wish I could pay attention more to get every complexity that this Wars has but the brain kinda hates me. I think it makes a lot of sense for Wars to have a grittier characterization, war does that to people. The entire fic is so visceral to me, I just vividly remember reading the flashback section about the long winter, and I don't even know how to really describe it xD

Wars has such a broad range of emotion, if one were to put him under and microscope and study him there would be SO MUCH.

HAVE I TALKED ABOUT THE AESTHETIC

HES THE FUCKING PRETTY BOY OF THE GROUP AND THAT'S SO VALUBLE TO ME FOR NO REAL REASON

Ik Wild is seen as the one with like, outfits and Legend has his jewlery, BUT WARS HAS HIS FUCKING SCARF. THERES SO MANY POSTS ABOUT WARS AND HIS EMOTIONAL SUPPORT SCARF AND I AM SO FUCKING FOR IT YOU HAVE NO IDEA

THE SHADE OF BLUE IS AWESOME, ITS SO COOL, ITS SO COOL HES SO COOL RAHHHH

*oops tehe I rambled like a lot* ty for this opportunity :D I'm super glad I decided to type this on my laptop and not my phone xD

#EvaBlue Rambles #like a lot #EvaBlue Answers #linked universe warriors #linked universe wars #linked universe #lu wars #lu warriors #I love rambling #this was super fun #tyyyy ily skip #you're a very cool person

[reality-detective]

SHADOW GAMES_

_It should be clear to you now that Vivek Romaswamy is running a shadow campaign for Donald Trump and military operations.

_ ( kash Patel intensionally placed VIVEK)

_it should be clear now that Elon Musk intentionally collapsed Ron Desantis election campaign. Desantis was forced to run by both white hats and blacks hats ( he's playing both sides) .... The idea behind the blackhats plan is for Desantis to endorse Nikki Haley for President..... But white hats have a plan to EXPOSE a massive corruption scandle against desantis connected to money laundering ( Epstein affiliated associates ) and more. After the EXPOSURE of Desantis his voters WILL endorse TRUMP_

_-

-

_The DEEP STATE SHADOW CAMPAIGN>

BLACKROCK CIA IS BEHIND THE FUNDING OF NIKKI HALEY . > THE DEEP STATE IS PUTTING THEIR HOPES BEHIND HALEY and want to have Republican president in place.

.. But the [ ds] also want a Hollywood celebrity> The Rock to run ( he is a back up incase the Epstein EXPOSURE leads to cia. Military industrial complex system money laundering operations connected to Nikki Haley could bring her down)

The deep state are also pushing for Michelle Obama to come into the mix..

[ they] want to make sure they have several candidates in place.

____

WIRES>]; The CIA are trying to rally the youth and black communities to endorse a celebrity for president ( this will be The Rock) ....

_ Now you understand why KEVIN HART has been constantly co-starring with Dewayne Johnson the rock in movies together.

>>> The CIA. Caa intensionally planted Kevin Hart into Hollywood and comedy scene.

_

_ NOW_ White Hats have activated certain celebrities to go after exposing Kevin Hart as PLANT.

From Kat Williams to Power House Dave Chappelle are going after Oprah the cia occult operations several black celebrities and musicians are going to expose the Satanic industry. From Los Angeles to Middle America to New York City, the pedophilia corruption, sex extortion music industry to Satanic rituals is all going to collide with the EPSTEIN SAGA.

I have been telling you all these EVENTS were going to happen.. Now it's happening

.....

SHADOW GAMES _

_

BEHIND THE SCENES>]; THE USSF HAS THE MCAFEE [ KILLSWITCH], THE JULIAN ASSANGE [ KILLSWITCH] >

THE [ EPSTEIN KILLSWITCH]

_This means they have all the hidden keys that placed inside Internet Killswitch operations that holds all the evidence of the world satanic corruption of the CIA. Pentagon. Ex presidents. Celebrities and full world corruption connected to Israeli/ cia/ mi6 ELITES [ EPSTEIN] OPERATIONS.

PANIC INSIDE THE PENTAGON 🔥 AS THE USSF AQUIRE ALL THE KEYS!!!

(Cheyenne mountain. USSF space x/ RUSSIA INTEL/ ITALIAN INTEL/ WHITE HATS IN CHINA INTELLIGENCE

>>>> ALL HAVE COPIES OF THE BIDEN LAPTOP!!!!

and CIA Epstein corruption data in their own countries already since 2018.

SHADOW GAMES

_Countries across the world are getting ready for THE STORM _EVENTS

and arrest wars and know their own intelligence agencies are going to initiate the cyberwar blackouts.

__

No matter what happens.. Everything is heading to military intervention in all major countries. ( 11.3)

Mil.WIRES>]; U.S. CANADA. UK. AUSTRALIA NEW ZEALAND GERMANY FRANCE ITALY POLAND>>>ALL IN TALKS BEHIND THE SCENES TO INITIATE MARSHAL LAW PROTOCOLS AND MILITARY PROCEDURES AND COMMUNICATIONS <

_

Everyone is preparing for the incoming summer EXPOSURE of the planned PANDEMIC of 2021 and the full EXPOSURE of the death vaccines and full corruption linking military intelligence agencies and banks and leaders to the world pedophile extortion sex ring and money laundering ring.

- JULIAN ASSANGE 🤔

#pay attention #educate yourselves #educate yourself #knowledge is power #reeducate yourself #reeducate yourselves #think about it #think for yourselves #think for yourself #do your homework #do some research #do your own research #ask yourself questions #question everything #news #wikileaks #julian assange #you decide

[tokiro07]

In a recent interview about the Undead Unluck anime, Shonen Jump editor Takumi Hashimoto noted that Tozuka is a fan of Tom and Jerry and that he wanted UU to have a similar comedic atmosphere

And wow, once you know that? Not only is it really obvious in Andy's initial pursuit of Fuuko, it also explains where Tozuka gets his ideas for how inventively Andy can hurt himself

Like no one else is getting brutalized nearly as much as Andy, obviously because they have the survival instincts to not be constantly taking hits, but it just feels so odd that every attack goes through him like butter. Knowing that he was inspired by Tom and Jerry slapstick though? Yeah, I can absolutely see Andy walking through an extended ironing board and simply splitting in half as he keeps going, why not?

This also once again reinforces what I said about Undead Unluck having a really similar vibe to One Piece; if Luffy is the embodiment of rubber hose animation, then Andy is the embodiment of animated slapstick. They're both cartoons adapted to the context of a battle manga, which forces them to be extremely imaginative and oftentimes humorous in relatively dark situations. The contrast is more notable for UU since it's gory, but both are energetic, fun-loving cartoons in worlds that think they're political or fantasy war dramas

The slapstick theme gets even better though when you realize that the other lead, Fuuko, also perfectly facilitates that sort of comedy despite not being immortal, and for one simple reason: because of her Unluck. Andy can survive anything that happens to him, but what good is a Tom without a Jerry to drop a crate of bananas on his head?

Unluck creates slapstick situations, even if at first they were fatal. Andy once got hit by a truck that threw him into the mouth of a shark because he thought he got off easy from the truck. That's hilarious, and exactly the kind of thing that would happen to Tom. Fuuko has learned how to use Unluck so as not to kill people, and this has resulted in her being able to basically just pull pranks on people if she wants to (ex: dropping a bowl of noodles on Mei's head during an otherwise serious martial arts battle)

They're two sides of the same coin, the slapper and the receiver, and they're expertly balanced so that even if one of them is missing for an extended period of time, the other is perfectly capable of holding up the series' brand of humor on their own merits

I wonder what other fun revelations about Undead Unluck will be unearthed in the days to come

#undead unluck #fouryearsandananime #uu spoilers

[ystrike1]

Akuyaku Reijou wa Ringoku no Outaishi ni Dekiai sareru - By Puni-chan (8/10)

This one grew on me. I don't know if it's being funny on purpose or not, but it is funny. Tiararose and Aquasteed are a good couple, with extremely funny names. I also like the idea of an attractive yandere character who constantly, dramatically rejects other women. Sue me.

I double checked. This isn't listed as a comedy....but...hear me out. The silly funny bullshit makes it better.

Tiararose is stuck with an adulterous fiancé named Hartknights. He cheats on her blatantly with a girl named Akari, who is the first villain she meets. He believes Akari's bullshit. He tries to banish Tiararose...but...uh...she's nice? She has a good reputation. Everybody in court knows Hartknights has been cheating. Tiararose is also from an important family. Her dad is the current kings aide.

Akari's flimsy story about bullying falls apart. It's really embarrassing...for them. Prince Aquasteed steps forward and he proposes. Aquasteed is the main lead from the sequel to the otome game Tiararose is currently in. So, he's automatically better. His country is richer. He's smarter and more handsome. He's secretly very possessive and he constantly fantasizes about kidnapping Tiararose. He's been hotly jealous of Hartknights for years, and now that idiot has thrown away the perfect fiance. Aquasteed proposes in public on purpose, to pressure the king into accepting the new engagement.

The king apologizes to Tiararose. He also removes Hartknights from his position as crown prince.

It's obviously the right choice. Hartknights is not a good negotiator. He believes obvious lies as long as a cute girl is crying in front of him. He's not even king yet, and he tried to use his power as prince to banish his innocent fiance. His lover is a crazy, rude madwoman with no respect for court etiquette. Hartknights has a younger brother, who becomes crown prince instead.

It's...a happy ending???

Huh?

Ok, so Hartknights cheated because he was unhappy. He did it because he hates being responsible. He likes wild women like Akari. He still loves her, even after he realizes that Akari is interested in Aquasteed. (because he's stronger etc.)

Akari tries to murder Tiararose. Akari also knows this world is an otome game. She thinks she deserves her happy ending. When Aquasteed appears she realizes that sequel characters are available for romance too. She immediately tries to seduce Aquasteed. It doesn't work. Akari's holy powers awaken. That's a big deal. If your country is protected by holy powers you get prosperity/luck as long as the holy person in question is alive. She is also a godly powerful mage. Every country in the world wants her, as soon as she manifests.

Even Aquasteed.

When Akari tries to blast Tiararose Aquasteed saves the day.

He admits that Holy Power is tempting. He has a duty. It is his purpose to bring prosperity to his people, but he loves Tiararose. He loves her so much that he's willing to put in more work. He doesn't need a holy goddess for a bride, as long as she will have him. He literally spits on ultimate power, and he tells Tiararose she doesn't need to worry.

(Tiararose is pretty weak by the way, so his dedication is insane.)

Hartknights tries to repair his relationship with Tiararose but it's way too late. At this point Akari is imprisoned, and Hartknights visits her. Hartknights feels guilty about the cheating, but that’s it. He genuinely loves Akari. Akari realizes this, and she gives up on prince Aquasteed. Hartknights and Akari are actually a believable couple. They are both immature thrill seekers, and Hartknights hates "proper" women. They...become a loving couple??? Tiararose forgives the murder attempt because killing the holy magic user would cause a war. Hartknights kinda gets the perfect life. His responsible little brother does all the work. His wife is a holy magic user, so he has power forever no matter what. The king decides that Akari and Hartknights will support the next king from behind, because they're too...uh (dumb and rude) to be politicians.

It's hilarious.

It makes sense.

It's an ok ending.

Aquasteed brings Tiararose to his oceanside country. It's rich, pretty and full of fairies. Sky and forest fairies really like Tiararose. Being blessed by fairies is a good thing. It makes Tiararose a very valuable bride. Everything is going well. Aquasteed occasionally has possessive thoughts, but he's so happy that he doesn't need to be overprotective. Everybody likes Tiararose. Why wouldn't they? She's a merciful, well educated, high ranking lady.

Hooray.

Wait.

There's another love rival. The heroine of the sequel isn't a Japanese schoolgirl or anything. She is a woman blessed by sea fairies, and she's also Aquasteed's childhood friend. She was his number one wife candidate before he fell in love with Tiararose. She's way scarier than Akari. Akari is a rude moron. Aishira is gorgeous, pleasant, and skilled at ladylike things like making jewelry. Also, her dominance over the sea makes her an amazing military asset.

Aquasteed knows about her talent for jewelry making. Aishira and Aquasteed design the accessories for Tiararose's wedding gown together. Aquasteed aggressively spoils Tiararose during their flashy engagement, and Aishira starts to feel jealous. Aishira is a dutiful lady. She never thought she would marry for love. Seeing Aquasteed dote on his bride makes her...melancholy.

But don't worry.

The king of the fairies, Keith, decides that he favors Tiararose. So, when Aishira tries to cause a scene at the wedding...haha...the king threatens to murder her on the spot.

Also, Akari is a wedding guest. Now that she's happily married to her lazy prince she has become a good friend. She also tells Aishira to shut the hell up and not interrupt the wedding.

Ok, so Aquasteed picks up Tiararose bridal style. He walks right up to Aishira, and he rejects her in the church in front of everyone. While she is crying uncontrollably. He didn’t even notice her feelings, until the battle in the pews started. He truly does not give a fuck. Aquasteed is the sort of yandere that is capable of being nice. He is capable of being nice to people he doesn't like, but boy is he brutal.

The story isn't over yet. Crail, the fairy King of the sky, comes down. He wants to befriend Tiararose. His gender is also ambiguous, but Aquasteed is very jealous of him. He acts overly familiar with Tiararose, and this causes issues with the sea. The Sea King loves Crail, so she starts harassing Tiararose. This is such a silly, long, magical soap opera. You'll get at least one laugh out of it.

#yandere #male yandere #yandere male #yandere boy #recommendations #recs #rec #recommended #manga review #shoujo #otome game #Akuyaku Reijou wa Ringoku no Outaishi ni Dekiai sareru

[liugeaux]

Thoughts on Strike Force Five

I've always had a respect for late-night talk shows. They're a staple of American culture and are synonymous with classic television. Almost vaudevillian, they're a manicured window into the world of entertainment that for generations has reflected the pulse of the nation.

With the writers' strike lasting all summer, the 5 big late-night hosts, Fallon, Colbert, Kimmel, Meyers, and Oliver jumped on Zoom and made a podcast to support their unemployed staff. It was a noble gesture, whose only flaw was arriving 3 months too late.

They took turns hosting an hour-long podcast where they chatted about their experiences as talk show hosts, how their shows are similar yet differ both in front and behind the cameras, their respective career routes that led them to late night, and even some fun personal life anecdotes.

The stories and convos were fun, hilarious, and often fascinating, but the real meat of the cast was getting to hear their banter. 5 professional funny dudes, gently ribbing each other while clearly maintaining a healthy friendship. The show revealed a lot about each host. Everything from their ability to tell an unscripted story to how quick they are on their feet. Each host has their own strengths and as morbid as this sounds, getting them on a cast together was a unique venue in which to size them up.

Here's what I learned about each host after listening to all 12 episodes of Strike Force Five (insert thunderclap). We'll sort these by Late Night tenure.

Jimmy Kimmel (2003-present: Jimmy Kimmel Live!)

Oddly enough, Kimmel has been on the air longer than any of his peers and despite being the least naturally funny of the group, seems like the most driven. Not to say that Kimmel isn't funny, he's just not comedian-funny. He is great at long-form jokes, and situational pranks, and some of his more absurd stunts border on artistic brilliance. Kimmel is undoubtedly a good hang. He comes from a more awkwardly offensive time, and in this unscripted show you could, at times, hear him wanting to drift towards Man Show style humor. To his credit, he never strayed too far from his Disney-approved late-night persona, which at this point might actually just be his natural self. He's an idea man, and the bigger the idea, the more he wants to do it. He was apparently the brains and engine behind Strike Force Five and those traits track through his surprisingly long and often bizarre career.

Stephen Colbert (2004-2014: The Colbert Report, 2015-present: The Late Show with Stephen Colbert)

As the oldest host on the cast, Colbert emerged from the Second City Chicago improv scene and found a home in the John Stewart stable of comedy writers. His journey to network television was weird, primarily because before taking his job at CBS he was famous for reporting news as a fictionalized version of himself on the Colbert Report. On Strike Force Five, Colbert was very much the elder statesman. His storytelling style was a noticeably slower template, leading to his tales being a bit long-winded and meander-y. In another setting that would be fine, but alongside his late-night peers, the difference was much more obvious. Part of this might also be a by-product of his Southern upbringing, but for what it's worth, as of 2023, I think The Late Show with Stephen Colbert is the best "traditional" late-night show on TV. Colbert feels like a writer's comedian, he has a brilliant delivery when given a script and, if needed, he can seamlessly fall back on his improv training.

Jimmy Fallon (2009-2014: Late Night with Jimmy Fallon, 2014-present, The Tonight Show with Jimmy Fallon)

The most aloof member of the Strive Force is easily Jimmy Fallon. I've long thought of Fallon as the accidental lottery winner of the Leno vs. Conan late-night war of 2010. He was a no-brainer to replace Conan on Late Night, but once Leno's original successor was out of the picture, the big-boy-job of the coveted Tonight Show fell into his lap in 2014. He's turned it into the most modern late-night show with his higher-concept, Youtube-friendly, celebrity bits. Jimmy's energy is what the Tonight Show needs, but when placed among his peers, Fallon seems outclassed. He's inherently more charming than the rest of the Strike Force, and pretty fast on his feet, but for long stretches of the podcast, it almost seemed like he was either on-mute or not paying attention. Maybe he was waiting for his opening and just more polite than the others, but his soft-spoken demeanor got bulldozed through much of the series. With that being said, his willingness to play the buffoon might have turned him into the star of Strike Force Five. The infamous episode 5, in which Fallon created a match-game style quiz for the hosts and their spouses quickly devolved into a confusing train wreck that only got funnier as it spiraled into chaos. The potential for antics like this became one of the reasons to check out the show. Fallon leaning into his sheep-ish oaf routine had him emerging as the comedic battery of many of the episodes. He seems like the kind of comic that can show up half-prepared and still crush a room, just because his quick wit and charm do most of the heavy lifting. The most disappointing thing about Fallon's presence on the podcast was a complete lack of acknowledgment of the Rolling Stone article scandal, which was published a mere week after Strike Force Five's debut.

Seth Meyers (2014-present: Late Night with Seth Meyers)

Meyers is secretly the funniest member of the Strike Force Five. While his career may not be as prestigious as his podcast-mates, (this was hilariously made clear as the crew discussed the sad t-shirt rack of Late Night shirts in the NBC studio store at 30 Rock), Meyers is the most accomplished stand-up comedian of the bunch and that can't be ignored. He's the fastest with a joke, the funniest with that joke, and can craft a long-form story from his life with a careful-comedic-nuance I've never heard from any of the others. His version of Late Night strays from what Letterman, Conan, and Fallon did by being more of a Weekend Update or The Daily Show-style news desk show, but he's comfortable with that format and it works for his humor. A lot of Strike Force Five was 5 funny dudes fighting for air time, and while Kimmel and Colbert did the most talking, Meyer's joke-per-minute rate was off the charts compared to the two more talkative hosts. Like one of his predecessors, Conan, Seth Meyers does not get enough credit for the quality of his work and like Conan, he will likely get screwed out of The Tonight Show job. Conan's was a true screw job, but Seth's will more-than-likely be an age hurdle. Meyers is the same age as Fallon and both of them got their current shows around the age of 40. If Fallon hosts The Tonight Show for 25 years (which is reasonable, Leno finally left the show when he was 64) both him and Meyers will be 65. I don't see NBC giving their premiere late-night franchise to a 65-year-old Meyers. Note: Watch Seth Meyers: Lobby Baby on Netflix and you will understand my love for his stand-up.

John Oliver (2014-present: Last Week Tonight with John Oliver)

Like Colbert, John Oliver comes from Jon Stewert's stable of Daily Show correspondents. He's carved out a unique place in the Sunday night landscape, where his often outlandish and troll-like dark humor has thrived. He's my personal favorite of the bunch, and his show is the most likely to teach you something genuinely valuable. He's the only non-American-born host on Strike Force Five and the only host without a nightly show. His inclusion is curious, yet welcomed. Juxtaposed with his Strike Force peers, Oliver's bitingly dark wit and chaos-favoring humor stands out. No one enjoyed Fallon's Match-Game going up in flames as much as John Oliver and he seems to genuinely gain his life force from getting under the skin of the subjects on his show. On the podcast, Oliver was one of the more quiet hosts, and that led to his presence feeling more like a courtesy than an obligation. In my mind, I can hear him saying in his most polite British voice, "Oh, I'm aware that I don't exactly belong here, but I'm appreciative of the opportunity." Like Colbert's Southern roots, maybe John's just too British to dominate time on a podcast with so many white American hosts. Oliver is a great stand-up comic too. Like Meyers, if his TV career ended tomorrow, he could easily fall back on his remarkable stand-up talents and find excellent work for the rest of his life. John Oliver is a gem that I think would be dullened by a nightly show, and as a huge fan of both him and his show, I'm super grateful he was asked to be a part of the podcast. Hearing him hold his own with the more mainstream late-night stars was wonderful.

As a whole, the show was really fun. It's a snapshot of a moment in time that will never be captured again. Imagine if, David Letterman, Conan O'Brien, Tom Snyder, Jay Leno, and Dennis Miller had a radio show in 1997. What would that have sounded like? What would we have learned from it? It's just fascinating. I guess I need to mention the John Stewart and David Letterman episodes of Strike Force Five. It was great getting two legends of the format in on the conversation, but I don't know if it was necessary. Note: Letterman is super old now, but he's still sharp as a tack and maybe the best to ever do the late-night job.

One of the elephants in the room on Strike Force Five is the distinctive lack of any representation of people of color. As it stands, I'm not aware of any current major shows hosted by people of color. Both the Late Late Show and Daily Show's desks are currently vacant with the former likely to not be filled at all. The all-white Strike Force Five panel might just be a by-product of who is still watching these shows. It's probably middle-aged white people who are irreversibly accustomed to watching late-night television, and as the format dies, they will go down with the ship. In turn, the risk-averse networks stick with the white male hosts to not scare their tiny remaining audience away. It's not just, but sadly it's probably true.

Network talk shows might be a dying genre, but while they cling to relevance, Strike Force Five could go down as an important moment in the history of late-night television and I'm thrilled to have been here to experience it in real-time.

#striveforcefive #jimmyfallon #jimmykimmel #stephencolbert #john oliver #seth meyers #jimmy kimmel #jimmy fallon

[jessicas-pi]

paint bombs, pixie cuts, and elopements........

hehehehe

This is my Sabezra Medieval AU! (it's the sequel to Matchmaking, Mad Science, And Accidental Child Acquisition, which is a TCW/JFO/SWR Medieval AU.) PBPCAE has gone through SO many variations and plans and ideas and four or five times I've thought I might actually have the story 100% figured out until I stumbled over a plot hole and got stuck, but I finally went back to the beginning and thought it out, and i've actually got an ACTUAL plan now, so I'll ramble about it instead of sharing a snippet!

So, the backstory of it is this: Sabine is Viscountess Wren, heiress to Clan Wren. Ezra is an orphan who was found, rescued, and eventually adopted by Kanan (aka Prince Caleb Dume of Jedha) and Hera! Ezra and Sabine meet as children (she's 7, he's 5) in book 1 and get along like a house on fire. After the events of book one, they keep in touch--I haven't decided for certain, but Sabine might actually live in Jedha for a while.

Fast forward in time to the beginning of PBPCAE. Sabine is a young woman, just old enough to marry, and Ursa is discussing potential political matches with her. Now, up until this point, sabine had never ever considered marrying ezra, but then her mom goes and says "Sabine, I may as well be clear from the start. You will not be permitted to marry that Jedhan boy you're constantly running around with."

Sabine's response?

After some confusion, embarrassment, hilarity, and a trip to Jedha, Sabine manages to convince Ezra that This Is A Great Idea Actually. But there's a problem.

Jedha and Mandalore both have very complicated marriage customs and requirements. And Sabine knows her mother will use any objection she can. So Act 1 of the story is Sabine and Ezra doing a deep dive into Jedhan and Mandalorian law (with the assistance of Cal Kestis, Resident Nerd) and kind of go on a bunch of quests to make sure there can be no nitpicky legal objections whatsoever (i.e. they have to convince kanan to adopt ezra the mandalorian way as well as the jedhan way so that ezra would be considered actual royalty and therefore a good political match), while also keeping it a total secret so Ursa can't step in and stop them. The secrecy leads to some comedy due to Sabine and Ezra both being very bad at making up excuses as to where they've been sneaking off to.

Finally, they've settled every objection, and are preparing ye olde powerpointe presentatione on "Why You Should Approve Of This" for Ursa when a visiting Mandalorian with a bit of a grudge against Sabine sets her up, resulting in an Incident that nearly ruins Sabine's reputation, and causes Ursa to summon her daughter back home.

War breaks out in Mandalore.

Sabine and Ezra don't see each other for two years.

Enter Act 2.

The war ends, and Ezra and his family (which includes young Jacen!) are invited to Mandalore's Winter Court as part of the celebrations. (I haven't decided what plot reason there is for them to be there lol.) Ezra is ecstatic to see Sabine again, though he's a little nervous that two years will make things awkward, especially with their secret marriage plans between them (and the fact that, during their time apart, he came to terms with the realization that he had feelings for her. His friends Luke and Han, who know about the secret, have been giving him (extremely bad) advice on How To Woo Your Future Wife.)

'Tis not to be.

The first news Ezra gets upon arrival is that Sabine is engaged.

To be specific, Sabine is engaged to Carthage, the philandering slimeball son of Gar Saxon---and the same guy who set her up and nearly ruined her two years before. She's not happy about it, but it was part of the conditions of the peace treaty, and so she can't call off the engagement without a mutual agreement.

(Ezra is, understandably, heartbroken. He can't even be happy for Sabine because her fiance is a lousy person!)

Then yet another Incident happens and suddenly the whole Winter Court is convinced that Sabine is carrying on with Ezra behind Carthage's back. Carthage is mad.

Wait a second, Sabine thinks. This could be my ticket out of here.

So, in an attempt to make Carthage upset enough that he willingly agrees to cancel the engagement, Sabine and Ezra play themselves up as a starcrossed romance between a noblewoman in an arranged marriage and the peasant boy who became a prince and who also happens to be her childhood friend---basically they use all the dramatic tropes they can. Half of the Winter Court is scandalized by their behavior, and the other half is like it's the romance of the century!!!!

And when even that doesn't work?

Well...

There's always elopement.

#thank you for the ask!! #star wars medieval au #sabezra #jessica's writing nonsense #(there's also a whole act 3 about the elopement process and the shenanigans that happen along the way but that part has spoilers) #(and there's dramatic love confessions!) #(and also a surprising amount of political intrigue!)

[unohanabbygirl]

Greetings…as the anon who first posed the possibility of Viserys escaping and finding Luke and Osferth, I raise myself one more member of the found family gang: Daeron. So stay with me: during the war Tessarion dies: either the canon way or for a more angsty direction there’s a major confrontation between Daeron and Aemond once Daeron learns what Aemond has done and surprise surprise Aemond can’t control Vhagar who utterly just tears Tessarion’s throat out. Daeron can’t handle being in Westeros even after a pardon and he decides to go into self exile across the sea where he meets Luke, Osferth, and Viserys. Maybe Daeron saves Osferth from some bullying or perhaps he helps Viserys out of a jam. Either way, neither party knows the others’ true story. I feel like this would be such a great au not just because Daeron being a great guy and helping Luke take care of Osferth would be sweet, but I think having them both speak of the death of their dragons using coded language would just bring them extremely close. Also? It would be a total comedy of errors because ever since Luke’s own isolation he’s had to learn what being a peasant is like from a very specific upbringing that a minuscule percentage of the world also experienced. Him finding Daeron and them both being like “this is the way it’s supposed to be, right?” to each other and then agreeing while everyone around them is like nope that’s not the way to clean boots. Or the two of them not realizing how they move the world is totally weird, but they can’t recognize that it’s weird because they see it as normal in each other. Just a couple of regular dudes who don’t know how to haggle falling in love. Only one day Daeron and Luke see the shadow of Vhagar across the clouds and both decide it would be safer for the other if they just left because both think Aemond is hunting them. Cue another comedic error in which they way they decide to leave the other is just by not coming back to their shared cottage at the same exact time: both think they are the abandoner and feel so much guilt…until they reunite. “I left you, don’t you hate me?” They say at the exact same time. Let’s give Luke a break and give him an easy man to love and be loved by

This is so sweet 🥹 turning such tragedy into a slightly angsty yet humor filled rom-com is beautiful. I love the idea of Daeron somehow finding his way into the city of Tyrosh and stumbling upon a small market filled with humble commoners just trying to make their living while their children play along the shore. Helping out one brown haired child out of many that’s being picked on by some others for reasons Daeron can’t understand until he actually gets a chance to see the little boys cheeks which are marked by dragon scale. And it’s right then and there that something just clicks that this is deeper than what it seems. One thing leads to another and the boy introduces himself as Osferth before dragging Daeron to the fish stands to meet his Muña and qȳbor, only to see the boy who bares a strong resemblance to the long dead boy in the portrait his half-sister has hung up in Dragonstone’s main hall standing right alongside his second presumed dead nephew. A family reunion for the ages!

Once we get past all the shock and confusion and fear and overprotectiveness, Daeron somehow manages to convince Luke that he comes in peace and by pure coincidence after leaving Westeros as Tesserion’s death was just too much to continue living there. Something that melts Luke’s heart immediately as losing Arrax has forever left a dent in his heart and the pain in his uncles eyes is far too real to be faked. Luckily for Daeron he’s a beta therefore welcomed in their little city within the city.

For some reason I can’t help but feel Luke and Daeron are much worse at being normal than Viserys is. Maybe’s it’s because they’re older but being able to successfully wash clothes and cook without burning pots is nearly impossible (Luke’s been there the longest and he can still barely boil water. Little Osferth has gotten used to the taste of extremely well done beef since weaning off the teat)

But now they’re there to validate each other’s fuck ups along the way. Daeron is skinning a chicken in the worst way possible and now all the good bits have been torn to shreds and the bird basically died for no reason at this point? Well he did a better job than Luke ever could. All the clothes Luke stitches are either way too tight or nothing aligns well leaving a short and long sleeved mess of a Jerkin? Well it’s wearable in Daeron’s opinion at least. Always there to validate the fact that they’re doing great when in fact they def aren’t. It comes to a point where the only person who’ll try Daeron’s bad cooking until he improves is Luke and Daeron will happily wear every piece of Frankenstein’d clothing Luke makes. And they for sure didn’t get ripped off for paying 5 sliver shillings when going out into the main city to buy a single pound of lamb.

Them reuniting even though they tried to run away for the others benefits but failing because they basically have the same mind? Omg this gives me butterflies.

It’s actually funny because Daeron and Luke’s dynamic is so sweet right off the jump whereas Lucemond need a good five to seven arcs of pure pain to get there LMAO.

#asks

[luna-writes-stuff]

Do you have a plan to make a modern au headcanon for Starcrossed Losers?

WOW THIS TOOK FOREVER TO ANSWER I AM SO SORRY. But yes. Yes, I do.

Kili and Raewyn modern AU! headcanons

Kili X Starcrossed Losers! OC

Fluff, headcanons

Tw: Mentions of miscarriage/dying through childbirth, dogs and cats.

Wait, you don’t know who Raewyn is??? Blasphemy. Check her story out right here!

-In a modern day setting, I think Fili and Kili would own a busy pub somewhere in a side street. Ironically enough, I believe Raewyn would become either a history or geography teacher. At night, she’ll help in the pub, serving guests or helping in a band performing that night. Because, obviously, she’d take music lessons (see earlier headcanons)

-Due to the vacations of the school, she travels a lot with Kili, visiting big cities in Europe and distant villages in Asia. Her students love to hear tales about the people there, and she loves telling them.

-Kili helps Raewyn prepare lessons for students. He actually has some really good ideas in there and Raewyn loves to tell him how the class responded to ‘his’ teaching.

-Even though the pub is located in the centre of the city, Raewyn and Kili would live in a house surrounded by forests. Those tiny roads leading through woods, sometimes extending towards two or three houses? That’s where they’d likely live. Raewyn loves to spend her nights walking the forest. Kili is just glad to be there.

-The garden offers enough room for Farris, because - naturally - she’d still be there. Knowing Kili, she’d probably be accompanied by three dogs, likely named after characters from famous films, like Gizmo, Luke, and Marty McFly.

-Raewyn would get a cat just to spite Kili’s dogs. They’d get a decent name - likely after someone from ancient history. She’d go with names from gods, like Bastet or Artemis. Because Kili insisted on big dogs, she got a Norwegian Forest cat.

-The cat loves Kili more than Raewyn. Kili hates the cat.

-Likewise, Marty McFly loves Raewyn. He doesn’t like Kili because Kili doesn’t let him swim in lakes.

-Speaking about ‘children’. Raewyn and Kili would adopt two kids rescued from war zones, left without family. Raewyn used to want biological children, but her mother never lived long enough to hold her youngest daughter, and ever since, she’s been terrified of the idea of getting pregnant.

-Thorin and Bilbo are the godparents - naturally.

-Surprisingly, Raewyn is the chill parent. Kili does his absolute best to not teach the kids any swear words or let them watch anything under the age guide on films and series. The oldest said their first swear word just three weeks in Raewyn and Kili’s care. Fili was the culprit. To this day, Kili still believes it was Raewyn. She thinks so too.

-Bilbo often visits the dogs when Raewyn helps Kili in the pub at night. They’re twice as heavy as he is, but they love him. Bilbo used to be scared of them.

-Don’t worry, Raewyn gets therapy sessions.

-Kili is a swiftie. He pulled Raewyn into the fandom. Her favourite album is folklore. Kili is a 1989 stan. Raewyn’s favourite artist would probably be a classic rock band like Led Zeppelin or Black Sabbath.

-On the topic of modern media; the two love to watch horror films late at night. Raewyn is the psychopath who can go to bed after the credits roll. Kili needs to watch at least one episode of a comedy show before he can even walk up the stairs.

-Kili loves science fiction most, preferably Star Wars or Back to the Future. Raewyn has a secret love for terrible comedies like the Monty Python works. Horror and fantasy are their middle ground.

-Their home is littered with books. They have a bookcase. But there are books everywhere. At least three in the bathroom. Kili is a binge reader. He finishes series within a week. Raewyn reads twenty books at the same time. None of them place the books back in the bookcase. Bilbo does when he looks after the dogs.

-Gandalf has a spare key to their house. He never enters unannounced (surprisingly), but does enter their garden to entertain the dogs. When Raewyn invites him in, he claims to hate the dogs. He doesn’t. He even has a favourite. But don’t tell Marty McFly and Gizmo.

-The dogs aren’t forced to be outside. They just never want to go inside. Raewyn and Kili have to carry them in at night for their own safety. Luke, the St. Bernard, has to sleep in bed with them every night. So does the cat. Luke is the only dog she accepts. Raewyn and Kili often wake up on the floor.

-Once a week, Raewyn and Kili have a ‘duty-free’ night. They’ll go to a little shed in the forest Raewyn bought while someone takes care of the children and the dogs (the cat takes care of themself). They usually fall asleep there, but every so often they play boardgames or spend the night chatting away under the stars.

-Kili packs Raewyn’s lunch every morning. He leaves little notes in her lunchbox. There is not a day he has forgotten to do so.

-Raewyn and Kili wear matching ugly Christmas sweaters around the holidays.

#tolkien #the hobbit #starcrossed losers #kili x reader #kili #kili durin #kili imagine #raewyn asha #kili x raewyn #kili x oc

[suzyq31]

Hi, I've been meaning to make one of these lists for ages. All my stories can be found on archive under my username Elastic_Heart31.

Harry/Hermione stories:

Works in Progress

Maybe Tomorrow: Rated M

The war has ended and Harry is feeling lost and disillusioned. At the encouragement of Hermione he begins to renovate Potter Manor. Over the Christmas Holidays, the two of them stay in the rundown estate and wake up on the morning of Christmas Eve in bed together, in the master suite, looking different than the night before.

Found: Rated T (may change to M)

Harry died at the Battle of Hogwarts and Hermione fled the wizarding world, unexpectedly taking a part of him with her. Eleven years later, their daughter Iris is on her way to Hogwarts, eager to discover as much as she can about the world of magic, and completely unprepared for what she's about to find.

Completed Works

Home: Rated M 5 months after Spring. One small decision. A twist of fate. Another life. As promised, an alternate ending for Seasons. AKA the quickest happy ending.

It Had To Be You: Rated E (smut, smut, smut)   Ten years after the war has ended Harry and Hermione are both single at the same time. The two of them now spend their Friday evenings together hanging out together after their work weeks. Some careless remark from Seamus about if men and woman can really ever just be friends leads to a series of awkward, silly, smutty, mostly happy events. A loosely inspired homage to the classic Romantic Comedy "When Harry Met Sally."

Opals and Mistletoe: Rated M

Harry often dreaded the Christmas Ball but he wasn’t nearly as despondent this year due to his brilliant idea to ask Hermione. Except things get complicated, when he can't take his eyes off his best friend. Also includes too much champagne and some meddling.

Seasons: Rate T-M

A seasonal quartet taking place over the events of Deathly Hallows.

In the darkness, he felt her bare arm brush up against his and it shot through him like a spark. A spark that could burn down everything.

On Hiatus

Iris: Rated M

When Hermione left after the battle she never could have predicted it would be for good. Five years later she is pulled back into the magical world in a way that puts her and the people she loves most at great risk.

James and Lily, Marauders Era.

Entering the Kingdom: Rated T

A sunlit afternoon by a stream after exams, and Lily wonders when everything had shifted.

Plans: Rated T

Lily has just had her baby earlier than planned. A discussion with Sirius makes her reflect on the past, and what’s to come.

At the Beginning: Rated G

Men were such babies.

James is under the weather. Lily brings him some soup.

#pinned post #harry potter fanfic #masterlist

[zeravmeta]

since guilty gear characters never stay dead/gone im making up my own dlc plotline where after strive bedman and i-no ended up in the underworld hill where izuna is chilling after which when both of them are asking why they aren't dead izuna is like "oh well you're technically not human anymore so instead of death you dont really die when killed so youre like me now welcome to yokai furry limbo you have your choice of fox ears or cat ears" and when izuna gets the full story of what happened while he was gone he IMMEDIATELY ubers himself to the real world because not only has sol lost his gear powers but he also got a girlfriend and izuna needs to tap that before sol commits and since he needs wingmen he forcibly drags i-no and bedman out of their depressive spiral for the sickest grandpa yaoi roadtrip ever. they get caught on grainy 7-11 camera footage after which this leads to an incredibly huge comedy of errors where the pwab is trying to catch two worldwide war criminals and the weird furry grandpa (who they dont recognize as izuna because its funny) who keep evading capture through unknown means (izuna just keeps getting lost), axl keeps chasing them because the last time he spoke with i-no she was in a suicidal godhood kick and he just wants to make sure his bestie is ok (he meets with and like tentatively joins happy chaos who also wants whats best for i-no but axl is ready to pull the trigger piglet him at every moment, where happy is too thrown by the idea of saving i-no when shes right fucking there -points at megumi-), throw in robovenom getting accidentally involved as unintentional accomplices where bedman is forcibly adopted and drops his reddit style 'im not owned!!' cadence because robo ky is far more annoying and venom is embarrassingly flaming, which in itself also means that baiken delilah and anji (and therefore his boy best friend chipp) get involved because now they think that robovenom fucking graverobbed and kidnapped bedman. the moment izuna reaches sol he sees him having a fighting yaoi moment with asuka, at which in the same moment everyone breaks into sol's little cabin in the woods including sin and ram where sin is introducing everyone to his sort of grandpa/uncle. sol sees everyone enter his house and the sheer indignation makes not the flame of corruption or the scale of juno but a new weird 3rd thing appear inside him so now he's a gear again, which DOUBLES his anger and now sol badguy the guilty gear kicks everyone out into the rain dlc over daisuke you have my number call me

#zerav meme #guilty gear #making up my own hilarious comedy of errors dlc plots #i could def go on with this one buuuut i think short and sweet is better

[itsmaferart]

Spy x Family · · ·Ep 14 · · · A tragedy averted

Warning: This contains spoilers for the anime and manga.

Warning: this is a sad post, talking about tragedy. So you may need tissues Everything is written under my point of view, talking about the anime adaptation. So you are free to have a different opinion.

As I mentioned in a past post, something very interesting about the bomb dogs arc, is how it gives us a touch of reality, reaffirming the true sense of how the universe works within SpyxFamily.

SxF is a drama, disguised as a comedy, where we can see the adventures of a spy, an assassin and a telepath, forming a family for convenience to keep their secrets, obtaining a benefit. Everything is colorful, laughs, with charismatic and endearing characters.

But when we get into the story, we see that not everything is as "joyful" and as "cool" as it seems. SxF is a drama, trying to tell the tragedy that war brings, the political ambition the large-scale consequences, along with the collateral effects left in its wake: blood, tears and pain.

While, the bomb dogs arc, starts off as a casual arc, with a turn-based antagonist that the Forger family indirectly faces. With Twilight leading the way, being a spy, Anya getting in trouble for helping her parents thanks to her powers and Yor using her assassin skills to keep her daughter safe, and indirectly defeating her husband's enemy. This arc further deepens the tragedy, and how from one second to the next, a child's happy life can be destroyed, seeing before his eyes "his own world destroyed."

Visions of a tragic future

Just look at this sequence, and how the anime achieved such tension, showing how a small act could turn the tide. A happy story of a family looking for a new addition to the family, as a pet term unleashed in war.

The bells would be the last sound Agent Twilight would hear after a bomb exploded within seconds, ending his life. This was the spark for the newscasts to spread the news, and the drums of war began to beat.

In the midst of the rubble you hear a scream, a little girl looking through the rubble at her father, the man who took her from an orphanage, who saved her from kidnappers risking his life and his mission. Her unbeatable hero, the great Westalis spy, Twilight, was crushed lifeless in the rubble.

The way this scene is so dark, and shocking to focus on Anya's face, hearing her scream, conveyed an enormous sadness to me.

Knowing that Anya describes her father as "the agent dad, the all-powerful one" being the first father who doesn't get rid of her, who has strived to be a better father to her (even if he denies her affection) we can get an idea of the psychological impact it may have had on her.

This scene easily parallels what Twilight once experienced. Seeing her mother, dead in the rubble starting a war he never asked for.

However, Anya had something that (Redacted) did not have as a child, and that is the opportunity to change the future that lay ahead. Thanks to Bond, Anya decided to do "something about it".

I admire Anya's strength and resilience, perhaps her life inside the lab has made her strong enough to hold the image of her dead father in her head and not collapse from grief. Anya kept going, to change that future despite being "just a child".

As I said, I applaud Endo's ability to show the characters' desperation in serious and humorous ways, without it clashing with the pace of events.

Anya is clearly desperate, plus she was a second away from dying with Bond, if not for him reminding her that opening the door would blow them apart; or seeing that she doesn't know how to defuse a real bomb.

I think this explains a lot about Anya's psychology. She is a child hyper-aware of her surroundings, Anya really understands violence and the consequences, but far from being paralyzed like any other child, she continues with her innocent, optimistic personality, and this explains her fascination to action, adventure programs that show violence as Bond-man. Danger became so natural to her, but she digests it in a more innocent way. Even on the verge of collapse, she does not lose hope.

Now, pausing briefly with Anya. We have another important focus, which is Sylvia, vividly describing the calamity of a war: the smell of blood, seeing your family, lovers and friends dead, eating human flesh and tree bark.

These words can only be spoken and understood by those who have been through hell, and made it out of it. Some would say that they are "those who have seen the abyss straight in the eye, entered the darkness and have come out of it with a vengeance".

Understanding perfectly, Twilight's body language during the interrogation, someone jaded that humans need to live through war as to understand the magnitude, and how ignorantly, many continue to yearn for war, believing it will bring a glorious world, when in reality they are dooming themselves.

A little hope...

I love it, as Anya, feeling her point of collapse not knowing how to keep the bomb from going off, a small glimmer of hope opens up with the most insignificant object, "a bottle of ketchup."

This small act changed the course of their life.

However, if the WISE agent had opened the door, they all would have died. But fortunately, her father's suspicion was the last key piece in changing fate.

I'm impressed that even though I already knew this was going to have a happy ending, I jumped for joy to see that Twilight (Loid) was with his family back in Bond's vision. This scene is beautiful!

Demonstrating that small acts as a team can change the future we believe is written. It is our actions that can save someone's life.

Reflections

In this case SxF is not a shonen telling "the hero's way", and his way to be the "best". It is a tragic story of people who have suffered directly and indirectly from war. Tired of suffering, they want to change their own reality, but evil still prevails and this path in search of peace becomes endless. However, only love can really heal those old wounds, and the support of a family can be the salvation.

I see many people come to underestimate this story just for "being a comedy" when in fact it is a drama "told as a comedy."

While, I love that the story is always funny, fun, full of memorable and hilarious moments. Endo always reminds us that things can change, the fragility of peace, trust and love can easily be destroyed and turn to dust. Hence the importance of protecting peace, because once destroyed, there may be no return for many things.

I'm not saying, SxF will become a drama, with constant suffering for the viewer. But what makes this plot so special are these moments of change, and evolution, moments of tension that give us a more concrete look at what the characters are dealing with. Like Yor in the cruise arc, who was thinking about dying, or Twilight reliving her entire past in a dream.

Forgers are the key to peace

What I love most about this arc, and this story is how the Forgers are indirectly a team, fighting for peace. While, there are moments where they mutually hinder each other's goals. We've seen that indirectly, all three are indirectly saving or stopping each other's enemy. Yor confronting the terrorists, Anya saving Twilight, and Twilight coming face to face with the antagonists…or …. Similar to the arc on the cruiser, when Twilight stopped the bombs that could have gone off, sinking the ship; Anya warning the authorities of the bomb and returning the stiletto to her mom, and Yor confronting the assassins.

The Forgers are an uninhabitable force, and only together can they achieve world and mutual peace.

It really is a great chapter, and a great arc, which leaves me very excited for the next premiere this Saturday.

.

.

What did you think?

#sxf twilight #spy x family #twiyor #yor forger #loid forger #yor briar #loid x yor #sxf #anya forger #twilight #spyxfamily twilight #sxf anime #spyxfamily anime #thron princess #agent twilight #bond forger #sylvia sherwood

[for-dramas-sake]

My Favorite SHORT Dramas

My latest obsession in dramaland are mini dramas. They can go from 15 minutes to even 1 minute long per episode! 0_0 Here are my favorites!

The Only Girl You Haven’t Seen [MY FAVORITE SHORT DRAMA!]

An assassin is killed by her master and wakes up in the body a newly married bride to an idiot prince. But he’s not as dumb as he seems. These two go through multiple trials including war, disease and scheming princes not to mention their own secrets that threaten their marriage. 

Both of them are cuties and their love is adorable and simple. But then they are both bad asses in their own right and kick a lot of ass in this show. I love not only them and their love, but their growth into their identities. They prove that power couples are still possible!

Maid’s Revenge [BEST CHEMISTRY!]

After the murder of her entire family, a girl becomes the maid of the man who killed them. She plots her revenge against him not knowing the full truth of what really happened or who is really responsible for her family’s deaths. 

The main guy was perfect for this role: broody, commanding, sexy as hell and pining for the female lead. As for her, I like this actress after watching her in other cuter dramas so seeing her in this more serious drama made me appreciate her acting even more. There’s a lot of angst in this drama. You can drink with a straw. And the story’s not bad either. 

Dangerous Love [WISH THERE WAS MORE!]

A little scaredy cat marries a scary duke who supposedly killed all of his previous wives! She is terrified of him, but he isn’t as scary as she thinks he is. 

Another marriage life drama: this one with more comedy than The Only Girl. The girl has all these misunderstandings about her husband, and it doesn’t help that he doesn’t try all that hard to refute them. His way of winning her over is a bit different. The drama is silly but overall a great watch. 

Love for Two Lives [CUTEST DRAMA!]

A modern girl suddenly finds that she is living next door to a king from an ancient country! He makes his queen to avoid marrying someone else. She comes in and modernizes the palace to the king’s enjoyment, but not everyone likes her or her “tricks”.

A refreshing story! What do you get when you mix old school palace royals with new technology? This story. It’s hilarious and you love all the characters. The two leads have natural chemistry and I so want a 2nd season!

The Little Wife of the General [STORIES ABOUT GENERALS ARE MY WEAKNESS]

A modern gal gets into an accident and becomes a general’s bride! The overbearing general doesn’t want her as his bride but with her fantastic cooking skills and her bright personality she slowly wins him over. There’s another gal who wants the general for herself and proves to be the thorn in everyone’s side about it.

I liked this drama pure for the story and the WHEN! This is a slow burn romance so relax, put up your feet and wait for the general to come around. There is plenty to like otherwise: the comedy, the foodie prince who is always eating and plot that keeps that story rolling.

Bossy Husband Who Loved Me [Season 1] [MOST CREATIVE!]

A novelist is pulled into her own story and in order to get out she has to progress the story along, BUT the main character in the novel, who is also her husband, can read her mind and thus foils all of her plans. She has to deal with the aftermath and has no idea he can hear her thoughts.

This drama wins just for creative writing. Any story with someone falling into a story, a game, another world, etc. I am interested to see what craziness happiness. For this drama, that someone is the novelist herself, but she can’t succeed with her husband ruining everything she does. This is just season 1 so their story isn’t done yet. Let’s bring on season 2 and all that comes with it!

#cdrama #mini drama #bossy husband who loved me #the little wife of the general #love for two lives #dangerous love #maid's revenge #the only girl you haven't seen #千金丫环] #夫君请自重 #将军府来了个小厨娘 #独女君未见 #双世萌妻 #我的危险夫君 #Chinese Drama

[maximumphilosopheranchor]

"For two decades before his global fame as a wartime president, his reported bravado and need for “ammo, not a ride” accompanied by actual courage, Volodymyr Zelenskyy was widely known in Ukraine and throughout the Russian-speaking world for his artistry, humor, and moral leadership. If the Soviet period had been distinguished for some above all by its bezzhalostnost’— its ruthlessness or pitilessness—and the 1990s by mercilessness of a different sort, as a screen and stage performer Zelenskyy had consistently embodied and articulated humanistic values, telling the truth about politics and everyday life even when the stakes of doing so were high. As a satiric actor, Zelenskyy articulated a way of thinking about national belonging in Ukraine that included space for diverse political identities while promoting patriotism and unity. While to some, Ukrainians’ current unity may seem a crisis response that may not survive victory or an inadvertent product of Russian President Vladimir Putin’s choices, an examination of Zelenskyy’s work as a showman illuminates his sustained efforts to lead Ukrainians and foster societal unity well before Russia’s full-scale war.

Although some observers in the West have interpreted their own discovery of Zelenskyy’s wartime qualities as his “emergence” as a leader, Zelenskyy has long been known as such in Ukraine—albeit in the realm of artistic, rather than political, performance. Years before his formal presidential campaign or presidential leadership, Zelenskyy articulated a vision of Ukrainian political nationhood from the stage. Even as Zelenskyy’s record in governance prior to February 2022 elicited mixed responses from Ukrainians, the ideas about Ukrainian political identity that helped propel Zelenskyy to a landslide victory in 2019 have been resilient in the face of full-scale war. The following pages examine key ideas Zelenskyy communicated as a performer during the eight years prior to Russia’s full-scale invasion, analyzing the content of Zelenskyy’s stagecraft and the concepts and discursive frames he and his troupe Studio Kvartal-95 used in their show “Vechirnii (Evening) kvartal” to build a vocabulary of national unity following years of societal polarization.

Most discussions of Volodymyr Zelenskyy in the context of his wartime presidential leadership note in passing that he is a former comedian, but Zelenskyy was no minor figure in the worlds of Ukrainian and Russian show business. As players in international improvisational comedy competitions (KVN, or Club of the Merry and Resourceful) broadcast on Russian state television, drawing millions of viewers, Zelenskyy and his troupe were familiar to audiences across Ukraine, Russia, and other independent states that had been part of the Soviet Union by the late 1990s.

By 2003, after Zelenskyy’s popularity and talent yielded overtures from Moscow to work as a writer for KVN, which he refused, he and his teammates set out on their own. Zelenskyy created his own production company, Kvartal-95, which would go on to produce dozens of television shows and films viewed on Ukraine television and on Russian state television. In 2021, Kvartal-95’s show Svaty (“In-laws”) was the most popular series on Russian state television and on Ukrainian television, where the series attracted 12.8 million viewers and a 24 percent share of Ukrainian audiences that year.

Ukrainians of all ages followed their show Vechirnii kvartal, which aired at prime time on Saturday evenings. In its final year with Zelenskyy, prior to his inauguration as president, Vechirnii kvartal was watched by 18 percent of television audiences across the country. A musical revue that leaned heavily on political satire, Vechirnii kvartal addressed topics of interest to everyday people, making jokes highlighting the absurdities of contemporary post-Soviet life. Whether playing a hospitalized psychiatric patient pressured to vote for former Ukrainian president Viktor Yanukovych or an apartment dweller waiving a shotgun to threaten a postal worker delivering an electricity bill, Zelenskyy and his troupe invited his audiences to laugh not at the people they portrayed, but at the absurdity of the world as seen through their eyes. There were exceptions, as when they satirized politicians, skewered Russians gloating over the annexation of Crimea, or ridiculed Russians over their stereotypes about Ukrainians. After 2014 Zelenskyy and his troupe used the show to advance ideas about democracy and Ukrainian sovereignty and unity.

From the stage, Zelenskyy and his troupe told stories that follow Aristotelian conventions, leading the audience through a narrative arc that ended in catharsis. At the same time, they suffused that dramatic form with social reflection more typical of modern theater. In contrast to dramatic theater, in which the viewer closely identifies with characters on the stage, and different from modern theater’s critical distance from the action on the stage, Zelenskyy engages each member of his audience not with the characters, but as a character. This move involves the viewer as a political subject, making possible an emancipatory politics that ordinarily is rendered impossible by the structure of dramatic form. In other words, Zelenskyy tells a compelling story—but still prompts the viewer to leave the theater primed to act to improve the world.

As a showman, Zelenskyy articulated a political vision that consistently emphasized not only freedom and ambition but also responsibility and brotherhood--sisterhood later would become a theme of Zhinochyi kvartal, a show also produced by Zelenskyy’s company. Zelenskyy preached not loyalty to a leader but fidelity to the idea of Ukraine—and proceeded to offer a vision for that idea that viewers of Vechirnii kvartal absorbed and engaged with on Saturday evenings and when Zelenskyy and his troupe toured Ukraine and Ukrainians’ vacation destinations around the world. (..)

Beyond the halls of academia and government, over time many other Ukrainians also internalized the trope of “two Ukraines,” the idea that the history and geography were in some sense destiny and their single state might really be two countries, as Riabchuk had once put it. After all, there were real historical regional variations and disagreements, and evidence of contemporary division was present in everyday life. For example, in the years immediately following the massive demonstrations of Ukraine’s Orange revolution, which coalesced in response to documented electoral fraud, members of the same family often couldn’t agree about whether protest was a legitimate path to political change.

If a split approximately along the Dnipro had been the dominant framework Ukrainians and others long had used to organize Ukrainians’ ideas about their relationships with their compatriots, Zelenskyy and Studio Kvartal-95 offered a different way of seeing Ukraine and the world. Both drawing on and articulating a form of national patriotism that was emerging in Ukrainian society following Russia’s 2014 invasion, Zelenskyy and his troupe supplied their audiences a language and framework to think and talk about modern Ukrainian political nationhood that broke through dominant tropes of polarization. Like the Ukrainian professional historians who worked on the “historical front” during the same period to provide a framework for a decolonial and constructivist politics and history that emphasized change and fertile engagement among groups rather than an essentialist nation, Zelenskyy and Studio Kvartal-95 worked on an artistic and entertainment front to shift how their Ukrainian audiences saw themselves and each other.

From the stage, Zelenskyy and his troupe cultivated a way of thinking about Ukrainian identity that included a diverse range of people and articulated values that were patriotic and liberal—yet included elements of religious culture and broad humanism that appealed to a wide range of Ukrainians. Their approach provided language and a national concept that russified Ukrainians, who did not think of themselves as nationalists, could use to identify as patriots. (..)

In contrast to the binary thinking that dominated Russian official discourse and some analyses of Ukrainian politics, Zelenskyy used an approach to discussing the recent past that reflected a growing understanding in Ukraine of the country as a multicultural polity. In their songs, Zelenskyy and his team reframed Ukrainian identity to focus on recognition and validation of ways of belonging that often did not map onto the categories of analysis social scientists usually used to examine identity. Through lyrics and other elements of performance, Zelenskyy and his team disaggregated elements of the seemingly bipolar world of Ukrainian domestic politics to articulate ideas of Ukrainian identity that focused on a diversity of possible personal and group identities. (..)

As president, Zelenskyy took the approach he used on stage further, invoking identities that cohered not only around language or region, but also around individual beliefs and everyday practices that did not always seem political. In his New Year’s presidential greeting in 2020, Zelenskyy articulated a plural vision of politics that expanded the categories Ukrainians used to identify themselves and that others use to identify them. Elevating regional identities, he spoke Ukrainian but also pronounced sentences in other languages spoken in Ukraine: Russian, Crimean Tatar, and Hungarian. He then led his viewers through recognizable identity categories and experiences, alighting upon a variegated societal taxonomy. Setting aside concepts ordinarily used in political analysis, Zelenskyy recognized and elevated Ukrainian citizens as individual humans:

Who am I? An agronomist from Cherkasy, a former photographer who defends his country in the east? A former physicist who washes dishes in Italy, or a former chemist who builds skyscrapers in Novosibirsk? Someone who has lived abroad for ten years and loves Ukraine over the Internet? Someone who lost everything in Crimea and started again from nothing in Kharkiv? Someone who learned Ukrainian because it’s normal to know the state language. Someone who doesn’t want to? Someone who pays her taxes? Someone who breaks the traffic laws? Someone who has a dog? A redhead? A Muslim? Someone who is hearing-impaired? Someone who hates olives? A liberal? An excellent student? Someone who didn’t watch Game of Thrones? A sanguine temperament? A vegan? A Capricorn? Someone who doesn’t offer his seat on the subway? A blood donor? Someone who refuses to use plastic?

Zelenskyy went on to add, “This is each of us, Ukrainians, as we are. Not ideal, not saints, because we’re just people, living people, with our flaws and eccentricities.” Responses to the address brought an avalanche of appreciation within and especially beyond Ukraine, as many remarked on the contrast between Zelenskyy’s warm, human thoughtfulness, and individuality and the uniform, cardboard character of the greetings distributed by the Russian, Belarusian, and Kazakhstan presidents. (..)

Having produced performances that tried to break apart the dualities that dominated Ukraine’s polarized politics, focusing instead on a diversity of constituent identities, Zelenskyy and Studio Kvartal-95 used two key focal points to gather individual parts into a coherent whole. For Zelenskyy and Studio Kvartal-95, those focal points were interlocking foils: the actions of Ukraine’s own oligarchic political class, which treated Ukrainians as background players, not agents of change, and Putin’s political regime and its war against Ukraine. Focusing on issues about which Ukrainians of different political, linguistic, and other stripes could agree, Studio Kvartal-95 used these two themes to articulate the idea of a united popular front. (..)

Performing mainly in the Russian language for russified Ukrainians, Zelenskyy and Studio Kvartal-95 articulated for their audiences an idea of Ukrainian national identity that broke through long-standing societal polarization and interference from Russia to create a space in which Ukrainians could find an idea of multicultural patriotism and community, a mirror image of the robust civil society that had developed in Ukraine during the same period. While others have noted Zelenskyy’s ordinariness, describing him as a reflection of the society in which he lives, this article has highlighted the ways Zelenskyy and Studio Kvartal-95 intervened and led in Ukrainian mass culture, providing a vocabulary and concepts for articulating an inclusive vision of Ukrainian political nationhood.

The ideas Zelenskyy and Studio Kvartal-95 articulated from the stage did not attempt to sort out a shared national past through power-laden competition among different groups’ versions of history. Instead, setting their audience’s eyes on a shared horizon, they abandoned the analytical categories social scientists use to sort people’s identities and recognized the possibility of fostering unity by validating a great diversity of possible taxonomies that could be used for thinking about belonging. In Zelenskyy’s vision of politics, recognition of diversity also included an embrace of agonism, a radical acceptance of messiness and disagreement in democratic society, a willingness to look with humor and understanding upon human frailty, and a recognition that strength is to be found in variety: that a social fabric woven of many different visible threads can be more flexible and resilient, and more resistant to damage than an undifferentiated weft."

Jessica Pisano, "Volodymyr Zelenskyy’s Vision of Ukrainian Nationhood". Journal of Peace and War Studies, 4th Edition (October 2022).

#Jessica Pisano #Volodymyr Zelenskyy #Ukraine #article

[ragdoll665]

How I would “fix the sequel trilogy”.

Episode 1: The fix begins.

No changes to ep 7, for a few main reasons. Firstly, its actually pretty good, most people liked it when it came out, yes It plays it very safe and yes, it’s a lot of what we’ve seen before, (ep 4) BUT it nicely sets up our main cast of characters, builds some nice intrigue and mystery, who is snoke, what’s up with Luke etc etc etc. Its not perfect but its easily the best of the movies we got for numerous reasons, its only made worse because so much of what this set up was worsened by the lack of planning of what the overarching story of the trilogy was going to be, which I mean is going to happen when 3 different directors are hired to make 3 different movies all building off each other and no one though to make them go into a room together and actually discuss what they wanted to do.

The second reason is simplicity, a lot of my “fixes” are tweaks to the story structure of what we got, especially ep 8 which had a lot of good ideas it just didn’t really develop that well, and because of that keeping the baseline of ep 7 the same helps create a strong base to build on.

OK, with that out of the way lets get on to my changes.

Episode 2: the last retcon.

So this movie has a lot of good ideas and sets up some interesting things, I like Rey and Kylo’s dynamic each trying to convince the other one to change sides (this is a surprise tool that will help us later) fin still feeling like wanting to run but also not wanting to abandon his friends and kind of needing to find a purpose, and Poe advancing into a leadership position and having to learn that he cant do everything himself, he has to rely on others.

So, the movie would start in a similar way, a big space battle with the rebellion, sorry, resistance fighting the new order in space, cut a few of the marvel jokes, not that there can’t be funny moment or comedy in this movie but some of the humour in the movie really messed with the tone. Poe leads a good strike on a first order ship led by Kylo ren and snoke same as the movie they do a good job but lose some fighters and are forced to retreat again very much what the movie sets up.

Now the main changes, in this we have 3-4 main story’s going on at the same time, each of our main characters has a story that they are the hero of that build towards the overall lesson. Like ep 5 and ep 2 the movie will end on a loss for our heroes but will help them develop the skills necessary to win in the end.

So the resistance are on the run the new order are somehow tracking them and preventing them for resupplying, hoping to destroy home one and cut of most of the resistances leadership to cripple them, major difference here is that instead of being able to track them through hyperspace, something that I would argue goes against literally all of previous star wars cannon, there is a spy on board, sabotaging home one and reporting there location to the new orders, eventually due to the size of the new order fleet, being far from the core world were the new republic is running stuff the new order will eventually catch home one and destroy it.

Poe:

Poe’s story is similar to what it is in the movie, keeping things simple here, it’s about leadership, Poe leads from the front, he sees others die and wants to prevent it which leads to him trying to do everything himself, which he obviously cant do, his story is, with the guidance of admiral Ackbar, and Mon Mothra, our mentor characters he has to learn to rely more on others. Poe’s does everything he can to try  and catch the spy but at every turn he is just one step behind, the spy is sabotaging the ship, he’s getting frustrated eventually he walks into a trap and something bad happens, people are hurt and he gets really depressed, he is again reminded that he cant do everything alone, they reference how the rebellion is built from the hopes and dreams of thousands of worlds, callback to how the destruction of both death stars were team efforts, getting the plans destroying shield generators and actually fighting in space. Poe reflects on this, then he bumps into Rose, who was introduced earlier on and is still the sister of a pilot killed in the opening battle, of which po feels responsible for, rose doesn’t blame him maybe talks about how she wants to blame her self as a mechanic she should have seen any issues with the ship maybe if she had done more her sister would be alive, poe says that isn’t fair on her and basically gives the mentor lecture to rose which is how he finally realises he is in the same place, he asks rose for her help and the two hatch a plan. It turns out one of Poe’s friends, a pilot on his team is the spy someone who he never would have suspected or been able to catch because she always knows were he is and what he��s up to due to being on his team, but she doesn’t account for the background characters, the no named engineers working hard like rose who go unnoticed but who’s work is critical, its them who noticed the sabotage and suspicious log activity. Poe and crew confront them and they as a final act sabotage the ship, only partially, because they didn’t have time to finish, but enough because po spent so long trying to do it himself, destroys a part of the ship, Ackbar and Mon Mothra sacrifice themselves to save Poe and gang, in a heroic manner, pass on the message they trust them to keep the spirit of the resistance alive.

Poe is set up to be the new person in charge, Poe still takes an active role but is now ready to assume the mantle of being in charge, relying on other and live up to the expectations of the mentor characters we knew and loved.

This is the main theme of this movie in my rewrite, the conflict between Fascism and Democracy, fascism sets up everyone as trampling over everyone else to benefit themselves whereas our heroes benefit from mentors who seek to help them be better than they were, to make a stronger world for others not themselves. This point will be very apparent in the Rey arc but well get their eventually.

Finn:

Finn: Finn’s arc is about discovering his purpose and doing something with his stormtrooper background, he’s not super in the rebellion at this point but is willing to help to save Po and Rey, he sneaks aboard the enemy flagship and uses his skills as a stormtrooper to try and find a way to sabotage the ship or fleet to help the good guys get away. He is eventually caught by captain Phasma who in a twist is also in the process of building a rebellion, yea the reason she was so willing to give up the shield on star killer base was because she was also questioning her loyalty, maybe in part because of Finns actions. She reveals she’s been building a team of “dysfunctional” stormtroopers who would be killed or imprisoned for being to out of the norm of the stormtrooper brainwashing, we get a cool cast of wierdos with fun quirks, maybe one dude loves flamethrowers another like fighting in melee with batons basically just people who have a personality. A “bad batch” of troopers if you will. This is where fin learns his purpose, he wants to help other stormtroopers escape, obviously not all stormtroopers will be good people but within them will be some and it’s those people he wants to help, to give them a chance to live their own lives. The are the cool elite team that damages the star destroyer enough to let the good guy’s escape (barely) during the climax.

Again, leaning into the individuality is good, and how fascism crushes people’s personalities to just be cogs in a machine for the benefits of a few, it’s the actions of individuals which is why the rebellion won the war with the empire and why the resistance will eventually win against the first order.

Rey:

Rey: Rey jedi training arc time, this parallels very similarly to Luke in episode 5, she wants to be trained quickly so she can go back and help her friends, Luke who better than anyone understands this and understands that it’s the wrong decision, again the idea of learning to rely on others, and realise you cannot do everything yourself. Luke pulls a Yoda and acts senile and drags out lessons and points trying to teach Rey patience, she still has her talks with Kylo and the two continue to try and convince the other to swap sides (foreshadowing). eventually Rey makes the same decision Luke makes in episode 5 and runs off before completing her training to try and help her friend, Luke follows her. She gets to the flagship and confronts Kylo and snoke, they argue, fight etc. This is were snoke pulls a palps, and try’s to convince Rey to become his apprentice, talking shit about Kylo, how she has only had a small mount of training but can compete with him, who has “super blood” bloodline from the Skywalkers. Very eugenics reasoning from snoke which makes sense cause he’s a fascist dictator. Using his dark side powers and through manipulation he convinces Rey to fall to the dark side, before she can kill Kylo and take her place as his new apprentice (very rule of 2) Luke shows up and saves Kylo, forgives him for everything, apologies for failing him as a teacher and tells him to leave and warn the rebellion. In this moment Kylo and Rey have flipped teams, are enemies still but are now on different sides, Kylo returns to the light, early enough to take steps toward redemption.

Kylo flees the ship taking Fin, Phasma and the “bad batch” with them. Luke stays behind to confront snoke, and by time for our heroes to escape (very episode 4 obi-wan) it’s a fight he cannot win but he doesn’t have to, after an epic fight between him and snoke, with crazy lightsabre swings and force powers, they have a finally dialogue, snoke talks about how Luke is weaker than him and got the weaker of the two apprentices, how he fails to understand true strength, snoke is very much a use things so they can get further again everyone is a tool for them to use, Luke on the other hand counters with the idea that no, Rey and Kylo will both end up being stronger than he was, because that’s the whole point, to help people, to teach so that those who come after become better than those who came before the. Then he is struck down in a similar fashion to obi-wan.

I Think this is particularly important for Reys character, I think, more so in getting the audience to accept how strong she gets to be, same for Kylo, instead of just making her super strong which led to her being disliked (although a lot, and I mean A LOT, of that was just sexism from the SW fanbase tbh). Rather she and Kylo are stronger than Luke because the audience believe Luke is capable of training people to be better than him, think that Gurran lagan line.

Believe in the me, that believes in you.

Make the audience want Rey and Kylo to be cool as heck because doing so Honours the legacy of Luke and all the characters that came before them, not just to replace them.

Thus, ends episode 8, the good guys are on the run, Rey has fallen to the Darkside, Kylo and Phasma are on team good guy and while things seem dire, the characters are resolved to keep fighting, to win, to rescue Rey and stop the new order.

Episode 9: Rise of a good ending.

I won’t go into as much detail as I did for episode 8, mostly because due to the changes I would have made ep 9 looks very different and is much more a wholly different movie than ep 8 was. But I’ll hit the main points that build to the conclusion.

Time has passed since the last movie the resistance and new republic are putting up a fight against the new order, but things are still bad, Kylo and crew are still not wholly accepted by many in the resistance because of their previous actions but Poe, now helping lead and coordinate the resistance, trusts Tin and is willing to accept Kylo’s help. The major plot of the movie is about snoke.

Snoke is a very old very powerful Sith lord, he does an emperor from the old republic and every few hundred years kidnaps and tricks a bunch of force sensitive individuals and uses them in a ritual to make himself more powerful and extend his life spam. The good guys learn he is planning to do this again, soon on Rey and some of the jedi from Lukes old jedi school, including the knights of ren. The good guys realise they don’t have long before they lose Rey, and Kylo isn’t convinced he can beat Rey, let alone snoke alone. IF you wanted this is where you have fin be revealed to have been force sensitive and Kylo must teach him to be a jedi to help rescue Rey, and by teaching he learns, which is a common thing for jedi through all of Star Wars, like with Kanin teaching Ezra. Poe leads a big space battle to challenge the new order and by time for Kylo and Fin to sneak into snokes citadel and try to stop his ritual.

This is the plan to rescue Rey and kill snoke, like the empire snoke is the sole leader of the new order, everything comes from him (again fascist dictator) if they kill him infighting and power struggles should cripple the first order, like the empire after Palpatine is killed.

Poe leaves Kylo and Fin to rescue Rey, and kill snoke, he leads the fight in space, to buy them the time they need. When things get dire, he hops into his x-wing to kick ass while still coordinating the new republic forces in his custom 2-seater x-win with rose as his co-pilot.

Kylo and Fin fight through some punks to get to snoke and they fight Rey and “lose” because they are trying to convince her to rejoin them, Kylo and Rey could still have been having force conversations like the last movie throughout. Eventually just before snoke can kill them they manage to convince Rey who breaks through and saves them, they have a short heart to heart moment and turn to challenge snoke. Snoke is annoyed but he’s still in the middle of his ritual and if he wins, he can still use their energy. The three of them fight a big epic fight while the space battle rages on, each using a different lightsabre style, Rey with a double because she had a staff in movie 7, come on Disney it just makes sense, Kylo with his Cross guard but fighting more defensively and supporting his two friends, and Finn with the single, and give him a cool force power, he deserves it and the other 2 got one. The trio eventually end in a force blast clash with snoke, dragon ball z style, snoke boasts about how weak they are, how feeble their forces are how there are nothing to him, but they stand united and the force ghosts of previous mentors appear as the ritual is about to conclude, the extend hands in support of our heroes, again reinforcing the idea of building a better future, and standing together for the benefit of all rather than selfish power grabbing and being alone. With force ghosts at their back the win the struggle and kill snoke permanently, without snoke the new order predictably ends up infighting and power struggling which cause them to lose the battle even though they out gun the new republic.

Each character has their arc concluded, Kylo gets to be redeemed from being a villain and continue to teach to honour Lukes’s legacy.

Finn concludes his arc by helping convince Rey to switch sides, to rejoin the good guys, the power of friendship and acceptance, and gets to be a jedi, who spends his time helping other get out of bad situations.

Rey realises that the circumstance of birth doesn’t define you, she helped to convince Kylo to change sides, which was her main goal in the last movie to honour Leia and Han, gets to be a jedi and help people.

Poe is helping organise the new republic, not just in military efforts but has expanded to be in a similar position to Leia and carries on her legacy, as the surrogate son he always was to her.

Thus ends the sequel trilogy, which told the story of standing against fascism and how we build a better world by supporting each other and teaching the next generation to be better than we were. It passes on the mantle to new characters while honouring and respecting those who came before and for fans of the original series.

A couple optional things.

 I didn’t mention Leia much because I feel weird about how I would use her in the story given carry fishers tragic passing, you could potential have her be the main mentor of Po in episode 8 and sacrifice herself to save him, which I think would be the best way to do it, but also she obviously passed before the movie was fully shot so this might have been impossible and also killing of her character as she passed may come across as disrespectful to the actor, it’s just something I wasn’t completely sure how to handle.

If you wanted to set Rey and Kylo up I think this would give you more chemistry and time to see them bond, but that’s up to you I’m not a Reylo shipper, and I don’t particularly care one way or another.

I didn’t mention our little droid friend, their still here being comedic relief and sad when Rey joins bad guys, teams up with Kylo reluctantly because of Finn and does some cool stuff, at least that’s how I would envision it, but I didn’t feel this was critical to the changes in the story, so I didn’t mention it.

Finally, I just want to mention.

I’m not a good writer, I watch a lot of cartoons and some shows and have a lot of ideas that I think would be good, but I’m not a professional writer, I haven’t written any big blockbuster movies and most of my changes come from seeing a completed story, something the actual directors didn’t have, and hey maybe you even hate my changes or disagree with how characters should have ended up, that’s cool. This was just a very late frustration project from my experience of the trilogy. I really liked the characters of Po, Finn, Kylo and Rey and had my own hopes of the direction the movies would take.

Anyways hopefully you liked some of this ramble, maybe you have your own interpretation about how you’d have like to see the sequels go which I’d love to hear.

Live long and prosper all you SW jizz fans.

#star wars #scifi #star wars sequel trilogy #writing #reylo #Rey #kylo ren #Finn #poe dameron #luke skywalker #princess leia #han solo #admiral ackbar #mon mothma #supreme leader snoke