#i wonder if he has a say in where they film certain things

[raven-at-the-writing-desk]

thinking about book 6 battle simulations

I was thinking a lot about book 6 lately! (Not for any particular reason, I was just ruminating, haha...)

During the examination segment, Riddle, Azul, and Vil were put into one group and Jamil and Leona were put in the other group. Idia then put them into VR simulations in which (simulated) Trey, Jade, Rook, Kalim, and Ruggie approached the subjects to upset them. This is for the purposes of STYX to gauge their combative capabilities and blot accumulation. What I noticed on another read of these parts was that Idia makes sure to inform all the subjects they are about to enter a VR simulation BEFORE they dive in... and yet despite this, group 1 (Riddle, Azul, Vil) was still caught off-guard when Trey, Jade, and Rook attacked them. Meanwhile, Jamil in group 2 automatically defers to Kalim but Leona is the one who notices something is fishy about the situation. Now, now... this is interesting 👁️ Why might this be, I wonder~ (You bet I'm going to analyze the heck out of these small details!)

***Main story spoilers up to book 6!!***

First thing to consider: it's possible that perhaps the characters don't fully understand what "VR simulation" is, as most of them did take a while to come to their senses. Of the 5 subjects, Riddle is the most likely to fall into this category. He seems to be slightly confused by the concept of a "virtual space" when Idia explains the examination to them (which likely conflicts with Riddle's very traditional understanding of "tests"). Furthermore, Riddle has expressed in Endless Halloween Night that his mother did not allow him to play video games or to watch TV so he'd usually do crosswords or solve other puzzles for fun. He's not completely technologically inept (like Malleus), but Riddle does have a somewhat limited scope of how items and procedures are to be used, especially if it lies beyond its normal means. It's likely that he has not thought of VR simulation being used in the scenario in which he finds himself in now.

The other 4 subjects, however, most likely understand what VR is and shouldn't be confused by the simulation. Azul is very savvy and keeps up with trends, which can factor into his business(es). He even brings up streaming as a potential source of revenue in book 6; man has his fingers on the pulse of pop culture to know what will sell. Vil, being a celebrity and the leader of the Film Research Club, must have an understanding of various technologies used to achieve certain effects (especially as director of his own projects). Jamil constantly deals with Kalim's requests and, being in Kalim's social bubble, must get exposure to all kinds of crazy technologies. Leona, being a knowledgeable prince, surely must understand the concept of VR simulation.

Okay, so... why did they (mostly) still get "tricked" by the simulation anyway? The key words today would be "trust" and "dependence".

Thinking about it, there's one thing that separates group 1 from 2: the boys in group 1 have a tendency to rely on others for support and validation whereas the boys in group 2 are consistently shown to be more independent than their peers (even if they, too, seek validation). Let's go through them one by one!

GROUP 1

Riddle

Riddle is presented as a tyrant that rules with an iron fist, particularly in book 1 where he stars as the main antagonist. However, it's also pretty blatant that Riddle has become increasingly aggressive due in part to others enabling him. Ace specifically calls out Trey for this, saying that his failure to intervene or to quell Riddle's temper has resulted in Heartslabyul students suffering for it. Cater is also complacent, as he and/or Trey often follow Riddle's orders and remove Adeuce from the dorm multiple times in book 1. Riddle relies on these upperclassmen to listen to him and carry out his bidding, and he feels validated when they do. It's a lesson he has learned from his mother. He is the most powerful, and therefore he should be the most correct. Notice how Riddle is quick to anger when others refuse to obey him and how often he demands for them to conform. He becomes enraged when the Heartslabyul mobs rebel and chuck an egg at him. But what hurts him most of all is, perhaps, Trey turning too. Riddle was mad about the mobs acting up, yes, but he still did not overblot. Not yet, at least. No, Riddle overblots only AFTER he tries to attack Ace with the rose trees... and Trey steps in with his UM to overwrite Riddle's collar, turning it into cards. Trey's relationship with Riddle cannot be understated here. In this very moment, Trey, Riddle's childhood friend (one of his first friends), vice dorm leader, silent yes man, his most trusted confidant, has betrayed him. He is proving Riddle wrong, that the most powerful mage is not the most correct. "Are YOU going to tell me that I'm wrong too? After all I've done to protect the rule of law?! [...] I... I refuse to believe this!"

From these examples, we can clearly see that Riddle is someone who is reliant on others--not that he isn't a capable mage, but rather he is reliant on others for his own sense of self-worth. Indeed, even in his post-OB flashback, he indicates feeling proud and excited when his mother praises him for good grades or successfully performing a spell. This is reiterated many times over in book 1, in which Riddle feels satisfied and even smug when his students fall in line, and spirals into uncontrollable rage when they don't. There are a select few whom Riddle has chosen to place his faith in, and Trey is one of them. Trey, who gave him his first slice of strawberry tart and has been supporting him as his vice for over a year now (since Riddle became dorm leader in his first week as a first-year student; now is the start of Riddle's second year). That's why he feels so hurt when Trey is suddenly chastising him, telling him that he's behaving irrationally.

If we reexamine Riddle's post-OB flashback, you'll notice that Riddle says he is lonely without every outright stating the word "lonely". The phrasing makes it sound as though Riddle does not understand his own loneliness, like he doens't even know the word or want to acknowledge it as reality. He is awkward and unsure around Trey and Chenya, who invite him out to play. He follows his mother's rules because he believes that is what will bring him happiness. He wonders why, in spite of following all those rules, he still feels hollow inside. Then, once Riddle has awoken, he confesses that he always wanted to play more with Trey, and that he wants to talk with everyone after a meal. Riddle. at his core, craves companionship rather than dominating his peers. Trey was one of the few friends he ever had, and so Riddle puts a lot of stock into his support. This may be why he was quick to believe the fake Trey in the simulation, and why he looked so shocked when Trey started attacking him. Here is a boy who has already been betrayed once, experiencing that same betrayal again at the hands of his childhood friend. How scared must he be of losing his oldest friend, of Trey turning his back on him or seeing him as a monster? 😭

Azul

Due to the bullying he experienced in his childhood, Azul works very hard to maintain a new image of someone who is cool, confident, and composed. Part of that is passing himself off as someone who is large and in charge, while posing Jade and Floyd as his lackies who do whatever he tells them to. The reality of the matter is that the twins are very much... there to do their own thing, and they just kind of go along with Azul's schemes because they seem to be a lot of fun. When you stop to consider it though, Azul definitely puts a lot of trust into the Leech brothers even though they're both shady and can be flippant at times. It's the twins going around and advertising Azul's services to the student population. It's the twins who help him expand his business and acquire new items (as all three's Dorm Uniform vignettes are about the Octatrio conspiring to acquire the rights to and/or advertise their new drinks). It's the twins who are asked to run the Mostro Lounge whenever Azul is absent. Time and time again, Azul falls back on Jade and Floyd. They've been with him since middle school.

In book 4, both Azul and Floyd insist that they aren't really "childhood friends", but they do consider each other "equals". As Azul describes it, "I strongly doubt Jade or Floyd have any binding allegiance to me. This is all and elaborate game of pretend to them. [...] If I made a poor choice as leader--or even simply a boring one... They would turn on me instantly and seize the dorm leader seat for themselves." Floyd follows with, "We ain't got any plans to challenge him, either... for now, anyway. Aha ha! [...] We stick with [Azul] now 'cause it's fun. If it stops bein' fun, we drop him like a bad habit. Easy." The twins and Azul are both very aware that their relationship is a temporary and transactional one. Azul himself has even fully considered the possibility that Jade and Floyd may one day turn on him. This is all true--however, I also believe it's possible that the Octatrio are not being entirely truthful to themselves and do actually care for one another beyond the confines of their business ties or "having fun". In book 3, Jade and Floyd sense that something is wrong, and their immediate thought is to go check on Azul because of this gut feeling. Jade warns Azul of the consequences of misusing his UM. They are also the first to check on Azul after his OB and insist that he rest and find it within them to gently tease him over the situation. Even the way they address each other is "special". Jade and Azul have a tendency to be polite and use the honorific "-san" after everyone's name... except for each other and Floyd. Floyd, meanwhile, tends to give everyone a nickname... except for Jade and Azul. They drop these naming conventions within their group because that's how much they know and trust each other. Further proof of this is that when Floyd first meets Azul in the post-OB flashback of book 3, he calls Azul "Octopus-chan". Azul used to have a nickname, but no longer has one. This implies that a lack of a nickname actually indicates that Floyd is more intimate with someone than if he had nicknamed them. The same goes with Jade and Azul, who are usually so formal and polite.

I've already established that Azul acts in ways which indicate that he is close to the twins, as much as he tries to deny it and come off as tough. He drops the honorifics for them and he trusts them to do his bidding. What I find most telling, however, is when Jade and Floyd check up on him right as he's about to OB. "Jade! Floyd! Ahhh, you've finally come back to me," Azul says (if you listen to his voice, he sounds SO relieved). "Would you believe that thanks to these FOOLS, I've lost all of my contracts? Which is why I'm going to need your powers now. Come on, give them to me!" This is notable because, prior to this, he was forcibly ripping powers out of mob students. But now with the twins--Azul makes a CONSCIOUS decision to ask Jade and Floyd for them to willingly give up their powers to him. Azul is emotional and acting without tact here, but he STILL stops to ask the twins for them to surrender their magic. He cares about getting their consent specifically. When the brothers deny him and Floyd says Azul has become lame, that's when Azul snaps. His loyal henchmen are refusing his request and he's lost all his accumulated wealth. He's going to become the weak, friendless crybaby he once way all over again.

Knowing all of this, it makes sense why Azul was as startled as Riddle was when the simulated Jade attacked him. Azul claims that he anticipates this day--but he still seems to disturbed when it actually happens. It's true that perhaps this surprise comes in part from Azul having no indication that the twins were getting bored of him, so this is coming out of left field in his perspective. But... it could also be that he's hurt by the sudden shift, even if he and the twins have been telling themselves all along that they'd toss each other out without a second thought once they lose interest. This calls back to Azul's concerns right before he overblots: that his "business partners" (whom he refuses to call his friends) have lost interest in him and will now leave him alone and with nothing. He relies on the brothers not only for labor, but as his company and his confidants. When that's taken away from him... what does Azul have left that's worth anything?

Vil

Vil is another person who typically passes as very independent. He looks after himself quite well and is often the one nagging others to do the same. The thing with him is... he's still a celebrity at the end of the day, and a celebrity like him is always aware of his public image and the eyes on him. That's Vil's Achille's heel: as a celebrity, he is constantly concerned with how others perceive him. This is a lesson he learns in book 5--that he shouldn't let other people's judgment of him or a silly popularity contest determine his self-worth. Ah, but let's remember... book 6 begins like a mere DAY after book 5. Sure, Vil's character arc may be over, but that does not mean that he has suddenly completely changed. Up until yesterday, he was aggressively training to overcome his rival and to show the whole world his true beauty. Vil still, to some degree, finds value in how he looks and how others see him, as it strongly ties into his career. To this end, he sees Rook as a valuable individual.

Now, there's a lot of contention about whether or not Rook is a good influence on Vil or not, as some interpret his commentary as derogatory or unnecessarily critical. I'm not going to get into that; here, I am going to speak plainly about how Vil himself views Rook's feedback. In Vil's Labwear vignettes, he confides in Trey that he relies on Rook's keen observational skills to reflect the truth back to him. A celebrity must look at his best, and he can count on Rook to not mince his words and point out even the most minute of changes at a quick glance. (Vil himself is also extremely strict with himself, but lacks the superhuman abilities that his vice dorm leader does.) Rook has been doing this since long before he even transferred to Pomefiore, critiquing Vil's performances and such, not just his looks alone. This led into long discussions and debates between the two, which demonstrates how much Vil values Rook's perspective. Even back then, Rook was one of Vil's greatest supporters, but not exactly a totally blind "yes man". He is offering the kind of feedback that Vil seeks, not empty, sugar-coated niceties. This is why, in spite of his betrayal at the end of book 5, Vil eventually accepts it, as he trusts Rook's keen eye and judgment. What's interesting about book 6's examinations is that Vil seemingly takes charge of his group. When approached by the simulated classmates, Vil steps up and, after a moment of silence, says, "No... It's nothing. Let's go." (Vil is known as a skilled actor and can easily sniff out an act himself. Was the silence hesitation as he, Azul, and Riddle reevaluate the scene? Hard to say, but I'm assuming that STYX's state-of-the-art tech was able to perfectly simulate Rook, and thus confused Vil and co. for a while.) Rook strikes him with a spell, and that invokes a great emotional reaction from Vil, who seems to be the most aghast of the group. The fake Rook then declares that he's going to claim the dorm leader seat from Vil, which shocks him. "As you know, I appreciate beautiful things. Hence... I can hardly allow someone who's acted as ugly as you to occupy the Fairest Queen's throne!" The scene then cuts away to a battle. Now, while we don't get any extra dialogue from Vil to show his reaction, one interpretation could be that he was stunned into silence. Why is this a believable occurrence? Because the fake Rook called Vil out for "ugly" behavior. This is significant because back when Vil was overblotting, he was desperately shouting for people to "not look at him" because he's "so ugly". Here, ugliness does not mean literal ugliness or something that is visually unappealing. The "ugliness" being spoken of refers to being morally rotten, as Vil was speaking on his guilt after resorting to dirty tactics to try and take out his rival (when he had previously sworn to win on his own merits alone). The simulated Rook might be referring to this, which induces great shame in Vil, who is aware of the weight of his sins. Heck, book 6 even starts with Vil taking accountability and sincerely apologizing to the whole NRC Tribe for causing them trouble. Vil blames himself for their team losing, as it was his OB that forced them to fight and physically wore them out before their big performance. "What does it matter who forgives me?! I can't... I can't forgive myself!" He may still have lingering guilt regarding this incident, hence why he's the one predominantly reacting when the vice dorm leaders betray group 1. His mirror and huntsman, who speaks only the truth to him, now tells him of his ugliness. What else can that be, if not the truth reflected back at him?

GROUP 2

Jamil

To be clear, Jamil did not automatically go after the simulated Kalim. He automatically defers and tries to go along with his dorm leader (and only starts fighting once Leona declares the simulation for the sham it really is). Why? Surely Jamil is sharper witted than that. To this, I say... of course, it's just that Jamil's so used to being a servant that he reverts back to submissiveness as soon as he's put in a circumstance where there's a power dynamic. He’s not the one relying on Kalim—Kalim is often the one relying on him. You need proof of Jamil's servile mindset? He was intentionally talking down his own skills ever since book 4 and, according to Azul, has been purposefully maintaining painfully average grades (which, in of itself, takes a lot of effort). Admittedly though, those are conscious choices, not unconscious ones. But how about back in book 5, when Vil announces him as one of the lead vocalists and Jamil's immediate reaction is not to accept it, but to humble himself and insist that Kalim would be better suited for it (when Kalim actually isn't)? Jamil has to stop himself, back up, and accept the nomination, which he has earned for himself, rather than relinquish it to someone less deserving. Years and years of serving someone else, forced to play the part of the inferior servant, will beat that attitude into his mind, regardless of how much he resents the position.

Even now, Jamil feels like he usually has to follow someone else's lead. Leona, the upperclassman and dorm leader, provides that lead for him in the VR simulation. This leadership + independence is something they would butt heads over later in book 6, as Jamil begins to act overprotective of his current charge (Leona) as he does with Kalim. While Jamil has played the part of Kalim's attendant and childhood friend, the reality is that Jamil cannot stand those roles. He desires to stand out and to be recognized--something which is evident in book 4. Before he brainwashes the Scarabia students, he's always framing himself in a positive and helpful light to them and speaks humbly about his abilities. After he brainwashes the Scarabia students, he has them heap him with praise that he had never gotten in his childhood. In the post-OB flashback, we see Jamil's parents scolding him for outperforming Kalim, even in something as simple as a game. The headmaster of a great arcane academy overlooks him in favor of someone far less capable.

Jamil knows he can be great, but he's intentionally being told to not reach those heights. He feels stifled and trapped, and no one understands his plight that he cannot escape from. This results in Jamil distancing himself from others and coming to rely on himself and himself alone to make his wishes come true. He can't rely on his family, who are beholden to their legacy of being servants to the Asims. He can't confide in friends because none of them are quite like him, and Kalim would ignorantly brush it off. He can't tell third parties because, as Crowley as demonstrated, they dismiss him outright. Jamil, as he acts throughout book 6, is doing so in an effort to find his own strength and to be able to act on it with the freedom he seeks. To play support not because he has to, but because he, the individual, wants to. As Jamil states before overblotting, he wants to "be free" from these precarious circumstances where a wrong move could doom him and his family... but he only has so many liberties to work with. This leaves him in a strange limbo situation where he still isn't fully independent but desperately wishes to be. We see him fighting against the restraints, and to varying degrees of effectiveness depending on the context and his state of mind within that context.

Leona

From a young age, Leona seems to have worked tirelessly to obtain recognition. Like Jamil, Leona was in such a position (second-born prince) that, despite his efforts, he kept being rejected and beaten down again and again. As we see in his post-OB flashback, this is what eventually broke Leona’s spirit and made him develop a pessimistic outlook on his prospects for the future. The thing is, even though Leona does not really have hope for himself, he still manages to inspire hope in other people, from underclassmen to the students of his dorm. Book 2 is entirely about Savanaclaw looking to Leona to save their own futures, and him trying to do so for their sakes. His club mates extol how he can so quickly hone in on their best skills and advise them on how to sharpen those skills. Jack admires Leona’s plays, so much so that he wished to one day play alongside Leona. He’s even able to get beastmen of different species to get along and live peacefully under his rule when this has historically been difficult for his older brother to manage. All in all, Leona has all the makings of a leader. He stands out from the crowd, knows when to leverage his power and intelligence (playing smarter, not harder), and commands with ease.

… That being said, Leona’s presence can be so powerful at times that it’s also isolating. This was the case for his childhood, which is depicted to us as many palace servants being fearful of Leona’s devastatingly strong magic. He also uses this strong magic against his dorm mates when their intentions clash in book 2–and he comes close to killing someone in the process. He’s also just notorious in general for being grumpy or unfriendly toward others, including one instance in book 5 when he seems upset that you’ve showed up in his classroom. Leona drives people away from him, whether because of his strength or because of his prickly attitude.

At the same time, i would also describe Leona as a tactician that keeps some degree of distance from those he commands. He makes it clear he's willing to use others to achieve his own goals and does so many times over. Book 2, when he tries to take out Malleus to help his dorm leaders while also trying to prove to himself that he's capable. Book 3, when he helps Yuu and co. dissolve the contracts including one of his own he made with Azul, etc. Leona knows how to best use his own abilities, as well as those of others. That's what makes him so formidable--he can read others and judge the situation extremely well, and he knows when it is smart to fight and when to tactically retreat (such as in book 6, when he immediately surrenders to STYX agents rather than make a scene). Leona is a self-sufficient man.

There’s the question of Ruggie, of course. Leona is often depicted as lazy and relies on Ruggie to do many daily things for him, such as laundry or fetching food. This obviously throws a wrench into the claim that Leona is more "independent" than those in group 1, doesn't it? He doesn't even come close to Jamil, who actually does all of these tasks himself. Well, not exactly. I don't think "independence" here really comes down to that alone. Riddle, Azul, and Vil all relied on Trey, the twins, and/or Rook to some significant degree to inform their own senses of self. Jamil had this belief of deferring to his "betters" (the Asims) instilled in him, regardless of his personal feelings on the matter. And Leona? Leona does not significantly rely on Ruggie for his self-worth (dude was 100% going to sand him in book 2). Yes, Leona was likely looking to help his dorm members in part to prove to himself he is capable of leading a pack, but he gives up when he realizes it was a fruitless effort. He doesn't become reinvigorated to keep it up or to try again, even when his dorm members (Ruggie included) plead to him. Leona is acting selfishly, and he refuses to acknowledge their perspectives--he's set in his own ways and is driven by his own thoughts, not those of the people around him. Perhaps this is what allows him to discern truth from lies with such clarity, as it is Leona who rouses Jamil to his senses and leads the charge against the VR simulation Kalim and Ruggie.

#twst #twisted wonderland #Riddle Rosehearts #Azul Ashengrotto #Leona Kingscholar #Jamil Viper #Vil Schoenheit #Idia Shroud #disney twisted wonderland #disney twst #book 6 spoilers #notes from the writing raven #Trey Clover #Ruggie Bucchi #Cater Diamond #Jack Howl #Savanaclaw #Octavinelle #Tweels #Jade Leech #Floyd Leech #Kalim Al-Asim #Scarabia #Rook Hunt #twst analysis #twisted wonderland analysis #twisted wonderland character analysis #twst character analysis #Ace Trappola #Dire Crowley

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 3)

Part one

Part two

There's SO MUCH excellent meta out there right now, and I'm going to try not to reinvent the wheel too much, but I want to keep going with tying the episodes/ elements up together because on first watch it wasn't entirely clear how everything fit. I also strongly recommend a rewatch, no matter what you felt about the ending... if you need to stop it 10 minutes early, do that, but you pick up so much more the second time around.

So: Maggie and Nina. I spent most of my first watch wondering why we were bothering with them, honestly. Later in the season Nina, and then Maggie and Nina, gave Crowley some insightful advice, but their actual relationship didn't progress despite all the meddling, and the amount of emotional investment BOTH Aziraphale and Crowley had in making them get together was frankly strange.

I started thinking in terms of mirror couples, since that was such a big deal in S1 and that's clearly what they were set up to be, but I made the mistake that all of us made on first watch: that Nina was Crowley and Maggie was Aziraphale. It still wasn't really coming together.

Then I put the psych hat back on and started to think about displacement. Displacement is a defense mechanism, and it consists of satisfying an impulse (usually an unconscious one) with a substitute object. At the beginning of the season, Aziraphale and Crowley aren't really in a good place, and I think on some level they know that. Aziraphale is trying to SHOW Crowley that he wants to take the next step through all the casual touches and phone calls and inviting him in, and feeling frustrated because Crowley doesn't seem to be taking the bait. (I absolutely think that Aziraphale tried to get Crowley to stay with him at the bookshop instead of living in his CAR, and Crowley said no. That's a whole other meta.) Meanwhile, Crowley, I think, is waiting for a Grand Gesture. Where did he go, as soon as Aziraphale brought up trying to get two humans to fall in love? Romantic tropes. Getting caught in the rain under an awning. A dramatic kiss that opens someone's eyes. That's the sort of thing he's always done, right? Big rescues, impassioned pleas on the street, fancy dinners, "give you a lift anywhere you want to go". He's defensive and guarded and unlikely to let someone in unless he's CERTAIN he won't be rejected, and Aziraphale's approaches are just too... quiet. No one's fault, they just don't speak the same language.

Then, they're handed the opportunity to make two humans fall in love, and they're both All In immediately. Look at Crowley's face when he summons the rainstorm. This is HUGE for him. Why? Because of displacement. Look at Aziraphale arranging the ball and being borderline deranged about it. They're both desperate to demonstrate what they think it takes for two people to move past their misunderstandings and fall in love. They can't do it for each other because the stakes are too high, and if either of them shows their cards unequivocally the vulnerability feels life-shattering. They're codependent and terrified of rejection and also, importantly, have no idea what they're doing when it comes to love. "Saw it in a film", Crowley says. Aziraphale's read about it in books. But they have zero practical experience.

Instead of learning to communicate, they try to say what they want to say through the medium of Maggie and Nina, up to and including the questionable moral decision to exert control over people's actions and thoughts during the ball. If I can just make this come out right, they both think, then things between us will be alright too. It HAS to come out right. They're attempting to gain some control over their own lives, over something that feels so overwhelming and shattering they can't look directly at it.

It doesn't come out right. Nina's relationship falls apart, but that doesn't mean she's in love with Maggie. While Crowley's stress-cleaning the bookshop to the music that played when Aziraphale got his books back in 1941 (just fuck me up David Arnold), they come in and tell him so. "I don't understand", says Crowley. Because it should have worked. Why didn't it work?

They tell him, of course. "You need to talk to each other. Say what you're really thinking." But here's the thing about communication: you have to learn it. You need to get the hang of expressing your feelings without blaming your partner, and separating intent from impact, and staying away from getting defensive and lashing out. No one has ever taught Aziraphale and Crowley how to do this. It's like Maggie and Nina put Crowley in front of a loom and asked him to recreate the Bayeux Tapestry. He doesn't have the skills; he's always going to get it wrong, even if he tries his hardest.

And he does try. But that's where Maggie and Nina the mirror couple, rather than Maggie and Nina the displacement relationship or Maggie and Nina the Greek chorus, come in. Aziraphale, as Nina, has just ended an incredibly toxic, invasive relationship with Heaven. A relationship that invaded every facet of his life, isolated him, and prevented him from being close to anyone else. "Rebound mess," Nina says. Aziraphale is a rebound mess. He's transferred the responsibility for his emotional wellness to Crowley. Crowley is the person he calls when he's in trouble, or (and this is key) when he wants to report a clever/ good thing he's done, or when he's bored. (At no point did Crowley reference Aziraphale calling him for a solicitous reason-- another problem.) Crowley is meant to take care of him. He forgets, I think, that Crowley is a person with his own wants and needs, just like Maggie and Nina are people with their own wants and needs who don't appreciate being messed with. (I think things would have been much different had Aziraphale BEEN THERE for Maggie and Nina's talk with Crowley, but he wasn't.)

And Maggie-as-Crowley? Lonely. Behind on rent, at risk of being evicted (it's important to note that Aziraphale saves Maggie from losing her record shop, as he couldn't save Crowley from losing his flat). Pining. Awkward. Revolving around Nina like a planet, to the extent that we don't get much of an impression of her otherwise. They realize, there at the end, that they both need to round themselves out before jumping into a relationship. Aziraphale and Crowley need that too. They need to take time apart and learn to be healthy on their own. Unfortunately they don't have the skills to get to that conclusion in a healthy way, so it all explodes in their faces and everything falls apart.

Aziraphale tries to teach Nina and Maggie to dance as a substitute for communication. Nina and Maggie try to teach Crowley communication as a substitute for the dance they've been doing around each other. That's the reason they're a part of the plot: they exist to demonstrate the way Aziraphale and Crowley might have succeeded in forging a better dynamic. Sadly, the boys' dance is too practiced and they got sucked right back into it.

It's okay, I think, that Nina and Maggie's storyline never really went anywhere. It wasn't supposed to. It's an allegory, not something that needs to stand alone.

#good omens #good omens meta #good omens analysis #good omens season 2 #gos2 #good omens season two #crowley #aziraphale #maggie #nina #defense mechanisms #the psychology of good omens #everything is meant #ineffable husbands

[hoony2k]

ANNOYING THINGS THEY DO

Enha hyung line goofy annoying compilation

PAIRING: hyung line

GENRE: fluff, humour

WARNINGS: mentions of kissing

NOTE: hii i was really excited to share this since its been in my drafts the longest...i'm still writing the maknae line and wondered hm what if i just divided the lines yk jakehoon's is NOT longer its an illusion (lie)

masterlist

★ HEESEUNG:

stares at you, blank emotionless stare. At first, you think it's an affectionate prank where he's waiting for the moment your eyes meet so he can scare you but no. It might seem cute at the start but then it turns almost sinister because he will not stop looking at you with those love-sick eyes and smiles that turn blank and you're worried if he's okay. When you ask him about it, he says YOU'RE lovesick and delusional because that's how he looks at everyone. Man has to save his crumbling dignity somehow. You're with your coworkers, minding your own business and your friend nudges you and asks "if you know him?" Him being your bf who's been making heart eyes at you from across the room for an hour straight.

★ JAY:

He's a neat and clean person which is great for mornings when you're rushing out and can't find where you placed your socks, keys and bag. But it's not fun when you're minding your own business and he texts you "pls pick up your laundry next time." Or complains about last night's dirty dishes you promised you would clean. They're just dirty dishes to you but he rolls his eyes and says it's so much deeper than that and gives you a speech. Draws a chart where he divides chores and duties and sticks it on the fridge so no one forgets. The chart has a rewards and punishment feature. Rewards mean extra kisses and he's not evil so he keeps the punishment low- just two hours without a kiss.

★ JAKE:

the type to speak during movies. It's a variety of statements and questions. Sometimes it's endearing when he recognises a certain actor from another liked film but has this habit of commenting on scenes regardless of the genre. "oh wow. Hide instead of calling for help, why not?" "That is NOT scientifically possible but they could have at least made it sound like they knew physics." Sometimes he gets passionate and you need to grab his shoulder to calm him down. There's going to be a crucial, heart-wrenching scene of the two main leads staring at one another playing, you're at the edge of your seat and he'll turn your head towards him with his fingers and go, "Do you think they stared at each other pores and compared skin types? "

★ SUNGHOON:

makes everything a competition just to make it "fun". Has a bit of trouble understanding when people aren't competitive or don't like a challenge. Which is why he's created puzzles in your own house 😭. Holds a "who can eat food the fastest" competition, Hides your favourite mug and puts a riddle note in its place. "Babe, it'll be so fun, come on." It's not and every time he pulls a stunt like that you want to grab him by the throat but he'll swiftly grab your hands and show off his stupid fang smile and you'll forget what you were going to do. The type to prank you by hiding behind ajar doors and spooking the life out of you and anticipates you doing the same He is so cute. Constantly tries to provoke your competitive spirit by making mundane tasks a competition and sure it's fun but not all the time TT.

Thank you so much for reading!

All rights belong to me. Please do not translate/edit/copy.

#enha #enhypen #enha x reader #enhypen x reader #enhypen scenarios #enhypen fics #enhypen drabbles #enhypen reactions #enhypen imagines #enhypen soft hours #enhypen fluff #sunghoon #jake sim #jay park #heeseung #heeseung x reader #sunghoon x reader #jake sim x reader #jay park x reader #park jongseong #heeseung reactions #jake sim reactions #jay park reactions #sunghoon reactions #hana's work 》 #enha scenarios #enha fics #enha fluff #enha angst #enha reactions

[idolomantises]

Favorite character to write and draw in both of your webcomics?

Bugtopia

Favorite Character to Draw: Sorrel. His design is one of my personal favorites and it's really fun drawing certain expressions, especially ones that contrast his cynical personality. he's also the only Bugtopia character who regularly cycles through outfits. He never wears the same thing per episode. I also love the way his big, black moth claws contrast with the softer design.

Favorite Character to Write: Sorrel, Milan and Jasper (though I cant say too much on jasper yet).

Alluded to above, Sorrel is a very cynical person, but he fronts it with a very ditzy and manufactured persona. He's very selfish and can't keep a relationship, but he also has a love for films and art in general. He's also an overly protective big brother. It's also just funny writing his over dramatic moments. If his acting isnt above 110%, he'd rather be dead.

Milan is like... i mean this in the most affectionate way possible, very autistic and anti social. If Sorrel fronts his behavior with pretend friendliness, Milan is straight up hostile. She doesn't have friends, doesn't go to parties and despises her co-workers. I'm a big fan of characters who are clearly internalizing an issue and its fun writing moments where you can see the gears tick in Milan's head where she tries to register certain interactions. She's definitely going to be my most controversial character (I'd say Cale and Spike will be, but people tend to be more forgiving to male characters than female), but it will be fun to see if people are willing to warm up to her. Girl is a hot mess, but she's MY hot mess.

Monsters and Girls

Favorite Character to Draw: Powers, drawing pissed off expressions are my favorite and powers has a resting "i dont wanna be here" look. I also enjoy drawing her armor.

Favorite Character to Write: I know I said on the other account that Sera is my favorite to write for, but it's really a toss up between Powers, Sera and Lili. They're all so weird and wonderful to me. but in terms of the shorter, gag comics, Sera is is my favorite to write for because she's a million years old and still doesn't know what to do with a hot wife who loves her.

Sera, unlike Powers and Lili, kind of shows her whole personality, so she's also easier to write for. Powers and Lili have a lot of barriers they put up, so you actually don't really see the full range of what they're like.

#monsters and girls #bugtopia #ask quill

[ccsainzleclerc5516]

This Is Where You Stand With Me (part 2)

Pairing: Charles Leclerc x reader

Warnings: none

Part 1 here

Y/N's POV

"Hola madre!" I say jokingly as my mother answered the phone.

"Too much influence from Sophie's boyfriend or what?" She chuckles.

"Yeah, something like that." I laugh adjusting myself on the couch. "How are you? What's new?" I ask.

"Nothing much, I'm just going back home from work. What's up with you?"

"I'm enjoying my day off from work." I say biting my lip not sure how's she going to react to my new "job" which I haven't told her about yet. But I'm certain she's not going to be thrilled about it.

"What do you mean y/n? What work?" As soon as she says "Y/N" I know there's no joking anymore.

"Well," I take a deep breath before I continue. "First of all, don't freak out, it's only my temporary job, you know while I'm here in Monaco with Sophie. And second of all, I started working for Ferrari practically. I'm managing their social media."

"Explain it a bit better, please. What does that mean?" She asks confused.

"Basically, I'm spending a lot of time with their drivers. I'm filming them for social media, like when they're getting ready for the race, asking them some questions, filming behind the scenes like what happens before the race, filming them training and stuff like that you know. And I edit those videos and then post them." I try to explain to her as simply as possible. but my mom, like most others, is not on the internet, she is not interested in the world of social media and probably still does not understand why anyone would be interested in any of this.

"So who are you filming then? Sophie's boyfriend and?"

"Carlos and Charles." As I say his name my mind wanders briefly to Charles and the grand prix from last weekend. I wonder how he is, and if he talked to Ava. and what happened between them afterwards. I also wonder if he has already thrown somewhere the bracelet I gave him. As I've already said, you just never know with him.

"Y/n?" My mom's voice snaps me out of my thoughts. "Are you even listening to me?"

"Sorry my thoughts wandered for a moment. What did you ask?"

"I asked if you are satisfied with that job? Are you treated well? What are those boys like?" Like any mother, she worriedly asks a million questions and I, like any other daughter, of course, will not tell her everything in detail.

I have always been close to my mother, but I never liked to share every detail of my life with her, even though she wanted to know it. But I just wasn't comfortable with her knowing all my private things. I believe that you can be close to your mother, without her being involved in all your decisions, attitudes and thoughts. We talk more or less about everything, but I have set some boundaries for myself about what I want to share with her and I think that's exactly why we have a relatively good and healthy relationship.

"Yeah, I mean it's not something I'll do forever, it's just a temporary type of thing, so while I'm here I might as well earn some money." I say. "And everybody's nice to me, of course, I already told you that Carlos is a wonderful person and boyfriend to Sophie, and Charles..He's not so bad either."

"You don't sound so convincing with the other one." She says referring to Charles.

"Don't worry really, both of them are very nice, it's just that I don't know Charles very well yet and I haven't spent much time with him so I can't say much about him." I say honestly.

While talking to her on the phone, I get up and head to the kitchen to make myself some coffee. While walking to the kitchen, I pass by the mirror and almost get scared when I see what I look like. Shaggy hair in a bun, without a hint of makeup, braless in an extra-large t-shirt with a print of Los Pollos Hermanos that also serves as my nightgown and house slippers on my feet. I guess I'm not one of those ex girlfriends that has a glow up after a breakup, but oh well.

"Well, as long as you're happy and safe, I'm fine with it." My mom says. "And besides, I think it's good for you that you left Manchester for a bit. Stay as long as you want."

"Really?" I am a bit taken aback and surprised by her words. "How come you think so?" I ask while waiting for coffee to be poured from the machine into the cup.

"I-I.." Just as she was about to say something the doorbell rings. Sophie went to lunch with Carlos, I doubt they forgot their keys.

"Mom, there's someone at the door, I'll have to call you a little later, okay?"

"Okay, we'll talk later, bye." She says and I hung up the phone.

I leave my phone on the kitchen counter and just as I'm about to go into the hallway to open the door, I accidentally pull the cup with my hand and spill hot coffee on my right thigh.

"Ouchh!" I almost scream in pain while the hot coffee continues to pour down my leg. "Fuck!!" My eyes get watery from the pain and stinging. Cursing my clumsiness I grab a cloth and wipe my thigh which is burning more and more and the doorbell keeps ringing. I go and open the front door when none other than Charles is standing leaning against the door frame.

"Charles, what are you doing here?" I ask with a sniff. I don't open the door all the way, but just peek out with my head. The last thing I needed is him here while I'm crying over my coffee burn and looking like I got mowed by a tornado.

"Y/n, are you alright? Why are you crying?" He asks, his expression immediately turned serious as he tries to enter.

"I just spilled hot coffee on myself. Please don't come in.." I really don't want him to see me like this.

"Let me help you." He says ignoring me and coming in anyway closing the door behind him.

"No, Charles..I-I'll be fine." I say pulling my t-shirt down with one hand and still holding the cloth with the other one.

"Let me see." He bends down and removes my hand with which I'm holding the cloth. "You got burned well." He says.

"Yeah, I can feel it. It hurts pretty bad."

"Come here." He waves his hand for me to follow him into the bathroom. It seems like he has already been in this apartment before. They probably had some gathering at Sophie's, so he knows where everything is.

"Sit there." He says pointing to the tub as he takes a small towel from the shelf under the sink and soaks it in cold water. I briefly feel a sense of relief as he kneels down in front of me and places a wet towel over my burn.

"You know, I really appreciate your help, but I feel terribly uncomfortable-"

"Yeah, I already saw that you don't have a bra on." He cuts me off and my cheeks instantly get as red as the burn on my thigh.

"You don't have to point it out like that.." I can't help but chuckle a little at his nonchalant response.

"You really do have to stop embarrassing yourself in front of me." He laughs.

"Why did you come here in the first place?" I ask shaking my head.

"I'm here to pick up Carlos. We agreed to go to the gym together, and he said he would be at Sophie's." He says taking the towel off my thigh and soaking it again. "So here I am. Where are the two of them anyway?"

"They went out for lunch. I think they should be back any minute now since they've been gone for a while." As he comes back with the cold towel I notice that he's wearing the red bracelet I gave him last weekend. He puts the towel over my thigh again and gently presses it.

"And what are you doing alone in the apartment, except destroying it?" I really like this funny side of Charles. For I moment I wished he could be like this all the time.

"Certainly not waiting for you." I playfully answer back.

"Yeah, sure you aren't." He says confidently and I roll my eyes at him. "I'm going to clean up that coffee you spilled on the floor." You can see the kitchen from the bathroom, so he definitely made sure I knew that he saw the mess I made.

While Charles is cleaning up in the kitchen, I quickly go to my room and put on shorts and a bra under my t shirt. Since he's already seen me at my worst, I decide not to fix my hair but to leave it messy like this. It's already too late now to look presentable anyway.

"Have you put on a bra yet?" He asks shamelessly as I enter the kitchen.

"Has anyone ever told you that you can be very inappropriate?" I honestly ask him.

"Quite rude thing to say to someone who just helped you."

"Thank you. Charles. For your generous help." I say slightly sarcastically through gritted teeth. "Do you want me to check when they're coming back?"

"Why? Can't wait to get rid of me?"

"No." I roll my eyes. "I'm just asking if you're in a hurry."

"I'm not. I'll wait for him. I hope they'll be back soon." He says taking a seat on the high chair at the kitchen island.

"Do you want something to drink while you wait?"

"A glass of water will do."

I reach for a glass from the top kitchen unit and in the process I scratch the injured thigh on the handle of the lower element. I wince in pain and curse under my breath.

"Be careful, where is your towel?" Charles asks me getting up from the chair. Before I can say I left it on the tub, he's already back from the bathroom with it. "Sit there." He almost orders me and I do it obediently while he soaks the towel again in the kitchen sink. He moves my hand from my thigh and puts the wet towel over it.

I don't know why, but I decide not to tell him that I can do it myself. And he doesn't say it either but proceeds to hold his hand a little longer over the cold compress looking down at it and gently pressing on it. I lift up my head to look up at him and for a second we lock our eyes together without saying a word.

"I-I.." In a moment of nervousness I wanted to say something just to break the silence, but luckily I hear the front door open. Charles quickly moves his hand away and goes to the opposite side of the kitchen island clearing his throat.

"Hello..guys..?" Sophie says as Carlos and her enter the kitchen looking very confused at the scene before them.

part 3

#charles leclerc smut #charles leclerc imagine #charles leclerc fanfic #charles leclerc fluff #charles leclerc x reader #charles leclerc #carlos sainz x reader #carlos sainz #carlos sainz fluff #carlos sainz one shot #f1 #f1 fanfic #carlos sainz imagine #f1 fic #carlos sainz smut #lando norris x reader #lando norris #lando norris smut #lando norris fanfic #lando norris imagine

[nsharks]

My request is a bit odd, but could you do a ghost x reader where it's late at night drinking coffee/tea and there just talking about soft things, specifically the reader just saying. " I'm really glad to have met you. " And ghost scoffs " why are you saying as if your going to die?"

“soft ramblings over tea” includes: fluff, simon opening up, tw death words: 1.2k

It’s the night before Simon has to leave you, yet again.

Because that’s what your relationship with him is; a series of lows whenever he has to leave, and peaks of elation whenever he comes back to you.

He’s been trying to distract you from the reality of it all day. Doing the laundry with you (your favorite chore), ordering pizza, putting on that new film you’d wanted to see. But now the night has started to set, and he’s got to check his bag to make sure he has everything he needs.

You’ve offered to help with going over the checklist.

He shakes his head, telling you, “Make us some tea. I’ll be done soon.”

You boil the water and find two mugs. Hearing the sounds of him shuffling around as he packs invites a hot, stinging moisture to your eyes. He’s so much better at this than you are. You wonder if it will ever get easier. After two years, you decide that even with all the challenges your relationship has brought, saying goodbye like this was easily the worst one.

Soon, the house will be empty. His scent in the sheets will fade.

You pick out the tea bags: earl grey for him, chamomile for yourself.

Simon’s just finished zipping up his bag when you walk in the bedroom with the two warm mugs in tow.

“Perfect timing,” he rasps, but quickly notices the faded redness in your eyes. Instead of commenting on it, he decides to pat the bed. “Come on, sit here with me.”

Handing him his mug, you sit on the bed next to him. His body radiates almost as much heat as the tea, and it relaxes you. You sit with your legs crossed, knee touching his, and both of you are already in your pajamas for the night. You’re certain you won’t be getting good sleep, if any.

“Do you remember when we first met?” Simon asks, splaying a hand over your knee. He lifts his mask up just to take a sip from his mug.

“It’s not something I like to remember,” you utter, a flush to your cheeks. “I nearly ran you over with my bike.”

“Coordination isn’t your thing, pet,” he hums low. “Can’t complain, can we? Led to good things.”

He’s distracting you, but you welcome it. He rubs his rough thumb over your skin and tells you about little things that he’s never mentioned before. Seeing you as the sad one, stuck in your thoughts, urges Simon to do the talking for once. He tells you how he remembers what clothes you were wearing that day you’d met, and how he remembers you telling him all the names of your childhood pets one time and that he can list them all back to you.

“What?” You shake your head. “No, there is no way you were actually listening to all that.”

“You think I don’t listen?” he huffs. Eyebrow raised, Simon informs you, “I’ve got a damn good memory. That bunny of yours, the one that ran away, was named Shoeshine.”

Your tongue pokes your cheek. “And the goldfish?”

“Easy,” Simon says plainly. “Tolstoy, for some reason.”

“He just looked like a Tolstoy to me,” you whisper through a sheepish smile. Distracting you seems to be another one of Simon’s precise talents, or maybe you’re an easy target, because now your chest is fluttering and the redness in your eyes is gone.

Now that you’ve softened, you start to do the talking. You tell him about your cousin’s engagement party next weekend. How excited you are to see your family members after so long, and how you’re pretty sure your cousin is actually just pregnant (“she’s only been seeing the bloke for six months”).

Simon is listening carefully, his eyes thoughtful, before he comments, “I’ve never met your family.”

“I wasn’t sure if you felt comfortable with that,” you explain to him, finishing the last sip of your tea. “Do you want to meet them?”

“Maybe I should,” he grumbles, though he’s already thinking about how he would have to do some serious mental preparation for that. “I mean, you don’t have to meet mine since they’re dead.”

You flinch. “Simon…”

“Just a fact,” he says, shrugging, and he was always saying that when he mentioned something dark so casually. “Do you… what do you think your family would think of me?”

You set your empty mug on the bedside table. “They would think you are a good man,” is all you say, because you know he’s probably overthinking it.

Sure, you’ll have to explain some things about him and your relationship before he met them. Particularly, why you’ve kept him hidden for over two years. And maybe also the mask that he wears. But your family would accept him just as you have.

Simon is about to say something when you scoot closer to him and peak into his mug. “You’ve got a lot left there,” you hum. “Could I try some of yours?”

Eyes flashing to the cup you just set down, he groans and pinches your hip. “You always do this. Finish yours and then come for mine.”

“You drink it so slow.”

“Fuckin’ hell, take a sip.”

After he offers you his mug, you somehow end up in his lap. Legs tucked to your chest and your head resting on his, you listen to the rhythmic sound of his heart as he silently finishes his tea.

The sound of it in your ear is enough to bring the impending thoughts back to you. His heartbeat calms you as much as it terrifies you. Somehow, it has grown to have so much power over you. If it stopped, if he didn’t come back to you this time, you wouldn’t know what to do with yourself. You would become a ghost of yourself, you think. Barely there.

It’s when your eyes start to flutter that you mumble to him, “Please don’t die on me.”

It’s weird to hear you say it. Simon can’t remember anyone else being so desperate for his survival. He’s finally got a reason to care about it himself: having you to come home to was one hell of a motivator.

“Don’t plan on it,” Simon says, planting a firm kiss to your forehead.

“I’m…” you reopen your eyes so you can look up at him. Fingers twisting the fabric of his thermal, you whisper, “I’m so glad to have met you…”

“Hey now,” Simon scoffs. “Why are you talking like that? Like you’re gonna die or something.”

You let out a small laugh, pitiful and playful, as you feel him cup your cheek.

“No one’s dying, yeah? Don’t be dramatic. You’ll be here when I get home, right where I left ya.”

#fluff #just fluff #simon ghost riley x you #simon riley x reader #simon ghost riley #call of duty #simon ghost riley x reader #fanfiction #thank you for the idea!

[jmdbjk]

They take up a lot of space in my head sometimes...

I didn't want to dwell on this in the documentary posts but I know you guys will indulge me as I ramble a little bit.

I want to elaborate on some thoughts I had while watching the second half of Episode 7 when Jungkook went over to Jimin's.

I watched it several times. I made sure to watch it once with a very critical and skeptical eye to keep myself from straying too far...nothing serious but possibly delulu...

This part of the documentary inside Jimin's apartment was filmed on March 13, 2022 following the last PTD Seoul concert.

This was BEFORE PTD Las Vegas where Jimin has told us he talked to the members about his troubles and that's when he embarked on writing the songs that would end up on his album FACE which was released A YEAR after this interview.

It seems Jimin answers his phone in the car after the concert. Tells whoever to get ready and come over and asks what kind of chicken to order. The documentary camera person is already in the car with Jimin... who is he speaking to on the phone? When we eventually see Jungkook coming over later on in this episode, it's natural to assume he was speaking to Jungkook on the phone, who was probably in another car on his way home to his own apartment after the concert, or perhaps already home since his apartment is much closer to Jamsil Olympic Stadium where PTD Seoul was held.

Inside Jimin's residence, he talks about what he does there, basically not a whole lot: eats, sleeps, drinks, has friends over, plays on the computer, and from what we've seen since, he's not much of a decorator.

He wonders if he's revealed too much. I think this was a legitimate question for him, since idols typically do not divulge this sort of thing to the fans. It's plausible to me that Jimin has to unlearn all these preconceived ideas he's had about being an idol in order to forge ahead.

Delivery fried chicken arrives and he runs to get it and runs back to the dining table. Literally runs. The door chimes as it closes. I do love watching him eat. He surely loves his food. A man after my heart.

He talks about how it naturally came about that they needed to have their own spaces. They were maturing young men, they needed their own places even though they'd lived together for so many years. He said their place in Gangnam was so small they put up temporary walls. I believe he was speaking about the house that is now a cafe, Hyuga? He says it was scary living on his own, it was so quiet.

When Jungkook arrives, the door chime sound we hear was different from what it sounded like when Jimin went to the door to get the delivery chicken.

From this footage, we can't know if Jungkook punched in the code and let himself in. Maybe he did, but this footage does not show that. Unless someone is familiar with how that particular door chime sounds when it is unlocked, when it is locked, when it opens and when it closes, we can't know what that chime meant.

We see Jungkook after he's already inside the apartment. He was followed by a camera person. I am certain the camera-person does not have Jimin's apartment's door code. Make of that what you will...perhaps Jungkook came alone and they re-enacted him entering once he got there because it'd be weird if he was just there all of a sudden... we can't know.

Incidentally (fun fact) this is the same jacket Jungkook wore in the video of receiving the President's Award during his university graduation earlier that month (Mar. 2, 2022)... yes, Jeon Jungkook is a university graduate too. He wore a jacket with "QUIT YOUR JOB" across the back of it, to accept a graduation award.... 💀

Anyway back to my delulu...

Jimin and Jungkook are chatting at the table while eating and drinking and get on the topic of their sleeping habits when Jungkook says normally he would take a bath, drink a couple beers and go to sleep and even adds now he goes to sleep earlier. Such a grown up.

Jimin says he falls asleep at 1 a.m. so he must be getting old but it doesn't matter if he falls asleep at 1 a.m. or 6-7 a.m., he sleeps until 4 o'clock in the afternoon.

Jungkook says he decided not to live like that anymore... this the man who in early 2023 was staying up all night to do live broadcasts with us from his living room and waking up his neighbors belting out Unholy, etc... such a grown up.

And then Jungkook says 'oops, I sounded like Yoongi just then, never mind, live how what you want' and whoever that is off-camera wheezing... HAHAHAHAHAHA. Anyway. That whole exchange was... what is it with them? They ride the edge of smart-assy sarcasm and inside jokery with each other constantly. And this time at the expense of Yoongi! HAHAHAHA.

Jimin and Tae sometimes act similarly with each other but it is more role play and nothing like the long-running inside joke Jimin and Jungkook do all the time.

The vibe between them was identical to the one when they were sitting at the dining table that first night of In The Soop 2.

As episode 7 goes on, they show Jimin and Jungkook again, Jungkook is chopping mushrooms and Jimin says "You are doing so well on your own" and "Be careful" and the translation says Jungkook said "okay" but it sounds more to me like a "ayyy stop nagging" sound he made.

Jimin runs behind Jungkook again. Why does Jimin run so much? He's like a nervous, excited little mouse.

They're terrible Youtubers:

The ship wars and solo wars and stupid-things-you-could-ask-during-a-live wars over whether or not Jimin ever ate Jungkook's ramen... FINALLY, after posting all those recipes last year and Jimin saying he wants Jungkook to cook that for him, we see JUNGKOOK HAS COOKED RAMEN FOR JIMIN! Cooked it for him way before any of these wars began too... what a waste of energy.

No, Jimin didn't go over to Jungkook's to eat it, Jungkook came to Jimin and cooked it for him.

Ok, but this is the part that made me need to pause and rewind and write this long-ass post:

Jimin tells us that a friend of his helped him realize he needed to explore the possibility he was depressed.

He recounts the story as they were at Jimin's apartment drinking and they had a small argument. The next morning Jimin wakes up, has totally forgotten the argument and goes over to the friend's to help begin moving. They apologized to each other and the friend came over again that night and the friend said "I think you are severely depressed. You act like you aren't, but you've been acting strange. If you're having a hard time, tell me." Jimin said he didn't think he was having a hard time and the friend told Jimin to take some time to think about it. Jimin says a lot changed after that.

This moment when Jimin is retelling this story, "yet you act like you aren't, but you've been acting strange. If you're having a hard time, tell me." Jimin reaches over and actually touches Jungkook. Look at the way they are looking at each other?

The way Jungkook sat there, looking straight at Jimin while Jimin recounted that conversation/day/moment, chewing on his bottom lip as is his habit, Jungkook nodding during certain points that Jimin was retelling... very very brief moments where body language reveals a lot.

Maybe the "friend" Jimin was supposed to help move, the one who told Jimin he seemed severely depressed... was Jungkook?

You can call me delulu if you want. I see what I see and I hear what I hear.

They have not shown this type of closeness amongst the other members in this entire documentary. And here is Jungkook sitting in Jimin's home, while Jimin tells us this very intimate detail about himself.

If Jungkook was the one... it's plausible, the one who came over to drink, just like they were doing this evening... the one who was moving and Jimin was going to help him. The one who he can look in the eyes and recount this story and his friend can look him straight back in the eye and nod in agreement.

Why retell this story with Jungkook sitting next to him? There were other moments when we know Jungkook is there, he could have been off camera while Jimin told the staff about this intimate moment with his friend. No. He said it while they sat next to each other looking at each other.

It's possible. If not, it seems possible that Jungkook has already heard this story.

Jimin shares more than we've ever heard from him: that he falls into a labyrinth the moment he starts to ponder about what happiness is. He says of course their work and many other things require attention to detail but it's ok if there is vagueness (or imperfection) too. If you get too caught up in the meaning of things (in the importance of things), you feel like you have to risk it all to accomplish them and its ok to let some of it go, enjoy the simplicity of things and not get emotional over everything ... this sounds like Jimin has matured and has tried to push away perfectionism.

He believes he is in a very healthy place mentally right now (at the time of that interview, March 13, 2022) but can't say the same about his body, but he wants to stay healthy as he grows older together with the fans. And Jungkook is still there, but off camera.

This interview was almost two years ago. And now their first solo career endeavors have been accomplished and these two are doing their military obligation together. They've come a long way. We will see them again next year. It won't be as long as it feels.

Anyway, going back to my delulu cave now. Carry on.

#i cried my eyes out #jimin and jungkook #jikook #kookmin #the more i think about the 'friend' the more dots connect #i could also be totally wrong #jungkook does know though #nothing will change the fact they are tight tight

[grapejuicestyless]

The Tide Always Goes Out

Conrad Fisher x fem!reader

ANGST

Summery: You were sick. You had always been sick. But you looked so healthy, so it couldn’t be true. Conrad could live in denial of his best friend’s inevitable death but there was nothing he could do to stop it and he has to accept it.(Inspired by the book Little Women specifically the scene in the 2019 film between Beth and Jo.) Mentions of illness and death.

We sat on the beach squished on a small blanket. wrinkles from our shifting and creases beneath us from where we sit. We talk about everything and anything all morning. Not minding the grey overcast of the clouds covering the usually very blue sky. Or how the waves are more violent than they usually are. I know this because I remember it vividly. It wasn’t that long ago I was really there. Making sure it would last forever. Only now I wish I hadn’t because it haunts me more than it comforts me. And the entire way it played out still makes my heart ache with regret.

Somehow I end up with her lying over me. She lays her head in my lap, the thin blanket woven together with faint reds and oranges creating a little hammock for her to rest on. I can feel the way her heartbeats erratically over my thigh. The way her lip’s curl into a soft smile. The ocean reflected in her eyes. If it weren’t for the heavy eye bags and the slight tremble in her bones, she’d be normal. A normal girl with no issues. You wouldn’t even know how deeply her suffering ran. Sometimes, on the better days, I let myself become fooled as well. Playing dumb hurts less than facing the truth.

“Con.” Her eyes flick up to mine, and I can’t help the way my own avert her gaze. I am too afraid to face her. Even now. The girl who I worship day and night. I never did pray before her, but now I pray that when I wake up, she’ll still be beside me. And we can enjoy the company the other has to offer just one last time. I can’t look down and see how much she’s changed. It scares me, because the traces of the illness torturing her is evidence to how real it is. And I would rather live in oblivious bliss.

“I want you to know I’m not really scared anymore.” It’s not what I expected to come from her lips, but it’s what she lands on. Theres no room in her wording for me to deny what she’s trying to say. My eyes flick down to hers, and my hands moves the hair blowing in the wind messily across her face.

“Y/n, come on. Don’t say shit like that.” I smile, but I don’t really mean in. I don’t find her words funny, and I don’t like that my best friend is sick.

“No, Conrad. I’m serious.” She breathes out, hands pressing against my skin to lift herself up. I feel a chill run through my body without her warmth to ease the morning chill. More than that, I can feel the coolness in my heart when she separates from me, and I long for the next moment I’ll feel her gentle touch.

“I’ve had a lot of time to think about this and I’m certain that I’ll be okay.” I continue to look at her, but only this time, she is the one looking at the sand, tracing her fingers in it as they stretch past her ankles to the floor.

“And I’m only so sure because I know you’ll be there.” Her eyes flicker up to the sky and I swear I see the sky brighten for just a moment. The blue underneath all the grey breaking free for a split second. “I’ve known you my whole life, and I’ve felt things for you that I have felt with no one else. I know you, and I trust that you’ll come find me in the next life.” Pulling at her lip, she waits for a response.

“But I want to keep you in this one.” My hand finds hers and all I can do is squeeze onto her desperately. Wanting nothing more but to keep her close. So I can watch her. Make sure shes okay. She’s lost all of her fight, her will to stay. And I know it’s because of the pain. I’ve heard her sobs just down the halls and the hushed whispers of my mother and her’s. But part of me wonders if it’s simply because I did not do enough. If I wasn’t enough reason for her to stay.

“It’s like the tide going out. It goes out slowly, but it can’t be stopped.” And we both know it. Theres no stopping what will happen to her. Theres no wish or medicine or fight that could keep her here beside me. It makes me want to cry, but I don’t. It would be selfish of me to get so upset when I am still here. Well and alive. Promised many years to age and achieve things she never was given the chance to.

“I’ll stop it.” I don’t look down at her, but I can feel how she shifts. The way her frown only deepens and the bags in her eyes get heavier. She sighs heavily into the silence, shaking her head slowly. She refuses to cry though. Partly because I know she knows she’ll have plenty of time to cry in the darkness of her room, when the ache in her bones is too much and theres no way of stopping it. And the other part of me recognizes that it’s because there’s no reason to in her eyes.

Y/n knew it better than all of us. She had lived a good life. She could do things and want things some children could never even dream of. She had a warm home with a glowing fireplace that her family often gathered around. A loving sister and a great brother. Her mother and father were healthy and she had the best friends she could have ever asked for. Her only regret is that she had to make her own mother pick out the details for her headstone.

When I pull her into my body, I have no idea it will be for the last time. I have no clue that her sobs won’t part from her lips. Because when she closes her eyes, she doesn’t drift into her usual place of rest. Her eyes don’t flutter open at the soft creak of the stairs when Jeremiah decides he wants a late night snack. Nor does she stir when Steven laughs, following behind him not as skillfully.

Not even when her mother screams early in the morning, hands clinging to her limp wrists, cold and lifeless. The tears from my mother mixing with her younger sisters don’t even make her flinch. And it’s chilling because it almost looks like she was smiling. The lift of her lips is barely there, but it makes me feel better knowing she went in peace.

I remember that day more clearly than ever. How the grey sky haunts me and the way she spoke so surely about her death still sends chills through my veins. I could have only wished to have looked at her a little closer that day. So that even in her darkest moments, I could be as certain as she was that the image of her would never fade, and I would always be able to memorize each wrinkle in her skin.

So I tell myself that when it’s my time, I’ll do what she said I would. I’ll find her in the next life. And I’ll look a little harder at her, and I’ll admire her for longer.

#tsitp conrad #conrad x reader #conrad fisher angst #conrad fisher #little women #conrad fisher x you #conrad x you #conrad fisher x y/n #conrad fisher x reader #conrad #team conrad

[rendy-a]

amh if possible could hoy make hdcns for the dorm leaders ( separately ) reacting to their mc fem explaining the marvel universe and then puts them to watch the movies hehe ( ..also mc's fav hero is dead-pool ;) bc it gives me laugh imagine their reactions about this xd) , thanks in advance and take care<33

This certainly ended up being a little bit of a crack fic but it ended up amusing. Hope you enjoy it.

At first, he scoffs as such a time-wasting thing as wanting to watch dozens of movies.  Where is the educational value in this?

He is just too polite to refuse to listen, so he’ll end up letting you describe all your favorite scenes to him.

You are better off if he doesn’t take an interest because, if he does, he is going to turn into the worst sort of comic book geek.  Be ready to have him quote lore from issues of source material at you during any discussion on this from now on.

What do you mean who would win?  In Volume 3 #3, Thor clearly defeated Iron Man.  Don’t get upset Prefect, I don’t write the lore, I just recite it.

Doesn’t appear to be interested but, if you pause long enough, he’ll prompt you to go on.  It’s important to you, so he’ll try to care at least a little.

You’d never tell him this, but you love to banter with him because it reminds you of your favorite character.  Sometimes you wonder if he’d be pleased or offended to know who you remind him of.

Movie marathons?  Not only is he willing to do them with you, but he is also often the one who suggests them.  Don’t be deceived though, it’s not for the movie but for the quality nap time on the couch with you. 

Don’t turn that off, Herbivore, I’m watching it.  What do you mean I don’t know what’s going on?  This is the part where we learn her mom isn’t dead after all.  So quiet down and keep the lights off.

Please, he is in Board Game Club with Idia. You think this is the first time he has hmmm’d himself through a conversation about fictional characters?

Wait, you say that this makes a ton of money?  Tell him more about this merchandising and licensing.  Especially that, what do you call it…ah, Happy Meal.

You can eventually talk him into watching the movies with you for ‘research purposes.’  When you do, you can’t help but notice how teary-eyed he gets at the sad scenes.  He’s just so sensitive!

Deadpool is also his favorite character.  He feels a sort of connection to certain parts of his story.

So, she chooses to stay with him even though he looks like that?  No, I’m not blubbering.  No, I don’t need you to cuddle with me.  Ok, fine.  Just for a little while. 

He doesn’t get it, but he still loves it.  Sure, you have to explain everything to him three times, but he gets excited over your excitement.  Call him any time to talk about your theories on how things would have gone if Thanos had made a different wish on the infinity gauntlet.  He doesn’t mind if it’s 3 AM (just don’t let Jamil find out).

Movie marathons turn into parties.  Why just watch the movies when you can have themed snacks and dress up too?  Hulk smash cakes and Black Widow berry cobbler?  Yes, please.

His favorite part of any film is the soundtrack.  If he hears a song he likes, he gets up to dance along.  It’s pretty disruptive when you are watching the movie but when you see how much fun he is having, you find you don’t really mind after all.

Sorry Prefect, Jamil says we can’t have dance battles in Scarabia anymore.  Ooh!  But come by the Pop Music Club later.  I’m going to play all my favorite songs for Cater and Lilia. Ahaha!

You were worried Vil would dismiss your favorite Marvel films as inferior art, but he is actually rather generous about it.  He believes the film should suit the audience and, as so, there is nothing wrong with films like this that serve to entertain the masses.

Still, he can’t help but be critical of everything while you watch.  He doesn’t criticize the things you’d talk about with your friends but topics you’d hardly even notice while you watched like the set design and lighting.

You notice Vil seems secretly fond of Loki.  You think the idea of the Villain that survives the main movies to get his own spotlight series appeals to him.

No, Potato, I’m just saying the angle isn’t right for this sort of tone.  A shot from below would be more effective.  Plus…wait, are you having more popcorn?  I don’t think so, it’s past the time you can snack before bed.

You had expected Idia to be all in on the Marvel Universe but, at first, he is oddly resistant to it.  He’d rather recommend you one of his own favorite hero movies.  If you disagree on which is better, he is more than willing to fight with you over why his is best!

After a heated argument, he puts on some of the movies to watch so he can come up with targeted points about why his own shows are better.  This does not work out for him as he gets sucked in himself.  Next time you meet up, he wants to go over tiny bits of lore and speculate on future plot lines from hints in the past movies.

You might think his favorite would be Iron Man because they both are innovative engineers, but he is a fan of Ant Man.  Shrinking down to a size where you can hide from everyone; it’s an introvert’s dream!

Prefect, this is serious business!  I’ve drawn up plans.  So long as we sleep only 2 hours a day and avoid taking any breaks for food, studying, and showers, we can finish at least three seasons this weekend.  True fans like us need to be ready to sacrifice for the shows we love!

There are many things Tusnotarou doesn’t understand, and this is one of them.  For starters, he barely knows how to use his smartphone, let alone how to stream movies and shows.  So, before you can even start explaining the plot, you must explain the whole concept of series and interconnecting shows to him.

He doesn’t get it, but he is happy to watch with you.  Your reactions to the show are far more amusing to him than the actual show.  Plus, he feels like he learns so much about the human world from your conversations.  A subway, how intriguing an idea.  Humans are so fascinating.

Even though he watches politely, he isn’t very impressed.  They can fly?  Well so can he.  Magic, lightning, superstrength?  All just part of being a dragon.  Perhaps instead of being interested in these superheroes, you’d rather learn more about him?

 Lilia, do you think I am a superhero?  The Prefect has been explaining this concept to me in great detail lately.  I can’t help but notice the many things I have in common with these so-called heroes.  Why yes, Lilia, now that you mention it, I am wearing a cape.  Another point in my favor. Fu fu fu.    

#twst #twisted wonderland #twst wonderland #riddle rosehearts #leona kingscholar #idia shroud #kalim al asim #azul ashengrotto #malleus draconia #vil schoenheit

[ohisms]

↪     𝑖𝑡'𝑠 ᵗʰᵉ 𝔩𝔞𝔰𝔱 𝑴𝑰𝑫𝑵𝑰𝑮𝑯𝑻 .   (  a  collection  of  sentence  starters  from  disney’s  2014  film  into the woods .   adjust  phrasing  as  necessary .  )

the king is giving a festival !

i wish the walls were full of gold ,  i wish a lot of things .

sometimes i wonder what’s going on in that head of yours .

what are you doing ?  stop your pretending .

are you certain of your way ?

the way is clear ,  the light is good .

the woods are just trees ,  the trees are just wood .

are you really wearing that ?

it’s not what i wish ,  it’s what you wish .

i could’ve turned him into stone .  or a dog .  or a chair .

a small price to pay for what you stole from me .

well ,  that’s another story .  nevermind ,  anyway .

sorry ,  i’m still not mollified .

how could you do that ?

your father was no father ,  so why should you be ?

we’re starving ,  [ name ] !  don’t you understand that ?

we have to live ,  i don’t care how .

look what i found .  here ,  take this .

no ,  i can do this on my own .

it may be all in vain ,  you know .

i have no fear ,  nor no one should .

careful not to lose the way .

what’s your rush ?  you’re missing all the flowers .

look what you’re ignoring .

why do you think i asked you to do it in the first place ?

get me what i need  ...  get me what i need !

you’d look pretty foolish .

i’d rather a wolf than you any day !

you shouldn’t be here ,  it’s not safe in these woods .

i was just trying to help .

we have one chance .  don’t you see that ?

i’m not sure i’m cut out to be a father .

if you can’t do this for yourself ,  can’t you at least do it for me ?

don’t you look lovely today ,  my dear ?

i brought your favorite .

i can’t believe i just did that .

wait a minute ,  i never thanked you .

i’m sorry .  i should’ve known better .

i had been so careful ,  i never had cared .

he made me feel excited ,  well  ...  excited and scared .

they will not protect you the way they should .

nice is different than good .

isn’t it nice to know a lot  ...  and a little bit not ?

oh ,  get your head out of the clouds !

i just need to catch  my breath .

aren’t you the lucky one ?

please don’t let them know that i’m here .

i’ve never lied to royalty before .

it’s not quite what i expected .

you’re free to do whatever pleases you .

steal what you can and run !

you’re back again ,  only different than before .

i never even reached home .

who cares ?  get it back .

get away from me with that ,  you fool .

i shouldn’t have yelled .

i will make things right ,  and we can carry on with our lives .

will you go ?  please .  go .

when the one thing you want  ...  is the only thing out of your reach .

the woods can be a dangerous place .

i thought you were returning home !

do you mean you’re going to let me stay with you ?

perhaps it will take two of us to have this child .

i thought one was enough ,  it’s not true .  it takes two of us .

when the journey was tough ,  it took two of us .

at home i’d fear we’d stay the same forever .

what did i clearly say ?   what were you not to do ?

what have i been to you ?  what would you have me be ?

i embarrass you .  you are ashamed of me .

don’t you know what’s out there in the world ?

someone has to shield you from the world .  stay with me .

who out there could love you more than i ?

the world is dark and wild .

stay a child while you can be a child .

i gave you protection ,  and yet you disobeyed me .

where you’re going ,  no one will ever see you again .

whichever you pick ,  do it quick .

it’s fun to deceive when you know you can leave ,  but you have to be wary .

at home ,  they don’t care .  i’m better off there ,  where there’s nothing to choose so there’s nothing to lose .

wait ,  please !   i haven’t much time .

that makes no sense !

what is that you have in your hand ?!

i would recognize these beautiful eyes anywhere .

is that you ?  i’m blind ,  i can’t see .

you could’ve been killed !

i was just thinking of the greater good .

i don’t have the constitution .

as long as i can be no help ,  i’m going to hide .

i don’t know where they think they’re going .

this is who i truly am ,  my dear .

why did you run off ?

i will not come with you .

you leave me no choice .

i shouldn’t complain .

i’m not allowed to leave the palace unescorted .

if you’d like ,  you can come with me .

i shall not forget you ,  and how alive you’ve made me feel .

you’re hurting me !

stop ,  stop !  i said stop !

this is all my fault .

remorse will get you nowhere .

when you’re dead ,  you’re dead !

this is no time to be soft - hearted !

you’re responsible ,  you’re the one to blame .  it’s your fault !

you’re all liars and thieves .

you’ll just do what you do .

it doesn’t matter if we’re together or apart .

i’m sorry ,  i did a foolish thing .

i didn’t realize ,  i was being careless .  selfish .

you stole and got caught and did what you do !

i hated myself .  i ran away from my guilt and shame .

aren’t you making the same mistake ?

be better than me .

i knew you wouldn’t give up .

that doesn’t matter ,  now .

first ,  we’ll need a weapon .

i did not recognize you ,  what are you doing here ?

maybe i’m not your only love .

if you love me ,  why did you stray ?

i thought that if you were mine ,  i would never wish for more .

i was raised to be charming ,  not sincere .

i think you should go .

i’m glad you’re here to help me .

you are not alone .  no one is alone .

you’ll do nothing of the kind .

what he did was wrong .  he should be punished .

it’s not as easy as that .

who can say what’s true ?

believe me ,  no one is alone .

people make mistakes .  fathers ,  mothers ,  people make mistakes .

you decide what’s right .  you decide what’s good .

just remember ,  someone is on your side .  someone else is not .

i miss her ,  too .

how can i go about being a father when i had no father to show me ?

sometimes people leave you  ...  do not let it grieve you ,  no one leaves for good .

things will be alright now .

#the process of making this involved a lot of crying <3 #rp meme #rp inbox meme #rp prompts #rp inbox prompt

[dotster001]

Hiya!!! I was wondering if I could request what would happen if Yuu accidentally ignited a Snow Ball War at NRC? It could be HCs or imagines with whoever you want!

Snowball War

Summary: Gn!reader

A/N: idk where you guys live, but for the last two weeks, I've lived IN THE FUCKING ARCTIC. Today it finally reached 30° after two weeks of 14° and lower, and snow storms, and freezing rain, so I wrote this to celebrate a liveable temperature where I could actually see road for once.

“I have an idea.”

“Ah shit, not that look. Y/N, whatever he is about to ask you, say no,” Ace warned.

You looked up from your lunch in confusion. Epel had just slid over, with a wicked look in his eye. A look that normally came from Ace. And if Ace was telling you it would be bad, then it would surely be bad.

“I've never done anything wrong in my life!”

In the seat next to you, Jack snorted, but didn't say anything.

“Listen, Y/N, my best friend, one who I'd do anything for,” he pleadingly took your hand, full charm on. “I never ask for anything.”

This time you snorted.

“I just want this one thing.”

“What is it, Epel?” You asked tiredly.

“Well, you know how it's snowing? I need you to pretend we are having a snowball fight, so that I can “accidentally” hit Vil with a snowball.”

You yanked your hand back, and went back to your lunch.

“Just listen! He's gonna be on his internship next year, so I'll never get another chance!”

“Ask Ace.”

“No way, I choose to live.”

“It has to be you!” Epel pleaded. “You're the only one who can do it and not get killed! He likes you!” 

“He sure has a funny way of showing it…”

“Look, we just need to throw a couple snowballs at each other, then when Vil walks through the courtyard, I'll accidentally miss you, and hit him. Then while I'm giving a fake apology, you're gonna hit me in the face with a snowball, and he'll see I'm telling the truth.”

“First off, he'll kill me for enabling you, because that's such bullshit that he won't believe. Second off,” you threw your hands up in frustration, “my aim is not good enough to hit you in the face. But you know who's is?”

You stared pointedly at Ace, who vehemently shook his head. “Stop trying to drag me into this!”

“Y/N,” Epel pleaded, taking your hand again, and making the saddest expression you'd ever seen. “Please.”

Jack groaned next to you. “Oh sevens.”

And you knew why he groaned. Because there was no way you were going to say no to that face.

….

Your fingers were starting to go numb from throwing snow.

“Epel, are you sure he's coming?” You whined.

“He has to come this way for film club! He's just, probably delayed or something.”

You grumbled as you leaned down to make what felt like the 300th snowball.

You heard a not so subtle cough from Epel, and knew that the devil himself had arrived. You subtly nodded, and threw a snowball at him. As planned, Epel threw one that was way over your shoulder. You heard the disgusted “ugh” as Epel began his fake apology, then aimed at Epel's face.

Unfortunately, just like you warned him, your aim was not good. It sailed past him, and hit a certain suited someone square in the back. Azul, flanked by the twins, slowly turned towards you, a cold smile on his face.

“Take care of that, please,” he said, and you stumbled backwards as you watched the twins make their way towards you.

“Shit, Epel-” you called, but he was too busy getting lectured. You watched Floyd pick up an armful of snow, and start running towards you, Jade preparing to snipe you with snowballs after the initial attack.

You ran, but slipped on an ice patch, falling straight into a body, who was just as unfortunate as you. The both of you went down, just as Floyd dropped the snow pile on the both of you.

“What in Seven’s name-” Jamil shouted from under you, and the snow pile. Only to get hit square in the face with Jade's sniper snowball.

“I've always wanted to do this!” Kalim giggled, still on his feet, and untouched with snow. He made a snowball, and threw it at the next unfortunate passerby who walked through the doorway.

Poor Idia…

He squeaked and hid behind Ortho, whispering something into the cyborg's ear. Ortho 's eyes brightened in excitement, and you watched in horror as his arm turned into a gun of sorts, and started rocketing snowballs every which way. You snatched Jamil's and Floyd's wrists, and dragged them behind a bench.

….

It hadn't taken long for some teams to form. Any poor soul who wandered into the courtyard was forced to take cover as snowballs were rained down upon them. This might have ended hours ago. Except Ortho was trigger happy, to the extent that Idia was hiding with your team, and Floyd had betrayed five different teams already. The other reason this wasn't over, was each team got "lucky" enough to have at least one person who had a vendetta against someone else.

You got lucky enough to be stuck with Leona.

Your team consisted of Leona, Jack, Idia, Jamil, and Trey. An odd mix to be sure.

“Snowball,” Leona grunted, Jack quickly handing him the requested snowball. He threw it with astounding speed and accuracy, hitting Cater square in the chest, hard enough that he released an oomph that was audible across the courtyard. Poor Cater hadn't meant to hit Leona, he was aiming for-

“Please! I won't punish any of you! Just let me go back to my dorm!” Riddle pleaded, his arms in the air in show of peace. He was knocked over by a barrage of snowballs, from Ortho and various other participants.

“Snowball,” Leona grunted.

“Oomph! Leona, I'm sorry! I didn't mean to hit you!” Cater sobbed from across the way.

“Snowball.”

“Oomph!”

You grabbed Idia and Trey by the collar, bringing them in closer to you.

“We gotta come up with a plan,” you said barely above a whisper. Your bench was crowded, and not very safe from snowballs. Then again, it was better than the tree that Ace's team was stuck behind.

“Like what?” Jamil grumbled.

“Damn it!” You heard an unrecognizable cry, as Floyd slid back behind your bench.

“I'm back on your team!” Floyd giggled happily. “What are we doing?”

“Plotting our escape,” Trey said with a tired laugh.

Floyd pursed his lips. Then threw a snowball straight at Trey's face, bursting into laughter and rushing to join a different team.

“Wonderful,” Trey muttered, wiping his glasses off on his shirt.

“We're gonna die here,” Idia whined, burying his head in his arms.

“We could use Shroud as a shield. His baby brother wouldn't dare hit him,” Jamil offered up. 

Idia glared at Jamil. “Aren't you supposed to smart! If that was true, why would I be hiding behind a bench like you dweebs?”

“Fu fu fu, what do we have here?” Lilia's upside down face suddenly appeared in the middle of your group. You popped up in shock, and in that moment, were slammed in the back of your head by a snowball.

You turned to glare at the perpetrator. Of those who had a vendetta, Rook seemed to be out for you. He smiled pleasantly, as he aimed another one at you, before Jamil yanked you back down.

“Lilia, we need to get out of here. Can you use that big brain of yours to help us?” Idia cried, at the bargaining stage of the stages of grief.

“Hm…” Lilia tilted his head thoughtfully, then poofed out of sight in magenta smoke.

Moments later, Malleus and all of his attendants walked out into the courtyard.

“I have a bad feeling about this,” you muttered.

“Why? They're our back up, right?” Idia muttered.

“No. I very much doubt it,” you heaved out. You peaked up over the edge of the bench, where Malleus made eye contact, and gave a small smile. Lilia waved just as Malleus threw the snowball at you. You ducked at the last moment, and-

“Fuck you, lizard!” Leona leapt over the bench, threw a snowball at Malleus, then tackled him to the ground, the two of them wrestling in a snow pile. Lilia looked on as though this was the proudest moment of his life.

Floyd flopped back over to your group.

“‘m bored. I wanna break out with you guys.”

“That was fast,” Jack muttered, though you weren't sure if he was referring to Leona, or Floyd. 

“Well, there's our distraction. You're from a dorm that's all about strategy, come up with something!” You snapped at Jamil.

He glared, and sighed tiredly. “Realistically, I can't leave before Kalim is done.”

The rest of you stared at him, unimpressed. He sighed.

“But if you still want a plan, then use Jack and Shroud as a shield.”

“I already told you, Ortho is gonna-”

“Did I say shield? I meant sacrifice.”

“Fine with me!” You jumped to your feet, yanking Idia up in front of you. Trey realized you were already moving, and quickly joined you as you pulled a shouting Idia along the courtyard. Behind you, you saw Floyd trying to wrestle Jack into being his shield. It was going badly. Not your problem anymore.

You made it halfway across the courtyard, when a hand grabbed your ankle. You looked down, to see Deuce staring up at you.

“Take me with you,” he croaked.

You reached out to grab his hand, but startled as Trey started moving you and your shield with even more fervor.

“Wait, Deuce!” you cried.

“Who?” Trey said, his face the picture of innocence, even as he fought to keep back a vicious smirk. 

“Big brother!” Ortho giggled.

“Ortho, wait-” Idia cried, and you were all shocked as chunks of snow rose and fell above his shoulders from the quickly pulverized snowballs.

“Big brother! You're supposed to throw a snowball back!”

You finally reached the door, Trey reaching behind him and turning the knob. He pulled you in behind him, as Idia dove to the ground. Trey quickly slammed the door.

You were going to ask whether you should try to save Idia, but he looked at you in concern. He gently grabbed your hands in his own, rubbing them between his.

“Your hands are so cold. There's hot cocoa in my dorm.”

“Hot cocoa,” you muttered, as your fingers started to burn from the lingering frostbite.

“And I can make some warm bread…”

“Oh,” you whispered in awe, slowly following him as he walked backwards to the mirror chamber.

“The kitchen is very warm…”

“Yeah…”

You heard a snowball hit the door, and were nearly pulled out of the cozy hypnosis that Trey had put you under, but he whispered.

“Heartslaybul has very soft blankets.”

And then you were right back under.

Tag list- @eccedentesiast-sapphic @leoll

#twisted wonderland

[aihoshiino]

An Interview with Ai: Da Vinci Magazine Jan. 2024 (4chan Anon TL)

In the issue of Da Vinci Magazine dated for Jan 2024, there was an exciting surprise - four whole pages of an in-character interview with Ai of B-Komachi! Taking place shortly before her 20th birthday, Ai discusses various things with the interviewer, resulting in some surprising new information about her relationships with certain characters and her own home life...

To be clear up front: This is not my translation! I'm archiving and mirroring it from 4chan where it was originally posted by an anon. I've made no changes to the text save cleaning up some grammar errors and typos and formatting it for tumblr. I plan on doing my own translation of the interview, either via scans or buying the magazine myself when I have the money, but for now, I hope this will do!

Q: It seems to have been a turbulent year for B-Komachi and Ai as well. Looking back, what was your impression?

Ai: That's true. It really went by in the blink of an eye. Everyone was so busy, myself included. It was so strange. Before I knew it, we were already scheduled to perform in the Tokyo Dome (laughs). I thought to myself, "I see... so we did come this far."

Q: You have taken on many challenges so far. What is your most memorable job?

Ai: I had a great time in all of them. There were also many occasions when I thought, "Are they asking me to do this too!?". But if I had to pick something other than my idol activities, then my most memorable job would be all the times I had to work in movies. I met so many people that, at the end, it felt like hanging out with friends. And then, in the blink of an eye, the job would be over (laughs).

Q: You were really getting into it (laughs). But acting is completely different than being an idol. Did you find it difficult?

Ai: For me, it is normal to be photographed as well as being filmed while singing, on a music video, or during variety shows. I wonder if I was able to put that experience to good use, but then I think about it, and I believe I did it perfectly!!

Q: ...so was it difficult?

Ai: Having to deal with the waiting time was more difficult at first. I know I shouldn't say this, but sometimes I was sooo bored (laughs). But finding new ways to kill time was fun.

Q: It's like the saying goes, "Waiting is part of an actor's job."

Ai: Oooh, I had no idea there was a saying like that! How interesting!!

Q: Looking back, Ai's first drama was directed by Taishi Gotanda, and then you worked with him in subsequent films too. What impression do you have of him?

Ai: He has a scary face. But when I talk to him, there are many times when it feels like he's just a useless adult. In that aspect, I can sympathize with him. There were times I was eating my lunch, and whenever rice fell while eating, he would just jump and say, "WATCH OUT!" like a mom (laughs). But well, I love his works. Whenever I watched them, it felt like, "Ah, his passion for authenticity is genuine." As a creator myself, I knew I could trust in him.

Q: It certainly feels like he's good at depicting the inner lives of characters.

Ai: That's right, it always feels like instead of characters, his works show real people. And I love that. I'm not a big fan of movies; at most, I watch some dramas recommended to me, and they are usually really entertaining! I think I'm not good for the roles of such characters, and I thank that director Gotanda's works aren't of that type.

Q: Your acting feels quite natural. What kind of acting guidance did the director give to you?

Ai: None, really. He just said, "Do as you please," and I just went with it. However, I don't think everyone was on the same page. In one of the sets, there was a child actress called Kana Arima-chan. She is suuuuuper cute, and whenever she was acting, I was thinking, "Wow, she's just like the character," and that's when it sunk to me that actors are capable of anything.

Q: Maybe it was possible that you, without realizing it, were asking Arima-san to lead the scenes?

Ai: Pretty much. In fact, she even scolded me (laughs). "Can you take this a bit more seriously?" she told me. I was doing my best, though! (laughs). But seeing Kana-chan so serious about doing a good job made me want to put even more effort into my role.

Q: That reminds me, there's a child actor from Ichigo Pro called Aqua-kun working on it too.

Ai: Ahaha, Aqua-kun was so cute too! He has such a mysterious charm, it made me wonder "maybe he's a genius too?" Don't forget to watch his future projects, alright?

Q: I won't. Returning to the topic of your activities as an actress, what part of it was the most interesting for you?

Ai: I still have problems understanding what "acting" means. Sometimes it felt that, well… rather than trying to find a character in myself, the character itself was taking over my own actions. Even thought I was acting, I didn't feel like myself, as if every action was being performed automatically. But rather than make me wonder about my talent or lack of, I guess it was all thanks to the wonderful script.

Q: I see. So in a way it's similar to separating Ai as a person and Ai as an idol?

Ai: There are parts of myself that I still don't understand, but I believe it's the same for everyone. Everyone acts with an idea of what they "want to become". Until now and from now on, I will continue working hard just so I can become the person that everyone wants me to be. In that sense I could say that I'm acting, playing the role of Ai. Of course it doesn't mean that I'm forcing myself to, it just happens unconsciously, naturally. I also have to face everyone in B-Komachi, how cute they are as well as their honesty. They show that cuteness to the fans, and for me, that's not an act.

Q: And said B-Komachi is now going to perform at the Dome. Why do you think the group is so beloved by fans?

Ai: It's because we worked together, because I knew that by working seriously we could go this far. Also I don't believe the Dome is our ultimate goal, or better said, I can't quite grasp how amazing is for us to perform there. Our boss said that he always wanted to see us perform there so I decided to do my best in order to make that dream come true. That's why, till now and from now on, I will continue working hard to fulfill everyone's dreams.

Q: So Ai's forte is to want everyone around her to be happy.

Ai: Yes. But I wonder if the rest thinks the same.

Q: Don't you have any personal ambitions?

Ai: Ah, now that you ask, I have a bit of a naughty opinion and is that I'm happy that we are selling a lot and getting a good amount of money (laughs). Being able to buy a really expensive ice cream is pure bliss. As for the rest, just seeing my fans happy is enough to make me happy too. But rather than happy, I guess it makes me feel at ease.

Q: When you say you feel at ease, is that similar to saying that you found a place where you belong?

Ai: A place where I belong… I'm sure everyone search such thing, I think it's the same for some members of B-komachi.

Q: …is it different for you?

Ai: I can't quite tell, it's something I'm having problems figuring that out. Sometimes I feel like I'm stuck in place, but then I feel like the energy I receive from everyone allows me to do my best as an idol as well as my other jobs, and in exchange, I'm able to bring smiles to them.

Q: I see. It's true that many types of fans have enjoyed your live performances in the past. Which reminds me, there was also this one video of baby twins cheering for you that went viral.

Ai: Oh yeah that one!! I can't believe how those babies could swing those glowsticks like that. It was so cute~. I feel so much bliss every time I watch it.

Q: During a TV show when they showed that video to you, many people in social media pointed out your smile while watching it

Ai: Oh right! I thought it was the same smile I always had. When I read those comments I couldn't help but ask to myself "Eh? What is so different?"

Q: From now I'll be making questions a bit more private. Could you tell us about how were you during your childhood?

Ai: I don't think I was a good child. If anything, I was a really nasty brat (laughs). Because our house was close to the railroad, during midnight I would often walk near the tracks wondering if the train is coming close. Once I hear it, I would run away. If I tried that today, I'm sure it would be a problem (laughs)

Q: Did you wonder where did you want to go back then?

Ai: I wonder. I didn't had an specific place in mind. I lived with my mother, but she had a boyfriend back then, always living in their own little bubble being loveydovey and it was rough for me. I just said "Ah, this is not my place" and ran away, I could think about the rest later.

Q: Maybe going to a friend's house was a better option.

Ai: I've always been a loner, since I was a kid. There were many times when people would get irritating and I would just prefer to be alone playing Tetris. Of course, that doesn't mean that I would take loneliness over company, but at times I could tell that, whenever someone was around, the mood between people would go sour and I then stayed away from them.

Q: But then, are there any fond memories you have from your childhood?

Ai: Let's see… I do remember my dad. It wasn't something that happened often, but this one time, we went to the grocery store and bought some natto. Then, when I took the plastic from it and wrapped it in seaweed, he said, "Oh, you did it well," and that made me happy. That's why, even to this day, I'm quite skilled at wrapping food in seaweed.

Q: Being praised by your parents is usually trivial, but for some, it's something fondly remembered when it happens. From your perspective, what were your parents like?

Ai: Maybe they were like me, seeing things from the same perspective. Rather than seeing each other like family, it felt more like partners in a way. But I can't hate them for that, no human is perfect and no one is actively seeking a parental role.

Q: That's quite a mature way of seeing things. 

Ai: I wonder. I'm in a parental role too… ooooor so I think that's what I feel whenever I see a child with their parents in the audience. It's because of my experience in my childhood that I can't comment on other parents whenever their children do something bad. Parenting is difficult, I'm sure.

Q: In that case, if Ai ever had a family, would you also treat your children as friends or partners instead of keeping a parent-child relationship?

Ai: It doesn't matter. As long as everyone is happy and smiling, then it's fine with me. If you asked me what a perfect family is, I just wouldn't know how to answer that. But it would be one as long as the children are happy. If I had a family, I would do whatever it takes to achieve that.

Q: I know I shouldn't ask this of an idol, but do you have someone you want to marry?

Ai: ...That's a secret (laughs)

Q: You were scouted in order to be an idol. What were your impressions about idols back then?

Ai: For me, they were so pure, always shining, and doing their best to support and care about their fans. That's how I saw idols. If the job of an idol is to make people happy, then I wanted to be like that too, well I'm still working on it.

Q: And now that you are one, has that image changed?

Ai: They are hard workers, just as I imagined. There are times when things get rough, but then I push myself like, "Let's just do it" and continue with pure momentum (laughs)

Q: It would be weird to not get used to the routine.

Ai: But I love it, with its ups and downs. There's been times I felt like I was doing something wrong, that maybe I didn't belong here, but then I remember that being able to be an idol is wonderful.

Q: For Ai, is this your dream job?

Ai: Hmmm, I wonder. I wouldn't go that far. A real idol truly loves their fans, is always kind, and would never lie. I'm still trying hard, doing my best, wondering if one day someone will look at me and say, "She is the real deal.".

Q: But there are many who describe Ai as an "unmatched genius idol."

Ai: Why do they even call me something like that? I'm just there in the group, being myself; I don't know which one of my actions qualifies me to be called that.

Q: In that case, for Ai, what does it mean to be an idol?

Ai: At times, I think that being an idol means being "able to express herself to others." Sounds cool, doesn't it? (laughs). In reality, I believe that it's about being able to replicate what others want from you. ….Hmmm, I guess it makes it sound like school or something.

Q: Do you feel B-Komachi in the same way?

Ai: B-Komachi is different. I met everyone when the group was created, and we wasted no time getting into idol activities. If I lagged behind even a bit, I felt like I was causing problems for others. But with the passing of time, we managed to spend more time together, and I feel like we share an irreplaceable bond.

Q: What is exactly this "irreplaceable bond"?

Ai: Ah, it's nothing too deep. It's just that I've started hanging out with the rest more often. I'm quite a home person, so when I ordered food for everyone, Takamii (Takamine) would get mad at me because the vegetable portions were too small. "You lack femininity! You will never become a wife at this rate!" (laughs). I never said I was thinking of becoming a wife! (laughs)

Q: (laughs) Earlier, you said that sometimes you felt alienated during your childhood. Didn't that cause problems for you, considering that you were chosen as the center of the group?

Ai: Kinda does. Even now, I still wonder if I should be the center. There are more capable members in the group. Of course, I feel honored, but I'm still unsure if I'm doing it right. Maybe other members should be in my position. Besides, it's hard to memorize the dance as a center (bitter laugh)

Q: As a final question, what are the current goals for B-Komachi?

Ai: We have new members joining us this year, so we are even more hyped than before, and we are finally performing in such a big venue as the Dome. B-Komachi has finally become a great group, and I'm sure they will be fine even after I'm gone. Not that I'm planning on quitting (laughs). All the members are so hardworking, kind, and cute. From now on, please, pretty please, support them as much as you can.

#oshi no ko #oshi no posting #ai hoshino #b-komachi #onk translations

[a-small-batch-of-dragons]

Not a Bad Holiday Season

Hey! I hope you had a great holiday season! I was wondering if you could write something sweet about Virgil and Logan after the secret Santa episode. No pressure ofc, Thank you you’re the best <3 – lapassemirrior

Read on Ao3

Pairings: none

Warnings: none

Word Count: 1225

“No, but that doesn’t work within the context of the other clues…”

Virgil smiles as he ambles down the hallway, listening to the soft mutterings on the other side of Logan’s door. From the sounds of it, Logan’s hardly stopped to breathe since he figured out that the newspaper wasn’t just a newspaper. He hesitates for a moment, just a moment, before knocking on the door.

“Come in?”

“Hey,” he says as he steps through, “wanted to check if you—whoa.”

He thinks he can be forgiven for truly coming to a dead stop when he sees the fucking conspiracy board Logan’s got where his whiteboard usually is. The original newspaper is still on his desk, the eye in the hurricane of notebooks, pens, and paper strewn about, but he’s made copies of certain parts and pinned them to a corkboard. Fucking hell, he’s even got bits of red string connecting picture to picture—if he didn’t know any better, he’d ask if Logan were working with Roman or Remus on some film noir idea.

“Virgil?”

He snaps himself out of it. “Sorry, I, uh, I guess I’m glad you’re having fun?”

Logan’s face splits into an almost manic grin—shit, maybe he really has been spending too much time with Remus. “This is incredible, Virgil, I can’t properly express my gratitude until I’ve completed your puzzle. I have to ask: did you do all of this truly by yourself?”

Virgil scratches the back of his head. “Eh. I may have gotten Princey to help with some of it.”

Logan frowns. “Roman?”

“Well, yeah, he is Creativity too. And he’s—okay, I’m not gonna spoil it ‘cause it’s his idea, but he has this thing he’s doing right now that’s gonna be really, really cool when he gets around to showing it off, so—“

He trails off when he sees Logan still frowning at his desk. He takes a step closer, nudging him with an elbow.

“What’s up?”

“Nothing, nothing.”

“Uh-huh.”

“It really is nothing,” he says, “I suppose I’m surprised that Roman would be willing to…help you with such a thing.”

Virgil frowns. The irritation that Logan had expressed when he’d first looked at the newspaper, the almost resignation he’d had when he’d immediately moved on, it’s starting to show in his face right now.

“L,” he says, trying to get his attention, “why is it surprising?”

“Well,” Logan huffs, adjusting his tie, “you know.”

”I don’t. Can you tell me?”

“It’s Roman.”

“Yeah. Creativity. Making things. Doing stuff for us.”

“For you,” Logan corrects, still not meeting his gaze, “not necessarily for me.”

That’s funny. As Virgil remembers it, Roman had been hesitant to help him at all until he’d told him it was for Logan. Then he was practically climbing all over him to help out.

“But perhaps in the spirit of the holiday, then—“

“Logan.”

Logan stops. He takes off his glasses and pinches the bridge of his nose, taking a deep breath. Virgil lets him, waiting until he’s put his glasses back on and sat down. He leans against the edge of the desk and waits.

”That was unfair of me to say,” he mumbles, “wasn’t it?”

“Maybe a bit.”

“I…didn’t mean it to be spiteful.”

“You sure?”

“…maybe slightly.”

Virgil chuckles, rubbing his shoulder. “It’s okay. I know you and Princey have your moments.”

“But I have those with everyone,” Logan continues, staring off into space, “even—even with you. When I didn’t realize what your gift was at first, I…”

“Hey,” Virgil murmurs when Logan’s breath hitches just a bit too much for his liking, “you’re okay. It’s—look, the holidays are a stressful time for everyone, it’s not fair of me to hold it against you.”

“Thank you.”

“And, uh, I think any ARG that loudly screams hey, look at me, I’m a big fucking puzzle kinda fails at being an entertaining ARG—“ Logan snorts— “so I don’t blame you for taking a second to get it either.”

Logan hums, leaning against Virgil’s side. His glasses squish slightly into his ribs and he turns to fix it. “You’re right.”

“And hey, you really look like you’re enjoying it.” He gestures to the board. “You got your red string out and everything.”

“Well, I realized that I could take notes on my computer or in the notebook, but…” He can hear the moment the smile curls up his face. “I decided I might as well have fun with it.”

“That’s the whole point.”

“Thank you,” he says, softer now, turning to look up at him, “I really do like the present.”

Virgil chuckles. “I got that. Glad you’re having fun. What part are you at?”

“Part?”

“How much of it have you solved already?”

“I’ve just gotten to the QR code you managed to hide inside the picture—how did you do that, by the way? No, no—“ Logan holds up a hand as Virgil starts to explain— “don’t tell me just yet, I’ll make a list to ask you once I’ve finished everything.”

Virgil just grins and holds up his hands, stepping back as he watches Logan get up and start working on something again. He wanders over to the board after a moment, looking at all the pieces. Shit, he knew Logan would be good at this, but Janus would pop up if he said he’s a little disappointed that some of the puzzles didn’t take him longer.

Though, he notices with a grin, it doesn’t look like Logan’s cracked the big one yet. That’ll be something to look forward too.

“But enough about that,” Logan says, “did you come here for anything specific?”

“Huh? Oh, yeah. Pat and Princey are making a fucking feast for dinner and they’ve asked the rest of us to put together a movie marathon. If you, uh, if you’re willing to step away for a sec?”

“Certainly. Give me one moment…” Logan scribbles something else down on the piece of paper and pins it to the board—damnit, he got that one too, he really is good at this, maybe he should’ve made it harder— “there. Alright, what is everyone thinking? There are a few generic thrillers that have come out recently, Remus was talking about a disaster movie—“

“Wait, they made another one?”

Logan rolls his eyes as they head out to the hall. “It’s quite a profitable genre, despite the rampant suspension of disbelief that’s necessary for full immersion, so yes, I’m sure they did.”

“I don’t know about you, but I think not having to think too much sounds like a good thing.”

Logan chuckles. “Yes, well, you’ve been kind enough to give me quite the puzzle to keep me entertained for a while.”

“I really am glad you like it, L.”

“May I be honest?” Virgil nods and Logan glances around, leaning a bit closer. “Even if it had just been a newspaper, I still would have appreciated it as it came from you.”

Well. Shit. Now he’s blushing. And Logan’s looking at him like that and yep, they’re going to find the others right now.

All in all, not such a bad holiday season.

General Taglist: @frxgprince@potereregina@gattonero17@iamhereforthegayshit@thefingergunsgirl@awkwardandanxiousfander@creative-lampd-liberties@djpurple3@winterswrandomness@sanders-sides-uncorrect-quotes@iminyourfandom@bullet-tothefeels@full-of-roman-angst-trash  @ask-elsalvador @ramdomthingsfrommymind@demoniccheese83@pattonsandershugs @el-does-photography @princeanxious@firefinch-ember@fandomssaremysoul@im-an-anxious-wreck@crazy-multifandomfangirl @punk-academian-witch@enby-ralsei@unicornssunflowersandstuff@wildhorsewolf @thetruthaboutthesun @stubbornness-and-spite @princedarkandstormv  @your-local-fookin-deadmeme @angels-and-dreams@averykedavra @a-ghostlight-for-roman @treasurechestininterweb @cricketanne @queerly-fluid-fan @compactdiscdraws@cecil-but-gayer@i-am-overly-complicated@annytheseal@alias290@tranquil-space-ninja @arxticandy @mychemically-imbalanced-romance@whyiask@crows-ace @emilythezeldafan@frida0043 @ieatspinalcords @snowyfires@cyanide-violence@oonagh2@xxpanic-at-the-everywherexx@rabbitsartcorner @percy-07734@triflingassailantofmyemotions @virgil-sanders-the-gay-emo@cerulean-watermelon@puffed-up-bees@meltheromanstan@joyrose-fandomer@insanitori@mavenmush@justablah65@10paradox10@uhhh-hi-there-i-am-nervous@cutebisexualmess@bella-bugatti-frogetti-baguetti@ultrageekygirl

#dragonbabbles #sanders sides #logan sanders #virgil sanders #fic

[fibula-rasa]

How’d They Do That?

Special Effects & Stunts of Silent Cinema - Part 1

This is the first installment of an open-ended series where I try to highlight and illustrate the work of special effects and stunt artists of silent filmdom. Using articles from contemporary fan and trade magazines, I’ll make gifs or dig up images and/or video clips to accompany the descriptions of how the sequences were executed.

My notations will be bracketed and highlighted in a different color. Hope you all enjoy! Fair warning: this is a long read.

How They Do It! 

[from Photoplay, April 1926]

by Cal York

Millions are asking how the motion pictures are accomplishing the marvelous new effects which have been developed in the past few years. It took months of investigation to give you the answer

DO you remember how you thrilled when the Red Sea parted to let Moses and the children of Israel pass through, only to close again and swallow up Pharaoh and his pursuing warriors in C.B. De Mille's stupendous "Ten Commandments" ?

How you gasped as T. Roy Barnes fled from the burning tenement with Claire Windsor in his arms as flames and smoke spurted about them and debris crashed on all sides in "Nellie, the Beautiful Cloak Model"?

The destruction of Pontius Pilate's palace with the crushing of hundreds underneath the ruins in "Ben Hur"? 

The rescue of Doris Kenyon by Ronald Colman in Fitzmaurice's great picture, "A Thief in Paradise," as Miss Kenyon's runaway horse reared and stood poised on his hind legs on the very brink of a precipice? 

Conway Tearle's hair-breadth escape from the mountain of rushing water in "The Great Divide"? 

The stirring battle scenes in "The Big Parade" in which giant shells burst all around, tearing huge craters and spreading death as our boys marched on and on and on through No Man's Land. 

How Blanche Sweet carried Ronald Colman to safety as the blazing roof fell and seemed certain to bury them. This in "His Supreme Moment." 

I could go on and remind you of train wrecks which have brought you from your seats, of battles against storm and shipwrecks at sea—of thrills and hairbreadth escapes and terrific disasters.

How many times have you gone home from your motion picture theater and wondered how these things were accomplished, discussed with your family and friends what possible method could have been used to achieve the seemingly impossible?

AFTER months of investigation, I am able to give you an explanation of the thrills in the pictures I have mentioned and to explain to you the general method used in most other similar scenes. 

First, I will tell you how they parted the Red Sea. This was done by a process of double printing, worked out by Roy Pomeroy, technical director at Lasky's. But that, marvelous as it seemed, was but a simple thing compared with the miracles now being wrought on celluloid by Frank Williams, the wizard of Hollywood, who has dreamed out and perfected the moving or traveling mat process of printing, which has made possible most of the recent marvels of the screen.

[Roy Pomeroy was head technical wizard for Famous Players-Lasky/Paramount (that is to say, he was their head special-effects engineer). We only know for certain about a handful of films that Pomeroy made specific contributions to, like The Ten Commandments (1923) and Wings (1927). As with many journeymen of the silent/studio era of Hollywood, the amount of films Pomeroy worked on was likely substantial, but many technical roles went uncredited at the time.]

To part the Red Sea, Pomeroy first built, on the Lasky lot, two wooden walls about the height of the ordinary room and backed them at one end with a scenic drop to represent the Red Sea country. These walls he covered with a jelly-like substance made from silicate of soda and sulphuric acid, which shimmered and shook and photographed like water. The floor space between these two walls was made to look like sand. He then photographed this set. 

Then, with two cameras set up at the open end, he emptied thousands of gallons of water between the walls from huge water tanks behind them. One of the cameras was cranked backwards, and this showed the parting of the Red Sea. The other camera was cranked forward, and showed the waters joining together. Both were done in slow motion, which will be explained later.

The next step was taken out on the desert. 

Wire fences were built a few inches further apart than were the jelly walls built on the stage. First Moses and his followers, with their live stock, were marched between these wire fences, which were just outside the camera lines, and therefore did not show in the picture. What the fences did do, however, was to keep the goats and donkeys from poking their noses outside the camera lines, which would never have done for in the double printing process the camera lines would become the walls of water. And it would never do for a donkey to shove his head through the Red Sea. 

After Moses and his Children of Israel had passed through satisfactorily, under the grinding camera, they then photographed Pharaoh and his Egyptians madly pursuing in their chariots through the same fenced lane. And if the horses and chariots smashed out through the light wire fence, it was fine. for you will remember they were seen madly milling about before the walls of water finally obliterated them. 

THEN when they put all together, by double printing, here is what they got: 

First, a wall of water parted and left a lane of dry land in the Red Sea. (You remember the camera cranking backwards gave them the negative for this.) 

Then Moses and his band were printed in passing along the space between the walls of water. After them, came Pharaoh and his warriors in full pursuit. 

Right over these they printed the original negative of the waters rushing together, and this completely engulfed The Egyptians.

The only person to get wet in the closing of the Red Sea was Charles de Roche, who played Pharaoh. The blotting out of the King and his war chariot was not done by double printing but by trick photography, as it seemed necessary to the story of give this incident more personal drama.

The method used was this: DeRoche and his horses and chariot were placed on a treadmill. The camera was on a platform facing them. Over DeRoche's head and out of sight of the camera was a huge water tank, with a water chute projecting from it. This chute gave into a tank between DeRoche and the camera, but below the level of the camera line. While DeRoche whipped his horses like a madman on the treadmill and did all the acting necessary to being engulfed by water, the water in the tank was released and poured down in a torrent between him and the grinding camera, giving a perfect illusion. The only reason DeRoche got wet was because the water chute running above his head leaked badly. 

Does this seem wonderful to you? It should. It is. And yet I tell you that it is simplicity itself compared with the moving mat. 

Remember that in the "Ten Commandments" the double printing put the moving people into a vacancy on the film—the blank space left in the miniature between the walls of water. Also, that the double printing of the moving water over the Egyptians simply obliterated them.

READ ON BELOW the JUMP!

---

Photo caption: This great outdoor scene is made up of three parts and was made right in the studios of the Paramount Company at Astoria, L.I. It is composed of three parts: a miniature four feet high, six feet in front of the camera; the top part of the cliff, fifteen feet high, eighty feet in front of the camera; and a painted back drop, a few feet further away. In the long shots, or distant views, you see the whole in convincing reality. The close-up shots are shown in the white frame, the bottom of which indicates where the miniature ends and the larger set begins. This scene is from Gloria Swanson's new picture, "The Untamed Lady" 

[The Untamed Lady (1926) is presumed lost, but luckily, a few images of this cliff-top sequence have survived.

from Exhibitors Herald, 20 March 1926]

An amazing revelation of the latest discoveries of pictures which produce miracles before your eyes

---

But Frank Williams can put moving actors photographed in Hollywood into a moving background photographed anywhere in the world—put actual life and dramatic action into miniatures, which, during the previous years when they had worked with miniatures, seemed absolutely impossible. 

[As you can gather from this article Frank Williams was a pioneer cinematographer and special effects artist. Williams was able to patent his moving matte process (and named it the Williams process) and it was an important effects technique used in film as as varied as Ben-Hur (1925), Sunrise: A Song of Two Humans (1926), The Lost World (1925), and The Invisible Man (1933). All of which are extant and easily accessible! 

While it wasn’t in regular use for very long, the process was the basis for significant later developments in special effects photography, like green screening!]

Williams has made possible scenes that could never otherwise have been shot in motion pictures. It is not only that he has reduced the cost so that often he can give the producer scenes that would otherwise have been prohibitive because of building sets, etc. But he can give them scenes that couldn't be physically shot in any other way—such as a huge building crumbling and toppling in an earthquake and actually burying hundreds of people. It isn't only that he can make hairbreadth escapes without endangering the lives of actors and animals, as was sometimes done to get effects in the old days. He can make thrills that only the actual killing of animals and men would render possible—and this without the actor or animal being anywhere near the scene. 

He can build a miniature town, put real, living people into it, and have them go through any necessary dramatic action, and then he can make a miniature torrent somewhere else altogether and have it sweep away the town with its laughing, singing, dancing population and make you believe when you see it on the screen that it actually happened. 

THESE things he does by the patented process of the moving or traveling mat. It is a matter of printing, remember, more than of photography. Williams himself photographs nothing. The negatives from which he works are all shot for him, under his direction, and the miracles are performed in his laboratory. 

It hasn't been easy for Williams to attain his title of the miracle man of films. He has given to the motion picture art one of its greatest discoveries. Like all great inventors, he has been scorned, laughed at, at times almost starved, forced to work under unspeakably difficult circumstances. But, none of these things moved him. 

A big, quiet, simple fellow, only thirty-two years old. Shy, rather diffident of speech, he makes everything he does look easy. When he comes on a set, his quiet presence is scarcely noticed, and cameramen and technical experts go on spluttering and arguing, and when he is finally appealed to, he settles the problem so simply that everyone wonders why he didn't think of it himself.

WILLIAMS started as a cameraman at the old Essanay lot the year he was out of high school. He was fifteen years old and knew just enough about a camera to turn a crank. He has spent seventeen years at his work, and it was as far back as 1912 that he started work on the moving mat process.

He had no money and few would listen. He was laughed at—Ford, Edison, Marconi, Fulton, all went through the same experiences.

At one time, not so many years ago, John Considine, who is Joe Schenck's chief lieutenant, could have bought a half interest in Williams' big idea for a couple of thousand dollars. Today it is rumored in Hollywood that Williams has refused a cool half million for the same half interest. 

THE way he finally made it was this—he'd work a while as a cameraman and save a few hundred dollars, and then go back to work in his laboratory—usually the bathroom in the place he was living—until his savings were exhausted. Then back to the camera for another stake, and so on.

In 1912 he was cameraman for Mack Sennett when they had the back end of a little grocery store for a studio. During this time Williams made his first attempt to use the moving mat process. It failed, however, due to the inaccuracies of the cameras and printing machines of the time and the crude film in use.

But Williams wouldn’t let go of the idea. He kept right at it, and finally, in 1917, he again tried to perfect his process. working in a laboratory furnished by Adolph Zukor, of Paramount. But again he faced defeat, and for the same reasons—mechanical inaccuracies and improper film.

---

Photo caption: A rolling stage at studios of the Education Film Co. in Hollywood. Upside-down scenes and rolling ship scenes are easy with its use. It is possible to show ship interiors on the stage inside the cylinder which duplicates exactly the movement of a ship in a storm

[The rolling stage was used for lots of imaginative and comedic sequences in shorts and features. In the Lupino Lane short Movieland (1926), there’s a bit that shows the stage in action. Here’s a link to that specific scene, but the whole short is a lot of wacky fun and I recommend watching the full film!

Another illustration of how the rolling stage can be put to use is in When the Clouds Roll By (1919):

---

FINALLY, six years ago, his efforts were crowned with success. The Williams moving mat process was used in a Universal picture, "Wild Honey," and acknowledged commercially. Williams received a great deal of help and gives much credit for this to Elmer Sheeley, then a Universal art director, especially in the building of the miniatures. 

Through the better grade of film, a motor-cranked camera set on a solid tripod, and through his own printing machine, built according to Williams' own drawings at a cost of $18,000, one whose accuracy is to within one ten-thousandth of an inch, all the obstacles which had frustrated him so long were overcome and Williams' moving mat process came to life, as perhaps the greatest single invention in motion pictures since that of the camera itself. 

Once having demonstrated what he could do in "Wild Honey," in which he made a miniature stream appear a rushing torrent over a hundred feet high which pursued Priscilla Dean down a dry stream bed and finally engulfed her, Williams did not have much trouble getting producers to listen. This "Wild Honey" thrill was the forerunner of all big water spectacles, and when shown to C.B. DeMille gave him the idea for the parting of the Red Sea. DeMille admitted that this flood was the greatest spectacle he had ever seen up to that time.

[Unfortunately, Wild Honey (1922) is currently presumed lost and I was unable to find any depiction of Priscilla Dean fleeing from a torrent of water. As noted above however, there are quite a few extant films that also used Williams’ moving matte process.

In case you were wondering, I put $18,000 through an inflation calculator and it is equivalent to more than $315,000 in 2023 money!]

In trick photography miniatures have always been a very important part. It would hardly do to burn a huge building to have a woman carried from the blazing structure, and this the Williams process makes unnecessary. 

TAKE the thrilling rescue front the burning tenement in "Nellie, the Beautiful Cloak Model." A replica of a New York tenement was built in miniature at the studio where the picture was made. We will say for illustration that the scale used in erecting the miniature was one and one-half inches to a foot, or one-ninth the actual size. 

In working with miniatures there are two very important things to be considered, and these must be worked out with mathematical precision, if Williams is to be given a perfect negative on which to transpose living actors through his traveling mat. One is to make the miniature look the proper height. This is done by placing the camera the proper distance from the miniature (of course much closer than if it were a real building), and shooting from a lower level. The other is called timing. For example, if a miniature tree is to fall and the camera set-up is close enough and low enough to give the miniature the proper height when it is seen on the screen, then you must be careful of the speed with which it falls.

A little tree falls rapidly—a big tree slowly. And here is where the timing enters. Ultra speed cameras are used. The faster you crank the more pictures you get per second, and the slower the thing seems to move when you see it on the screen. You have all seen slow-motion pictures. These were made with slow-motion cameras, or what are more commonly termed ultra-speed cameras. And it is through this slow motion photography that the little tree is made to fall at the proper speed to be the big tree it represents, or the miniature stream is made to run at the proper speed for a giant river. 

And so to get back to the fire which is still threatening "Our Nell." A torch is applied to the miniature tenement. At the proper count little invisible wires tied to window sashes are pulled and burning brands crash to the street below. And all the time the cameras, driven by motors at the proper speed, placed at the right distance from the conflagration and almost flat on the floor, are grinding away and recording this great fire.

[Nellie, the Beautiful Cloak Model (1924) is extant, with a print located at Gosfilmofond, but the film is not readily accessible. However, a depiction of the burning building sequence appears on an advertisement for the film:

from Film Daily, 28 February 1924]

OVER on some other part of the lot, and at any time which suits the director's convenience, T. Roy Barnes, with Miss Windsor in his arms, dashes through a black velvet door and down a street backed with more black velvet. 

Two things must be remembered, however. The actors must come out of the velvet door at the right spot and at the right time or "count." This is necessary so that Williams can match up the fire negative, which is the background with action in it, with the negative of Miss Windsor and Barnes, which becomes the moving mat. 

The remainder is simple, and is done by Williams and his printing process over at his laboratory. 

On the screen you see Barnes dashing from a burning tenement with Miss Windsor in his arms while, in reality, neither of the actors has been close enough to a fire to singe a single eyelash. 

Blanche Sweet's rescue of Colman in "The Supreme Moment" was worked out in the same manner as this, as have been most other burning building thrills in pictures made in the last few years.

[His Supreme Moment (1925) is presumed lost and unfortunately I was unable to locate a depiction of the burning building rescue mentioned here.]

Now for the destruction of Pontius Pilate's palace with the struggling mass crushed beneath, in "Ben Hur." Of course the palace was done in miniature, while the people did their acting out on the lot, where the street was built with a dead white backing. Again the timing had to correspond with that in the falling of the palace. 

The throng of people was lined up and rehearsed. Two lines were drawn in the street a fixed distance apart—which represented the space where the ruins of the palace would fall, and the throng was sent dashing wildly down the street. At a fixed signal, all caught between the two marks fell flat on the ground. Those who had not reached the first line halted and registered terror. Those who had passed the second mark fled on, looking back and also registering terror. You see, those caught between the two marks were the people buried under the debris of Pilate's palace—those on either side had escaped.

Then came the trick printing with the two negatives, with considerable painting out of those who had fallen flat between the two lines, and you have the palace falling on the panic-stricken throng in the street. The accompanying drawings will help you to visualize this. 

Never Before Told 

This set of illustrations graphically explains for the first time the marvelous traveling mat process invented by Mr. Williams, which makes it possible for one cameraman to take a background in Europe, another to take the action of moving persons in Hollywood, and to combine them in one motion picture so that when it appears on the screen the action seems to take place against the background so perfectly that it cannot be detected by the human eye. 

Follow this explanation carefully, and the method will be clearly demonstrated to you. 

No. 1. This is the negative of the moving figure taken in front of a white background. In the negative, white appears black and black appears white. It is from this negative that the Williams traveling mat, which has revolutionized motion pictures, is made. 

No. 2. This is a print made from the No. 1 negative and is printed on film of extreme contrast. In this the white and black values are given their true tones. 

No. 3. This is the No. 2 film intensified in a silver nitrate solution so that it becomes a dead black silhouette, while the rest of the film is transparent. 

No. 4. This is the background negative which can be taken any place in the world or made from still photographs or from miniatures. This background negative can have put in it any motion required. 

No. 5. This shows the most important step in the Williams' moving mat process. In front you see the moving mat or drawing No. 3. In the middle is the background negative, drawing No. 4, and at the back is the unexposed film on which they are to be printed concurrently. By this double printing, you get a print of the background negative, which leaves an unexposed portion in each frame, corresponding exactly to the figure you see in drawing No. 1. 

No. 6. The result of the double printing being made in No. 5, which leaves a silhouette blank space of the moving figure, is again double printed and into the blank space is printed the real photographic action taken in the original negative. 

Thus you see that one double printing has left a blank silhouette space into which the real action is double printed in every detail.

---

The rescue of Doris Kenyon, which is also illustrated by the artist, was accomplished in this manner. One negative was shot of a very real and very steep precipice, the cameramen suspended on a platform far out over the edge to get the proper angle. Another negative was shot of Miss Kenyon's horse racing madly along what looked like a fence—but what was the inevitable white drop. Doris and the horse had to reach a certain mark at a certain count—for over at the precipice there had been rocks and dirt released at a certain count—the horse bad to rear, and Colman had to reach the frenzied beast, starting from outside the camera line, and he, too, must arrive on the right count. There could be no waiting for man or horse. They took it perhaps forty times before everything was exactly right, and then the two negatives (the precipice background and the moving mat) were ready for the printing wizard, and audiences got a great thrill.

[A Thief in Paradise (1925) is almost entirely lost. I profiled the film in my series Lost, but Not Forgotten in 2023.]

Photo caption: These two drawings explain how the runaway horse thrill in George Fitzmaurice's "A Thief in Paradise" was made. The upper drawing shows the cameraman getting his shots of a very steep and very real precipice. It also has the horse with its rider and the rescuer sketched in on the edge of the precipice where it actually appears in the picture. 

The lower drawing shows the run that was made before the dead white background, with the horse rearing and Ronald Colman coming to Doris Kenyon's rescue. 

The upper drawing was the background negative and the lower drawing the moving mat negative, and by the Williams' process the rearing horse, rider and Colman seemed to be actually placed on the brink of the precipice

---

You remember the mountain of water pursuing Conway Tearle in "The Great Divide." Of course they shot the torrent in miniature. Conway and his horse made their hairbreadth dash on a dark night and in an artificial rainstorm with nothing but a director threatening —then, although they did have quite a time making the steed climb a slippery and sloping wooden bridge, which was out on the back lot. Then up in Mr. Williams' laboratory, they finished one of the greatest thrills ever witnessed. 

[While The Great Divide (1925) is thankfully extant at Cinemateket-Svenska Filminstitutet, it’s not easily accessible and I was unable to find a depiction of the effect.]

And the marvelous battle scenes in "The Big Parade." There were the big guns tearing huge craters in No Man's Land made on one negative, and the boys marched on and on and on in the other negative, and Mr. Williams brought them together in his printing laboratory. However, it was by no means as easy as it sounds, for this was one of the hardest pieces of moving mat printing ever accomplished.

SO critical is the public that the building, photographing and printing of these miniatures must be of the very highest type of workmanship obtainable. It might be interesting to know that this work in "The Big Parade" alone cost approximately $70,000 for the background negative and the moving mat negative. The miniature battlefield was about one hundred thirty-five feet long and more than seven thousand miniature shells were fired in a period of forty seconds.

On another picture—"The Barrier"—which shows a fierce storm at sea, icebergs, and a ship caught and crushed in an ice floe, more than $85,000 have been spent to create these illusions. 

[The Barrier (1926) is unfortunately presumed lost and I wasn’t able to find a depiction of this effect.]

Mr. Waller, technical camera expert of the Famous Players Long Island Studio, had never seen a cyclone; yet he was instructed to produce one for D. W. Griffith's picture, "That Royle Girl." Mr. Waller did extensive research work on the subject, and then made one to experiment with. A scientific knowledge of the working of the law of gravity, by the way, is necessary to create this phenomenon of nature. 

[That Royle Girl (1925) is also presumed lost, and without film footage of this sequence there’s not really a way to know how the cyclone looked in the film. However, I do think the image highlighted in the advertisement below is likely from the cyclone sequence.

from Motion Picture News, 21 November 1925]

In the basement of the studio Mr. Waller connected up three vacuum cleaners. With three suctions of air and some dust, he made a tiny cyclone. This was photographed in slow motion so that the camera and technical crew might study the formation and activity of the cone. 

From his observations of the film, Mr. Waller was able to prepare the series of wash drawings which, photographed in animated cartoon fashion, represented the action of the cyclone's cone in this sequence of the picture. 

Several hundred drawings had to be made, each one depicting gradually the advance of the cone toward the Inn, which it finally demolishes. These were photographed in rotation on motion picture negative, and this negative double exposed on the 180-foot miniature scene containing the houses and trees. Thus we got a very good illusion of the cone of a cyclone advancing over a village and sweeping houses and trees out of its path. 

[I wonder if/hope that some of these drawings have survived!]

The animated cartoon idea was also used in "A Kiss for Cinderella," when the pumpkin and mice change into the coach and four. The first few feet of the sequence showed real mice and pumpkin; from then on 256 wash drawings of the gradual transformation were photographed in rotation and gave the impression of being animated.

Double exposures of one actor playing two parts is the oldest and most familiar camera trick to the fans. 

Just recently, however, has it been perfected to the point where the actor's two screen shadows can light each other's cigarettes and shake hands. 

Tom Meighan, you recall, did this in Irish Luck." 

AN invisible line from top to bottom divides each frame of the negative in half. One half at a time is exposed, photographing one half of the set. 

Tom appears as Lord Fitzhugh on the left half, and as Tom Donohue on the right half. If you remember. Tom's two shadows are sitting side by side on a divan in the instance of the cigarette lighting. Fitzhugh leans over and gets a light from Donahue's cigarette. The illusion is perfect. But the cigarette from which his lordship really got the light was tacked onto a chair just outside the line, on the half of the set not being photographed at that moment. Only the lighted end of the cigarette projects into Fitzhugh's half of the picture.

[Irish Luck (1925) is extant at Eastman House, but it’s not currently easily accessible. I wasn’t able to find a depiction of this split-screen effect.]

Then when Donahue's half of the scene was being filmed, Tom leans forward and holds his cigarette in exactly the spot where the chair had been, the lighted end being outside his half of the picture. Think of the perfect matching this requires! 

It is done this way. As Lord Fitzhugh performs on one side of the set, the director times his actions, counting the seconds out loud. He knows just where his lordship's right arm is, for instance, at the sixteenth second. When Donahue begins to perform on the other side of the set, his arm must be in a corresponding position at the sixteenth second. Tricky. 

A thrilling moment in "Aloma of the South Seas," Gilda Grey's new picture, occurs when a shark eats a sailor. If you want this thrill, you naturally have to take it synthetic. 

The shark cost $3,000. It was made of flexible rubber, and its insides consisted of a maze of electric wiring. Outside the body were several buttons which the actor could operate in his fight with the shark. It swims, wiggles its tail and bites electrically.

[Aloma of the South Seas (1926) is presumed lost and I wasn’t able to find images of the shark described here. However, as consolation, here is a photo from American Cinematographer of the film’s cinematographer Harry Fishbeck shooting on location in Puerto Rico:

from American Cinematographer, February 1926]

I guess most of the suffering for art is done by the actors who tie themselves into knots to create the illusion of paralysis, amputated legs and so on. John Gilbert is shown in the last reels of "The Big Parade" with an amputated leg. Jack Barrymore in "The Sea Beast," also does it. It is merely a painful process of strapping the foreleg back. In "The Street of Forgotten Men," with Percy Marmont, a very lucid expose of cripple fakes is shown. Marmont had his arm strapped to his back for hours at a stretch during the filming of this picture. It hurts the first fifteen minutes, Percy said. After that the arm becomes numb. 

A vigorous massage is necessary to bring it back to life, but it doesn't feel normal for weeks, Percy says. 

Lon Chaney has his tricks of deformity down so pat that they are almost painless to him now.

#1920s #1910s #1926 #classic film #classic movies #film #american film #my edits #silent film #my gifs #silent movies #silent era #silent cinema #cinema #film history #history #Roy Pomeroy #Frank Williams #Film Art #How'd They Do It #photoplay #lantern

[tgmsunmontue]

More than movie magic... 2/?

Hangster AU. Explicit (eventually). Jake is a Hollywood actor and Bradley is a stunt coordinator. Jake's about to make a few self-discoveries.

PART ONE

                He doesn’t have time to deal with this, whatever it is. He’s too fucking old to be discovering new things about his own sexuality or desires or whatever the fuck is going on right now. He’s okay being attracted to anyone and everyone, is out as bisexual in Hollywood, despite it being conveniently forgotten every time he enters a relationship with a woman. He works with a lot of attractive people, has never really acted on attraction alone. Has always enjoyed and had better sex when he’s in a relationship with someone so his response to seeing Bradley simply… working. Practicing his skills… it’s new. Different.

                Despite not having the time, or the mental or emotional capacity to really reflect he finds his mind drifting to it every moment he’s not busy with something. He’s still half-convinced that it was maybe something to do with the whip, but he’s been around whips his entire life and a quick foray into certain porn just to check and nope, the whip does nothing for him. He tries to imagine Bradley and it helps a little but nowhere near the level of arousal he’d felt from simply watching him open fucking bottle of water. Completely non-sexual.

                Jake doesn’t even have to try and avoid Bradley for the next few weeks, he’s far too busy shooting other scenes, working with his co-stars on the actual acting parts of the movies versus the action part. Some days he forgets where they are in the script, but quick re-reads and he’s back in perfect form, taking on the role of suave and experienced treasure-slash-bounty hunter intent on returning items to the communities from which they’ve been taken from. Like a Robin Hood. Except time travelling and through space. It’s certainly a thing. Fun and not too serious, although he still wants to be doing more of the stunts himself he’s resigned himself to the fact that Bradley Bradshaw is an unmoving, impenetrable brick wall.

                A brick wall he finds attractive.

                He’s just going to ignore it.

…            …            …

                “You’re pretty handy with that,” Bradley states, and Jake startles a little, turns to face him.

                “I’ve used a whip before. I grew up on a ranch.”

                “Think you can open a bottle of water at six yards?”

                “I know I can’t. I know you can though…”

                “And how do you know that?”

                “Saw you practicing.”

                “Hmm.”

                Jake licks his lips, watches Bradley track the movement and everything about this man is hyper focussed, being under that amount of attention is far too arousing for its own good.

                Yeah, ignoring it is going great.

…            …            …

                He watches as Bradley ties him to the fake dynamite, his fingers working deftly and Jake can’t think of anything but having those sure and steady fingers on him. Wonders what they’d feel like on more sensitive parts of his body, although as Bradley’s fingertips brush over the inside of his wrists his entire body feels hot and he guesses that’s his answer.

                “Not too tight?” Bradley asks, his voice quiet, low, and very very close, he can feel the moisture on his breath settling on his neck and he squeezes his eyes shut. “Jake? You okay?”

                “Just, uh, need a break,” Jake says, words coming out higher than usual, pulling the one rope he knows will instantly unravel his bound wrists and he walks to his trailer as fast as he can.

                Ignoring it is not working.

…            …            …

                Someone else ties the bindings next time and Jake is grateful but also disappointed. It keeps filming ticking along and he feels like he’s entered a delicate dance of two-steps forward, three-steps back of trying to figure out what he’s got going on. He’s obviously got something for Bradley Bradshaw. Maybe he’s developed a finger thing, or maybe it’s his hands? His hands are really nice, he’s found himself watching his hands more than once. He’s daydreaming now, picking at the fruit and vegetable platter on the craft table; not really paying attention to anything when he hears someone call Bradley’s name. He does a double take, because he recognizes the man, and Pete Mitchell is not working on this movie.

                “Bradley!”

                “Mav, what are you doing here?” He doesn’t sound overly pleased to see him, more like resigned and it immediately makes Jake curious. Who the fuck talks to Pete Mitchell like that?

                “Thought I’d have lunch with you…”

                “Did you bring lunch?”

                “No. You have a craft table though right?”

                “Yes, but it’s not your craft table.”

                “You think they’ll say no to me?”

                “They should do, cut you down to size. Oh wait, somebody beat me to it…”

                “Ha ha, bringing out the short jokes. Can you take a break though?”

                “Yeah, of course. Again, who is going to say no to you?”

                Jake watches with interest, because they’re clearly comfortable with each other, walking toward him and Pete Mitchell is trying to put his arm around Bradley’s shoulder. Trying being the operative word because Bradley is just that much taller than him. They get closer and Bradley gives him a head nod and polite smile.

                “Hi Jake, this is Pete Mitchell.”

                “Hi Pete, good to see you again …”

                “Hey Jake, good to see you too! We worked on Turn It Up together. Bradley here is a hard task master. Should have sent you a message and warned you about him. But you couldn’t be in safer hands…”

                Jake glances at the hands in question and then up to Bradley’s face where he’s wearing that contemplative look he often wears when he’s looking at Jake, like he’s trying to figure him out. Pete is looking entertained and amused in equal measure and he was always far too preceptive for his own good. Jake flushes, looks away, doesn’t want to ask how Bradley Bradshaw and Pete Mitchell might know each other, is a little worried he might not like the answer.

                “I’ll leave you two to catch up,” he says, grabbing another handful of raw vegetables and heading back to his trailer to munch in peace, his mind stuck in the never-ending spiral that is his response to Bradley Bradshaw. He can’t figure it out. Sometimes he looks at him and all he sees is an attractive man. He’s polite with Jake, firm and doesn’t take any bullshit. But then sometimes he’s just doing something and suddenly all Jake can think about is fucking him. Or getting fucked. He’s stopped being picky the more he’s thought about it. Is pretty sure Bradley would be good at fucking as well. He seems to be good at everything.

                Oh.

                Is that it?

                Is it just because Bradley is… competent? Well. More than competent he supposes, thinking about the water bottles and opening them with a whip. Who needs to do that? And he hadn’t been doing it to show off, had just been doing it for fun… He wants to know if it’s anyone being good at something that gets him hot, or whether this is unique to Bradley.

                Yes, he realizes, it’s Bradley’s level of confidence, that he knows he’s good at what he’s doing, it’s that which is also a huge turn on. It’s not arrogance, just an assuredness that he knows what he is doing and has full confidence in his own abilities. It’s that. That thing which is unbearably sexy and Jake tries to think if there is anyone else he knows who has that character trait. Sure he knows lots of people who are good at things. That know that they’re good, there are also people that are crap at things but think they’re shit hot… none of them seem to exude what Bradley does.

                As filming progresses and starts to wind up, he spends time with some of his old friends and hookups, lets them talk about their passions, asks them to show him certain things, and none of it sparks quite the level of heat that Bradley Bradshaw does. He wants to ask him out. Get to know him better. Has no idea if Bradley is even single or interested, although sometimes he sees him watching. But he watches everything, all the time, so he can’t put any weight to it. Plus Jake’s got his fame to deal with, the fact that any dating they did would either be completely hidden away or under a microscope. There is no normal for him, not anymore. A lot of people can’t or won’t handle it.

                He’ll leave it.

                Soon Bradley will just be a guy he once worked with and he’ll be over this infatuation with his whole thing. He’s got a different film lined up, one that doesn’t require any type of stunts, then the press tour for this film once it’s post-production and he’ll probably never cross paths with Bradley Bradshaw again.

THREE

#Hangster #Sereshaw #more than movie magic #Top Gun Maverick

[bearsinpotatosacks]

Rewatching star trek beyond so liveblogging it

God this film feels like coming home. Let me be a pharmacy assistant on the Enterprise please my life would be fixed

So does Bones just steal from people's lockers? Also they have lockers?

Oh LoRDy

I wish I could’ve been into star trek when this came out

Someone medicate Bones, man's so stressed out honestly

This film really makes me want star trek 4, make it a motion picture, getting the band back together thing

Love the way we see yorktown as massive and impressive then zoom in on the spaceport to make it seem lived in

Sulu's daughter has a toy enterprise

Fuck, prime Spock’s dead

The parts where they show prime spock really make me want a crossover between tos and aos, and it hurts that I'll never see it, guess i'll have to live in fanfic

Love the practical effects of this film

Also is Jim’s outfit in this scene, grey with yellow shoulders, the formalwear? If so I like it

Lovr Uhura's communications panel

Chris Pine's reactions, the cinematography, the set design, the sounds, fuck I love this film

Gonna start saying "i can't engage the warp drive" when i stall a car

Would love to see the borg in aos

Love the character consistency of Bones not carrying a phaser but spock is

Love Bones' portable scanner, i would watch a fake documentary about star trek tech

Does anyone wonder what happened to all the personal belongings that were destroyed on the Enterprise?

Jaylah’s coming soon 😆

There she is!

How many languages does she speak? English, her own and whatever those people she beat up were speaking?

Notice how Bones is still cut on the forehead while he's helping out Spock

Also why does Jaylah know about Krall’s plan? Is that why he shoots people down, try to find the Abornath then kill them to be immortal?

Just realised that Jaylah’s tech was probably from her ship before she got to Altamid, that's why she knows how to use it, her stick, her traps, the parts she got for the franklin (as well as other ships), makes me want to know what her people were like

How long has Jaylah been there?

Love how Bones is ready to throw hands

Bones dancing to achy breaky heart when?

Also Jaylah isn't introduced to Spock and bones, they just get beamed aboard and then spock collapses

Oo Krall’s looking more human

"You gave your girlfriend a tracking device?" Spock’s face 🤣

I really want to know about Jaylah’s family

This film literally proves that my "Jaylah is actually really fucking traumatised and definitely has (c) ptsd" agenda is canon

Also Scotty has his grandma's china hc

Love how Jim respects his crew

Also jim kirk is so Maverick/tom cruise coded it's insane. Bikes, dead dad, cocky attitude, shipped with someone who’s "ice cold"

Uhura has got to be traumatised after seeing a crewmate literally eaten in front of her

Jim Cruise is here! Tom Kirk!

After getting into top gun, the star trek navy inspired titles are funny to me, at least in aos by how quick they get them and how young they all are

Not sure why Jaylah’s fighting gives me kill bill vibes

Also jaylah has blue blood!

Love how sulu gets the dramatic line "they're going to destroy yorktown"

How long did it take to get the ship ready to fly? I mean, it's been at least a day and a night, the day they arrived, nighttime then they all got rescued and brought back together the next day just wondered how long it all took to happen

Also seatbelts!

Sulu would’ve won top gun

"I acknowledge and respect your concerns" Someone's been to therapy

"How do we get them to stop talking" is spoken so shatner

Just realised why certain jobs are the colours, yellow: anything running the ship (captain, pilot etc), red: anything about how the ship runs (engineering, communications, security), blue: science and medical

I love how the end of this film is similar to battleships where they use an old ship to defeat an alien ship

The picture of the original crew! He took it with him! I need a crossover now! I love how they used a more brassy theme there, makes it sound more original, more nostalgic

They had the chance to do futuristic dress but they just look like dudes from 2016

If they could just do an animated series for the aos crew...

Also the og theme at the end 🥲

#aos #star trek #star trek beyond #star trek aos #aos star trek #star trek alternate original series #jim kirk #captain kirk #james t kirk #leonard mccoy #dr mccoy #spock #s'chn t'gai spock #montgomery scott #jaylah #hikaru sulu #pavel chekov #nyota uhura