#it's a fine what if storyline to explore briefly but it's such a waste for that peter parker to be . | Explore Tumblr Posts and Blogs

daisugababy · 3 years

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That was a lot, I just asked about that last scene specifically, should have nade it clearer, but I appreciate the long response. My issue is with labeling their relationship a "straight rep for straight audiences" when the wide majority of people hate both Nico and Levi. And like you said, none of them was properly developed beyond their relationship and Levi's GBF thing. I agree with lots of points you made about their journey. I wouldn't call the scene any less romantic because he said what he said. He established his feelings and intentions for the first time, to his boyfriend who's anxious and over thinks everything. He's leaving no doubts about their relationship. The arc, like my dear friend @schmico-fanatic pointed out, was a wink at the audience who says Levi is with Nico just because he didn't look for someone else. And Nico's arc was about showing commitment beyond sexual needs, since he's called a sex addict if not labeled toxic. Nico overcame his fears throughout this season, little by little. And yes, a scene with just him would be great and we... had that. During episode 4... briefly and with the same level of hate that made the public take Owen's side... but still got some scenes. I can only with this means a promotion to the main cast so he can be slightly more explored like Link and Winston are.

Alrigthy, so first, I'm pretty sure we just have vastly differing opinions on the scenes/the show and that's absolutely fine. Also it got long again. But I just gotta add the context :) @ohmyorbitsworld

My issue is with labeling their relationship a "straight rep for straight audiences" when the wide majority of people hate both Nico and Levi.

Just because most people hate Nico and Levi, doesn't mean it wasn't intented for them to be pallatable for a straight audience.

I wouldn't call the scene any less romantic because he said what he said.

I do though. The whole setting of the scene, everything he says and says he did, implies that Nico's growth, his change was all just because and for Levi. All the credit for his own work here goes to Levi. Also Nico lighting candles every night on the off-chance Levi might stop by feels very desperate and like Nico doesn't have a life outside Levi.

He established his feelings and intentions for the first time, to his boyfriend who's anxious and over thinks everything. He's leaving no doubts about their relationship.

This was not at all the first time though?? Nico has made it very clear in the past that he's serious about Levi, see this. Just because you're not ready to move in with your partner, doesn't mean you're not serious about them. E.g.: Nico not being out to his parents being the reason he didn't want Levi to move in (presumably).

Most of this is about Levi's own insecurities, but somehow it's Nico's fault. Again, I get it. People who are insecure often project their insecurites onto the people around them, but that doesn't mean those people don't care or don't love them. It just means you have to work out your shit. Maybe Levi should try that too. I say that with love and am speaking from experience LOL

The arc, like my dear friend @schmico-fanatic pointed out, was a wink at the audience who says Levi is with Nico just because he didn't look for someone else.

My question is just: why should he look for someone else if he's happy with Nico and knows he wants to be with him? Why does he need some stranger to make advances towards him to realize Nico is all he wants? Don't get me wrong, I get it, Grey's is just spicing it up, because that's just the show and I know that. To me, this is just a very lazy attempt at swirling in some angst. But I'm just not the biggest fan of love triangles on Grey's, so that's a personal preference thing haha. I get that sometimes people go 'but what if' while being in happy relationships, but the way it was framed it really felt like a possible Arizona situation. And I just don't do cheating storylines. They ruin every ship for me. Again, personal preference.

And Nico's arc was about showing commitment beyond sexual needs, since he's called a sex addict if not labeled toxic.

He only got called a sex addict and toxic by fandom, not on the show. Helm voiced her concerns about their relationship, but trying to evade a convo by having sex doesn't make you a sex addict. Levi could've said no and then they wouldn't have had sex all the time, but he didn't and decided to just go along and do the dirty with him. So, idk, but doesn't that make Levi a sex addict too?

Nico overcame his fears throughout this season, little by little.

That's cool and all, but again: Only from Levi's perspective. We have no context to how that happened except: pandemic, might die, don't waste time. Great.

And yes, a scene with just him would be great and we... had that. During episode 4... briefly and with the same level of hate that made the public take Owen's side... but still got some scenes

Sorry, but no. Just no. This wasn't about Nico. At all. It was the show using their two Asian characters to look woke. And in the end, this was more about Owen dealing with his white guilt than actually about violence against Asians.

#schmico #ask #ohmyorbitsworld

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kattahj · 3 years

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Review quotes of Booboo Stewart’s performance in Let Him Go

Okay, yeah, so I totally checked over 100 reviews of Let Him Go just to see what they had to say about Booboo Stewart. Relevant quotes under the cut, but let’s just summarize first:

Apparently the film starts out as a slow drama and ends up as a bloody revenge flick, which means that there are some reviewers who go “it takes forever to get started, but once it does it’s great!” and other reviewers who go “it started out really nice, but wtf was that ending?”

Likewise, Booboo has a small role, and there are some reviewers who go “what was even the point of that character?” and others who go “I wanted the whole movie to be about that character!” Also plenty who don’t mention him at all.

The important bit: while I have seen some criticism of the writing of his character, I have not seen a single reviewer criticize his acting. Everyone who mentions his acting is praising it.

And here are the quotes (spoilers!):

"For the stunner of the film, Booboo Stewart plays Peter" (Military Press)

"The supporting cast is strong, with impressive performances from Booboo Stewart [...] " (We Live Entertainment)

"The supporting cast presents a solid ensemble, most notably Booboo Stewart of Twilight and X-Men who plays the only ally of the Blackledge’s, the tragic and heroic Peter Dragswolf." (Republic Times)

"But it’s lesser-known actors like Kayli Carter and Booboo Stewart who really shine, making the most of smaller, quieter roles." (AZ Central)

"Booboo Stewart (from Walt Disney’s Descendants films) offers a rich turn as a young ingenious [sic!] man who ran away from a brutal “Indian School” and to whom Lane’s mourning mother implicitly looks at as a second chance." (Forbes)

"With strong supporting roles from the likes of Booboo Stewart [...] " (KGun9)

"We also get some strong supporting work from Booboo Stewart as a Native American loner who befriends Margaret and George." (Flickreel)

"The list of great performances in Let Him Go only grows once Margaret and George hit the road, including a nice turn from Booboo Stewart as a skittish residential school runaway who reluctantly helps the couple on their journey. " (The Gate)

"Booboo Stewart, in a sensitive and winning performance" (Chicago Sun Times)

"The Blackledges are never fleshed out beyond what they represent, but there’s another character worth caring about — a young Native American runaway (Booboo Stewart) called Peter by the people who stole him away to the Indian Residential School from which he’s just escaped. Stripped of his name, forced to forget his language, and alone in a country taken from his people, “Peter” is a poignant emblem of what people like George and Margaret are only learning in their twilight years: America has always been a country that takes without asking, and we’d sooner burn it to the ground than stop living all over each other. It’s only with Peter’s help that “Let Him Go” is able to find something worth saving in the ashes." (Indiewire)

"Booboo Stewart brings real emotion and empathy to a handful of scenes as a fugitive indigenous man who ran away from a brutal “Indian school” and provides some backup for Margaret and George." (The Wrap)

" Booboo Stewart (the Twilight saga) as a horse riding loner the couple encounter along the way is terrific, serving in a key capacity late in the film." (Deadline)

" A Native American drifter (Booboo Stewart) who befriends them and briefly recounts his traumatizing experience at a culture-crushing boarding school offers a wistful glimpse at the kind of character-driven storyline that the film deserts halfway down the road." (Slant - which hated the rest of the film)

"With powerful supporting characters such as Booboo Stewart[...]" (Eminetra)

"And then along the way the story does introduce us to some characters that have stories of their own that unfortunately aren't explored as much, and one of those characters was probably one of the more interesting parts of the story for me. It's a character played by actor Booboo Stewart, and he's really good! I don't know, there's not another word I can say without spoiling anything, but he's very, I don't know, you can tell he's carrying a lot of his past with him, and I wanted the story to almost explore more of his character, rather than anyone else's. Unfortunately, that's not the case." (Reel James - youtube video)

And the cast is rounded out with a new generation of promising performers in Brittain, the excellent Carter, and Booboo Stewart as Peter, a young Native American man who the Blackledges encounter. His personal story of being taken as a child to an abusive “Indian school” is part history lesson, part a look into Jimmy’s potential future should he stay with the sadistic Weboys. (LA Times)

"The only time Let Him Go really comes to life is when it puts the main story aside so Margaret and George can spend time with Peter Dragswolf (Booboo Stewart), a young Indigenous horseman they meet on their journey—and who, because this is really just a pulp Western, becomes an invaluable ally in the back half of the story.

(cont.) "Bezucha treats Peter as a source of exposition and white-knighting—a chance for us to understand that George and Margaret are more evolved than the other white folk Peter has encountered in his life—but Lane and Costner don’t condescend to the material the way their director does, and they bring out a wounded, cautious quality in Stewart he doesn’t often get to show.

(cont.) "I don’t think I’ll spend much more time thinking about Let Him Go, which is ultimately just a junky revenge movie that wastes a lot of very talented actors’ time and will probably also waste yours if you let it, but I expect that from time to time I’ll think about Stewart and Lane and Costner, just sitting out in the badlands together talking about horses, and wish someone had made a whole movie about that." (Straight)

Bezucha seems compelled to accentuate more compassionate moments, such as the Blackledges’ fairly contrived but still welcome relationship with a young Native American man played by Booboo Stewart. Best known for playing Seth Clearwater in The Twilight Saga, Stewart shows nice depth here as a peaceful drifter who helps George and Margaret pull off a hard-fought family reunion. (Collider)

They also meet others along the way, including Peter (a nice turn from Booboo Stewart) (Blu-ray.com)

Among the latter: an incongruously placed but engaging young Lakota man named Peter (Booboo Stewart) (Original cin)

I definitely want to give props to Booboo Stewart, who played Peter. If I'm being honest, I would have loved to have seen a movie just based on his upbringing. I thought that that young man, Booboo Stewart as Peter in this film, kind of this outcast in a sense, hearing his story was so tragic, and again, I would have loved to dug deeper into that, but man, this guy did a really good job in the little bit of scenes that we spent with him, and the scenes that he shared with Diane Lane I thought had a lot of emotional impact, and I thought he did a really good job in this movie as well. (Movie Files - youtube video)

Booboo Stewart does a solid enough job at offering a sympathetic new take on typically well-worn character tropes. (comingsoon.net)

In the supporting cast, Carter is fine, but Stewart invests greater poignancy into Peter, a young man robbed of his birthright but retaining the nobility it confers on him. (One Guy's Opinion)

Booboo Stewart also has a nice role as a local Native American escapee of a residential school, who helps the older couple in their quest, but has enough agency to know the two are pushing things way too far with the Weboy clan. (Joblo)

I do have to call special attention to the amazing Booboo Stewart who plays a Native American lad who helps the couple, this being his second great role/performance of the year after The Grizzlies. (The weekend warrior blog)

Booboo Stewart of “Twilight” fame has a small part but elevates a handful of scenes as an ousted Native American looking for purpose. (Galveston Daily News)

Another standout is the very quiet Booboo Stewart, who plays Peter. He's a self-sufficient loner who is really kind, despite all the terrible crap that has happened to him. (Movies and Munchies - youtube video)

Plus, there is an actor by the name of Booboo Stewart, and he plays an American Indian in the film, Peter, who befriends the couple, and he is just outstanding in this film. I really enjoyed his performance. (Jackie K Cooper - youtube video)

And the supporting work from Donovan, Stewart, and Carter are all equally excellent. (CJ at the movies)

Another character worth mentioning was Booboo Stewart as Peter Dragswolf. He didn’t have a ton of screen time but the scenes he was in were filled with so much emotion. My heart went out to his character. (Funtastic life)

[...]Even so with Booboo Stewart's character, they're great on screen, I don't have any qualms to their performances, but because you do... especially with Booboo's character, I got really invested in his story, but there's nothing else that's really done to, like, explore his character, almost to the point where his character wasn't needed. I wanted to actually see more of that character. (Pay or Wait - youtube video)

1: I did also want to mention Booboo Stewart [...] as this young Native American they encounter who has run away from what they used to call Indian schools, where they basically, like, force you to learn English, and you know, it's the same kind of anti-Indigenous stuff that the British used to do in Australia, and we have our own sad, awful history of that in the United States, and so, his character I think is there obviously as a plot function, but I think he brings a real humanity to the role.

2: I was going to say, I wish there was more to him, though, because he does feel like an idea, like a device, and he does very conveniently show up when he is needed to, to help make things happen, and that feels a little contrived and I wish there was more to him.

1: But not the actor's fault!

2: No no no, it's in the script! (Breakfast All Day)

Booboo Stewart of “Twilight” fame has a small part but elevates a handful of scenes as an ousted Native American looking for purpose. (The Daily News)

A side-story involving an Indigenous man, Peter Dragswolf (Booboo Stewart), is as poignant and, in certain ways, historically urgent as it is extraneous to the main thrust of the story. (Rolling Stone)

The hardest thing for me to deal with was that it had some slow moments that I didn’t think needed to be there. But on the other side of that, if they weren’t there, we wouldn’t have seen the nice performance of Booboo Stewart, who ends up becoming an important fixture. (Power 98.3)

Another underused character with a strong part is Booboo Stewart as Peter - he has some of the best lines in just three scenes. (Oakville News)

While their roles were smaller, both Carter and Stewart left strong impressions as Lorna and Peter, each wounded and abused in their own way. (Rick's Texan Reviews)

Booboo Stewart is even more heartbreaking as a young man who ran away from an Indian boarding school and runs into our questing couple. While I’m not sure what his larger purpose is in the movie, he brings a healthy dose of warmth and heart every second he’s onscreen. (Vail Daily)

One of my favorite characters was Peter Drags wolf (Stewart) a young Native American man living out on his own. (Portsmouth Daily Times)

Delivering a poignant counterpoint to the high stakes is Booboo Stewart (the Twilight series) who plays a young Native American nomad on the plains who forges a connection with the Blackledges. (I can't unsee that movie)

A revenge thriller that leaves no easy answers “Let Him Go” stars Kevin Costner and Diane Lane with some meaty supporting performances by Lesley Manville as a powerful matriarch and Booboo Stewart who helps navigate the Dakota landscape. (testset)

Even cast members in smaller roles, like that of cast-out Peter Dragswolf (Booboo Stewart), are solid and make an impression. (Gallup sun)

Other good performances include Carter, who holds the viewer’s sympathies for the entire film as a victim of domestic abuse, and Booboo Stewart, who delivers a powerful performance as Peter Dragswolf, a Native American who helps the Blackledges on their quest. (Northern star)

[...] and Booboo Stewart are also well-cast in their respective supporting roles. (Seongyong's private place)

#booboo stewart #let him go

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doom-dreaming · 5 years

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Big Sigh: aka my thoughts on BL3

Okay. It's 4 in the morning and I have managed to fuck my sleep schedule completely sideways and I've been reading people's complaints and criticisms for about an hour now so here's what I have to say about Borderlands 3. This is gonna get long, buckle up.

Borderlands 3 has potential that was never fully realized and it seems half-finished and underdeveloped.

Now, you might want to take this with a grain of salt because I haven't actually played it for myself yet, but I've been watching streams of whatever I can get my grabby little hands on and here are my impressions.

I agree with the majority of you who say it was a disappointment. I feel like we were overly hyped. Maybe it was just active imaginations and excitement and love for the series, but when my friends and I can come up with at least three different storylines for the twins alone that are (in our opinions) better than what actually happened?? Something went wrong, narratively.

You all know I could talk for hours about all the different visual aspects of just Troy and how we got answers for virtually none of them - but I won't fixate entirely on him this time around.

In general, there's some kind of disconnect between what we were expecting and what we got. Characters seem one-dimensional or just "off" in some way, and granted, it has been seven canonical years since BL2 (so about five since the events of Tales, if I remember my timeline correctly) and people do change. Seven years is longer than you think, especially in an environment where literally anything could happen.

But in order for that change to be believable, it needs to be backed up by canon. I'm not saying we should have gotten a bunch of side quests that detail the years between then and now for every single character, but even just a few lines here or there as we go about our missions would have been better than leaving a gaping hole. Too much of a hole is not "let the audience fill in the blanks," it's just bad writing.

Rhys and Vaughn? As far as I know, they barely acknowledge each other. I know a lot of people are displeased with Vaughn's development and while I like the feral Vaughn, it's just a single aspect of his character. In Tales, we got to see him transform from a nerdy, gun-shy dude into someone who embraced the danger of Pandora and learned how to roll with the punches. I'm glad to see how confident he's become in BL3, but again, I feel like they distilled his character down into just one basic part.

I was actually pleased with Rhys, to be honest. I think his voice acting captured the essence of Troy Baker's, and I think he retained more character fidelity than some of the others.

Fiona, Sasha? We don't necessarily need to see them (though I would have loved that), but even overhearing a conversation from some NPCs regarding "those grifters Rhys used to run with?" "Oh yeah, I hear they're Vault hunting now" would have been fine. Just something to acknowledge that they're out in the world doing something.

I've heard big complaints about Aurelia and while I haven't played TPS and don't have too much of a grasp on her character, I can see the frustration. From what I've gathered, she doesn't seem the type to go full bloodthirsty, full money-hungry like she was made out to be. Again, seven years can change a person, but if you're going to make a change that seems out-of-character without context, then give us that context. Once more, it seems like a distillation of character to further a plot that, frankly, would have been better and more interesting if they hadn't done it.

I'm going to briefly touch on the whole Aurelia/Troy thing again (weird jealousy aside) because I've found out why it rubs me the wrong way. The twins don't operate like that. From all other negotiations we see, it's either cunning diplomacy or brute force. Aurelia didn't need to fuck Troy to get him to torture Monty Jakobs for the Vault Key. He would've done it anyway. This whole thing seemed like an attempt at an obligatory sex joke that, again, needed context to make us believe it could reasonably happen. But instead we got nothing, just a weird scene that seemed out of place for both characters involved. The only thing it contributed was foreshadowing that "the sister always wins."

And speaking of the twins, here's the meat of the problem: wasted potential.

Let's look at what we've got. Sirens. Twin sirens, one male. Already a game-changer. These guys are a living, breathing anomaly in the rules of this universe. Add in the beautiful religious aesthetic and the mystical Great Vault and we've got ourselves some amazing options.

But what did we get? We got a lackluster sibling relationship (although it did have some gems, I'll admit). We got a half-hearted betrayal that ended up amounting to nothing. And in the end? We got our ultimate villain on a quest for more power. Y a w n.

Why doesn't Tyreen listen to her father as he pleads with her? Why does she hate him so much? Where's our context?! It seems like a lack of communication more than anything. Typhon never once refers to Tyreen as a monster, which is how they saw it growing up. In fact, she seems to be the favorite. He calls her "starlight." He begs her to listen, that the Great Vault won't give her the power she wants. He's remorseful of how he raised them, resigned to what they've become, but up until the end he's trying to convince her to stop until it reaches the point where he knows he can't anymore.

What got the twins from point A to point B? I get it, shitty parental behavior leaves lasting trauma, especially when there's a layer of bad communication on top of it. But show us this, somehow. Please Gearbox, give us context. The vulnerable moments we got from the twins and Typhon left me wanting so much more of that, in particular. The talk about their childhood, the stargazing, Troy's admission about their mother, all of it was just a hint at something deeper that I feel like we never got to fully explore.

I feel that way about the whole game. Everything was the tip of an iceberg and we never got to see the rest underneath.

Imagine if Ty wanted to find the Great Vault because it would allow Troy to live a healthy, self-sufficient life. What a plot, huh? Supportive villain siblings? How dare I. What if they'd realized their mistake before it was too late. What if something woke up anyway? Something more ancient and more dangerous than ever. Let the Eridians have their time to shine. They've been a background force this whole series; pull the biggest twist and tell us that not all of their civilization was lost after all. For God's sakes, tell us more about sirens. We learned jack about shit for all their promises of "sirens will play a big part." Do the twins count as one? How do the powers pick the person?

This is getting incredibly long, so here are my closing thoughts. It doesn't feel finished. It feels like they released a half-finished ending to a series. The final events wrap up cleanly, hardly giving a new opening for a sequel, and yet there are still holes and loose ends galore in the story. I know that we still have DLC to get through, but given all of this, I'm trying not to get my hopes up.

Give us more story, deeper story, deeper characters, and most importantly, context.

Anyway. You know where to find me if you want rewrites and fix-its.

#bl3 spoilers #in this essay i will-#ash rambles #ash rambles about her murder babes

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saras-almanac · 5 years

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I don’t know if i am getting to deep about this (probably) but i’m kinda sad that robert got to briefly talk about his feelings saying there’s stuff he’s done keeping him awake at night at the worst possible time. i just wish they explored more of this when he actually had a support network around him. and he probably meant trying to kill paddy and chas, but that’s not the point. i don’t know guess it just upsets me a bit that we got an insight into his feelings at a horrible time.

Thank you so much for this ask because I could talk about #JusticeforRobert centric storylines until I die. And to be honest, I probably will because… he just deserved one? And the fact that there is/was so much potential for things to explore with Robert and the show just sort of chose not to, is annoying. Especially because Ryan could have carried an intense storyline (he literally carried 2017) and Danny/Aaron could have been this supportive husband. It would have been great for the people around them to really see Aaron supporting Robert through something. They sort of did that with the reunion 2.0 and Seb storyline (and even Rebecca’s disappearance) but it wasn’t really enough.

The biggest frustration, sort of like you said, is that we just didn’t spend a lot of time with Robert’s feelings on things. I’m not trying to say we got nothing, but the BIG storylines that should have put Robert front and center (his coming out, his shooting, his reluctance to fatherhood, his prison sentence) shove his feelings and Robert to the side in lieu of someone else, someone who might be “more important” or needing the focus more. Now I could say that it’s sort of Robert’s character to hide his feelings because he doesn’t like showing them and being vulnerable while also never wanting to be a burden to anyone, that’s not really an excuse for the show to choose that path.

Under the cut because this became a monster on points I have literally no idea of whether or not you wanted to read about!

Robert’s Coming Out – What we could have had.

Now, as a bisexual, I wish we’d have gotten more of Robert’s POV as he was outed against his will and the fallout. Even if we didn’t get it right away, they wrote in multiple times where people call him gay or throw his sexuality in his face and Robert never really got a chance to fight back for that. He stands up the most with Aaron and while the other times might just be a matter of, It’s really not worth it to fight for this cause the other person clearly doesn’t care… It just shouldn’t have taken so long to get the reveal and backstory of how his sexuality (and suppression) has affected him.

Again, I would never want to take that moment in the woods away because it was literally perfect: the context, the reveal, the desperation of just wanting to be himself with Aaron. But there’s no reason that we couldn’t have been privy to some of Robert’s thoughts about this before that point. Especially after his shooting.

Robert’s Shooting – Was Robert even there for that?

I’m gonna be honest and say that I’m probably the most annoyed about this lack of storyline for Robert. He was literally shot and it became all about Andy and Aaron. While their stories played a massive part in everything that happened, it came at the complete erasure of Robert. He was shot. His entire life was changed. He thought someone he loved, someone who loved him–all of him and even the awful parts–tried to kill him. That literally shook Robert down to his core. We see it in the two instances where Robert is faced with that reality. But then he realizes Andy’s behind it, gets Aaron out of prison, and it’s literally never brought up again. Don’t you think that might have caused a shift in Robert? A fear or an even bigger desperation to prove himself? Or that his fear that he wasn’t worth it and no one could ever really love him was back in full force?

But the show decided to not give any time to that.

They also didn’t give any time to Robert’s recovery any focus at all. There’s the comment with Adam and Andy when Vic first brings Robert back from the hospital where they comment on how he doesn’t look like himself. I think there’s a scene where Robert first goes to the pub, but all the Dingles are mad at him because Aaron’s in prison… Though that’s not Robert’s fault? He was the one who shot? He literally was in a coma for like a month… But sure? I guess, go off on him Dingles? It all makes sense that Aaron would be angry because, as much as he claimed to hate Robert, he’d never try to kill him. And I think, honestly, the fact that Robert thought so for even a little while probably cut Aaron.

But other than those two scenes, Robert’s basically right as rain. Except for the moment his stitches tear after saving Andy from the car.

This period of time is meant to be Robert’s metamorphosis. He’s changing from scheming, angry, bitter chancer to someone who actively wants to be better and is, ultimately, looking for love. The problem is, it’s not really present. Not really. He says to Lawrence in the hell plot that was 2017, that it took the bullet to the chest to come to terms with his sexuality and himself. But where was that? Why did we not see that?

We saw the one, beautiful, shining moment that showed (a bit) that Robert was trying to be better, to do better as his shooting and realizing just how much he’s hurt people, people he did care about. Robert goes to court for Chrissie’s trial and speaks out in her defense, taking responsibility for upsetting Chrissie and giving her a defense. It was unexpected and beautiful… but then they did nothing with that? They sort of forgot it and, of course, they had to go back to be antagonist towards each other. Which fine.

The only thing we really get after Robert’s shooting, is his determination to win Aaron back. Which is wonderful and I loved it, but it was about Robert trying to prove himself to Aaron, not really about showing us the changes. We did get them, his current ending storyline is proof of that, but it just sort of feels like a little bit of a wasted opportunity to really explore Robert’s character and the regrets he had.

I think the biggest Robert-focused (if we can call it that) storyline that showcased his changes, would be the abuse era and how he literally put everything on hold to be there for Aaron, as much as he possibly could. And it was great, but I just feel like they could have done more with Robert before this point. So we as the viewer could know how much Robert changed and how badly he wanted Aaron back, how much he loved him. But they chose not to.

And then after they got back together, there was no real storyline for Robert. Yes, he was present for Liv going to youth offenders, but that was clearly framed as Aaron’s “obstacle.” His seizure and running himself ragged, was more about what might be happening to Rebecca. It’s fine that he’s not front and center always because… it’s an ensemble show, but I really feel like any story he might have been the center for, they shifted the focus so it wasn’t on him.

Okay so 2017… Yes, Robert and his breakdown was a focus… but like… It wasn’t that good? I get that the writers were like, he’s regressing cause of his breakup with Aaron and that’s true on one hand… but it also felt a bit… over-the-top? It wasn’t nuanced, but Robert was the focus so I guess, be careful what you wish for, Sara. (That’s on me).

Basically, I completely understand your frustration that we got a small glimpse into Robert’s state of mind right before he’s leaving. I am taking that more as a way to prove to himself and Aaron that Robert deserves to be in prison. He’s messed up, hurt people, and done so many things that he’s ashamed of and/or regrets, so this is his penance. (It’s bullshit, babe. You don’t deserve any of this). So if they don’t try and use it as a way for Robert to push Aaron away which… will suck if that’s the route they’re choosing. Because… no. Literally, have Robert tell Aaron not to visit him because he gave himself up so Aaron could have a life. And Aaron could cry and argue that he doesn’t want a life that doesn’t include Robert in it. Then Robert, switching tactics, says that it’s killing him to only see Aaron once a week, talk every few days–it killed him when Aaron was inside and it’s going to kill him to do this for the next 20 years. So he tells Aaron to please, let him go because it’s just going to be too hard for Robert to see him in prison visiting rooms. (Of course, this means that Aaron can’t get Seb because… then Robert doesn’t get to see his son either? But whatever.)

By having Robert frame it as what he needs–to be alone and not be constantly reminded of what he’s missing–it’s the only, only way I could see Aaron not fighting and pushing him. Because they would always and will always sacrifice their own happiness for their husband’s security and needs. (But I assume they won’t.)

Obviously, I want Aaron to fight to stay with Robert because why would he want to be without him? Why would he just give up on the love of his life, especially knowing how hard and lonely prison is? And it’s not like Robert’s family gives any sort of fuck about him.

So after this week, I’ll probably live in my own canon of them staying together and Robert’s solicitor and new prison BFF DC Pierce working on an appeal to lessen Robert’s charge from murder to manslaughter because… it’s fiction and it can be done–and they love Robert as much as us. So he gets out in a much smaller sentence. And also… all the massive AUs and Canon divergents that I want to write that might actually address some of these storylines and making Robert if not a main player, at least an equal player. (If anyone’s interested in them in the future.)

Thank you for giving me something to focus on and to write this massive essay for no reason but to procrastinate my Robert Week fics… (I don’t have tomorrow’s yet. Oops.)

#you're amazing and i'm sorry this ask was so long #i hope it was... comforting? maybe #robert sugden #robron #robert deserves all the stories #the robert breakdown is in full swing #emmerdale chatter #emmerdale #Anonymous

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dmny25 · 5 years

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Daenerys was never a well-written character

This is going stir controversy, but whatever.

I was never Daenerys’ biggest fan, the whole dragon thing never moved me, I usually wasn't taken in by her set pieces besides shock and awe. However, I never hated her (and I still don't). I was rooting for her to win the throne up until season 6.

The point of watching and investing in any character's arc is growth and development (or sometimes lack thereof as is the case with Cersei but she still evolves). Daenerys grows in seasons 1 - 5 from a meek princess to a khalessi to a conqueror to a queen. That is all good stuff. Season 5, which some people don't like, I loved at the time. It was so important for her growth, but now it's meaningless and I feel like I wasted my time. Going into season 6 and 7, so much of that character work was just thrown away and I don't understand why because it was good.

Dany was learning diplomacy, learning the intricacies of ruling, the grey areas that exist in morality, when mercy is necessary and so many other lessons that were thrown to the wayside. She regressed from a queen to a khalessi in season 6, which, fine, parallels and symmetry and coming full circle. But season 7? Their writing of her and the choices made for her storyline was atrocious.

The writers failed her and they failed her hard. Her character progression and development went so backward that it honestly makes me angry. They shafted her storyline in Westeros and her growth as queen for her stupid forced romance with Jon and has her going back on her words and her values. She's being a conqueror, not a queen despite her claims that she was going to be a queen who ruled and not a conqueror.

I feel like they've given her no endgame beyond the iron throne. She takes it, but then what? What is her tax plan? How will she harvest food for winter? What is she going to do to support infrastructure in the city? Is anyone going to fix the damn sewer system? How is she going to rid the city of corruption? Is she going to burn all the goldcloaks and replace them with Unsullied? I'm sure that'll go over well. She never actually got control of Drogon, he just came back to help her out and she never addressed the whole burning-a-three-year-old thing, what if he accidentally or purposefully kills another kid? Not hard to do in a city as densely populated as King's Landing. What about food? You can't have a dragon cutting through precious livestock in the middle of winter. People will starve and it won't matter how much money she gives them because there will be no food. What about religion? The Lord of Light doesn't have as much of a foothold in Westeros as in Essos, but if there's a fire queen, they're going to flock over. Considering how volatile and insular the Seven can be and how attached to it the smallfolk are, will that cause religious unrest or possible holy wars? What are her policies going to be? What laws will she change or enforce? These are not things she shouldn't worry about until later, they will be relevant when/if they all survive and need more allies. Westeros is not Essos, she doesn't know anything about the people, the geography, the history beyond the Rebellion, even the weather as evidenced by the fact that she thought it was a good idea to burn the harvest from the Reach right at the start of winter instead of just taking it to feed people as if they could just grow more.

If the writers had been given more time and we didn't have to shoehorn R+L=J in for reasons unknown, season 7 could've focused on Dany and what she actually claimed she wanted to do, which is break the wheel. She's done nothing towards that end. She landed on Dragonstone and immediately got wrapped up in the hoopla of highborn politics and nobility. She hasn't been going for the queen of the people angle anymore, for some reason. She should've. If the show had been more cohesive with her storyline, wanted to make a point that makes sense and ties together even further with Cersei's storyline, then Daenerys should've turned the people, the smallfolk, to her side the same as she did with the slaves in Essos. Different political landscape, but it comes down to the same principle. The people don't care who is ruling them really, they care about eating, having a roof over their heads, being safe with their families, making enough money to survive. Cersei blowing up the sept set Daenerys up to come in as the savior of the people, but she didn't take advantage of the opportunity. A part of that is Tyrion's influence. He's too caught up in the web of scheming and nobility as well but Varys, Mr. I-serve-the-realm-and-the-people, was there too. They had a whole argument about serving the people and nothing came of it.

It's just bad writing in a show that has some amazing storylines and arcs. Cersei and Sansa's writing is so complex and intricate and every story beat makes me feel what the writers intended. Jon's story is a lot more black and white, but I still feel for his character and care what happens to him. Even minor characters like Gilly and Sam or Missandei and Grey Worm, the writers got me invested in them. Every story has its inconsistencies but Dany's feel more egregious because (if this ends the way I think it will) Dany is going to be sitting on the iron throne. As a viewer, I need to feel like she earned it, just like she earned hatching the dragons and earned the Unsullied's loyalty and earned her title as queen of Meereen.

This is not anti-Dany or a knock against Emilia Clarke, who I see some people criticize for her acting and blame her for the turn in Dany's character arc. It's not Emilia's fault. I think she's doing exactly what the script called for her to do. She can convey so much with body language and little subtle expression changes. I don’t think she gets enough credit for that. And if she was supposed to be doing something different, the onus is on the writers and directors to correct her acting choices, not just leave it be. It comes down to the fact that she just could be written so much better.

Season 7 would've been more interesting if Daenerys and Jon didn't even meet. Let their storylines play out separately. Let Daenerys use diplomacy, her natural charisma and the presence (not the might) of the dragons to win the iron throne that season. She should've treated with the other noble houses in the Crownlands (especially the Velaryons) and other houses as well. They could’ve briefly introduced the Hightowers. She could’ve gotten control of Oldtown, are you kidding me? She could’ve met with whoever the hell is ruling the Stormlands nowadays. The Lannisters helped destroy House Baratheon, leaving the Stormlands in a state of unrest. You’re telling me they don’t want revenge? What about the Riverlands? Not mentioned literally at all after Arya killed the Freys, what is even happening there? She could’ve also directly addressed the people like she did in Essos. She would've gained the confidence of the realm on her own merits. She could've had the throne by the end of season 7 and Cersei would be dead, no problem.

Jon should've stayed in Winterfell. We should've seen more of what they were doing to sure up the Wall and defend the North. Let the siblings all reunite and deal with Baelish together, the four of them. Bring forth the question of the Riverlands (where the hell is Edmure? Is he still in the Frey's dungeon?), get more into the lore of the White Walkers and explore Bran vs the Night King. Let Jon deal with his paternity before meeting Dany. The Starks knowing about R+L=J makes more sense as being the cause of a rift between the siblings than Sansa and Arya being upset with each other because... reasons? They didn't get along as kids and now the writers decided, let's forget all the intuition we had our girls learn over the seasons so they can be mad because shock value when Baelish is killed? Come on man. It's so disappointing.

#daenerys targaryen #jon snow #game of thrones #asoiaf #sansa stark #arya stark #tyrion lannister #GoT

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veinereastath · 5 years

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Ok, New Dawn spoiler alert.

This is my opinion on New Dawn after finishing it, but with much more details than the last one. I will mention it again - I didn’t rush to the main story. I completed all side quests. Visited nearly every (about 90%) place on the map. Read all notes I found. Let’s get this over with. The things I like in this game: - it’s colorful and it’s pleasant to the eye, and, most important, it’s something new (in terms of post apocalyptic world), - I like weapon crafting and upgrading, - liberating outposts is fine, - most GFH are really great, - boss fight(s) were hard (on normal difficulty). - The Judge and the fact that they are always around Ryes (mostly Nick) when you’re in Prosperity. - Joseph’s first mission (finding his book). Now, the things I don’t like or even hate: - I will be brutal. WASTED POTENTIAL. This game could have been great. For me it was boring and depressing... - no mentions about John, Jacob or Faith in-person. No one remembers them. No more propaganda posters. Only John’s bunker looks like it did in FC5, but it’s also WASTED GODDAMN POTENTIAL. There is nothing interesting in there. - size of the map. Like, it’s a joke? We got half of the County. 90% of Whitetail Mountains are radiation zone, there is nothing in it, you can’t explore anything. We got a whole Valley and about half of the Henbane River. Yeah. - Ethan... like, fuck this guy. - The Twins. Potential, again. Wasted. There is no backstory. No explanation for their actions. I liked them (Lou especially) but... They are not good villains. We had Vaas, we had Pagan, we had the Seed Family. Great villains with a backstory, with something fascinating about them. Here? Nope. - I felt like most of the map looked the same. Sorry. In FC5 every region was different and it was amazing. Here... I don’t feel it. Yes, Valley looks different, Henbane too, but it’s not enough. I felt monotony while wandering around the map. - Prosperity. I will say it louder: JOHN’S SEED RANCH. Imagine all those notes, dfocuments, photos we could have found somewhere. No. We didn’t get it. There is nothing left. Heralds didn’t die, no. They were erased from a history. Joseph mentions them in one note. Random hunter BRIEFLY mentions Jacob in one sentence. And Faith? Huh? Never heard of her. - cult songs. I wished I could hear them, still singing by the Peggies. No. The only thing we’ve got is a short note about a new possible song about Joseph, but it’s all. And no “Only You” anywhere, ghostly playing in the distance. I wanted it so, so bad. - short main story. Like, very short. 22 missions, but 7 of them are about GFH and they are extremely short. Rest of them? Yeah, actual story, but it’s just boring for me... And I just didn’t like the storyline in general. - all those places I couldn’t visit. Veteran’s Center. Place where Faith and Jacob died, their bunkers... - I feel like Ubisoft thought “ok, we will let you join the cult, but make everything else boring”. Yeah, thanks. You managed to do it just perfect.

And that would be it. The thing that makes me mad is that I feel like Ubisoft didn’t really care about the cults past, history. We got Joseph. And those cool but disturbing notes from the bunker where he was with the Deputy. I definitely won’t replay this game, and I have 800 hours spend in FC5 and 16 in New Dawn... And I think it speaks for itself in terms of “how entertaining the game is”. I’m still playing FC5 after a year. New Dawn will be something I will quickly forget because I’m angry of what has happened in it. Remember though - it’s just MINE OPINION! I absolutely have nothing against people who loved this game. It’s good. If this game is fun for you, I’m glad - because it should be. Maybe it’s just that I expected more than I should.

#I needed to do it #sorry #I'm just so dissapointed #and quite pissed

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storiescanberewritten · 6 years

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In Remembrance by Guy Adams

Ahhhh poor, unloved Class. I recently heard someone say, "Doctor Who is for kids, Torchwood is for adults, Class is for nobody." It always seemed that Class came about at completely the wrong time, just towards the end of the Steven Moffat era of Doctor Who when big changes for the franchise as a whole were on the way, both in front of and behind the camera. On top of this, the series was announced as a BBC Three exclusive in October 2015 and almost immediately afterwards in November it was announced that BBC Three would be relaunched as an online only channel. By the time Class was launched in October 2016 it was done relatively quietly online rather than being a big blockbuster event worthy of a Doctor Who spin off. Probably seen as the trailblazer of a new era for BBC Three, the series then failed to make the top 20 viewed programmes on the iPlayer at any time in its first seven weeks. The ratings when repeated on BBC One in horribly late night double bills were even worse. That can only be classed as a failed experiment (ho ho).

Regardless of any of this Class was always a strange concept, taking the iconic Doctor Who location of Coal Hill School/Academy and making it the centre of an ongoing Buffy style series featuring monsters, aliens and teen drama. I feel I enjoyed Class more than many others did, although it certainly had its problems (the over-arching Shadowkin storyline being mostly uninteresting was one of them) but the characters really grew on me over the series with the strength of each of the actors really shining through. Unfortunately Class was cancelled after the muted response from its potential audience, but as ever Big Finish audios are here to resurrect any tiny corner of the Doctor Who franchise that they possibly can. And we love them for it. Released last month, the two boxsets each feature three 45 - 60 minute stories set within the first series of Class.

As a whole the boxsets are really strong, avoiding anything but tiny references to the Shadowkin and instead telling more constrained, character driven stories that the actors can really get stuck into. What we are concerned with here on Stories Can Be Rewritten though is the final story of Volume Two, In Remembrance, a sequel of sorts to the hugely popular Seventh Doctor story from 1988, Remembrance of the Daleks by Ben Aaronovitch (Ben will be popping up on this blog again very soon!) This audio adventure brings Ace (Sophie Aldred) and the Daleks (Nicholas Briggs) into the present day world of Class, with Ace encountering both Charlie (Greg Austin) and Miss Quill (Katherine Kelly) as she wanders into Coal Hill Academy one night to exterminate a lone Dalek. Big Finish do seem to specialise in crossing over different eras of Doctor Who with each other, often with varying levels of success. Thankfully In Remembrance is one of the more satisfying examples of the trend.

Without going into too much detail of the plot of Remembrance of the Daleks, that story is set in 1963 around and about Coal Hill School and focuses on a civil war between two different factions of Dalek. In Remembrance sees one of these Daleks do a temporal shift into the future to find out how this all pans out and learn anything that might help its unit of Daleks be victorious. For the purposes of this story it is claimed that upon beating the Daleks in 1963, the Doctor and Ace picked up signals warning them of the time travelling Dalek and meant to check it out but got distracted by another adventure. Ace, having left the Doctor, spent time on Gallifrey, and now returned to Earth, remembers the Dalek is about to show up in 2016 and goes to investigate. Charlie manages to get caught up in the tear in time and sends himself back to 1963, leaving the brilliant combination of Ace and Quill to exchange hugely entertaining barbs at each other whilst trying to defeat the Dalek trapped in the school.

The set-up is fairly convoluted then, and relies on retcons to Remembrance of the Daleks and the ability of Ace to be in the right place at the right time in 2016, despite spending most of the last few years on an alien planet. It is absolutely worth it to get Ace and Quill together though because their world views are completely at odds with each other and they immediately start to wind one another up. The constant cynicism of Quill versus the open minded, fun loving Ace is a great match and there's joy for the audience as it dawns on Quill that Ace knows the Doctor, whom she states is "a pain, and not be relied on" and storms away. "Yep, she knows him", malignes Ace with a knowing tone. Sophie Aldred is on top form, even briefly managing to do a convincing impression of herself 30 years ago as she puts on a higher, chirpy voice in a small cameo of young Ace meeting Charlie in 1963. Charlie really does draw the short straw here, getting stuck alone in the past with nothing much to do except run away from Daleks and talk to himself. It's a bit of a waste of Greg Austin's talents to tell the truth, as he really shows his worth in Volume One's Tell Me You Love Me.

The only thing I can really pick on here is the trope of the over-talkative, slightly comic Dalek that seems to come up every so often. The Daleks really are more effective as an unstoppable destructive force. When they stop to have chats things can sometimes go awry. Admittedly, you often need to do this kind of thing to build up a story and stop all Dalek episodes just being exactly the same (as much as that is possible) but sometimes it works better than others. Here Quill ends up trying to repair the Dalek so that it can take her back to 1963 to rescue Charlie, but accidentally harms it in the process. "Arrrrgh! Be more careful!", the Dalek exclaims. Excruciating for me as well as the Dalek. Quill then goes on to mock the Dalek repeatedly which is fine and quite funny, but does mean the Dalek has to rise to her and acknowledge the silly things she is saying about it. Again, this kind of thing should really be above the Daleks, although there is a history there of Daleks being slapstick - a Dalek feeling all sorry for itself and deciding to self destruct because it loses it's captive in Death to the Daleks for example, or the Dalek emerging from underneath a sand dune at the end of episode one of The Chase, coughing and wheezing as it does so!! There's probably room in Doctor Who media for all forms of Dalek to be fair, but there were a couple of moments here were the Dalek seemed a bit too pathetic for my tastes. Having said that, there's also some interesting interplay between Quill and the Dalek, giving us a glimpse at how the Daleks think of themselves other than just the usual "we are the supreme beings!"

Overall the story is a really nice tribute to Remembrance and the 1963 scenes even have some excellent incidental music which sounds very similar to that used in the TV story. The sound effects of the Dalek guns and the exterminations are also those that were used in the late 80s, so it does a great job of putting you back in the mindset of the Seventh Doctor Era, with new twists and wrinkles added of course. With the 30th anniversary of Remembrance of the Daleks coming up in October of this year, it's very satisfying to have this little throwback to my favourite Doctor Who story. Here's hoping the Class crew can return again on audio in the future, maybe even exploring that Weeping Angels plot that was so cruelly teased at the end of Series One. And, with a bit of luck, Ace can join them in the battle too!

#ace #sophie aldred #class #big finish #greg austin #katherine kelly #quill #charlie #guy adams #ben aaronovitch #daleks #dalek #doctor who #dr who #the doctor

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marvelatmytrash · 7 years

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Divided: Part 17

Pairings: Bucky x Reader, Steve x Reader

Warnings: This is super fluffy

Word Count: 2537

Series Summary: You have always been one of the best agents at the Avenger’s compound, now you come face to face with the Winter Soldier and find yourself drastically underprepared. This follows along the plotline of Civil War, inserting the reader’s character into the storyline

Chapter Summary: Your new team assembles, preparing to fight, but some slight conflict ensues when an unexpected visitor arrives.

Divided: Part 1 Part 2 Part 3 Part 4 Part 5 Part 6Part 7 Part 8 Part 9Part 10 Part 11 Part 12 Part 13Part 14 Part 15 Part 16 Part 17 Part 18 Part 19Part 20 Part 21 Part 22 Part 23 Part 24 Part 25 Post Credit Scene

The small blue buggy turns quickly around the corners as Steve drives hurriedly down the ramps of the empty garage. The car skids slightly, pushing your shoulder roughly into Bucky’s side with the force of the turns.

You smile apologetically at him, eliciting a slight chuckle from him in response as his eyebrow raises at Steve’s ferocious driving.

Finally, the car turns tightly into an empty spot, a white van a few spaces over from your window. Steve parks the car, stepping out hurriedly, Sam following quickly behind him.

You remain still for a moment, watching the van, Bucky peering over your shoulder as your arm reaches back across him, your shoulders rolling back into a defensive and protective posture.

Then suddenly you see Wanda’s head poke out from the passenger seat of the van moments before Clint appears around the back. Your shoulders immediately relax as you register your friends. You move quickly, dislodging yourself from the small car as Steve walks forward to greet Clint.

“Cap,” Clint says, a small smile pulling at his lips as Wanda climbs out of the car.

“You know I wouldn’t have called if I had any other choice,” Steve responds, his posture falling back into his normal Captain’s stance as he shakes Clint’s hand.

“Hey, man, you’re doing me a favor,” Clint responds as you rush towards him, happily throwing yourself into his open arms. His hands wrap around you tightly, pulling you closer to his chest as he lifts you slightly off the ground.

For a moment you want to cry, realizing how long it had been and how much you had missed him. “Besides, I owe a debt,” Clint says softly, still looking at Cap as you hug him. You finally dislodge from him, beaming ear to ear as you turn to Wanda, moving forward to wrap her in a tight hug.

“Thanks for having my back,” You whisper softly in her ear, smiling as the two of you rock back and forth slightly in a tight embrace. She pulls away slightly, smiling as she looks you up and down, noting the new marks and bruises you had received since last you’d seen each other.

“It was time to get off my ass.” She winks at you as she takes your hand, moving forward to speak to Steve.

Steve’s face is tense, unsure how to proceed with Wanda’s presence. He glares at you, knowing instantly that you are responsible for Wanda being there. His nostrils flare as you avoid his gaze, his anger swelling in him once more at you disobeying his orders.

Steve opens his mouth, preparing to scold you, but Wanda interrupts him, raising a soft finger in the air to hold his words.

“Old man, you need my help, just accept it.” She teases slightly, Steve exhales, annoyed as he shakes his head, a small smile to tugging at his lips as Clint lets out a laugh.

“Fine,” Steve nods, his eyebrows rising in amusement, “How about our other recruit?” He inquires, his gaze shifting to the van.

“He’s rarin’ to go!” Clint laughs amusedly as he roughly pulls back the sliding door of the van.

“Had to put a little coffee in him but he should be good.” The sleeping man in the back seat jerks forward, startling awake. Sam’s recruit steps from the van as you and Steve exchange skeptical looks with Sam, who just nods confidently, his arms crossing defensively across his chest.

“What time zone is this.” The man says as he blinks ferociously at the bright light of the sun. Your eyes glance briefly to Bucky, hanging back by the other side of the car. His face downcast as he waits patiently for the exchange of pleasantries.

“Come on Scott. Come on.” Clint says pushing Scott forward towards Steve, you give Wanda’s hand a small squeeze as you release her, stepping forward quietly and moving towards Bucky as Scott walks dazedly towards Steve.

“Hey,” you whisper as you move in front of Bucky, your hands sliding softly to his waist as you slip your face into his downcast gaze. You see his face tense, his jaw set tightly as his hair hangs down slightly around his face, “where’s your head at?” You ask softly, your hands sliding up his body to his cheeks, tipping his head forward so that you could place a delicate kiss on his furrowed brow.

You pull back to see his softened expression, his eyes blinking faintly as his lips pull in a reluctant smile, his metal arm slides gingerly around your waist pulling you against him as he straightens, pressing a soft kiss to your forehead before turning to focus on the conversation.

“Hey man!” Scott exclaims loudly, looking over at Sam.

“What’s up tic tac,” Sam responds threateningly, his arms still crossed defensively. You can’t help but snort as you try to suppress a laugh. Is this just Sam’s way of interacting with people? Have I never noticed because we’ve always been friends? Or is Sam just being a protective Mama Bear to Steve?

“Look… what happened last time…” Scott starts to explain, but Sam quickly breaks, smiling slightly as he interrupts Scott. “It was a great audition, but it’ll never happen again.” He laughs, the small sound of a threat still present in his voice. Yep, Sam the Mama Bear.

“They tell you what we’re up against?” Steve asks, drawing Scott’s attention back to him but not before he glances momentarily at you and Bucky behind Sam. “Something about some psycho-assassins?” Scott responds, raising an eyebrow at Steve to display his own skepticism.

“We’re outside the law on this one. So if you come with us you’re a wanted man” Steve speaks clearly, making sure Scott knows exactly what he’s signing up for. Steve has always been a worthy leader, careful at all times to make sure that his team is informed and willing, careful to never take advantage of the loyalty he inspires. It’s why you liked him, why you trusted him, why you…

“We should get moving.” You startle slightly as Bucky speaks beside you bringing your focus back to the situation. You glance up at him, noticing the tension in his chest again as he feels the pressure of the ticking clock.

“Veil helped us to get a chopper lined up,” Clint responds, immediately clicking into work mode. Steve smiles slightly, appreciating the reliability of his friends. Suddenly a siren sounds as a German voice echoes over an intercom throughout the parking complex.

Everyone tenses and looks around, Bucky listens carefully to the announcement before explaining a translation, “They’re evacuating the airport.” He pulls away from you as he stands firmly upright to face Steve glancing around to watch for any intruders.

“Stark,” Sam growls slightly, looking around as if he expected his ex-teammate to suddenly appear.

“Stark?” Scott questions, looking confused.

Steve nods as if making a decision before announcing to the team at large. “Suit up. I’ll go scope out the helicopter, draw Stark out if he’s here, you all split up and explore other exits and escape routes.”

You all nod, Scott snapping into a serious salute, “Yes Sir, Captain America.” You can’t help but laugh at Scott’s nervous demeanor as Steve smiles slightly, “Except for you Mr. Lang, I need you to come with me.”

Steve and Scott waste no time in suiting up as the rest of you move quickly about gathering your gear.

“Here buddy, I think I grabbed a piece that’ll fit you.” Clint advances on Bucky as he looks nervously at you for reassurance, you nod softly as he consents to follow Clint to the van.

“Y/N, hun, I think Wanda has something that will make you very happy.” He tosses over his shoulder as Bucky follows him. You move quickly towards Wanda as she reaches into the car.

“Hey, Clint says you have something…” She pulls out of the car, pulling with her a familiar pile of clothes. Your suit.

Your hands run happily over the flexible corset and close fitted leather jacket, smiling widely as you find the stretchable strong fabric of the pants, littered with pockets and holsters for all your favorite knives.

You smile happily up at Wanda as she hands you a rolled piece of fabric. You roll it out on the seat to reveal your vast collection of knives. The only pocket empty was the one for your Scorpion dagger, which was still safely secured against your thigh.

“Thanks, Wanda, I… Thank you.” She smiles happily at you receiving your thanks as she pulls out her own duffle. “You heard Cap, suit up.” She smiles as she begins to undress, swapping her civilian clothes for her gear.

You follow her quickly, stripping off your jeans as you swiftly slink into the close-fitted black fabric, stripping off your shirt for ease of buckling the high waisted pants. You move quickly, loading your knives into each of their designated pockets.

“Hey, we have to get going soon, are you all almost ready?” Sam speaks plainly, looking at you and Wanda, his eyes briefly grazing over your exposed chest, only covered by a bra as you load your knives. Bucky and Clint walk around the van, coming to listen to Sam’s plan.

Bucky’s eyes flash briefly to you before widening, his fist clenching slightly at the discomfort of your exposed body around Clint and Sam. He moves quickly, stepping towards you to block the view to you as he reaches for your corset on the seat.

“Doll?” He says sweetly to you as he hands you your top.

You glance up at him, halting in your ministrations, seeing the discomfort on his face before glancing down at your top in his hand.

“Call me old fashioned but…” He whispers quietly. It dawns on you why he’s so uncomfortable and you quickly grab your corset from his hand, wrapping it around your torso as you begin to do up the clasps.

“Sorry… we change in front of each other all the… I just don’t really think much about it… never really had to...” You whisper as you finish the clasps, moving quickly to lace up your knee high boots and grab your leather jacket.

Bucky nods, as his shoulders jut forward, hunching defensively. He turns from you and moves around the side of the van as Sam calls to everyone for a strategy design meeting.

“I… give me a minute, I’ll get him.” You say to an annoyed Sam, turning quickly to follow Bucky around the other side of the van.

“Bucky… Hey, what’s going on?” You walk forward in front of him, his head hangs down again, biting his lip as his brow furrows. “We never… I know I don’t have… We never talked about it but…” He stumbles as he tries to find the words. “I just…”

He tries to pull back, away from your grip, but you hold onto his suit, locking your fingers into the belt around his midriff, pushing yourself forward against him as you slide your arms around his waist.

You rest your head against his chest, hugging him closely. His arms rise up defensively for a moment before softly wrapping around you.

“It’s ok… I’m here, I’m right here beside you…” You pull back slightly, your hands moving up to frame his face and pull his gaze down to meet yours, his arms still wrapped around you.

“I’ll stay here as long as you’ll let me…” You kiss him softly, feeling a small tingle press down your spine as his fingers flex against your back and he pulls you closer.

“You…” He pulls away slightly, pressing his forehead against yours as he sighs heavily, his voice shaking ever so slightly “you matter to me… it’s been a long time since anything’s mattered to me… but you…” He whispers softly, his eyes blinking open to look at yours.

His eyes shine down at you. You gaze into his blue stare, feeling as if you could see the whole meaning of life in his sad eyes. Your head swims as you breathe deeply, feeling as if an addictive rush was coursing through your body.

“I love you.” You whisper quietly, your mind blurs as your adrenaline skyrockets higher than any fight had caused it to before. You bite your lip nervously as you gaze up at him. Unable to take back the words that you had never before been able to say.

He smiles widely, his eyes sparkling with the vulnerable joy that you had only seen once before in bed. His arms wrap strongly around you as he pulls you into a deep and passionate kiss, his hand sliding up into your hair to pull you tighter against him.

After a moment, you kiss down his neck, settling into the comfort of his embrace, his hand still pressing softly into your hair. “I love you.” He breathes, his lips pressing gently against your forehead as a smile cracks across your face.

You both stand there, arms wrapped around each other, smiling slightly as you both breathe evenly for the first time in the last 48 hours.

“Umm…” Wanda interrupts awkwardly, stepping around the van, you pull sharply away from Bucky, turning towards her as she stares at you for a moment, her eyebrow-raising, before her eyes dart to Bucky, widening her smile.

“Sam has a plan; you need to come be briefed quickly. Cap’s about to move forward with Scott.” She reports, the knowing smile tugging at her cheeks. You nod tensely, your eyes glaring at her, knowing exactly what she was doing.

You step forward, Bucky moving beside you towards Sam. Wanda grabs your arm for a moment, holding you back, “In love? Certainly not what I was expecting to overhear… I guess, congratulations?” She chuckles as she teases you, causing your face to go red.

“It’s not nice to read people’s mind Maximoff.” She rolls her eyes at your teasing before placing a quick kiss on your cheek. “I just want you to be smart and stay safe.”

She smiles as she links her arm in with yours, moving you forward towards Sam and Bucky, “And I want to keep Steve from killing you,” She teases, her eyes flashing forward to appraise Bucky’s large form, “Or him.”

You chuckle slightly, tension present at the edge of your laugh as the memory of your argument with Steve flashes in your head, giving way to the image of his kiss with Sharon… You step up beside Bucky, looking to Sam as he continues with his explanation.

Your eyes flash up to Bucky, his tall form standing close beside you… His perfect jaw darkened with thick stubble, pieces of his hair flittering forward into his bewitching blue gaze. His eyes flash to you for just a moment, catching you staring at him.

He smiles broadly at your gaze, his eyes twinkling with the hint of a laugh. Your chest relaxes, a feeling of calm and certainty washing over you. You matter to me… People have before… But never like this… You… you are what matters to me.

PART 18

Authors Note: I kinda love this part so I hope you guys do too. The character I reference, Veil, is from @thewintersoldierprogram sequel piece. It has a different reader, Veil, but gives a happy ending to Steve, something you will not find here. I always love hearing from you guys, so drop a line with thoughts or predictions! Tagging is open, just ask, if you are on my tag list and your username has changed PLEASE let me know!

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