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dramaticviolincrescendo · 3 years

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Rewatching Shameless and i just watched 6x1 jail scene. Can I request a meta if its not too much trouble? I feel like reading a really good meta about that scene and you're one of the best we've got so.....

It’s never any trouble at all! That’s so sweet to say—thank you so much! <3 Kind of coming to terms with the idea that anyone cares about my opinion over here. You guys are too much!

This scene is actually extremely important to me because it and the response to it were what made me start writing Shameless fanfiction, specifically when I saw that my views regarding Ian’s behavior and how Mickey received it were so vastly different from what I initially read. (Insert shameless plug for “That Milkovich Reputation” here.) Now, I know you’ve told me not to do this before, but based on the controversial position in which this scene resides, I feel the need to present a couple of disclaimers for our audience at large.

I first fell in love with Shameless last March, a couple weeks before quarantine began. I didn’t know what it was prior to that and therefore was not present when Noel left the show, so I didn’t experience the disappointment of a beloved character leaving in a potentially permanent way and didn’t engage in the fandom or see how deeply upset people were by that until after I finished the series. I also don’t subscribe to the theory that there was something going on behind the scenes or any animosity between Noel and the creators, as I have not seen any relevant evidence from reliable sources to support that what happened was anything other than decisions made in pursuit of career goals on both sides. As such, my analysis of this scene has only ever taken the content and context of the story and characters into account. I have no interest in speculating on the motives of people I do not know in writing it or portraying it this way, and even if I did, this scene made perfect sense to me as it was written and performed.

I understand and appreciate that this is not a popular position to take and urge everyone to pass this post by if my position on that matter is offensive or upsetting to you. I do not mean to tell anyone what to think or believe, only to explain how I view this scene and the context in which I do so.

That said, let’s begin.

When Last Seen: Mickey

As in all things, context is important. Prior to the prison scene, the last time we saw Mickey was when Ian broke up with him and Sammi interrupted their heartfelt moment, which basically sums up her character in a nutshell. That was a rough couple of days for Mickey. He saw how devastated Ian was to hear his family talk about him as though he were just like Monica; was distressed in his own right to return for him and discover that he’d left the base with Monica; buried his frustration and sadness by sleeping around with other people, which seemed to exacerbate those emotions because those people weren’t Ian, nor had he and Ian broken up when he did it; and came running when Ian called him, only for Ian to end their relationship.

Mickey is a very sharp man—we know this. He can read people like books and manipulate or intimidate them accordingly. He knew Ian had feelings for him in s1 when he showed up on his doorstep seeking comfort rather than going to any number of other people he trusted. He was well aware that Ian loved him in s3, and that made what he felt he had no choice in doing that much more painful. He heard what Ian said and knew what he was doing in 5x12. Of that, I have never had any doubt. It wasn’t like Ian tried to hide that he didn’t want to break up but thought that that was what would be best. In fact, the way he initially framed it always made me think that one of his highest priorities was not dragging Mickey down with him, especially in the aftermath of being called “destructive” and similar to someone who “put them through hell.” That’s why Mickey’s response wasn’t to call him an asshole or get angry or beg. It was to reassure Ian that he was there for the long haul, that he loved him and wanted to take care of him no matter what that meant—and that they could make that work. All the sentiments Ian had tried to communicate before he got married, Mickey was reciprocating in his own way. Had they not needed to temporarily write Mickey out of the story and Sammi hadn’t shown up right that second, I believe that he wouldn’t have given up so easily. We do have confirmation of that being the case in the prison scene, but we’ll get to that shortly.

When Last Seen: Ian

Ian isn’t a selfish character. We know this, too. However, Ian needed to be selfish by the end of s5. What he had to come to terms with wasn’t something that anyone could fully help him with, much as Mickey desperately wanted to. To Ian, the enemy was within. It was inside him, in his brain, telling him what to do even if that destroyed himself and everything he loved. It’s terrifying. I’m not bipolar, nor do I suffer from any other diagnosed mental illnesses, but I admire and respect everyone who wakes up every morning and tackles these things. They’re heroes every single day. But by the end of s5, Ian doesn’t feel much like a hero. Instead, he feels like the villain, and he’s lost touch with who he even is anymore.

That’s not a healthy mindset to have in a relationship. Relationships require a level of give and take, and that used to be something that Ian and Mickey already struggled with. Ian gave more in s1-3 because he was able to, while Mickey had a limit on what he could openly give because of the environment in which he lived and the manner in which he was raised. In s4-5, those roles were reversed: Mickey was able to give so much more, but Ian was gradually falling apart. Neither of them are at fault for any of those situations. It is what it is, and they have a stronger relationship for it. Ian is a giver, though. He’s always been a giver. To be in a position where he doesn’t feel like he can give anything to Mickey because he doesn’t even know who he is was truly heartbreaking for him, and objectively, he needed to take a step back so that he could focus on himself. He knew it. Based on Mickey’s understanding of Ian’s reasons after watching him deny that he had a problem for so long, I think Mickey knew it too. This hurt both of them—Ian to say it and Mickey to hear it—but they’re not fools and they’re not naïve. In some ways, they know each other better than anyone.

Jimmy said that when you’re on a plane, they tell you to put on your mask before you help anyone else with theirs. Ian needed to put on his mask. His heart can’t keep beating if his lungs don’t work.

Starting Season 6: Mickey

Unsurprisingly, Mickey has settled into prison life just fine. We’ll focus on his interactions with Ian in a bit as that’s the meat of the scene, but there are major implications inherent in his discussion with Svetlana beforehand.

1. Mickey has accepted that this will be his reality for the foreseeable future. What else is he supposed to do? Besides, he’s known for a long time that the likelihood of ending up in prison was pretty high for him, as he alluded to in s2. He was a street thug. He stole from local stores, sold drugs, ran guns, operated a rub ‘n’ tug, created scam companies, and was a generally violent presence in the neighborhood for years. He was in juvie twice during the show, perhaps more beforehand. The unfortunate fact of the matter is that it would have been more surprising if Mickey didn’t get locked up at some point than that he did.

2. Ian has visited Mickey before. We won’t get too deeply into this yet, but he thanks Ian for “coming back.” The other times, he wasn’t even paid to do it. So, as far as Mickey can tell, nothing has changed. Ian is focusing on himself right now, but his love for Mickey hasn’t dulled at all. That’s an encouraging thought, and it certainly puts a smile on Mickey’s face.

3. Ever the opportunist and entrepreneur, Mickey really is doing just fine in prison. He runs a business, if you will, that appears to be quite lucrative already. This isn’t surprising either. Sadly, it’s a bad move. He’s already going to be in prison for somewhere around a decade, give or take a couple of years depending on his behavior. But his behavior isn’t good. He’s hurting people for money, and if he gets caught and brought up on more charges, not only will he serve the full fifteen years, but he could get more time added onto that.

4. Ian is aware of this arrangement. He has to be if he’s been going there with Svetlana, and they weren’t exactly hiding what they were talking about. Ian has been very consistent throughout the series: he’s not as concerned with the moral implications of Mickey’s behavior, just how it could potentially impact their ability to be together. He still cares about Mickey at the start of s6, and Mickey can see it on his face when he won’t say it out loud. (More on that shortly.) Once he’s in a better spot mentally, maybe they would have gotten back together had Mickey been on the outside. I’m of the opinion that they would have based on the context of the situation. It isn’t an option, however. This is Mickey’s reality, and he’s not doing everything he can to get out earlier. If anything, he’s tempting fate on not being released at all. (This, in hindsight, sounds rather similar to the issues they’re dealing with right now in s11.)

So, this is where Mickey stands at the start of the season: a prison hitman who is quite pleased that the man he loves has come to see him again, even if the latter is visibly not in a very healthy mental state.

Starting Season 6: Ian

Ian isn’t in most of 6x01. What we do see of him is typically sad or colored by his frustration, outside Carl’s welcome home party at the end of the episode. Even then, there’s an aura of discomfort that accompanies the family’s knowledge that things have changed. Carl came out of juvie a different person—they’re all different people after s5, and they’re not sure how to handle walking on eggshells around each other.

From the very start of the episode, we see that Ian is still struggling even though he’s had enough time to at least partially adjust to his medication, especially if he’s been on and off of it. It’s so sweet how Fiona gently wakes him up—it’s also a bit different. What happened to banging on the bunk bed and yelling for them to come down for breakfast? After behaving pretty normally with Debbie at the bathroom door, she’s almost handling him with kid gloves, and the punches keep coming when she reminds him that he (1) has to get up for work at a place he despises and (2) needs to remember to take his meds.

The kitchen scene is extremely telling of where Ian is at this point, and it partially shows why he’s somewhat standoffish by the time we reach the prison scene. Most of the family is gone or different. Fiona is repeatedly on him about meds and getting to work on time—Ian, Mister Responsible himself who was out of the house before anybody woke up to get to work on time as a kid. Lip is at college. Debbie is absorbed in her unconfirmed but likely pregnancy. Carl is in juvie, and Liam is playing with the switchblade he found under Carl’s pillow before they take him to pre-K. His entire support system is either gone or treating him like he’s broken. All he has is Fiona “going Fiona” on everyone. It’s clear that this is impacting him because he actually derails the conversation to say that they should go visit Carl the following weekend, which was the position Debbie used to be in when Fiona was in jail. Just like Lip shut her down, Debbie shuts Ian down, and he doesn’t say another word as he drinks his coffee—which he can’t finish because Fiona is once again on him about work, so he trudges out the door to another day of being a busboy with no dreams instead of a soldier who has a future.

Work isn’t much better. Svetlana wants him to go see Mickey when he’s determined to stay away. (We don’t have confirmation, but I don’t think it’s unreasonable to assume that he wants to distance himself if Mickey is doing something that will potentially get him into even more trouble, especially given some of his reactions at the prison.) Sean is sending Fiona to nag him about not moving fast enough when the diner isn’t even busy. When Otis is chased down by the cops and slammed against the front window, Sean rather condescendingly tells him to, “take your rag and wipe the blood and snot off the window.” Ian—West Point-aspiring, ambitious, courageous, caring, intelligent, hardworking Ian has been reduced to wiping up someone’s snot by a boss who’s living in his house with a sister that’s treating him like he’s shattered glass and a family that is growing further and further apart these days.

That is the day Ian has had before he even arrives at the prison. Odds are that that is how most of his days have gone for quite some time, minus the blood and snot. …Maybe.

The Prison Scene

Now we come to it: what you actually asked about! It’s taken this long to get here because we can’t possibly interpret this scene effectively without incorporating all of what came before it. Mickey’s position is regrettable, but he knows that Ian still loves him and is at least handling his situation with all the grace and competence that we can expect from him. Ian is a bit of a mess who’s had a bad day and is now faced with the man he loves, who he is telling himself he can’t be with, sitting behind glass—where he’ll be for a good long while.

I’m going to divide this analysis into two sections. For a scene that many prefer to forget, to me, it’s a masterpiece of storytelling.

Physicality

The body language in this scene is remarkable—phenomenally blocked, phenomenally directed, and phenomenally portrayed.

When Mickey first appears, he’s visibly chomping at the bit to get to the visitation area. He’s peering out there while he’s still behind a locked door, and he only diverts his gaze to the guard because he’s waiting for him to unlock it. He’s cool about the whole thing—he’s very cool—but he’s obviously also here for one reason and one reason only. That reason is where his eyes go the moment he sits down at his stall and spots Ian’s coat where the latter is pacing behind Svetlana. Throughout their entire conversation, we see his eyes darting to Ian as he attempts to get the business out of the way so that he can indulge purely in the pleasure. It doesn’t matter to him that Ian is visibly tired and reluctant to be there or that he plays with Yevgeny instead of actively joining their conversation. It’s Ian, and all Mickey has to look at in here is a bunch of fellow thugs he hasn’t loved since he was too young to know what that meant. Damn right, he’s going to shamelessly watch him.

In Ian’s pacing, where we can’t see his face, I find it interesting that he keeps himself angled away from the glass. We see more of his back even though he’s moving side to side rather than away. He doesn’t want to see this. He doesn’t want to be there. In s7, he told Mickey how hard it was to see him behind glass—that wasn’t an excuse. He wasn’t falsely trying to make it sound like he was suffering at their separation just as much as Mickey was. We can see that that’s the case right here in 6x01. Ian has never had a problem sitting still through difficult moments, not even when a potential court martial that would further ruin his life was on the table. But this? He can’t sit down. He can’t face that.

The first time he turns directly towards Mickey’s location is so that Svetlana can hand Yevgeny off to him, and Mickey is visibly loving the view. His expression gets a bit softer, and he ducks his head a little so that he can catch a glimpse of Ian’s face. He follows Ian with his eyes even though Svetlana tries to get his attention. What a blast from the past, right? Ian there with his son, taking care of him while he and Svetlana figure out their business? And just like before, he offers Svetlana all of the attention and input that he deems her worth—next to nothing. Ian’s over there. Ian’s keeping the kid entertained, playing with him and rocking a bit in their seat and leaning over his little shoulder to make sure he’s doing okay—but forget that, Mickey’s eyes are examining him from red hair to beat-up shoes. He only glances back to Svetlana because he has to in order to get the information for their next paycheck. Even then, he’s still back and forth, up and down.

And Ian? He can’t keep pacing. He can’t stay turned away, but he won’t look. He occupies himself more than Yevgeny because now he’s low enough that he won’t just see an orange jumpsuit—he’ll see Mickey, and he’s had a bad enough day with his family making him feel more alone than ever without adding that pain on top of it. (This is the third time Mickey’s been locked up for something directly or indirectly related to Ian. I’m sure it’s not unreasonable to suspect that he also feels somewhat guilty about that, especially when it happened right after he broke it off.)

When Mickey asks if Ian is going to sit back there the whole time and not interact with him, Svetlana turns around and presumably says something to get his attention. Their eyes meet, and Mickey gives him a look that clearly says, “What the fuck, man?” This isn’t the behavior of a man who is heartbroken at their relationship ending or questioning Ian’s love for him. This is the behavior of a man who wants the love of his life to get his shit together enough to come say hi to him—or at least look at him—because he can’t pretend that he doesn’t want to see Mickey as much as Mickey wants to see him. It’s impossible to hide that when Ian has let Mickey see so much of his heart over the years.

Ian’s response is so fascinating because he does meet Mickey’s eyes, and he holds that connection for a moment. Then, reading what Mickey is trying to tell him, he actually turns further away again so that Mickey gets his shoulder. This sets the stage for the rest of Ian’s development from now through s9. He’s doing what Ian does: he’s compartmentalizing. He’s taking the emotions he can’t deal with right now, wrapping them in tissue paper, and neatly stacking them in a box that he’ll put up in the attic where he can pretend they don’t exist. But they do. They really do.

If they didn’t, he wouldn’t have spent their entire conversation trying so hard to focus on literally anything but Mickey, because as we saw in the Hall of Shame flashbacks and as has been obvious since their first fight-turned-fuck, once they look, the battle is lost.

Dialogue

I’m going to be real with you guys: I adore this scene. I’ve watched it more times than I can count even though I haven’t rewatched much of the season in its entirety. There was so much said with so few words, and while I was sad at the end, I was also hopeful. This was an impossible position to be put in on both sides, and I truly believe that this was the best resolution they could get at the time. And yes, it hurt. It was painful. But why was it painful?

Because they’re so visibly, obviously, irrevocably in love.

Mickey’s tone when he tells Svetlana to leave because he wants to talk to Ian isn’t as harsh as it’s been for the rest of their visit. There’s such a disconnect between his words and tone: roughly telling her to scram while actually sounding a bit younger at the idea of speaking directly with Ian. Svetlana could tell. It’s so clear, and her smirk is super knowing. In that moment, we’re seeing the woman who stood in the doorway of what was supposed to be her bedroom and watched him make eyes at this unconscious boy she didn’t really even remember. Not in the tears and realizing she was in big, big trouble if he left her, but in the understanding that his heart isn’t in the body on the other side of the glass—it’s sitting behind her. There are a lot of things I don’t like about Svetlana as a person (as a character, she’s amazing), but since they reached their agreement in s4, she’s never had a derogatory thing to say about the love those two share, and I respect that. It’s actually a bit cute how she takes her time and is almost teasing in giving him what he wants. A bit.

As I have this scene running on repeat so that I don’t miss anything in writing this, I paused to type and ended up on such a meaningful glance at Ian’s face. Svetlana just took Yevgeny from him, and he hasn’t gotten up yet. He’s staring straight at Mickey, and he looks hesitant. Scared, almost. Then he looks up at Svetlana, nods a bit, and reluctantly moves into her spot.

Is it overkill to take this one exchange at a time? Probably. Am I going to do it anyway? Hell to the yes.

1. “Thanks for coming back.”/”Yeah… Svetlana paid me.” – I know that people hate this line and think this is painful. I know that it objectively is painful. I still laugh every time. Not because Ian agreed to come if he was paid. (He’s got medication to afford and no insurance. I can’t begrudge him wanting to make a few extra bucks any way he can.) Not because of the words, but because of what accompanies them. Ian will not look at Mickey—he’s lost so many battles lately, and he can’t lose this one too. Not when he started this one himself. He’s hemming and hawing, not looking up from the countertop and then twisting around to see if Svetlana is still there or anyone else is listening. It’s so stupid, because literally no one cares, but it gives you this sensation that Ian sees himself as being under a microscope the whole time. That’s his life anymore, at home and at work and now here. And Mickey? He doesn’t look terribly broken up about Ian accepting payment in exchange for coming. He gets this expression that I interpreted as, “Seriously? You’re playing it like that?” Then it settles into disappointment that Ian won’t open up or look at him like he normally would—that the glass interferes with the magnetic pull between them. But don’t worry, children. Uncle Mickey has just the thing to fix that: himself.

2. “You look good.”/*awkward silence* – I mean…what do you say to that? I actually felt so bad for Ian there because what must he have looked like these last visits if Mickey is telling him that he looks good now? What kind of mess was he then when he’s still sort of a mess today? And he can’t even return the sentiment because how can he? Mickey is in prison. He’s in a jumpsuit looking at being here so long that he’ll probably have a few grey hairs starting to grow in when he gets out. I don’t know how to respond when people tell me I look good on an average day, so I can only imagine how that must have felt in his position. And still, he won’t do more than glance in Mickey’s direction. Well, if that didn’t work…

3. Mickey chuckles and says he got a new tattoo. Ian’s eyes immediately shoot upwards, and Mickey slouches a little so that he’s in their direct line of sight—to hold them there, because once they look, the battle is lost. And Ian does lose. For a while there, he can’t look away again. First, because Mickey is courting some pretty nasty illnesses with his improper use of needles. Seriously, Mickey, a beautiful gesture but holy crap. Second, Mickey has his name (or a very close approximation to it) tattooed forever right over his heart. Ian had asked if Mickey was going to marry him, and Mickey told him to fuck off, but everything he’s doing points in the opposite direction. He promised sickness and health; now he’s made a permanent mark on his body for everyone to see. Mickey, who wouldn’t be seen in public with him once upon a time, has plastered Ian’s name onto his body. Ian tries so hard not to let that impact him, but it’s over. He’s lost the battle already, and he falls further and further. He’s smiling when he tells Mickey it looks infected, he teases him about the misspelling (which I think says more about how much that tattoo must have hurt than any inability to spell on Mickey’s part—I’d have a typo too), and he laughs at Mickey’s irritation that he messed it up. And it’s this sweet little laugh, not cruel or hurtful or mean. The wonderful thing about humor is that it can be used to cope with difficult emotions. We’ve seen a lot of people on the show start laughing when they’re in a bad place. Ian has been trying so hard to accept his life as it is even during the shitty day he was having. He tried so hard not to let himself fall into the trap of letting his love for Mickey rule his actions in the scene so far. That’s a lot. That’s denying himself to the point where I’m sure it hurts. And so he laughs, because Mickey did this crazy, absurd thing for him and yeah, it came out wrong, but he did it. This was all Ian wanted once upon a time (minus the felony), and now he has it—but he can’t have it. So he laughs. He immediately moves to hide it, but he laughs. He smiles more and has to bend away to pretend that he’s not—and Mickey lights up like a goddamn Christmas tree. This is the moment that keeps me from seeing this scene or Ian’s actions as being cruel. They’re both hurting, and this is an awful position to be in. But Ian loves him so much, and Mickey was doing everything he could to make him show it. Not exactly how he saw that going, I’m sure, but he’ll take it.

4. “Been thinking about you.” – Knowing that he lost that one, Ian looks away again. While the end of this scene will hurt for both of them, especially Mickey, think about the pain he must be feeling in that moment simply because he’s not. He’s not hurting. For the first time that day, he feels good. This can’t last. Mickey isn’t coming home with him when time is up. This wonderful emotion that filled him up enough for him to laugh and smile after such a bad day will be gone the second he hangs up that phone. Then he’s going to go home and have Fiona breathing down his neck with nobody else for support. And Mickey will be here—behind glass. He can’t handle that, and he pulls that box out again and starts tearing off the tissue paper. He has to get rid of this feeling. He has to be the one to put it away before it kicks him to the curb. He’s stubborn, and Mickey can see him shutting down but also knows that he’s knocked enough bricks out of Ian’s walls to say something softer, something emotional and closer to the heart. Something he is willing to say where the other inmates can hear, which I don’t think is lost on Ian since he immediately looks up again. He doesn’t look away either, not even when Mickey asks if Ian thinks about him. He glances to the side and opens his mouth a bit, but nothing comes out. Mickey knows the answer.

5. “Gonna wait for me?”/”You’re here for fifteen years.” – There’s this thing Mickey does after he first says that. He chuckles, because he knows that that’s pretty unreasonable to ask and has already predicted Ian’s response. His comment about being out in eight is lighthearted, a serious matter spoken as a joke because…this isn’t juvie anymore. They’re not going to see each other in a few months. This is Mickey’s version of what Ian was just doing, only where Ian tried to withdraw and escape within himself, Mickey is making it more humorous. He’s always done that, make light of pretty serious things to avoid looking at just how messed up it is. But I didn’t get the feeling he was really asking for Ian to wait that long. Instead, I got the feeling that he was testing the waters, seeing if Ian would shut him down—which he didn’t. He offered the bullshit excuse that Mickey tried to kill a member of his family, and Mickey saw through that immediately. I think he knows that he can’t ask Ian to seriously wait and never be with anyone else for fifteen years, or even for eight. I think he knows what he’s saying is a touch absurd. He also knows that Ian’s excuse is extremely absurd, and he doesn’t buy it for a second. It gives him a little courage to do something…well, a bit absurd.

6. “Will you? Wait? Fucking lie if you have to, man. Eight years is a long time.” – I think the important part of this isn’t that Ian says he’ll wait when he doesn’t mean it, which is the popular take. For one thing, I don’t think we can ascribe that level of calculated behavior to Ian in this instance. There are a few things about this part of the scene that mean a lot to me: (1) Ian doesn’t get up and go. He doesn’t even move in that direction. He sits there with the phone after the buzzer sounds and before Mickey tells him to lie. His mouth opens and closes like he’s not sure what to say. Because what can he say? If Mickey serves the maximum, Ian will be in his mid-thirties by the time they can be together. At that point, he was either nearing eighteen or just turned. I still can’t fathom what I’ll be doing in my mid-thirties, and I’m a whole lot older than that. Ian looks just a little terrified here, and that’s because he knows he loves Mickey but has no clue what he’s supposed to do with that in the impossible circumstances they’re operating under. (2) Ian can’t even see himself moving on yet. He’s still trying to figure himself out, not think about a relationship. He has a job he hates, and his family is a different brand of chaos these days. He feels alone, yes, but not in a way that has him openly desperate for a relationship. Based on what he says to Mandy about Caleb, I think it’s pretty safe to assume that he doesn’t think he’ll ever be in a serious relationship at this point or even in a position for more than casual sex anytime in the near future. How can he say that he’ll wait when he doesn’t know where he’ll be whenever Mickey does get out? Maybe he’ll feel better. Maybe he’ll be out of his mind, roaming all over the place like Monica. Maybe he won’t just be standing on that bridge. It’s a huge question, one that has a lot of ramifications no matter what his answer is, and Ian clearly has none. He’s blindsided by that, which Mickey sees. That’s when he gets serious about those eight years, about how absurd their situation really is. That’s perhaps the first and only time in this scene where we can see that, for as successful as he is at navigating prison, his freedom means something to him. His freedom means he wouldn’t have to coax a glance out of Ian—he could kiss his dumb ass and make him stop being stubborn about how much he loves Mickey. But he can’t. He won’t be able to for a long time. And I think that is what really breaks his heart in this scene, not…

7. “Yeah. Yeah, Mick, I’ll wait.” – Did anyone else notice how Ian swallowed hard before he answered? How his voice gets hoarse when he first speaks? I paused again to type, and the video is sitting on his face staring at the counter before the second part of what he says. He looks like he might cry. He looks like his heart is breaking just as much as Mickey’s is, because he can do what he’s asking this time—reassure him with a lie. Not because he doesn’t intend to wait, but because he is buried so far under what life has piled on top of him that he can’t see the light these days, and he doesn’t see waiting or moving on. He just sees the daily struggle of being this shell of a person. Of being without Mickey even if they’re not technically together. (Admittedly, I think he knew they would be if Mickey weren’t in prison at that moment. Ian has no real self-control where he’s concerned. Lip told him as much, and he’s self-aware enough to realize it, hence his behavior in this whole scene.)

When Ian hangs up the phone, he doesn’t get up immediately. He looks at Mickey—really looks at him—and each of them watches the other’s heart shatter. I don’t see it the way a lot of people do, though. On Mickey’s side, I don’t see it as being because Ian lied. I think it’s so much bigger than that.

Ian looks at him when they can’t hear each other anymore, and if he didn’t seem ready to cry before, he looks it now. Why? Because there’s nothing he can do for Mickey besides that. Ian, ever the giver, can’t give him anything. At that point, he couldn’t even help himself. He can’t be what Mickey needs in that moment, just like he couldn’t be what Mickey needed while he was sick, and it kills him. It kills him to know that by the time Mickey does get out, he’ll be older than he can fathom being and has no idea if he’ll even be around that long. It kills him to feel like even if he is, he’ll still have nothing to offer because, in his own words, this is where he lands. And it kills him to have to walk away and leave what he loves most behind glass.

Mickey is watching this. He knows Ian, and as painful as it was to get exactly what he asked for, it’s even more painful for him to see what him being here does to Ian. Where Ian is a giver, Mickey is a fixer. He makes things better. When stuff is broken, he puts it back together. When there’s a problem, he resolves it. Ian was going to leave because he couldn’t be an unacknowledged number three in Mickey’s life anymore? He jumped to solve the problem by coming out. Ian was acting strangely and wouldn’t get out of bed for so long that Mickey realized something was wrong? He immediately went to hunt down Lip, who he knows is closer to Ian than anyone else in his family. Fiona tells him that Ian is sick and needs to be cared for? He jumps in to do it, even to the point where it did more harm than good. Sammi caused a problem that Mickey couldn’t solve? He fixed the problem of her being there at all. But here he sits, behind glass, watching Ian that whole time and knowing that he was trying to maintain some emotional distance—and, because it’s Mickey, knowing why. There’s nothing he can do about this. He can’t fix it. For the first time since s3, Mickey is absolutely helpless to fix a problem. He takes a breath as Ian walks away as though he’s about to say something, but what can he say? What can he do? Nothing. He can do nothing but hang up the phone and weather the storm.

In the end, the heartbreak in this scene isn’t about them hurting each other, from my perspective. It’s not about Ian being callous and cruel or purposely trying to hurt Mickey. They know each other too well for that. They’ve been through too much. To me, this is about two people who love each other more than anything not being able to be what the other needed when they needed them—and that’s a whole lot more painful.

#shameless meta #ian gallagher #mickey milkovich

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michelles-garden-of-evil · 3 years

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Episode 42 Review: Here Goes Peter Cottontail

{ YouTube: 1 | 2 | 3 }

{ Full Synopses/Recaps: Debby Graham | Bryan Gruszka }

At last, we’ve hit another milestone on Strange Paradise. A little less than a year ago, I discussed the third and final costumed flashback. Just under six months ago, we reached Episode 30, the first episode for which conclusive proof of executive meddling exists. And today we shall explore the introductory episode of a character particularly notorious among Strange Paradise fans. That’s right: this episode features the first appearance of the infamous Rabbit of Evil. The true face of evil has arrived on Maljardin, and it's soft with long ears and a fuzzy tail.

Because the plot has now split off completely from the Lost Episode summaries and I’ve already discussed the one for this episode, I’m going to ignore it for this post. I’m not even going to do much analysis this time. Instead, let us just lay out our beach towels on Maljardin, relax, and bask in the glow of the coming insanity.

Early morning on Maljardin. The unseen clock chimes three, and already Jean Paul Desmond is up sitting on the couch in the Great Hall next to the decanter of his favorite drink. Although it is the demon hour and almost everyone else in the château is asleep as far as he knows, he is already dressed in his brown velvet jacket, as one does when one is the richest man in the world on the coldest tropical island in existence. One would assume that he would at least loosen his tie to make himself a little more comfortable, but then, I’m not a fancy rich guy living in the 1960s, so what would I know?

Feeling the presence of his demonic ancestor Jacques Eloi des Mondes, he stands up and approaches his portrait as though in a trance. During their brief staring contest, Jacques begins to taunt him: “Come now, Jean Paul Desmond. Three o'clock in the morning and still you wander the house. Why?”

“Because your evil wanders here, Jacques Eloi des Mondes!” Jean Paul answers overly dramatically. “I sum-”

“Jean Paul, no oaths on your honor that you would be compelled to uphold. It might be the end of us both. And Erica might never rise to a new beginning.”

Jacques tells Jean Paul to go to bed because *he’s* tired. Could this be evidence that Jacques and Jean Paul are one and the same?

I like the way that Raxl's face appears on the screen just as the title card is fading.

Raxl paying her respects to Erica Desmond.

We cut to Raxl visiting Erica’s cryocapsule, when suddenly a little cockatiel starts tweeting. And who could it be but our mascot, the adorable Chalcko?

<<<<<<<<<<<<<<<<<<<<<<<<<<<<3

Quito checking on his beloved bird.

Meanwhile, Jean Paul visits the lab to find Dr. Alison Carr sleeping at her desk, Dr. Menkin’s notes next to her:

For the love of yourself, Jean Paul, do not disturb!

He wakes her up despite it being very early in the morning (because God forbid she not sleep in her own bed, I guess?). Really, there are only a handful of good excuses to wake someone up at 3 AM, including to ensure they catch an early flight and to kick them out of your bar after they passed out drunk with their glass shattered into a million pieces in front of the talking portrait across the room. Having fallen asleep at one’s desk while pulling an all-nighter that your employer deems unnecessary isn’t one of them, IMO. But, just like my cat who wakes me up around 3 almost every night crying for a midnight snack, he gets away with it because he’s cute.

Jacques has made cat-like faces before on this show, so now it’s Jean Paul’s turn to act like a cat.

That’s not to say that Jean Paul’s cuteness makes Alison any less annoyed with him. He asks her why she stayed up so late to study the notes, and she responds, “I can't sleep very well, anyway, and what else is there to do, since you keep us here as prisoners on this Island? Good night and please don't disturb anything.“ She leaves and he starts flipping through the notes.

Meanwhile, outside among the suspiciously Canadian coniferous trees of Maljardin...

Wait for it...

Quito finds a big, fluffy black rabbit hopping around the garden and brings the adorable, plump creature inside. His crush Holly happens to be in the Great Hall when he returns, and she falls in love with the rabbit at first sight.

“I didn't know anything as wholesome and innocent like that existed on Maljardin,” she coos. "Oh, he's so sweet! I haven't seen anything like him for--well, it seems like a whole lifetime.”

Then she remembers what Raxl said about there being no wild animal life on the island. “But Quito,” she says, “Raxl said like, nothing like this could exist on this island for three hundred years! I guess this little fellow disproves that, doesn't it?”

“What are you going to do with it?” she continues. “I mean, are you going to keep it?” Quito shakes his head. “You should. You should keep it for a pet. He’d make a lovely pet, something nice in this house of accident and death.” Because Quito is reluctant to keep the rabbit and has no way of expressing why to Holly, she offers to keep it as a pet.

“I wonder how he managed out there with all that poisonous undergrowth around?” she thinks out loud, as the rabbit starts to try to jump out of Kurt Schiegl’s arms, which I doubt was in the script. The rabbit they got to play the new embodiment of evil on Maljardin doesn’t always want to behave the way the plot demands. I suspect that, instead of getting a trained animal actor, someone just brought in their pet or bought a bunny on short notice at an Ottawa pet store or nearby farm. I like the rabbit. The rabbit does what it wants and doesn’t give a rat’s ass about following the script or doing what Jerry Layton wants it to.

Holly asks Quito to make her a cage so that she can keep the rabbit in her room, and he nods in agreement (I’m guessing just because he knows it’ll please her). He leaves. She sits down at the dining room table and rings for Raxl, who is not pleased when she tells her about the new guest:

Holly: "Hey, Raxl." Raxl: "Good morning, Miss Holly." Holly: "You know, everything I've heard about this island isn't the truth." Raxl: "Truth is a matter of seeing." Holly: "Well, I've seen. You told me that because of the curse, nothing could exist outside in that poisonous jungle." Raxl: "The Devil's evil is everywhere on Maljardin!"

Holly: "Well, just this once, Raxl, you may be wrong." Raxl: "It may be that demon wants you to think I am!"

Raxl instantly suspects that the rabbit is a tool of THE DEVIL JACQUES ELOI DES MONDES.

The bit about all the plants being poisonous on Maljardin, by the way, may be a retcon. In Episode 13, Jacques mentions that papayas are native to the island. I suppose that, because he didn’t say that they were picked on Maljardin, that they could have been grown on another island. Still, I’m not ruling out the possibility of Ian Martin and/or a ghostwriter retconning this detail.

This scene is followed by a cool shot where the camera pans along the side of the staircase and over to Jacques’ portrait (see the beginning of Part 2), then a short scene of Quito pulling out a huge wicker picnic basket for a makeshift cage while Chalcko tweets as though trying to warn him of the evil presence.

In the morning, Alison returns to the lab to find Jean Paul in a scandalous state of undress:

Ye gods! He took off his suit jacket again! I am SHOCKED and SCANDALIZED by this wanton display of nudity! ;)

Jean Paul must be even more stressed now than last night if he not only has his suit jacket off, but has also loosened his tie. Turns out he ended up pulling an all-nighter himself in the lab reading the notes, even though Alison doubts that he possesses the necessary knowledge to understand notes about cellular reconstruction. Jean Paul asks Alison if Dr. Menkin did any experiments on animals, but it’s not clear if he’s asking just out of curiosity, because of something mentioned in the notes, or if somehow he feels the presence of the rabbit despite not having seen it yet. Whatever his motivation, the screenwriter almost certainly added the line to imply that the rabbit may have belonged to Dr. Menkin.

Using such a line as a hint (or, more likely, as a red herring) is a very Ian Martin thing to do, so I’m thinking that he must have written this scene. For a while, I suspected that perhaps some ghostwriter hired by either Jerry Layton or Steve Krantz inserted the scenes with the rabbit into a later draft, but now I’m having second thoughts. While it is possible that one of the showrunners hired a ghostwriter to speed up the script edits, this line has Martin’s influence written all over it. The insertion of the evil rabbit isn’t his style, but this kind of dialogue certainly is.

Also note that the very next shot is of the rabbit again.

Hearing the bird tweet is making Quito anxious. It’s obvious that the bird detects some sort of presence.

Jean Paul and Alison go to the dining room and sit down for breakfast with Holly. Jean Paul reminds her that another séance is coming and she tells him that she wants no part of it. “The spirits will decide that, and the Conjure Woman,” says Raxl.

“Vangie said that the conjure cards--the Tarot cards--spoke to one person,” Jean Paul adds, flubbing his line adorably. “They may well speak to another, for or against.” I’m not sure what he’s implying, especially because he faces Alison (or maybe the Teleprompter) as he delivers the line.

More proof that Maljardin is no tropical paradise, but a dystopia. (”Rattled” = “Raxl’s”)

Alison tells Holly that Jean Paul will probably blame them if the séance doesn’t bring him into contact with Erica and Jean Paul glares at her before flouncing passive-aggressively. I’m so conflicted about Jean Paul at this point because he’s becoming more and more of a control freak (and therefore more and more unlikeable), and yet he’s so adorable. Take a look at the face he makes just before flouncing:

Foxy!

And this shot of him from earlier in the scene:

Never have I seen any guy look this cute after pulling an all-nighter.

Holly tells Alison about the rabbit Quito bought brought her (yes, there’s another creative line interpretation). “That’s impossible!” she replies, stunned. “I mean, nothing alive exists out there now.” There are so many flubs in this episode that it makes me wonder if the actors had less time to rehearse than usual.

An unspecified amount of time later, Alison catches Jean Paul arguing with Jacques’ portrait, then Quito feeds the rabbit a carrot to the sound of more tweets. (Anyone else miss the days when “tweets” referred only to the noise that birds make? God, I'm barely 28 and already I feel so old.) Alison warns Jean Paul that dabbling in the occult is bad for his mental health, but he doesn’t care because he needs to hear Erica’s voice so badly. He tells her he’ll buy her some animals for her experiments the next time he visits the main island just to shut her up. (Spoiler: He won’t.)

And then Quito arrives, carrying the rabbit in its makeshift cage. Like Raxl, Jean Paul is not pleased to see the animal. “Holly, where on Earth did you get that!” he asks.

“Right on this Earth, on this island, from Quito,” she responds innocently.

Jean Paul giving his best “WTF” face. He’s lived on the island long enough to know that the rabbit came out of nowhere.

He asks Raxl about it and she cries out to the Great Serpent to tell her what the Devil’s plans are for Maljardin, making the Sign of the Great Serpent with her hands. Alison insists that the rabbit is only an animal, but Raxl reminds her that no animals can survive outside on the island--meaning, by her logic, that it must be a demon or similar evil being!

Jean Paul asks Quito where he found the rabbit. Raxl interprets the signs he makes as meaning “on the path to the boathouse,” which leads Holly and Alison to think that the rabbit must have snuck aboard Quito’s boat and sailed there with him. Raxl’s response?

Raxl: “It is a creature of the Devil!”

Holly objects and insists that the rabbit is only an animal, but Raxl sticks to her belief that it’s actually a demon assuming the guise of innocence, most likely sent by THE DEVIL JACQUES ELOI DES MONDES himself! No one believes her, not even Jean Paul:

Jean Paul: "I must admit, Raxl, this is very unlikely." Raxl: "Not here. An animal here is an impossibility. Is that not true?" Jean Paul: "Until now, yes!" Raxl: "Then what force altered the impossible? There are forces at work on Maljardin as the hour draws near when the master will attend a séance and seek through purified mind and cleansed spirit to reach his Erica beyond the veiled curtain. What does the master say?"

Jean Paul does not respond. He looks like he is about to cry.

Raxl: "Quito! You will remove the rabbit. It is evil!"

Raxl: "It brings danger and wickedness and more evil than we will ever know! It must be destroyed and buried in the sea!"

Raxl: "If the master wishes to contact his Erica and hear her voice, he will be advised: that animal is evil!" Holly: "Mr. Desmond, please, no!"

Jacques’ commentary.

Coming up next: Raxl makes a horrifying--and mystifying--discovery when she examines the Rabbit of Evil.

{ <- Previous: Episode 41 || Next: Episode 43 -> }

#strange paradise #now an even stranger paradise #review #ian martin #maljardin arc #week 9 #episode 42 #analysis #chalcko (quito's bird)#colin fox in shirtsleeves #costumes #creative line interpretation #passive aggressive jean paul #rabbit of evil #retcon #scene transitions #scenery chewing #sign of the great serpent #note to self: find a recipe for papayas with lime juice and post it

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thenovelartist · 5 years

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Ladybug’s Lament, chapter 2

It was at this point that the Author realized that Ian and Luka are not the same personality-wise and that there must therefor be a compromise XD XD

It wasn’t every day… er, ever, that Marinette woke up next to a naked man.

After taking a moment to freak out, her face pressed into her hands and flaming with embarrassment, she realized she should cover him, which she accomplished with her jacket. Only then was she able to process that he was completely unconscious and they were on a boat in the Seine.

Meaning that she was at a loss at what to do. The most she could remember was a beautiful voice calling her towards the water. Did she fell into the Seine? She must have considering her clothes were soaked. But what about him? Did he save her? His teal blue hair was slightly curled from moisture and remnants of water glistened off his skin in the moonlight. He probably had jumped into the water to save her.

“Hey,” she said, pushing at his shoulder in an attempt to wake him. “Um… excuse me.”

The man grunted, his eyes scrunching as he came to. When he did open his eyes for a split second, they seemed unfocused.

“Hey,” Marinette said again. “Are you okay?”

He grunted a second time, forcing himself to sit up with a hand holding his head as though in pain. Marinette didn’t know what else she could do but watch him struggle.

When he opened his eyes this time, she could tell he was more lucid. They were surprisingly blue, as blue as the color in his hair, but that may just be the moonlight playing tricks on her. He suddenly froze, staring at his legs for the longest time before finally looking at her.

“Uh, hi,” she said sheepishly. “Um… are you okay?”

“Uh… I don’t know,” he said, looking between his legs and her. “You’re human.”

She looked at herself, then at him, suddenly growing worried that she was with someone not so stable. “Yes.”

“And I’m human.”

“Yes…” Marinette hesitantly answered, slowly growing worried about if he hit his head in trying to save her. “Is that bad?”

“Well, two plus two is not equaling four in this equation.”

She smiled, but it was strained. Fantastic. She was stuck on a boat with a guy who had a couple screws loose and had no idea how she got here or where they could get off. “Um… okay.” Slowly, she stood up on the small boat, trying to figure out the best way to move it to somewhere they could get out of the Seine so she could get away from him. “I need to get home, but I don’t know—”

Marinette had always been a klutz, this was something she knew. She also knew sea legs were a real thing and accounted for that. What she did not account for was the rope by her feet that tripped her up and sent her back into the river. She heard the man cry out for her as she went splashing into the Seine for a second time that evening.

An odd sensation overtook her body, her legs feeling like they were turned to jelly completely. She opened her eyes, seeing that the man above her, but something was off. Something was glowing in the moonlight. Something like… like a tail.

She looked down at her legs, only to see she was sporting a tail of her own.

Before she could scream, the man had grabbed her, pulling them both up to the surface.

“Damn it!” the man shouted. “I knew something went wrong.”

“What the heck!” Marinette cried. “You have a tail. I have a tail. I’m dreaming, right?”

“Frankly, sweetheart, I wish we both were.”

Marinette’s head was spinning so fast that she wasn’t sure how to stop it or even slow it down. “Wha… how…?”

“Look,” the man said. “I think the best course of action right now would be to get out of the water and think about this in the morning. After you, er, we’ve both had some time to process this.”

“How about you start explaining now.” Marinette countered.

“Fine, we’ll compromise, and I’ll tell you everything once we get out of the water.”

Marinette nodded. “Okay, that’s a good plan.”

…

When her alarm went off at three in the morning, telling her that it was about time to start putting all the premade pastries in the oven to bake, she almost thought that last night was all a dream. But no. She had a sticky note beside her bed and on her bathroom mirror and on her bedroom door that said “It was real! Don’t freak out at Luka downstairs!”

She sighed, wishing beyond wishing that it had been a dream. That she hadn’t been kissed by a siren—a siren! Like something straight out of mythology!—last night in an attempt for said siren to become a human again and get a second chance at life while she would gain his curse of becoming a siren and losing all her memories in the process.

It was a lot to handle on a regular day much less after only a few hours of sleep. Particularly since she was going to have to face the siren that had kissed her last night. She partially wondered why on earth she thought it was a good idea to bring him home with her, but she soon recalled him telling her that since the curse was somehow split between them, they were going to have to solve this mystery together.

“I was supposed to pass that curse fully onto you,” Luka had told her on their way back home from their little dip in the Seine. He had been wearing nothing other than her jacket around his waist at the time and she kinda hoped that no one she knew saw the two of them together and wondering why she was with someone near completely nude. “But it looks like that didn’t quite happen.”

“What is the curse, anyway?”

“The curse to be a siren?” He’d quirked a brow at her, waiting for her to nod before continuing. “I don’t know all the details. What I do know is that it’s a pretty miserable fate. A siren—at least, what we are. We’re not exactly the creatures of legend—is a creature that’s doomed to be trapped in the Seine. Why we exist, I’m not sure. Though, I might know someone who could help.”

“Then we’ll go see them in the morning,” Marinette had said. She’d been cold in her soggy dress and no jacket to protect her from the surprisingly chilly night breeze. And after everything that had happened, she had been in no mood to go hunting for anything other than her bed and some sleep.

Frankly, she still was in no mood to find anything other than sleep, but the shop must be manned.

“How did you even become a siren?” she’d asked last night. “Like, how do they exist?”

She did not take it as a good sign when Luka hesitated. “All I know is that only highly emotional individuals can become sirens, and that we can pass the curse along to any other highly emotional individual. In doing so, we are free of the curse, gaining back our human body while the human becomes a siren, losing all their memories in the process.”

Losing all their memories. Meaning he didn’t know the life he lived prior to being a siren. He’d kept his name and general knowledge, but no memories. And he didn’t know if he’d regain those memories or not once he turned human. But the scary thing was Marinette didn’t yet know if she’d lose any of hers.

That was a very scary prospect, meaning this curse had to be lifted fast. She couldn’t afford not to have her memories.

Had she known what she knew now, she would have stayed far away from the Seine. Like Luka had said, it was only because she had been an emotional train wreck that he had been able to coax her with his lovely singing voice to come over the guardrail of the bridge and fall into the Seine, agreeing to a deal that she didn’t want but couldn’t have objected to.

She opened her door, ready for a peaceful and quiet morning in the kitchen to help her process everything that had happened.

Crash! Bang! Thunk!

“The heck?!”

“Who are you and what have you done with Marinette!?”

Upon hearing Adrien’s voice, Marinette’s heart raced. She sprinted down the stairs to where Luka and Adrien were going at it, Luka trying to kick his way free of Adrien’s stronghold.

“Hey!” Marinette cried.

Adrien whipped around to her voice, distracted enough for Luka to free his legs and land a kick square to Adrien’s stomach.

But despite the hit, Adrien bounced back up pretty quickly, hurrying to stand in front of Marinette like he was her personal shield. “Call the cops. I’ll keep him here until they come.”

“Wait! Whoa. Hold on!” Marinette cried, side-stepping Adrien so she could stand between the two men. “Just hold on a second. No need to call the cops for any reason. Luka is a family friend. He’s staying here for a bit, okay? He was coming through Paris to visit a friend, but he got robbed on his way, and now, he’s staying here because his wallet is gone.”

A decent enough story that Marinette had mentally rehearsed over and over last night. And she didn’t even stutter in the lie. She didn’t know whether to be proud or ashamed.

“O-oh.” Adrien rubbed the back of his neck. “Uh… sorry.”

“No worries,” Luka returned, seemingly relaxed about it, but Marinette swore that Luka’s gaze was a little too intense to be genuine. “You’re just protecting your friend.”

Adrien hummed, his own shoulders set too squarely to be relaxed, either. “Yeah. I was. Marinette, could we talk?”

“Yeah,” she said. “Come on. I have an oven to start up and pastries that need to go in it.”

He nodded, grabbing a plastic bag from off the floor before following her back into the kitchen while Luka remained out in the main bakery area.

“Sorry,” he commented to her. “When I saw your jacket on the floor and a guy only in a pair of gym shorts, I kinda wondered what happened to you.”

“It’s okay,” she said. “Thank you for protecting me even if I didn’t need protecting in this case.”

He sent her a sheepish, lopsided smile that made her heart race. It was not fair that he was this handsome. Not at all. Or that he was so protective over her. What girl wouldn’t want the man she had a massive crush on to feel like he had to avenge her?

“So, a family friend?” Adrien questioned. “I’ve never met him before.”

Crap. “Well, um, yeah. I met him only recently, too. His family lives a ways from here, but our moms were friends. Anyway, what brings you buy so early?”

Thankfully, it seemed Adrien bought her story and dismissed it. “Well, I was bringing you food to make you breakfast as an apology for last night.”

She froze, staring at the bag he was holding with newfound interest. “O-oh? You didn’t have to do that.”

“I feel bad about canceling, so I’m hoping this could be a start of making it up to you.”

“You needed to help your girlfriend,” Marinette said, setting on the ovens to preheat. “I don’t have a problem with that.”

“But it wasn’t fair that I canceled on you.”

Marinette shrugged. “It’s okay,” she dismissed, lying once again. As selfish as it was, she wished Adrien had just told Kagami that he was sorry but that he had plans already. Kagami already got Adrien as her boyfriend, so why did she have to steal him away when it was Monday? That was their special night, not Kagami’s.

“It wasn’t really,” Adrien mumbled. “But thanks for understanding.”

“She’s okay, right?”

“Yeah,” Adrien dismissed with a grin. “She’s okay, but it still hurt to feel like she dishonored her family.”

“That seems unfair. I’m sorry for her to have to deal with that.” Marinette was honest about that. She couldn’t imagine that kind of pressure from her family.

Adrien hummed. “I am, too. That’s why I left my father. But enough about that.” A fake grin stretched across his face, just as it always did when talking about his dad. “I guess I’ll go make you breakfast. You and Luka, I suppose. And go apologize to Luka for, well, tackling him in the middle of the shop.”

Marinette giggled. “Not exactly the best foot to start out on.”

“No,” Adrien agreed with a chuckle. “Not really. But you’re not much better.”

A warmth seeped into Marinette’s cheeks. “Excuse you! What do you mean by that!”

“I mean we only met because you literally fell on me,” he retorted with a grin.

“It was an accident!” she cried. “And tripping over your feet is still a better way to meet someone than beating them up.”

Adrien paused. “Touché.”

“Yeah. Better believe it. Now go play nice.”

“No promises,” Adrien returned with a cheeky smile before slipping out the door.

Marinette sighed, but at least she felt more relaxed now. Hopefully, the two boys would be able to make up quickly. Luka was stuck here for the time being, no matter who liked it or not.

The morning passed decently well. Adrien was kind enough to help her with getting all the pastries and treats ready for the day as well as set up the shop. She even managed to put Luka to work, having him clean and sweep.

“You’re staying here, you work here,” she had said, only partially teasing.

He took the offered broom with a smirk. “Fair enough, boss.”

Even the morning rush wasn’t too bad. With Adrien, things always ran smoothly. Well… nearly always. While it was happening less and less frequently, there were still devoted Adrien Agreste fangirls that showed up and tried to flirt with him. But he’d gotten better at dismissing them politely.

When the morning chaos was over and things were slowing down, that was when Marinette caught sight of Kagami entering the shop with two cups of coffee in her hands. “Here,” she said, holding one out to Marinette. “An apology for yesterday.”

While surprised, Marinette took the coffee. “Thank you.”

She gave a single nod before turning her attention to Adrien, handing off the other coffee cup to him. “Are we still going out tonight?”

“Yeah,” Adrien agreed. “After fencing practice.”

“Of course,” she said with a grin. “I’ll see you tonight.”

“See you, Kagami.”

She sent him a wave before leaving the shop.

“That was… unexpectedly kind of her,” Marinette said, looking down at the coffee she’d been brought.

“She’s kind that way,” Adrien said, setting his own cup aside. “Hey, why don’t you take a break? You’ve been working hard and deserve one. I’ve got the front.”

A break sounded fantastic. Not only could she get off her feet, and eat lunch, but she could check in on Luka who had hidden away from the commotion most of the morning. Maybe she’d train him to work the front so he could pull more of his weight. “Thanks, Adrien. Be back in thirty.”

She slipped away the back, more than happy to take off her apron and collapse into a chair.

“What was up with Ms. Moody?”

Marinette jumped at Luka’s sudden appearance beside her. After taking a breath to steady her hammering heart, she looked at him. “What? Who are you talking about?”

“The heartbroken girl that just came in,” Luka answered.

“You saw her?”

He quirked a brow. “I didn’t have anything better to do than watch from the sidelines.”

Note to self: training starts after lunch. “That’s Kagami, Adrien’s girlfriend.”

“Girlfriend?”

“Yeah. And she’s always curt like that.”

Luka’s lips pursed as he glanced back towards the entrance to the bakery.

“Wait,” Marinette said, pausing in the middle of the stairwell to the apartment as his words came back to her. “What do you mean by heartbroken?”

Luka scoffed. “Couldn’t you see it?”

“See what?”

Luka frowned. “Her emotions. The little butterfly that rests on her chest and shifts colors like a mood ring.”

Marinette could only blink absently. “Butterfly?”

Lua chuckled, but the sound was bitter. “You really aren’t much of a siren, are you?” he snipped with a smirk. “If you can’t tell someone’s emotions, it’s impossible to pass on the curse, you know.”

“Yeah, sure, but I couldn’t see anything. How do I know you aren’t just lying about her being heartbroken? That makes no sense. She’s happily dating Adrien.”

“Happy she is not,” Luka corrected. “I don’t know all the specifics, but if I had to guess considering Blondie isn’t touching the coffee he was given, my guess is she didn’t get his order right. Paired with that colorful butterfly on her chest, she’s still hung up on the guy who she actually ordered coffee for.”

“I’m sorry,” Marinette said, rubbing at her temples. “I just… I don’t understand.”

Luka scoffed. “Of course not. I’m saying Blondie is a rebound. But most importantly, I’m telling you that Ms. Moody is our ticket out of this curse.”

#miraculous ladybug #fanfiction #Siren's Lament AU #marinette dupain cheng #mermaid luka #adrien agreste #Kagami Tsurugi #trouble begins

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