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weebsinstash · 10 months

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Question, and you can ignore this if it’s too deep for you

Have you ever heard or watched Moral Orel? Cuz there was a moment with the nurse girl that really stood out to me and it was just… woah

Cuz I may have an ask about this cuz I’m so INVESTED in the doppelgänger us and wanted to send some asks if that’s okay with you ☺️

Love it 💜🦋

I'm kind of vaguely aware of what it's all about, and I have a feeling you're talking about the woman with the age regression trauma in the episode that got the show canceled lmao 💀

But yeah anyone is free to send in ideas and feedback, although answering can be kind of on a whim sometimes since I'm. All over the place. I'm terrible at answering and being consistent lol. But I love the talk and engagement especially when people like my weird ideas haha, it really becomes an activity in of itself

I'm also growing extremely attached to the doppelganger story and I've been slowly mapping it out and getting different things down but unfortunately now I have so many different ideas that I'm not sure which ones to keep and which ones to put down for use for something else later 😅 but I've been trying to mentally sit down and iron out exact details, and it's been a tricky process. The exact things I've been getting caught on are 1. How long do you know Miguel/the Spider Society before this all goes down, like is it months or years or what, how close and enmeshed are you with this community. 2. How exactly does YouTwo start stealing your life? What methods do they use to frame you for anything, do they set any schemes up to convince other people you're actually them and they're you, do they steal your costume and leave theirs behind forcing you to wear theirs so you can go out and that's when you're cornered, do you actually let them pretend to be you once or twice and accidentally create their addiction. 3. How is Reader finally betrayed and how quickly is YouTwo exposed, are you gone for a while or do they catch the ruse just in time.

It's definitely my favorite idea I've had for him and the Spider Society in general, but it's splitting off into so many different paths at this point lol. Is there a physical fight, are there any chases, does Reader get put in the Go Home Machine, what if it just sent you elsewhere and they don't realize until you're already gone and they have definitive evidence YT is the fake, do they just assume you're dead, what if you have your bracelet off and you're just glitching and in pain and, just glitch into another dimension instead or whatever. Like. The possibilities are endless with this uh, franchise? Company?. We've got characters like Darwin who constantly evolve and others like Gwenpool and, also, it's fanfictiom why not just have fun

Still stuck on "does Miguel/the SS realize just in time and save you" vs "they don't realize until after you're gone and have to get you back" because they're both tasty in different ways. Like I can see you getting thrown into the Go Home Machine amd you're pissed and terrified and not sure what's going to happen to you and, the machine is powering up and everything is all dramatic and, suddenly it just stops and displays NO DIMENSIONAL MATCH or something similar and everyone is immediately nervous because they almost got rid of the Real You and you're understandably furious. Love the idea of just walking up to Miguel and antagonizing him and verbally berating him and the man just lets you because it's kind of like a punishment he's imposing on himself for what how he's hurt you.

You're just slowly clapping at him, being extremely sarcastic and smiling in a way that says you want to kill him "Woooooow, great job Miguel! Did you do it? Do you save the multiverse? Did you defeat the bad guy?" You're just actively sneering in his face and meanwhile he's just slowly processing what could've happened if the machine had just 'sent you back anyways' so to speak and there you are, "hey, what if the machine just ejected me off into the void since there was nothing there to go back to? Would I be out in space right now, in the dark, choking--" and you make wheezing sounds on purpose because you're angry and trying to hurt him meanwhile he's practically cycling through stages of grief while youre antagonizing him rn. You're in the big room with the go home machine and Miguel and YouTwo and a bunch of other witnesses and your innocence has been proven and they're exposes exposed for everything they framed you for and some of the Spiders are like "oh wow sure glad that's all over and everything can go back to normal and you can go back to hanging out with us and doing your classes again right teach? :)" and you're just like "ahaha, the FUCK I will, at this point I don't want any of you guys, I'm gonna go pack my bags 😒"

YouTwo had started luring Miguel into this sort of trap where he was starting to really put some thought and effort into starting an actual relationship with you and in his eyes he's not just losing you, but also the future and fantasy he's been building up in his head (which definitely involves a baby). Man is having his own dramatic ass anime moment where in his head he's visualizing you holding the hand of a small child and walking away into the sunset as he reaches out "no, come back!", like shit man you'll have to pull something reeeeal special to make up for this

I just. I don't know, i like multiple options and I have to choose one of them! Unless I did the youtwo fic and then did other sort of oneshots 🤔 as a writer it is traaaaagic when you have all these ideas and you decide on a single one and wind up pitching the rest, maybe I should just be unashamed and just repost similar shit all the time, or post bonus chapters to the original fic that might be the same fic again but with changes. Idk. But. Either way I really can't decide between 1. Reader having their bracelet removed and they wind up glitching away and everyone thinks you died but you're chilling with a friend (Hobie? Miguel 2? Shit maybe even Miles as that healing little brother energy, like, i hate it i hate it i hate it But I Understand Peter B's "oh shit did you make me realize i want kids" Moment 😩😩😩 also we stan Peter B in this house. We love a man who accidentally cringefails his life and puts it back together better and happier. Should circle back to him later, i can see him in some "you confide in him bc you trust him and he sells you out for your own good" scenarios. You tell him something like idk dark thoughts you've been having about yourself recently and Miguel knows THAT day) 2. You get revealed as "the real one" with the Go Home Machine 3. You glitch away but then eventually glitch back and they're chasing you down to put the bracelet back on

Idk I just have a lot of thoughts and ideas and my WIPs/drafts keep growing and growing 😩

#i never know when to tag things or not. like when is something good enough to tag #but then its like. i gotta tag it for .y own records #yandere spiderverse #yandere stuff #sinprompts

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socialist-microwave-laser · 4 months

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Confused about the whole Taika zionist, bc I saw his name on that list of actors thanking Biden for the support to Israel. Does that not make him a zionist? Genuinely asking.

disclaimer that rn i'n having horrible brain fog and have been in the throes of a pots episode for literally three days now, and i'm typing this from jnder my service dog rn bc he won't stol alerting. so weirdoes stalking my blog don't crucify me here if i say something slightly wrong

anyway okay so i think assigning an entire incredibly deeply complicated political and religious belief to somebody because they happened to sign onr thing (which like if we're gonns talk about rhe performativity of actirs signing things and how they mean nothing, i think it's also important that we look at this as a sort of response to anger that someone may be keeping silent on an issue. how many times have y'all seen people getting pissed about someone not talking about current evenrd. if you get mad at someone for the performativity of posting a black square on instagram to end racism, you need to also understand the forces rhat may compel a person to do that, yk). i'm not taika waititi and i'm asshming none of the people talking about this are either, so none of us know what level of engagement he gave to the letter or how closely it actually aligns with his political and religious beliefs

basicallt anyway. when i signed a peititon written by mostly marxist-leninists and socialists to demand better wages on my college campus, i was saying we need better wages. the fact that mls and socialists also signed that petition does not mean that i'm suddenly not an anarchist

my vision is getting blurry and i can tell this is so meandering but. he has never said he's a zionist, he only said he's anti-hamas. when celebrities (especially jewish and muslim celebrities) are being pressured to speak out on something that is so impossible to get accurate information and is so emotionally fraught, they're a lot more likely to engage with somethjng full of dogwhistles and propaganda like that letter. i've made so many posts about how wrong and narrow the goysche definition of zionism is—because why the fuck else would "zionist" be an insult than people having no idea how jews use this term

also, about the theory that one of the ofmd actors was let go bc of being pro-palestine, i would hope that by this point people have learned to be a bit more skeptical when people are like "omg wtf i was only being pro-palestine and now i'm in troubke." i'm sure that has happened, but so many people have said that and thrn it's found out that oops sctuslky they were being super antisemitic. i'm not calling that actor an antisemite or a liar or whatever but it's so important that in the absence of like. yknow. evidence. we be a bit more critical

i'm hoping that made any sort of sense. i'm fighting for my life rn 😭 anyway thank you for like actually being eeapectful i hsve so many asks chilling in the ask box that sre like accusing me of loving genocide and all that? anyway yeah long story short: zionism is a very complicated political umbrella that i have stopped even hoping for goyim to learn what they actually mean, and people cannot be labeled that for adding their name to a letter when we have no idea what level of engagement they actually gave to the letter

also sorry another thing. the post this ask is in response to is specifically about people dismissing a movie about rhe holocaust made by a jew bc said jew is apparently a Bad Jew™️ so that's evidence enough that none of these assholes have any idea what the fuck they're talking about

#jumblr #anarchist #asks #anonymous #zionism definition #taika waititi #the way i forgot to hit post on this bc of the aforementioned brain fog 😭😭😭 my mom told me i gotta go to urgent care tomorrow bc this is da #three of me barely being able to sit upright without my vision going blurry #how are y'all dokng #tsiyyonus definition

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zalrb · 3 months

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I know Steroline is just a flop but it still bother's me that they make Stefan ooc with how he gave Caroline a shitty snow globe for Secret Santa and having Damon TELL him about Caroline like Stefan wouldn't know and DAMON would? And the lame ass proposal. Stefan Salvatore? Hopeless romantic, compassionate, sentimental, intimate, intense Stefan Salvatore? Okay guys. Like, I MISSED Stefan in the later seasons so much because he was mostly a shell of himself with a few glimmers of og Stefan.

OK. I'm of two minds about this.

When I was watching it in real time, I agreed with you. There are a lot of rants about how OOC I found Stefan

But thinking about it, looking at the whole chessboard, I don't think that's actually true. There are a lot of issues with Steroline but Stefan not being Stefan isn't one of them.

There are certain things definitely that I can't abide like Damon explaining Caroline to Stefan. Or the snow globe because at that point in time, Stefan would've been with Elena, but, I also have to say, Steroline isn't Stelena and that contextualizes a lot, because I keep saying it, Stefan and Elena were built as a pair and that allows for certain traits to shine.

So, for instance, Stefan being on the run for three years and writing Caroline a letter every day is technically speaking being romantic and sentimental and intense but

a) it's not believable because there are so many issues in that relationship where neither Stefan nor Caroline communicate with each other, they both communicate more with Valerie than one another and Caroline communicated more with Alaric than with Stefan (see masterlist)

b) Paul and Candice didn't have the romantic chemistry needed

c) Caroline sends the letters back.

She doesn't even read them and then complains about him abandoning her despite the fact that he kept reaching out to her

and that's a perfectly valid response but that wouldn't have been Stelena. Stefan calls Elena and doesn't say a word but she knows it's him

and the very next episode she's got on her inappropriate-for-hiking shorts and searches for him in the woods, coming face to face with werewolves for him

which emphasizes how much an intimate gesture calling her was.

And granted, Caroline has kids so she can't do that, she can't up and go, she has different priorities but there isn't that implicit understanding between them where Caroline would understand why Stefan would leave in the first place or if she does understand, it's not enough, which means sending the letters is really just a futile attempt at something rather than an expression of intimacy and longing.

The show tries to give that understanding to them in the series finale

but I don't know, that's kind of overshadowed to me by the fact that Stefan's last goodbye before leaving the world is to Elena and it's more intimate than his goodbye to Caroline

Stefan sells his soul for the twins

and I get what they were trying to do with Caroline's response like "no, no, no you can't leave me, we're starting a life, and I can't lose you, I can't lose that"

but Caroline's indignation doesn't play very well and I'll get to what I mean later.

Stefan goes into the tomb for Jeremy

and Elena races to run in after him that Damon has to slam her against a wall

and she literally tries to fight him so she can go into the tomb

that raises the stakes of what Stefan has done to protect an innocent who happens to be her brother.

When Stefan is human and decides that he wants to leave so he can atone, so her life can be better, Caroline is pissed, she's all but I've stood by you through everything, this is bullshit

and again, her being indignant is valid and obviously she knows why he's doing it, but the tone and Candice's read on the whole thing and the "how dare you do this to me" quality of the conversation also feels like Caroline not understanding just who she's engaged to.

Elena calls Stefan out in 1x10 where she's like, don't act as if you're doing for this for me when I'm not the one who wants this

but she's not berating him, she's being vulnerable which then emphasizes his vulnerability, emphasizes what he's wrestling with, emphasizes how deeply he feels things

So effectively, my point is that Elena's reactions to Stefan's actions amp up Stefan's romance and compassion and intimacy and intensity because the show let's it breathe, let's us revel in it, let's us really see it.

It also helps that Stelena actually had chemistry so when they have their intimate moments it isn't awkward and the romance and the intimacy and the intensity come out the way they're meant to. Like, 7x05 is supposed to show that Stefan knows Caroline so well but they don't feel natural that I don't believe the scene

this, though I believe

and it also helps that SE's relationship wasn't riddled with the same amount of fundamental problems that SC's was -- again see the masterlist.

#stelena #stefan salvatore #elena gilbert #the vampire diaries #dobsley

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flutishly · 4 months

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GGF rewatch, part 3 - Season 1 wrap-up

Note: I started writing this post a few months ago. Things have happened since which affected my ability to get this post out. I haven't picked up The Great Webseries Rewatch since, but I intend to, once things... settle. In the meantime, I'll wrap up this loose thread.

I didn't even process how quickly the end was coming up. I sped through the last batch of Green Gables Fables episodes with such ease that it just... happened.

GGF has aged remarkably well.

More than so many other shows, GGF has an excellent sense of environment and world. Its side characters exist in a way that makes them feel entirely alive and not just when they're on the screen for Anne-the-blogger's sake. There is a sense that Avonlea is richly populated, even beyond what Anne specifically shows us and shares with us. Things like the writing group, Anne having her friends show up on camera (as young people are wont to do), and the creative writing class project that has everyone doing vlogs (which really is unfair when everyone knows Anne already has a vlog, it's totally favoritism!) all give space for characters to exist on their own terms.

GGF also does one thing which at the time distinguished it from other amateur (and not-amateur webseries): It included an adult. The fact that GGF shows Matthew as a living, breathing, awkward character is delightful. It's lovely because it also shows that Anne's life and choices and mistakes don't exist in a vacuum. When GGF was airing, it struck me as "okay, that's nice" rather than something which actually helps make GGF an excellent adaptation.

There's not all that much effort to modernize, truthfully. GGF never strays too far from the original text (or its intention). Because Anne of Green Gables is still fairly modern itself (or at least still resonates fairly well with the modern reader, all things considered), there aren't needs for huge leaps in order to get the story to work.

Even the romance! Where a lot of the literary webseries needed to make sure that their characters were neatly packed off to relationships by the end (some of which didn't necessarily make sense and some of which were expressly changed so that they could make sense), Anne of Green Gables has no such demand. Anne and Gilbert have the ultimate realistic relationship, in terms of its ups and downs and complications. It's slow. It's powerful. It continues to enchant young readers. GGF sticks to the original script, which I think helps keep it feeling relevant and earned.

GGF also does an excellent job with... minutiae. Ruby remains one of my favorite adapted characters, in large part because she appears on screen as someone whole, who just happened to have not yet been featured and then continues to develop with the confidence and ease of a fully-drawn character. (She's also very well-acted.) Her vlogs don't amount to a subplot (in this season, at least) and they just give space to a human being. It doesn't feel like there's a message that needs to come across or a niche that needs filling (a la Maria Lu in LBD). This is evident in Anne's vlogs as well, where the ever-engaging Mandy Harmon sometimes vlogs about things that really don't fit to any expected plot points, but still give you a rich sense of the character and her world. It's good storytelling.

Ultimately, I'm left with little to say other than... yeah, this has held up. Green Gable Fables feels richer and smarter and deeper almost a decade after the fact than when it first aired, which I think is a combination of my increased appreciation for what it does so well, my better understanding of the source text (I actually hadn't read AoGG when I first started watching GGF and indeed read it because of GGF!), and the way I've seen other shows try to do what GGF is able to do so seamlessly here. I'm exceedingly pleased that I chose this as my second show for the rewatch project; it has held up so well and was just a wonderful rewatch overall. And if you've never seen it before? You're in for a great time.

#green gables fables #anne of green gables #ggf #the great webseries rewatch #webseries #longer thoughts #rewatching projects #series analyses #season analyses

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celiastjamesoscar · 5 months

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OMG A GRACE FIC!! MY LIFE IS COMPLETE AGAIN! I just came home from the concert and it was amazing but during it I saw that you posted and since then I was more excited for your story! Let's go girls!

If Wednesday Addams is willing to put up with loud music and a crowd of people for you then congratulations, you will get married. That's some serious dedication and love from Wednesdays side. R is the perfect mix of Wednesday herself and her polar opposite. She can keep up with Wednesdays unique personality while also bringing her out of her comfort zone a bit. Wednesday has never experienced being in love herself and since she desperately tries to avoid becoming like her parents, she's closing herself off from developing feelings. That is why she chose to have this friends with benefits situation. Though late night kisses and walks together sure is very much like dating. Wednesday just needs a bit more time/a slight push until she realizes that she's indeed in love.

Aww, Wednesday wants R to die a slow and gory death so that she will never forget that beauty. In Wednesdays world this is the most romantic thing ever!!

Enid is the best!! She's saying it like it is. And, aside from R, she's the only one who gets away with talking to Wednesday like she does.

AAAAH THE HAUNTING OF HILL HOUSE!! MOVE ASIDE WEDNESDAY, I WILL MARRY R!!

Damn. Wednesday kinda made the relationship official already. With the walks together, the exclusivity and now the necklace with her initial. That's her way of claiming R and starting a relationship. She already cares so much about R and needs to have her in her life. Shes already being affectionate towards R. Wednesday is just a bit hesitant to make it official because she can't verbally express her true feelings. So she's doing it via different actions and her own special wording. Others may find it weird but if you truly know and understand Wednesday then it's clear that she loves R.

Lol R is the key to proving that Wednesday also feels "normal" human emotions. I love it. But don't we all have anger and homicidal thoughts? Look at Stinky and Sam. We still love them, so just be yourself Wednesday and make this relationship official already!

The banter between R and Wednesday is perfect!! It's so funny but still so Wednesday like. Poor girl is trying her best to keep her true feelings hidden and R is just enjoying the ride.

LOL NOT R CRUSHING ON MORTICIA!! Same though. I love Rs confidence and her ability to not only flustered Wednesday but also outsmart her with her remarks and wit.

“We are not in a romantic relationship at all. We are just two acquaintances who engage in romantic activities from time to time" Okay Miss Girl, that is literally the definition of a couple but go off I guess.

OMG THE ENDING!!! Wednesday can't VERBALLY admit her love just yet be she sure can write it!! I love it!

God, I really missed you writing for Wednesday. Every time I'm blown away by your wording and the way you manage to perfectly capture the atmosphere/overall mood of Wednesday. It's like you had a part in writing an episode of the show because this story feels just the same.

Wednesday Addams is many things, and that includes being a simp. It runs in her blood. R is just like Wednesday in a sense, and that terrifies Wednesday, but she can’t help but be drawn to R. Wednesday will definitely be getting that small push to chase after R, but that won’t happen for a little while; shes a stubborn woman

Wednesday as such a way with words, doesn’t she? She’s so charming in the most macabre way

Enid is about to be the best wingwoman we have ever seen. Just give her a kit of pastels and some Seventeen tickets and she will have Wednesday and R together by the end of the week

Wednesday has yet to see the Flanagan verse, but she will soon fall in more love with R once she does

The necklace is my favorite detail about the dynamic between Wednesday and R: it’s a silent way of Wednesday showing her affection without having to verbally admit her feelings. Just wait for the family breakfast when Morticia sees the necklace 😼

Wednesday knows that she has a soft spot for R, and that makes her feel things she shouldn’t, like normal emotions. We will get to see more of their interactions when Wednesday wants to engage in her murderous behavior

R’s whole mindset is, “I’m going to annoy you until you either kill me or marry me. I’m fine with whichever option.”

WHO WOULDNT CRUSH ON MORTICIA?!?! I have had the fattest crush on Catherine Zeta-Jones since ‘The Mask of Zorro’ and I am projecting onto R a little bit. R is definitely going to purposely make Wednesday jealous throughout this series, so buckle up!

Wednesday is a bit confused when it comes to relationships, but she will figure it out

Just wait for the angst that’s going to come because of that ending…

I’ve also missed writing for Wednesday!! She’s probably my favorite to write for because she’s been a character I have followed since I was knee high to a grasshopper. Tom Burton needs to make Wednesday a woman kisser or I might actually go insane

#bender chats #clexa is forever reviews #to be alone series

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thekatea · 11 months

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Three Body (2023)

Watched: 14.02.2023

Right or wrong is only a matter of perspective.

I love a show that makes me engaged. That makes me think and question presented topics. That makes me want to think how I would react if I was presented with the same ideas, what would be my questions and doubts, and who would I side with. That makes me analyze the statements of the characters trying to figure out what flaws they might have, and in what aspects they are correct. Three-Body is all that.

I saw quite a number of people say that you need to be patient with this show to enjoy it. I would honestly disagree. Being patient means you need to tolerate something negative, and I see no such a thing in the show. Slow pace? For me it added to the charm of it. The even pacing, how each time they dropped a new hint, they added a few more questions, the mystery of it all, the lack of answers - for me, these are exactly the things I loved about it. So if someone finds these annoying, I don’t think any level of patience will make them like Three-Body in the end.

My favorite aspect of the drama was how it exposed the limits of human’s perception and cognition. How limited we are by our beliefs, hopes, motives, experiences and even biological aspects. We are painfully biased towards our own species. But it also shows how normal that is and that it can be, at least to some extent, overcome.

Not to mention the diversity of the characters in terms of their personalities, motivations, moralities. It’s truly an art how they slowly showed all the layers of the characters, their perspectives and plans. It was a perfectly crafted journey. They knew exactly when to disclose different information to keep the interest of the viewers.

How hard is it to understand the show? I’m not gonna lie, it’s not an easy watch, but that comes from someone who knows exactly nothing about physics. I had to rewatch a few scenes to understand the theories, some google searches also helped. All that is not needed to get the big picture, but it adds to the viewing experience.

Were there any things that bothered me or could potentially bother others? Yes. Since the drama invites you to analyze everything and pay attention to all the details, it’s also easier to pick up some inconsistencies. That said, a lot of them can be excused by the unreliable narrator at any given moment and their own goals in sharing some, but not all information, and at times even distorting it.

What’s more - we don’t get clear cut answers for a lot of questions asked. Some of it might be the result of the drama being based on just the first book in the trilogy, but some seem to be left vague with no hope for solid answers even in next installments. I can clearly see how this could piss off many people, me being weird, I actually enjoyed it. The fact that I had to form my own theories on why some things happened based on the hints and bits of information was an additional entertainment for me.

There were two moments in the drama that made me go: okay, that’s dumb. That said, two scenes in 30 episodes is a ration of dumbness I can easily ignore.

Last criticism I have is the whole existence of Mu Xing - she did not bring anything new or important to the table. She did not offer an interesting perspective nor a unique take on the events happening. She was there as a plot device and I find it a bit disappointing.

For the performances - some were better than others, but all were great. Chen Jin and Wang Zi Wen did an amazing job portraying the same characters in different moments of her life. You can see the changes in her, but she still seems like the same person. I loved Yu He Wei as Shi Qiang and he easily became my favorite character. I loved his bond with Wang Miao, and even though they could not exist in more different worlds, they formed a perfect partnership.

One performance that seemed a bit flat was Li Xiao Ran as Shen Yu Fei - she was supposed to be this driven woman with a mission, but she overall just seemed numb and detached.

The production value was perfection. I truly have zero complaints. I loved the small animation bits explaining the Farmer and Shooter theories, I loved the game graphics, I loved the set designs. I especially loved everything about how the past story was presented. So many aesthetically beautiful moments.

Talking about Three-Body, I need to mention the soundtrack. I was in awe from the first seconds of any of the songs and even just the ambient sounds used for many scenes. It added so much to the storytelling and perfectly built the atmosphere.

Overall, I could not recommend it more if you like complex stories that require full attention and some additional brainpower for theory making, since they don’t really spoon feed you all the answers. How much you can enjoy the show depends on how much you are motivated to figure out the mystery and story behind the characters.

Ps. Can it be viewed as stand alone? Kind of. Depends on how much of a closure you are expecting. Ps 2. I need 2nd season yesterday.

#three body #chinese drama review #chinese drama

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madness-of-alice · 2 years

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First Kill Ep. 1 Reaction

This is going to be a very . . . uninhibited list of reaction thoughts I had during the first episode.

The opening credits are cool. I like the art with the real life. Also the song is kinda catchy?

Is the Netflix summary promoting Romeo and Juliet? Like. That ends in tragedy. It's not romantic. At all. You're already spoiling the ending.

OMG. IT OPENS WITH A MAKEOUT SCENE. Oh wait…

"Juliette". I see what you did there.

Oh, typical angst teenager "no one understands me my life could be over if I'm vulnerable" monologue. Okay.

I'M SORRY. WERE THOSE GIRLS GETTING ENGAGED OR PROMISE RING'D? WHO EVEN DOES THAT IN HIGH SCHOOL???

How many pills did she pop? Of course she needs refills often. Good lord, girl. Don't you understand how a body builds tolerance to drugs? Girl, that was NOT all the drugs you dropped when you ran into her. They scattered.

Jeez, Calliope is so put together. No wonder Juliette is nervous.

"I don't want to kill. Killing is wrong. I don't want to hurt anyone." It occurs to me that I find that sort of thing in characters annoying. Denying their nature for 'morality'. 'Cause. Like. THAT always ends well.

I'M SORRY. DOES ELINOR KEEP THE IDS OF ALL OF HER KILLS? HOW BALLER IS THAT. Also, if she ever gets caught, all those cold cases will be solved. You think Juliette is going to get you all exposed? I think a drawer full of dead people's IDs will do that better.

Crying blood? OH SHIT. Yeah, that'll expose you.

Right, because that bold color is more her than the nude-ish color she had on earlier.

No, Ben. You're gonna get your heart broken. Noooooo. Buddy. … Listen, Ben is more of a wingman than Juliette is. Something happened with Noah. I can FEEL it, but he's putting aside his heartbreak because Juliette's girl is here.

Oh gurl. Sultry eyes and the reciprocated checking out of the body.

YES, REAL ALCOHOL REACTION OF "ew". DAMN STRAIGHT. Alcohol is nasty at high school frat boy's house.

OMG. SHIT GURL JUST GO FOR IT. OH GURL. DOMINATE THAT KISS. OH SHIT. SWITCH SWITCH. PUSH HER INTO THAT COUNTERTOP.

Wait, is this the cherry jar scene?

OH SHIT It's the Cherry Jar scene.

OH SHIT SHE BIT HER.

Oh good, they switched to Calliope's point of view halfway through. Such a different vibe. Very strong, eager to prove herself, but also very sterotypical teenage 'ugh' frustration. Grow up.

YAS MAMA. GET THOSE BOYS OUT CHA WAY.

Do the hunters also age slower or something? Those rituals and burning sage and sea salt? Cause them boys don't look much younger than Mama Talia.

What's so special about souls and wars and Oooohhhh…. do they not just hunt vampires?

No. The answer is no. They don't just hunt vampires.

At least the Dad looks older than the sons.

Cal's gonna fuck up, isn't she? Glasses Bro is gonna get hurt, isn't he?

Uh, aren't you gonna take anything else besides swords? What if you run into something else along the way?

LOUNGING GHOUL? Like wolf whistle Come Get Me.

OH SHIT. IS THE DAD GOING TO GET HURT? No? Whew.

Envelopes? So secretive? They're just gonna get tossed. Like, why? Why waste that paper. Just TEXT the cover assignment. Or is it because you, the family matriarch, wants to make it a "special thing", which is only alienating your daughter, lbh.

I like how they filmed that video call. Slick.

Oh I see what they're doing. Both need a first kill and they're gonna try not to make it each other. Yikes.

Do they? Do they underestimate you? OH SHIT. CALLIOPE KNEW THE WHOLE TIME.

OH SHIT. I CALLED IT. JULES DIDN'T GET ALL THE PILLS.

Oh, no. Calliope is gonna make it her.

Daywalker. Pffft.

Oh hey, that's actually kinda slick, watching around the corner with a camera.

Oh shit there's a stake.

OH SHIT SHE USED THE STAKE.

Final Thoughts: So, like. Based on what I've seen on Tumblr, a lot of people are invested in the Mama's interactions. Which, who can blame them. They're attractive. But these teenage girls. Are such teenage girls, and I don't know if I can take them seriously? I might have to go into this series just expecting cheese and awkward. And as someone who is easily second hand embarrassed, this will be very interesting and kind of difficult to watch.

#First Kill #television

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skruffie · 2 years

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It’s been A WHILE since I’ve talked about the effects of trauma on here like I used to, but recently I had a subtle trigger happen that I want to explore a bit more.

Sometimes when you experience a trauma trigger you are not always immediately aware that what you’re feeling is a Capital T Trigger. For me, it felt like I was holding two different thoughts at once: the first one being the cognitive understanding that what was happening was not harmful and that it was okay but then the other one immediately just hit the gas pedal on “NO this is EXACTLY like [thing] so let’s turn up the anxiety dial!!” I was feeling anxious and then therefore the anxiety filtered through everything, even if it was unrelated to what was happening. It also felt worse because all of this was happening when I was very sleepy last night and being tired can make triggered feelings worse.

Okay, but what exactly happened?

College abuser used to try to keep me awake so we could keep doing things together. There were many, many nights where I’d be saying “hey I need to sleep, I need to go to bed” and that would be met with guilt-tripping. Once when we were on a little day trip with friends and we had spent the entire day walking around in the snow, we stopped into a movie theater to see The Hobbit and I fell asleep in the first like, 10 minutes of the movie. They kept physically shaking me awake to try to keep me engaged in what we were watching and seemed pissed off that I slept through most of the movie, but it’s not like I was intending to sleep. I just... did??

Overall through my whole life I’ve had a fraught relationship with sleep because it’s very possible that I have some kind of sleep disorder... and there have been positive times when friends and I would just have the giggles when trying to get to sleep and end up staying awake far longer than we intended, but what happened in college was different. This was a person who was already violating my boundaries in other ways and badgering me to stay awake was part of an already existing pattern.

I don’t know what specifically causes the trigger because sometimes if I’m sleepy but there is still something going on I’m not always triggered by staying awake, but I had a very subtle trigger response last night. My wife and I were trying to finish up an episode of Dimension 20 but I was starting to feel like I was falling asleep, so we were trying to find a good stopping point to pause the video to finish up maybe later today, but unfortunately the plot of the episode wasn’t really giving us a good avenue to stop. Nobody was doing anything wrong here and after about 10 minutes we’re like “eh fuck it” and paused anyway so I could get some sleep.

This was also after like a week of us not being able to watch any episodes because I’ve been trying to get used to a new work schedule that has me going to bed way earlier than I usually do, and wham: enforcing my own boundaries and needs somehow immediately flipped on my anxiety. However! I started to identify what was happening so before saying goodnight I made sure to tell her that I was appreciative that she respects my need for rest. Once I actually said out loud that [abuser] used to not do that, my anxiety immediately started to lift.

I wasn’t having visual flashbacks or a full on panic attack, but this was still a trigger response. Sometimes triggers are entire flashbacks, panic attacks, that sort of thing. Sometimes triggers are just a backslide into old emotions. They’re all trauma responses and they all deserve to be acknowledged and dealt with.

#ptsd

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ariaadagio · 3 years

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Thoughts about S6

This is gonna be a little all over the place. Just me rambling, really.

So, I went up to LA to watch the show with some fandom friends on Friday. We had an absolute blast. I loved the finale season of the show. LOVED. I had some quibbles, of course, but none worth lingering on at length. I know the ending was controversial for some, but not for me. It worked on all levels.

I didn’t have much love for the end of 5B (I know, y’all are probably shocked, given some of the things I’ve written re: Lucifer becoming God or godlike) which is why I never really chimed in on the post-5B discussion. I just couldn’t muster much enthusiasm about it, and I didn’t want to froth about or hate on it when other people were having fun and gushing.

But my main issues at the time involved: Lucifer suddenly wanting to become God felt poorly setup and unearned, and Chloe suddenly quitting the force to support Lucifer becoming God felt incredibly impulsive, perhaps almost out of character.

S6 not only was perfect for me in its own right, it actually went back and fixed my S5B issues retrospectively. Lucifer suddenly wanting to become God felt poorly setup because it WAS poorly set up. On purpose. He never actually wanted to be God. It wasn’t his calling. And Chloe dropping her Detective job so suddenly WAS impulsive. On purpose. She really didn’t think that one through and ended up being bored out of her fucking mind without that job to engage her problem-solving brain. So ... kudos to the writers for that. I am so pleasantly surprised by that backtracking and never expected it.

As far as season 6 goes ... oh my gosh, what a brilliant roller coaster. Like @tarysande, I also spent a large portion of the season wondering what the evil trick was with Rory. I didn’t trust ANYTHING she said for many episodes. I kept waiting for a shoe to drop that never did. I really appreciate that Deckerstar did not get married—I never felt like a marriage was necessary for them given where they were in their life (a divorcee and a Devil who isn’t beholden to human constructs of law). I actively did not want a Deckerstar baby, but the show did it in a way I found absolutely lovely. Rather than using Rory as a magical “happily ever after” button as so many shows do, she was a tool to create massive character growth in Lucifer, and I am so on board with that.

I cried during this season. Frequently. Which is something that rarely happens for me when watching or reading fiction. I am just ... so stupidly emotionally involved in these great characters.

Some people may fixate on the separation between Lucifer and Chloe until her death, but to me ... it worked. Lucifer found a higher purpose and chose to fulfill it, to keep his promise to his daughter—to be a better father for Rory than his father was for him—and he does still ultimately get a “happily ever after” with his family and friends and dearest loved ones. It just starts a little later than planned. Chloe, meanwhile, gets to live her life knowing without doubt the love of her life is not only okay & pursuing his calling, he’s waiting for her on the flip side. They’ll have eternity together—ETERNITY, in exchange for a few decades apart. Bittersweet? Yes. Tragic? No. So I am okay with this. This is a level of certainty no real human ever gets—and as someone with zero certainty about the future whatsoever, I can’t express enough how much this foreknowledge alone would be a comfort in difficult times. It really resonates with me as a meaningful gift.

I do agree that there’s plenty of room for Lucifer to see Chloe without Rory’s knowledge, though I’m on the fence about how realistic this is. I think Dan called it, honestly. Having to watch and not participate is more torturous than not participating at all. And, as I said, he gets to see everybody eventually. He knows his daughter will understand—actively consents, even—and he knows their reunion will come. He knows Chloe will come back to him, too, because he’s grown to trust and love her fully.

Along those lines, Lucifer showed amazing character development this year. Once this man figures out his feelings and commits, he is ALL IN. I was so proud of him, talking out his feelings, and saying I love you, and hugging people left and right. His goodbyes made me tear up, particularly the scene with Maze. Which. OMG. These two. That scene was a long time coming, and so heartfelt. i loved it. I also loved how comfortable in his own skin he finally seemed this season. He utilized his wings SO MUCH. And his devil face where appropriate. And there was zero angst about any of it.

Time travel is a trope that tends to break my brain, but ... I think Rory showing up is what enabled her own conception. Lucifer didn’t think he could have kids until he finds out he does in the future and then boom, suddenly he can conceive. He self-actualized working swimmers. I know this creates a chicken or the egg paradox—how could this loop ever even start if Rory hadn’t existed at least once on her own—buuut, I’ve definitely seen this trope used in other shows, such as Netflix’s Dark. So, imho, there was an added level to Lucifer’s sacrifice at the end—he wasn’t just trying to preserve his own epiphany via a promise to his daughter, he was actively choosing to save his daughter’s entire existence, and he was choosing to be different from his father.

People who think Lucifer was robbed of choice ... I beg to differ. For the reasons stated above, and also? He was the one who came up with the idea of returning to Hell. No one forced that on him. The only thing Rory did was speed up his time table. And I think there’s a beautiful kind of symmetry to the idea of him returning to Hell and choosing to reframe it as a place of healing, rather than eternal suffering. In a sense, he’s making his own Plan for himself. He’s defining his role in the universe: the Devil, not God. He’s defining his family: Chloe, Rory, Trixie, Dan, Maze, Eve, Linda, Amenadiel, Ella, and all the great friends he’s made. He’s defining his home: not a place, but where his heart is. For the first time in his life, the Devil decided who he is and what he wants to do with his life, instead of letting external forces do it for him.

And I fucking loved every minute of it.

A perfect ending for a long, thoughtful journey.

P.S. If you disagree with me, that’s fine. There’s no wrong way to interpret art and media. But please know I’m not really in the mindset for debate right now. I just want to live in my happy post-S6 bubble. I’d appreciate it if you let me :)

#lucifer meta #lucifer on netflix #lucifer s6 spoilers

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charlie-minion · 3 years

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Could the same SPN finale make a little more sense with some additions/changes?

I’ve had the idea for this post stuck in my head for days now, but with every new conspiracy theory and every new eventuality in the fandom, it became difficult to cool down enough to write something less ship-related and more narrative-focused.

What Supernatural and non-SPN fans have to understand is that a lot of us have expressed disappointment and frustration after 15x20, not because of Destiel (that’s just one part of the whole problem), but because the finale doesn’t make sense. Everything was leading up to something beautifully crafted until the end of 15x19. Beyond that, it’s hard to understand what happened. The story rendered all the character growth irrelevant, invalidated the themes of free will and “family don’t end in blood”, regressed to the original brother codependency they spent 15 years trying to overcome, made a queer non-binary character in a male vessel and a deaf female character basically disposable, and kept the show’s reputation of queerbaiting and misogyny until its very last breath.

That’s not going out with a bang! At least not a positive one. We all were ready to mourn Supernatural, but we wanted to feel proud of its legacy, and somehow TPTB managed to tarnish that legacy in less than 45 minutes. What a way to ruin the other more than 13,600 minutes of story!

It doesn’t matter who is to blame (The CW, Robert Singer, Andrew Dabb). It doesn’t matter why it happened (homophobia, censorship, marketing for Walker, bad writing). What matters is that at the end of the day, the finale that aired is what we got and that’s going to hurt for a long time. It hurts even more when we realize that the same finale could have easily made more sense, even without being perfect.

That’s what I want to do in this post. I want to show you how things would have been less jarring (for the fandom), while still keeping the goal to please the general audience.

Before I begin rewriting 15x20, I have to mention that I talked to my conservative boomer sister about the finale. She hasn’t watched the second half of season 15 yet (she’s waiting for Netflix to have it), but she’s been watching the show for a long time (she introduced me to it 8 years ago). She’s the perfect example of a viewer from the general audience. Loves the show but doesn’t give a second thought to it and definitely isn’t paying attention to character development or themes. Doesn’t engage with fandom, actors, or any of the show’s social media. Pure GA! When I told her the series finale had aired, she asked me about it and I refused to give her spoilers. Because of that, she told me the ending SHE wanted. She said she would be happy with either of two possibilities: the boys retiring and finally living a normal life OR they going to heaven and finding peace at last. She saw Sam and Dean as a unit, which means: both retiring or both going to heaven. AND she saw Cas as part of that, too. She wasn’t so sure about Jack. And for her, we could use the “Eileen who?” and it wouldn’t be a joke. She didn’t remember her.

NOW IT’S TIME TO WRITE A NEW VERSION OF 15X20 (KEEPING 15X18 AND 15X19 EXACTLY THE SAME AS THEY AIRED). This will be a very long post:

The opening remains almost the same. No “Carry on my wayward son” to induce feels. Too soon and too predictable! (Reasoning: Everyone was expecting it to play right there, so it would bring more tears at the end)

In the opening, after the scene where Jack says “People won’t need to pray to me or sacrifice to me”, we also see the scene from 15x19 where he says “I won’t be hands on”. Then we see the rest of the opening as it was. (Reasoning: People needed to be reminded that Jack would NOT intervene and that’s why later on, he would NOT save Dean).

We get the same montage, but when Sam takes a break from his morning run, we see him reading a message on his phone. A simple: “Hey Sam, what’s new?” from Eileen. Sam smiles fondly and begins to type a response we don’t get to see. The next scene continues the same, Sam making breakfast. (Reasoning: A text was a very simple way to show that Eileen was alive and still in communication with Sam).

The montage slowly ends as Sam enters the library (not after he sits down). He seems to be talking on the phone but we only hear an “I’ll tell him. Bye”. As he walks towards the table, he tells Dean: “Charlie says hi. Mentioned something about Stevie’s perfect scrambled eggs we have to try.” Dean’s answer is “Awesome!” (Reasoning: Just ONE line was needed to unbury Charlie and her girlfriend. ONE LINE).

Sam sits down, opens his laptop and everything continues the same. The title card shows for the last time.

YOU SEE? In the first 4 minutes they could have acknowledged that THREE WOMEN were alive and safe: Eileen, Charlie and Stevie. It wasn’t hard! Don’t blame bad writing on Covid! Now let’s continue.

Sam and Dean arrive at the Pie Fest just the same. Dean goes to get some “damn pie” and Sam takes out his phone. He dials and when someone picks up, he says “Hey, Jody, how are ya?” We don’t hear the rest of the conversation. The scene moves to Dean coming with his 6 portions of pie. Dean sits down and Sam tells him, “Talked to Jody. The other hunters haven’t had much work lately.” “That’s good, isn’t it?”, Dean says. All we get from Sam is “Yeah.” So, Dean looks at him and asks “what’s wrong?” like it happened in the episode. (Reasoning: Again, a couple of lines to make sure the people that were killed in 15x18 are safe and remembered by the boys in 15x20. Why is this important? Because they’re family!)

The conversation about Sam’s sad face happens the same. Sam is the one that mentions Cas and Jack. (Reasoning: Because this episode was so Sam-centered, it’s obvious he was the protagonist in the finale. If we see him communicating with Eileen, Charlie, and Jody, then it’s NORMAL, even expected of him to be the one to bring up Cas and Jack). Without these additions, it’s harder for people to understand that most of the finale was NOT from Dean’s POV but from Sam’s.

Dean’s “if we don’t keep living, then all that sacrifice is gonna be for nothing” stays the same. (Reasoning: I believe it’s necessary that the show sticks to the importance of “letting go” and “what is dead should stay dead” for the first time ever because the message is “even when you lose someone you love, you can still find some form of happiness and keep living, for you and for them, because that’s what they would have wanted”. Bringing someone back means “I can’t live without you”, and that’s just more codependency. It’s how the demon deals began in the Winchester family –Mary being the first one to do it. This would explain why Dean didn’t ask Jack to bring Cas back, as he asked Chuck. He understood Jack was NOT going to interfere anymore and accepted it. Besides, when Cas saved Dean from hell, Dean thought he didn’t deserve to be saved. This time that Cas saved him, Dean finally feels worthy enough to accept that YES, HE DESERVED TO BE SAVED ALL ALONG, just as much as he deserved to be loved by that angel of the Lord. In this scene, Dean also says that the pain is not gonna go away, which means that from HIS PERPECTIVE, it still hurts that Cas is not there. The problem is that the finale is not showing his POV but Sam’s.

Sam pies Dean on the face just the same. (Reasoning: That part was just to avoid ending the scene on a sad note).

Everything related to the case happens exactly the same. (Reasoning: At this point, people don’t really care about the MoTW, they care about Sam and Dean).

NOTE 1: The case is important to show that even when the Winchesters are finally free of Chuck’s influence, they CHOOSE to keep hunting. It isn’t something they do out of revenge or because it is their destiny anymore. Maybe they were forced into the life at first, but they’ve learned to find joy in saving people. Being hunters is who they are. However, the fact that a job application was shown on Dean’s desk is also important because it means he was willing to explore what else was there for him besides hunting. Maybe he could find a balance? Maybe he was thinking it was time to quit? We will never know! The thing is that Sam only finds out about it when he goes into Dean’s room after his brother is dead, so maybe that’s when it hits him that Dean wanted to explore his options, and Sam starts to think it’s time for him to do the same.

NOTE 2: I believe the masks the vampires are wearing is something we can blame on covid. If they had their faces covered, it was easier to use people from the SPN crew for some scenes, instead of using more actors unnecessarily.

NOTE 3: When Sam and Dean arrive at the barn, we get 3 visuals to remember Cas in the same scene (those are for the fandom, not for the general audience): a) the barn, obviously; b) the bag that resembles Cas’ trenchcoat so much that many people thought that’s what it was; and c) two feathers hanging on Dean’s right when he opens the trunk.

The scene with the throwing star happens the same. (Reasoning: The episode is still told from Sam’s point of view, so it makes sense that he fondly sees his brother as a man child).

Jenny the vampire? Uhhh… I mean, it’s not the best piece of writing I’ve ever seen, but it’s not the worst, so okay. That stays the same. (Reasoning: There is none, but she’s not what really ruined the finale, so whatever!)

Dean still dies impaled on a rebar. (Reasoning: OK. HERE ME OUT!!! I hate as much as everyone else that Dean is killed. I think it’s lazy writing, but that’s what we got and I can’t change that in this re-write, so if killing Dean is what we have to work around, then, memes aside, death by rebar is better and here’s why. There’s no one to blame for Dean’s death: no Chuck (the boys were willingly hunting even after Chuck was defeated), no vampires (they were all killed and were no real threat, so it was impossible for Sam to begin a quest for revenge against all vampires. What was Sam going to blame? A rebar? Can you kill it? Hunt it? NO. It was an ordinary death, a stupid accident. Just like any person can die at any moment by slipping on a banana peel. Is it a good death? No, but it’s good to know he doesn’t die trying to save Sam or Cas, because Dean Winchester is NOT willing to give up his life in exchange for anyone else’s anymore.

Sam takes out his phone and says he’ll call for help, but his phone is more visible to the audience. He dials and it’s almost to his ear when Dean stops him and Sam hesitantly hangs up. (Reasoning: People have complained that Sam didn’t call an ambulance, but actually he tried to. It’s just that people missed that part, maybe?)

After Sam puts his phone back in his pocket and says “OK” to Dean, he adds, “I’ll pray to Jack”. Dean’s immediate answer is: “No hands on, remember?” “But Dean”, Sam says, and Dean interrupts him with “OK listen to me” and tells Sam what to do with the kids they rescued. (Reasoning: Jack is God now and how come Sam didn’t remember? The viewers remembered, so it was necessary to include a line that ruled the option out and that showed Dean didn’t want Jack to intervene. The rest was fine).

The lines “You knew it was always gonna end like this for me. It was supposed to end like this, right?” disappear completely from Dean’s monologue. (Reasoning: This is the most problematic part of Dean’s dying speech. He fought God and earned free will, he is no longer controlled by fate or destiny. Accepting that he is supposed to die on a hunt regresses his character development and denies his desire to keep living. This was a total mistake and should be removed).

Instead, if going to heaven is the ending TPTB wanted to give Dean, at least he should say something more empowering. Sam tells him that both of them are going to take the kids somewhere safe. Dean answers and the scene follows like this: “No. Sammy, we made our choice, didn’t we?”, he smiles with difficulty. “We were free to write our own story and we did. We decided to keep saving people, hunting things. Because it’s what we love despite the risks.” (Reasoning: If Dean’s going to die it doesn’t have to feel like it was always meant to be that way. He should die knowing that he exerted his free will until his last breath).

The rest of the dialogue between Sam and Dean happens almost the same. Except that instead of Dean saying “‘cause when it all came down to it, it was always you and me. It’s always been you and me”, he says “’cause when it all came down to it, we’ve always had each other’s backs. Always.” And instead of Sam saying “Don’t leave me”, he says “I still can try to save you.” (Reasoning: It sounds way less codependent without diminishing the importance of their love and support for each other).

Besides, let’s change Dean’s “I’m not leaving you” for “You don’t have to be alone. You’ve still got family.” The rest stays the same word by word. (Reasoning: Dean reminds Sam that “family don’t end in blood” and there are still lots of people out there who love Sam and will be with him).

“I love you so much, my baby brother” stays exactly the same. (Reasoning: Dean always had trouble to express the big L word. I always believed and said many times that before Dean could say “I love you” to Cas or any other character, he had to say it to Sam. So, this is important as part of Dean speaking his truth).

The last part when Dean insists Sam tell him that it’s okay stays the same. (Reasoning: It’s the final moment when the codependency cycle breaks. No more running in circles).

The forehead touch between them stays the same. (Reasoning: I think I would do something similar if my sister were dying. I know there are w*ncest shippers out there, but it shouldn’t matter because the moment feels appropriate for that kind of goodbye).

See? There are changes but not too many. That’s why I’ve been saying that it was easier to get it right, yet they still managed to screw it up.

The second montage stays the same. (Reasoning: Life goes on, but of course Sam has to mourn).

The call about a case in Austin remains the same. (Reasoning: It’s the only part of the episode where someone from the found family is mentioned, so I think that Donna’s name is perfect in that moment. However, without the other additions I’ve made in this re-write, that off-hand mention feels too little. Its purpose was to tell the viewers that if Donna was alive, so were the others, but the way the episode was executed gave us an isolated Sam, incapable of having friends and a family without Dean).

After 30 minutes of Sam’s POV, let’s finally see the last bit of Dean’s POV that we’ll ever get.

Dean arrives in Heaven and Bobby receives him. All their conversation stays almost the same, except that after mentioning Rufus and before saying “and your mom and dad…”, Bobby adds an “Ellen and Jo let me borrow their place”. (Reasoning: If you’re gonna put the man outside the Harvelle’s place, at least mention them for Jack’s sake!).

Besides, after Bobby tells Dean that Sam will be along and that time in heaven is different, Dean gives a small smile and says, “Well, there’s no rush. I want him to have a long, happy life.” Bobby answers with: “I would expect nothing less from you, boy” and tells him he got everything he could ever want, etc., just like it happened in the episode, and finishes by asking “What are you gonna do now, Dean?” (Reasoning: It’s important we know for sure that Dean is NOT codependent anymore and that he doesn’t expect to have a miserable afterlife just because his brother is not there yet).

Instead of saying “I think I’ll go for a drive” Dean says, “I think I know what I want” and walks towards baby. Bobby still tells him to have fun. (Reasoning: “Know what I want” is ambiguous enough to help us introduce the last piece of the puzzle, the one thing Dean’s wanted for many seasons and has never been able to express).

The biggest change is coming:

Dean gets on the Impala and has a moment of silence while he contemplates the wheel. He begins to pray: “Hey, Cas, you got your ears on? I hear you’ve been busy working on this updated Heaven with Jack. You were right about him, Cas. You had faith in him and he saved us all. You could always see the best in everyone, even when they couldn’t see it themselves. Even when I couldn’t see it myself. There’s so much I want to tell you. Maybe you can visit sometime. I hope prayer’s still a thing up here.” (Reasoning: Dean’s side of the confession was unaddressed and that was terrible writing. If there was no way to get him to speak his truth textually, at least take him as close to it as possible).

We listen to a flutter of wings and a “Hello, Dean” from the back seat. We don’t see Cas, but the camera shows us Dean’s cocky smile and he says “Took you long enough.” He turns around slowly. End of scene. (Reasoning: The flutter of wings confirms that angels have their wings back and ties that loose end. The final “hello, Dean” was highly anticipated and it made sense. If Misha couldn’t be there to film, for whatever reason, or if the problem was the kind of conversation Dean and Cas would have, then don’t show it, but leave the door open. Let us know that the two characters were reunited and will talk, but whatever Dean has to say is so private that it’s not for us to hear, only for Cas.

We finally hear “Carry on my wayward son” and get a montage that begins with Sam playing with his kid. Then we see Dean driving, super happy, and Sam living his life to the fullest. We still get Sam’s Blurry Wife, BUT… we see pictures of Eileen in the living room (not just of John, Mary, Sam, and Dean). We also see photos of Jody, Donna, Charlie, and AU!Bobby. (Reasoning: FAMILY DON’T END IN BLOOD).

The scene where Sam is wearing the party wig and looks miserable inside the Impala is cut and nobody talks about it ever again because it never existed. We get a scene of Sam teaching his son how to fix the car instead. (Reasoning: First of all, don’t give Sam a life where years later he’s still in pain. Second of all, the fucking wig was a crime).

Sam’s dying scene stays the same. The only thing is that his son signs a couple of phrases to him before actually speaking. (Reasoning: More confirmation that Dean Jr. is Eileen’s son).

We hear the final “Evanescence-like Carry on my wayward son”. Again we see the photos and there’s family other than the Winchesters there. (Reasoning: Obvious at this point).

The rest is exactly the same. The show began with two brothers and it’s okay if the last scene is with the two brothers reunited in Heaven. At this point, the other parts of the story are acceptable enough for us to feel happy that they get to see each other again after years of a happy (after)life.

Now look me in the eye and tell me this was too hard to execute. I still think that bad writing is a thing we can’t deny here, adding to the possible meddling of the Network. Maybe Dabb wanted us to hate the finale because he couldn’t get away with what he truly wanted. If that was his intention, then kudos to him. He and The CW really gave us a finale that only 30% of the fandom liked.

I hope you guys have enjoyed this and it helps to give you some peace of mind. In my heart, this was the finale we got. It wasn’t perfect, but it didn’t drop the ball either.

#supernatural #15x20 #spn 15x20 #spn finale #rewrite #dean winchester #dean deserved better #cas deserved better #destiel #the characters deserved better #we deserved better #it was easier to get it right #yet they screwed up big time #alternate ending

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spacedikut · 3 years

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exam help ; spencer reid

pairing: spencer reid x gn!reader

summary: a self-indulgent blurb about spencer helping with exams :) 1.7k

a/n: first fic of the year :D happy 2021!

masterlist

Another anguish-filled screech reverberates from your and Spencer’s shared office, bringing even your pet fish in the tank to attention.

It’s the third one this hour. Spencer tries to ignore it, just like you told him to, but God you sound like you’re in pain and Spencer can’t exactly ignore that, can he? He loves you and cares for you and- oh. A thump reaches his ears. A textbook, maybe? Did you punch your textbook?

He considers for a moment that the neighbours will be alarmed, perhaps call the police or tentatively knock with a, “Is everything okay in there?”

It wouldn’t be the first time.

What would he tell them? Oh, my apologies, my partner has exams coming up and just told me they get why unsubs do that now. I am also terrified.

There are many instances where Spencer feels useless. During his job, when his mother would have an episode, when his friends have problems he just wouldn’t understand. But, somehow, and maybe controversially, this is the worst type of uselessness. The type that leaves him staring at the wall, questioning everything, the type that makes his stomach drop because all he can do is watch.

He’s been watching you for the last two weeks. He’s sick of watching, of being no help, and he needs to do something before he breaks and does something illegal.

(The illegal thing is doing your exams for you - not illegal as in, perhaps, murder)

Your frazzled head pops out from the office, one hand rubbing your eyes and a permanent frown etched on your face, and with a fragile voice you ask, “Can you make me a coffee, please?”

Now, Spencer feels hypocritical, but he has to say it. “Another? Are you sure?”

He sees the internal battle within you, how you try your hardest not to snap. It’s not his fault you’re stressed. He’s just trying to help. “Yes, I’m sure. Please, Spence,”

“Of course. I’ll bring it in.”

“Thank you.” With a pained smile, you’re gone again into the dark abyss of where you’re studying.

With quick, ingrained movements, Spencer makes your coffee with too much creamer and marshmallows. Unusual, yes, but your current diet consists of coffee and whatever he can force you to consume – like marshmallows.

But then, hello, he spots a chocolate bar haphazardly close to the bin, grabs it, and hopes you let him watch you eat it.

Stepping into the room as quietly as possible, he’s smacked in the face by the smell of lavender. It makes him nauseous, the intensity of it, quickly followed by a lurch of his heart because you poor thing, you’re being crushed by the weight of your degree – literally. The other day you purchased an insanely heavy weighted blanket and you’re drowning in it.

Now, if you were to ask Spencer who the most beautiful person on the planet is, he’d say you in a heartbeat. He’s thought that since you first met and, years later, still stands by that. But now, right now, glowering at him in the dimly lit, lavender drenched study that you used to love oh-so-much? You have the face of a French bulldog, all grumpy and furrowed and too many creases on your face to make Spencer feel like he’s actually helping when he places the coffee and snack on your desk.

Despite the crabby expression, your words are filled with love and appreciation – which happens to be Spencer’s favourite mix. “Thank you, my love.” You take a sip of the coffee, hum in delight, and for the first time in days there’s a spark of something other than torment. “You’re the best.”

Spencer’s hand holds the back of your neck and he places a series of soft kisses to your temple, mumbling, “I love you. Very much. Is there anything else you need?”

“Death.”

“Okay. I’ll work on it.”

At that, you grace Spencer with a weak half-smile. It’s enough to overwhelm Spencer, overflowing and only able to be shown through a chaste, encouraging peck on your lips and a half-hug, Spencer bent at the waist to hold you in your desk chair. He noses your hair, hoping his closeness will alleviate some stress, before stepping back and praying his eyes tell you everything he wants to say but know will elicit annoyance from you.

I love you. Take care of yourself. Rest, please. You can do this, but not if you over exert yourself. I love you.

Your eyes tell him, I’ll try. I love you. And that’s all he can ask for.

But when he leaves, shuffles past his bookshelf, his eyes catch sight of an old file that reminds him of when he was preparing for his own exams.

He gets an idea.

+++

It takes another two days, full of late nights involving work that isn’t staying up and distracting himself with books to avoid worrying over you and how late you go to sleep, and reading that leaves Spencer in awe of you and everyone in your field.

A part of him is amazed by how he wheelbarrowed the resources behind you without you noticing, another is worried about that fact, and the rest of him is excited that he can finally do something that will actually help. At least, he hopes.

(When everything is said and done, despite being endlessly grateful, you also inform Spencer that simply being there and being him and getting you coffee every time you ask is more than enough, really)

With pride, he leans back on the couch, observing his creations on the coffee table. There’s plenty of different colours, all representing a different topic, and he presses the thumbs up to like the Youtube video he was using to ensure his handwriting is easy to read.

Flashcards. Hundreds, if Spencer counted correctly. The textbooks he stole – borrowed – from under your nose lie next to his feet, the weight of them combined more of a workout than he’s (voluntarily) done in eons.

He only hopes you don’t think it’s too late, think he’s overstepping or-or that he’s doing those things that he’s been accused of before – thinking he knows best (he does, but whatever), overbearing arrogance, an unwillingness to hear and accept other people’s way of doing things.

He just wants to help. He wants you to know he’s here for you, no matter what you need. This is the thing that lets him believe he’s doing something, something good and useful. Spencer just wants to be useful.

He’s convinced you to eat a proper breakfast – fruit, oats, bread, meat, a whole buffet – and you sense something is amiss when you hear slow, tentative footsteps creeping from your bedroom.

Spencer, still in his pyjamas, glasses perched on his nose, approaches with a shallow box in his grasp. You swallow your bite, turn to face him. “What’ve you got there?”

The box is slid onto the counter next to your plate hesitantly, as if he regrets his actions as he’s doing them. Peering in, you see a blur of colour, stacks on stacks of rectangular paper filled with writing and questions and even a tips! section.

You pick up the first batch, all light blue, and flick through them, heart getting bigger and bigger with every word you read. And when you realise what they are, what Spencer’s done – for you – your heartrate has skyrocketed and the watch on your wrist is asking you if you’re okay.

“You made me flashcards?” You ask, in awe, again looking at the love of your life to find he’s already staring at you.

“I did,” He tells you, apprehensive and scared, already backtracking, “But, if you don’t think they’re useful, or-or you think I’m overstepping – I’m not trying to, I promise, I just thought…” He starts nervously shuffling and reshuffling some of his creation. “Flashcards are known to engage active recall and metacognition. Research consistently finds that applying metacognitive strategies tends to ingrain memories deeper into your knowledge, and that this kind of active recall retrieval practice leads to one-hundred and fifty percent better retention than passive studying, so…”

Your hands have a mind of their own, pulling what feels like an endless amount of cards out and turning them in your hands, from the questions on the front to the answers on the back, the ones with hints and advice and there’s several with doodles that are so Spencer you hold them to your chest. You’re so enamoured by this man that is still rambling and bumbling because he takes your silence as distaste.

“I just- I hate seeing you so stressed, so I made these. You don’t have to use them, of course. They’re not even that great. It’s not that I don’t think you’re capable, you’re beyond capable, or that your methods don’t work- Just, personally, I love flashcards. I used them all the time when studying, even though I didn’t really need them, so perhaps a change of medium would do you good-“

A warm hand on his own that keep fidgeting stops him mid-stream of consciousness.

“Thank you,” You say, earnestly, “Really. These are lovely.” You leap from your seat, wrapping Spencer in warmth and love and care, and he shivers when he feels your hot breath on his ear when you repeat your thanks again and again.

When he pulls you even closer, so your torso curves into his own, you feel the lightest you have in weeks. You’re in the arms of the man you love, who knows you love him too and you know loves you so much – enough to spend several nights reading your cursed textbooks so he could create something that might help – and now you’re confident that you can do it. With the help of Spencer and his lovingly hand-made flashcards, you can do it.

And if, somehow, it goes awry, that’s okay too. Because you’ll still have Spencer, your number one fan, who will be there to comfort you and advise you in any way he can. He’ll never let you doubt yourself, never allow a self-deprecating joke if he can help it, because if he has to, he’ll love and support you enough for the both of you until you can do it yourself.

The world feels a little brighter, your breaths feel a little lighter, all because of Spencer. So you kiss him, murmur love against his lips, and get ready to take on whatever dares to come your way.

+++

tags: @pinkdiamond1016 @bluerose512 @andreasworlsboring101 @roses-and-grasses @ta-ka-shi-ma @ogmilkis @chiffonchronicles @rexorangecouny @unmistakablyunknown @goofygubler14 @gublertoon @averyhotchner @wheeledup @shadyladyperfection @joodeduarte @calm-and-doctor @

#spencer reid x reader #spencer reid x you #spencer reid x y/n #spencer reid imagine #spencer reid fanfiction #criminal minds x reader #criminal minds x y/n #Criminal Minds Fanfiction #mine #the end is super cheesy but #eeeeeeeeeeeeee

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just-come-baek · 3 years

Text

out to lunch

Pairing: cooking show chef!xiaojun x personal assistant!reader

Themes: smut

Word count: 2.5k

Summary: You come over to the kitchen set of Xiaojun’s cooking show to tell him you managed to get him what he had always dreamed of. However, once you reveal the big news, you discover his priorities have changed, and right now, the only thing he wants to do is you.

A/N support WayV lol | writing this for neosmutcollective mini wayv event

Xiaojun was utterly immersed in his world. Though it was already late at night, he was still behind the kitchen counter, chopping ingredients with his favorite knife. Right now, Xiaojun was in his element, oozing precision and determination to perfect his new recipe, and it somewhat felt like a sin to interrupt him.

You had big news to deliver, though. Having heard you out, Xiaojun would surely forgive you for your disruption. He had to. After all, you just managed to get him that cooking book contract he had always dreamed of.

Ever since you two had started working together, it was your goal to make Xiaojun a published author. Though he already owned three restaurants and starred in his own cooking show, Xiaojun was insatiable. The more fame and recognition he got, it was never enough.

You cleared your throat to obtain his attention, but it didn’t quite pull him out of his trance, so you decided to give him an extra minute.

Xiaojun looked incredibly attractive in his own habitat. In his white uniform and ridiculously big chef hat, Xiaojun looked like a whole damn Michelin three-star dish. No wonder he kept beating his viewing records with each new episode. People all across the country swooned over his culinary talent, incredible charisma, and breathtaking looks.

Having approached the kitchen counter, you knocked on the marble surface in hopes of obtaining his attention.

“Earth to Xiaojun,” you softly spoke, looking at his face. Apparently, the timing couldn’t have been worse as Xiaojun dropped his knife on the cutting board and swung it onto the floor, making a huge mess.

“What do you want!? Don’t you see I’m busy!?” Xiaojun barked before he turned around to get a clean set of kitchen utensils. “Get lost. I don’t want to talk to you,” he added, waving his hand at you, trying to chase you out of the kitchen space.

“Ugh, for the love of God, Xiaojun! How many times have we had this conversation? That diva tone doesn’t work on me,” you answered firmly, staring into his eyes, challenging him. His gaze was intense, his jaw was tensed, but you just smiled at him, ignoring his shenanigans altogether. It wasn’t the first time he lashed out at you, and you knew how to handle him.

“Okay, fine. What is it?” Xiaojun huffed, giving in. With his arms folded across his chest, he tapped his foot against the floor, impatiently waiting for the news.

“I got you that book offer. You’re gonna be a published author,” you exclaimed, ready to jump up and down in joy. However, Xiaojun didn’t seem to be particularly excited. “What’s the matter? Isn’t it what you’ve always wanted? I don’t get it,” you spoke, creasing your eyebrow in confusion, trying to read his bizarre expression.

Xiaojun seemed indifferent at best.

“Cancel it. Undo it. I won’t write it,” Xiaojun replied before he proceeded back to his previous task. It wasn’t wise to disturb him now, so you waited until all vegetables were neatly cubed and thrown into a bowl.

“Can you tell me what’s going on? I don’t understand. I thought you’ve always wanted it,” you inquired, trying a much calmer approach. Xiaojun didn’t use his knife now, but he was still holding it, and it wouldn’t be the first time someone earned a cut during a heated argument in the kitchen.

“I have,” Xiaojun replied with a deep sigh as he poured the chicken broth over the vegetables. “But it gets tiring, you know…” he added, as he took off his chef hat and threw it on the countertop, running his hand through his hair. “Everything is happening too fast. I thought I wanted it, but now, when I actually live that life, I realized I am not cut out for this.”

It was heart-breaking to listen to it. You two had been working very hard to get Xiaojun where he is right now, only to come to a conclusion it’s all wrong. Fame was a heavy cross to bear, and Xiaojun was slowly stumbling under its weight.

“Don’t tell me you want to quit,” you whispered, anxious to know the answer. Xiaojun’s eyes were trained on you, and you could see how tired he was. “How about you take it easy from now on instead of quitting it all together? It would be a shame to quit right at the finishing line,” you reasoned, hoping Xiaojun would consider it.

“I don’t know.”

“Let’s talk about it, okay?” you interjected before Xiaojun would impulsively ruin his career. “We’ve got only three more episodes to shoot. I could put you on hiatus until you decide you want to continue with another season. In the meantime, you could work on the cooking book at your own pace. Probably, I will make you record some cooking content on social media to keep you circulating on the web, so people won’t forget you. Except for that, your schedule would be clear to focus on whatever you need to focus on.”

Silence.

Xiaojun was staring at his chef hat, pondering your damn good points. When you put it like that, it was hard to say no. Besides, he had a feeling you would talk back instantly if he found faults in your argumentation.

Seconds passed without Xiaojun’s response. You were his voice of reason; he had to listen to you. Besides, not only was his career on the line. If he actually quitted, your superior would murder you. Xiaojun was the cash cow of the company; they couldn’t afford to lose him. He was at their rising star.

“Why do you always know what to say?” Xiaojun rhetorically asked, and you beamed, ready to grace him with an answer.

“I’m really good at my job,” you pointed out proudly. Thanks to your impeccable management and problem-solving capabilities, you managed to help Xiaojun rise to the top. “And also, I care about you. Sometimes, you’re a pain in the ass, but after all, you’re a good person. You are my friend, and I want you to be happy.”

“Fine, let’s do it your way. But we’re not shooting another season until I say so,” Xiaojun caved, smiling brightly at you. “You know what I really want to do, though?” He challenged as he rested his elbow on the counter, straightening his back, trying to appear taller and overall more confident.

His voice was quiet, and it suspiciously sounded as if he told “you.”

Shaking your head, you asked, “what?”

Xiaojun felt a sudden wave of confidence rush through him before he repeated himself clearly. No, there was no shred of doubt. You heard him loud and clear. Confidently, Xiaojun admitted that he really want to do was you.

“You seriously think I haven’t noticed the way you look at me?” Xiaojun spoke in a somewhat accusing tone, eyeing you from head to toe before he took a cautious step toward you. Intimidated, you took a step backward, and that timid action made Xiaojun smirk.

He knew exactly what type of effect he had on you. All memories of lingering glances you had stolen of him when you had believed he hadn’t been looking came back rushing to you. You weren’t as sly and discreet as you thought you were.

“It really flatters me,” Xiaojun teased with a smug smile. “Don’t deny it, and come here,” he urged, spreading his arms, waiting for you to run into him.

At first, you were sure Xiaojun was just messing with your head. You believed he was teasing you. You imagined him flick your forehead if you walked into his personal space. It was obvious he was mocking you. There was no way in hell that he wanted you the way you wanted him. You must’ve been seeing things.

“Jesus, woman! Hurry the fuck up,” Xiaojun warned you, losing his patience. “If you’re not coming here, I am coming there,” he added, giving you one last chance for a change of heart. “Screw it,” he cursed, surging forward, trapping you in his tight embrace.

His actions spoke louder than words. All your previous thoughts were gone; Xiaojun wouldn’t have bothered this much to pull a prank on you. He was genuine. Xiaojun held you still in his arms, waiting for you to make a move. He would never try anything without your permission, regardless of how delicious your lips looked.

“Kiss me,” he ordered, and you rushed, smashing your lips against his in a passionate kiss. It was everything you imagined it to be, but tenfold better. You had fantasized about his moment plenty of times, and weirdly enough, Xiaojun’s mouth somehow felt both soft and rough at the same time. “Now, we’re talking.”

You two completely lost it. Hands were running on your bodies as you engaged in a heated moment, relieving your much maddening frustration. It felt amazing, and you wished you could carry on until you both lose all your energy.

“Let’s go to my place,” you mumbled once you pulled away. Xiaojun still held you pressed against him as he waited for you to elaborate, being painfully clueless to your ulterior motive. “It’s much closer from here than yours,” you added, and Xiaojun only smiled dumbly, waiting for you to word your request in an even more ridiculous way.

“Why bother going anywhere when I can have you here?” Xiaojun playfully announced, giggling as his gaze shifted from your gorgeous eyes to the countertop. Almost instantly you realized what his crazy proposition was. Did you really want your first time with him to be on the kitchen island inside the cooking show set? It would be a blatant lie if you said you had never considered this.

“Fuck me then,” you urged, giving Xiaojun permission to ruin you right there.

Xiaojun didn’t waste any time. In an instant, he wrapped his arms around your thighs as he picked you up and gently sat down on the countertop. Except for your pencil skirt, your legs were bare, so you let out a slight hiss once you felt the cold marble against your skin.

Biting your lips, you spread your legs, letting Xiaojun stand right between them.

“You have no idea how many times I’ve thought about fucking you here,” Xiaojun confessed before he leaned forward, stealing another desperate kiss. “You remember that time when we fought over the Oreo cake? I was so hard back then. I wanted to bend you over the counter so bad. I almost didn’t hold myself back.”

“You should’ve gone for it,” you whispered as you remembered that quarrel. That night Xiaojun had been the star of your fantasies when you used your vibrating friend to get yourself off. “I was so horny then. Almost as horny as right now,” you added, pulling him by his funny black tie, melting into yet another kiss.

Xiaojun was getting impatient. It was nice, but it wasn’t enough for him. Having untangled the knot of his apron, he yanked it off his hips, throwing it over his shoulder.

“I want to feel you so bad,” he murmured as he slid his fingers under your skirt, pulling your panties down your legs. “Let me prep you up,” Xiaojun uttered when his digits gently fondled your folds, gliding his knuckle inside of you. The moment you felt him, you let out a quiet moan, enjoying his little ministrations.

Xiaojun knew how to please a woman. He curled his fingers inside of you, stretching you out for his length. With your eyes shut closed, you focused on your pleasure, letting Xiaojun spoil you rotten. Though it was just mere petting, it felt nice as hell. He was getting you ready for his cock, and you basked in simple delight.

“Enough of that; I want you to fuck me now,” you kindly spoke, wrapping your palm around his wrist. “Please,” you added when you noticed how hesitant Xiaojun was of letting go. He planned on making you come first before properly fucking you with his cock, but since you asked him nicely, he decided to give you exactly what you wanted. Though he’d love to tease you some more, your pleading tone seemed to do the thing.

Swiftly, he yanked down his pants, revealing his member. It was standing proud, and you looked down at it, admiring it. Without any doubt, Xiaojun was to make your day.

As much as you wanted to return the favor, Xiaojun didn’t let you. Impatiently, he gave himself a few strokes before he aligned his cock with your entrance, rubbing its tip against your folds. Slowly, he pushed his hard length inside of you, making you groan.

Your grip on the edge of the countertop tightened as Xiaojun filled you up with his erection. At first, Xiaojun maintained a slow and steady rhythm. However, as you kept moaning his name and encouraging him to go faster, his thrusts became more rapid. Quickly, Xiaojun snapped his hips, finding your sweet spot in record time.

“Holy shit,” you exclaimed, feeling the knot inside of you tighten. You were moments away from your peak. Xiaojun’s cock stroked all the right places, pushing you off the edge. “Fuck, I am coming,” you shouted, kicking your head backward, welcoming the bliss that ripped through you.

When you were slowly descending back on Earth, Xiaojun kept chasing his release.

You could feel him throb inside of you. Then, an idea crossed your mind. Until now, it was Xiaojun who did all the work, so the least you could do was to encourage him to fill you up, to talk him through his orgasm.

“You fill me up so well. I came on your cock, and you’re still rock-hard. Do you want me to come again?” You complimented him, spilling filth. Though you weren’t sure if Xiaojun would be into dirty talk, you were certain he was eating it all up. Xiaojun was moaning your name as he snapped his hips, falling out of his even rhythm.

Xiaojun was near. His grip on your thighs tightened as he pounded inside of you, being only a few strokes away from his sweet bliss.

“Come inside of me,” you urged him. It was all it took to make him reach his peak. With a choked grunt, Xiaojun came, buckling his hips as he painted your walls with his release.

You remained silent as Xiaojun breathed heavily, trying to come back to his senses.

“If we’re ever doing it, here, again, I want you to spank me with this,” you commented as you reached for the spatula that sat on the other side of the counter. Xiaojun smirked upon seeing the kitchen utensil, tempted to try it out soon.

However, on second thought, tonight was just good as any other day.

“How about we take it with us over to your place,” Xiaojun proposed, and you cocked your eyebrow, excited to hear his suggestion. “Let’s get you cleaned up first,” he added as he bent down to pick up his apron. His release was dripping down your thighs, so he wiped it off with the fabric, looking rather pleased by the fact that you let him come inside of you.

“That sounds like a plan.”

#xiaojun smut #wayv smut #neosmutcollective #nsckickback #nct smut #xiaojun drabble #wayv drabble #nct drabble

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shihalyfie · 3 years

Text

A meta and analysis on Takaishi Takeru

Of all of the Tokyo Chosen Children, Takeru is lucky enough to get significant attention for two full series from beginning to end, and his character also goes through some drastic changes in the process, especially through Adventure and 02. There’s so much going on with him that it makes it hard to give a short answer to the question “what is Takeru like?” because there’s so much you could say about him at so many different times.

Fortunately, that’s what we’re here to talk about today!

Takeru in Adventure

At first glance, Takeru seems to be the “tagalong kid” -- the obligatory “little kid character” you have whenever you have a party in a fantasy story. Generally, these “obligatory kid characters” are the kind constantly struggling to catch up with the older ones. Adventure being a series that loves to play with tropes and expectations, though, very quickly says no to that.

Seki: ...We also mixed up the children’s ages, for a bit of variety. Kakudou: The oldest one would be the most unreliable, and the smartest one would be one of the third youngest. Just a little to throw you off the usual, conventional track. Seki: The youngest one would feel too much like a burden to everyone else, and conversely would actually have himself together.

Takeru “doesn’t want to be a burden” -- meaning his feelings on this issue are actually rather much like Hikari’s. Unlike Hikari, though, Takeru reacts to this compulsion differently -- instead of simply repressing things and pretending the problem doesn’t exist, Takeru’s reaction to his own negative feelings is to “have himself together” and act as if he’s got everything under control.

Or, more accurately, pretend he has it together and has everything under control.

Takeru, for all intents and purposes, was not supposed to be on the camping trip the others were on, not having gone to everyone’s school -- he had to get special permission to go. Takeru’s family is very, very split harshly at this time, with his mother not even able to treat Yamato comfortably. Yamato deals with the familial estrangement badly -- alternating between approaching everyone awkwardly and exploding like an emotional fuse bomb -- but Takeru tries to take it as a sign that he needs to be “responsible”. A lot of his actions in Adventure are him basically exuding this aura of “I can take care of myself!”, and in fact he works very hard to “assert” himself as if he were yet another peer. We even see him make the complaint directly in Adventure episode 43 -- while he is correct in calling out Yamato for coddling him and him only while recklessly disregarding the others, the fact he specifically complains about Yamato approaching him as someone holding them back if he’s not protected reveals a lot about his own mentality regarding the situation.

One of his first major scenes in episode 2 is him offering his own food for the pile of supplies everyone has, even though it’s just snacks. Which is, probably, a pretty accurate summary of Takeru’s character at this point: on the surface he’s responsible, well-behaved, and capable...but, in fact, he’s still about as immature as an average eight-year-old child would predictably be.

Yamato spends his Adventure character arc pretty openly angsting about his relationship to Takeru and how his family’s split has affected them, but throughout the entirety of Adventure (and, eventually, 02 as well), not only does Takeru rarely if ever touch on it, there are indications that Takeru deliberately tries to dodge the subject or not dwell on it too much. In Adventure episode 12, he actually outright lies to Patamon about his younger childhood memories, claiming he “probably doesn’t remember” anything about it despite the audience very clearly being shown that he very much did, and in episode 26 he comes very close to leaking his actual feelings about the group being separated being tied to what happened to his family, before quickly covering it up and trying to move on with the topic.

In other words, unlike Hikari, who knows exactly what she’s feeling but is compulsively unable to vocalize them, Takeru actively suppresses his negative feelings and tries not to dwell on them too much. Again, this comes from his desire to “not be a burden” on others -- he’s got this situation under control! Everything is fine!

And this has a very, very nasty payoff. While Yamato clearly deals with his emotional issues badly, tending to get very explosive about it, Takeru’s way of coping isn’t actually all that much better in the long run, because Yamato’s frustration and openness about his emotions at least lead him to being very straightforward about his feelings, incredibly self-aware and sometimes even self-conscious, and ultimately able to get at least some degree of catharsis from the situation. Takeru...not so much.

Takeru is a child, no matter how much he tries not to act like one, and it ultimately results in him reacting disastrously whenever something hits him too emotionally hard -- which results in Takeru suddenly becoming irrationally stubborn and even angry. We later see what it takes to actually break through Takeru’s facade of “totally having this together” in Adventure episode 22, which is also the first time he openly breaks down wailing in front of anyone besides Patamon -- and it’s, of course, when PicoDevimon convinces him that Yamato hates him. The interesting part is that this is so blatantly a lie that even Tokomon is able to quickly call bullshit on it, but Takeru, previously having worked so hard to maintain this facade of being responsible, falls for it completely with utter irrationality -- and it really does suggest that Takeru’s fear of losing yet another member of his family, and being a burden to Yamato, runs so deep that it causes that entire facade to shatter in one blow.

Which is where the problem lies: Takeru’s habit of suppression is so bad that once one of his triggers is hit, he completely loses all sense of rationality and blows up, and it becomes nearly impossible to reason with him because he locks down on becoming stubborn. It’s also dangerous because even he isn’t particularly self-aware of what he’s doing when he blows up like this; at least Hikari was very consciously aware of her suppression problem, but Takeru never really seems to have any awareness of the fact that his covering up of his feelings is directly related to some of his worst moments. We see it cause problems between him and Patamon again in Adventure episode 33, when Patamon asks a rather innocuous question about the brothers, and it hits Takeru’s trigger so badly that he snaps at him, resulting in the fight that kicks off the plot of the episode.

Adventure episode 52 is basically a major test for Takeru as to whether he really can hold himself together in a situation where everyone else older than him is gone, and “having himself together” is something he has to actually do instead of just have the surface facade of. He does, ultimately, pass, and this is why the Crest of Hope glows this episode -- but it’s also made clear that it wasn’t quite as easy for him as he would normally pretend it is. Of course, it also helps that Piemon is genuinely the scariest threat they’d faced during that time, but it also reveals that, yeah, ultimately, Takeru is an eight-year-old child who still has to struggle to put on a brave face so that Hikari doesn’t get impacted by his own fear.

For all it’s worth, although we get a ton of depth into his background and mentality, Takeru does not actually change that much as a character over the course of Adventure. This incident is probably what changes him the most in terms of him gaining a more solid core, and he also learns to accept the inevitability of fighting after his stubborn refusal to engage in it all the way back in Adventure episode 12 -- but for the most part he still does remain a bit naive about the world at large, and, more importantly, his issue with trying to cover up his problems with a confident smile never really gets addressed. At most, he’s willing to admit his grief over being separated from Patamon in Adventure episode 54, but even that is something Takeru tries to bounce back from quickly, much like with the first time he cried with Patamon in Adventure episode 12. But there’s nothing to indicate that his problem with emotional management isn’t going to continue being a problem from here on out if left unchecked.

That problem ends up taking another three more years to get addressed.

Takeru in 02

Takeru is one of the first people we meet in 02 (for reasons that end up revealed in the final episode), and right off the bat we learn that he’s a bit...evasive. He leaves a cryptic line to Daisuke about his goggles without coming even close to what we all know is the full extent of what’s on his mind (that the goggles specifically remind him of someone important to him), and later just...deflects Daisuke throwing accusations at him with a mild dismissal. In fact, even though Takeru pretty clearly understands very quickly what’s going on with Daisuke and how touchy he gets with the Hikari issue, he keeps dodging the question and constantly saying things that are evasive about it and therefore never truly helps his case until episode 17, when the circumstances between why Hikari and Takeru knew each other are finally properly clarified to Daisuke and he stops getting on their case about it on his own.

There were multiple points in time before this -- especially in episode 7, when Daisuke is practically at his worst in regards to approaching Takeru -- when Takeru could have easily said something to at least attempt to get Daisuke to stop bothering him, but Takeru never even asks him to cut it out! He simply continues to handle everything with a “yeah, okay, sure! :)” attitude, which of course confuses Daisuke (who’s rather allergic to people not being straightforward) rather thoroughly, and you wonder if he’s practically enjoying seeing Daisuke’s antics to the point he’s just enabling it further.

As a point of aside trivia, the official 02 website adds the fun detail that apparently he's popular with the girls at school but doesn't show much interest in them himself, and the Animedia audio commentary CD for Armor Evolution to the Unknown had his voice actor even express the opinion that he saw Takeru as someone who wasn’t really the type to think about romance at this age (adding in a separate interview for the 02 DVDs that he felt Takeru was respectful of girls primarily due to having been taught by his single mother to be such). The latter part of course isn’t something that comes from the writing, but given the website trivia I’m inclined to personally agree with it -- and, more importantly, the implication is that Takeru is at least aware of these kinds of things, but actively chooses to not think about it and deal with it when the time comes.

So in other words: That part about how Takeru actively suppresses things that are negative or inconvenient to think about, all for the sake of keeping a smile plastered on his face? Yup, still there.

In fact, a blink-and-you’ll-miss-it moment from 02 episode 17 implies heavily that, even with their parents having developed a more cordial relationship after the events of Adventure, Takeru is now emotionally dealing with the aftermath of his parents’ divorce worse than Yamato is, since Yamato is at least able to speak about it casually and even joke about it openly, whereas Takeru keeps his mouth shut and the framing of the shot heavily implies he’s still extremely sensitive and unable to vocalize his feelings on it. Takeru never brings this up as something eating away at him for the entire series -- but BelialVamdemon uses it against him in episode 49, revealing that, yes, this is a problem that’s still tearing away at him, and yet he’s refusing to be open to anyone about it, even to Yamato himself. (Especially since, again, Yamato seems to be doing a great job trying to move forward; why kill his mood and thus be a “burden” to him?)

Even so, Takeru is very different in 02 partially because his circumstances are completely different. Adventure had him as the youngest in a group of older kids, so in terms of “being a responsible child”, that naturally meant being deferential and polite to everyone due to standards of propriety. 02 is where we learn a lot more about how Takeru interacts with peers his own age and people who are outright younger than him, when he has a bit more leeway to be more assertive.

On top of that, back in Adventure, Takeru was a young child who had a very small “range of periphery” -- as a young child still rather naive about the world, his emotional investment in things primarily pertained to loved ones and the people around him. But now that he’s a bit older, he’s gained a certain degree of strong feelings about “what’s the right thing to do”, and now has very strong opinions on it.

These things ultimately manifest in, unfortunately, Takeru losing his composure much more often than he did in Adventure, and for reasons that pertain to much wider things than just his brother. Still not having recovered from the trauma of losing Patamon back in Adventure episode 13, Takeru starts physically fighting Daisuke in 02 episode 11 because he perceives Daisuke as not doing enough to prevent Patamon from potentially becoming a slave to the Kaiser, and in 02 episode 13 he lashes out at Hikari in frustration about her refusal to do anything about her situation (which he of course ends up deeply regretting later in the episode).

Takeru’s infamous scene of suddenly switching modes on the Kaiser and punching him out in 02 episode 19 is basically the pinnacle of this -- because, yes, the Kaiser really did deserve it, but this really is not a good thing for Takeru either. This is Takeru getting the closest we ever see him to being a genuine sadist, and it’s basically everything to do with his emotional stuntedness coming out at once -- blowing up in anger out of nowhere with a passive-aggressive demeanor, succumbing to the weight of his trauma in the worst way possible, and mixing the ^^ front he puts on with his tendency to blow up angrily at anything that cuts him a little too emotionally close.

And for the first time, we see someone actually acknowledge how bad this is. Iori, one of the most consciously perceptive of the group, witnesses, for himself, the sheer jarringness of Takeru seeming to only really have two modes between “all smiles” and “unreasonably angry”. Sure, Takeru had shown a penchant for getting active as soon as there was something he needed to protect, but the moment it got personal, Takeru suddenly blew up in front of his eyes and almost turned into a completely different person. (Perhaps he’s not that different from Yamato after all...)

This is a very important moment because it sets up the base for what ultimately becomes the Jogress arc between Iori and Takeru. Daisuke ended up reaching out to Ken because Ken was someone who needed someone to accept him and teach him to move forward instead of drowning in the past; Miyako ended up reaching out to Hikari because Hikari knew herself to have a suppression problem but had difficulty doing anything about it, so the extremely in-your-face and aggressive Miyako could go in deep. But with Takeru, since his personality is genuinely volatile, and because Takeru goes out of his way to hide the fact he’s having emotional problems, personalities like Daisuke and Miyako wouldn’t help much because they’re too straightforward for someone like this who’s a bit unpredictable -- whereas Iori, who’s assertive but also methodical and thinks through everything consciously, is eventually much better able to reach out to him.

Once the relevant arc kicks in, in 02 episode 34, Iori continues to observe Takeru, and quietly notes the many “contradictions” in Takeru’s behavior -- since, after all, Takeru starts to sometimes violate what you’d think would be common sense whenever he gets too emotionally compromised. The fact that ostensibly one of the outwardly “nicest” kids in this group suddenly blows up in certain circumstances and basically goes “absolutely nope, needs to be killed!” in the midst of a few moral debates over killing sentient Digimon disturbs him deeply, and really, it’s not even about the killing part (after all, it’s later established in 02 episode 43 and after that Takeru and Hikari have a certain degree of acceptance of the inevitability that the others don’t) as much as Takeru’s being pretty gung-ho about it. Not “I don’t like it, but we have to” like he said earlier, but NOPE, GOTTA DO IT.

Iori refers directly to the duality of Takeru that he doesn’t quite understand multiple times in this episode (including in regards to the incident back in 02 episode 19), and it continues to torment him until the end, when Takeru only gives a very cryptic “clarification” that he doesn’t necessarily hate the darkness per se.

Iori, too intimidated to ask Takeru about it directly, goes to ask Yamato in 02 episode 35, and Yamato finally clarifies the background that we as the audience knew but Iori didn't: the story behind Takeru's trauma regarding the loss of Angemon back in Adventure episode 13. Yamato also makes a conjecture about why Takeru has been acting so ambivalent towards Ken -- you'd think he'd still be under Takeru's scorn after the events of 02 episode 19, but in fact Takeru's judgment of him in episode 25 was simply that he was certain something had changed, yet he couldn't tell what he was thinking (really rich coming from someone who refuses to tell anyone else what he's thinking himself!). Yamato guesses that Takeru is inclined to be a bit more forgiving of Ken due to understanding the feeling of losing a partner -- and the ultimate conclusion here is, basically, that Takeru's behavior is contradictory because he's acting based on what's personal to him, not necessarily via principles that make sense. After all, back in Adventure, it was clearly demonstrated that Takeru isn’t exactly rational when things hit too close to home.

The other important thing that happens this episode is that Takeru learns that Iori is actively trying to reach out to him, when Yamato drops him a line informing him that Iori asked. Despite complaining that Iori could have just asked him directly, after Takeru witnesses the face-off between Iori and BlackWarGreymon and a demonstration that Iori is clearly trying his best to make sense out of this entire mess, Takeru actively reaches out to Iori and says something to comfort him -- “a life is beautiful simply by existing.” It’s still cryptic as hell, but it’s not something he would have said in the midst of his anger in prior episodes.

It would be one thing if it were simply that by itself, but the following episodes further push the idea that Takeru really is starting to change after witnessing all of this. 02 episode 36 has him explicitly acknowledge what Iori’s been doing this whole time in trying to understand him for the sake of their Jogress, and, finally, during their meal later that episode, he says, very openly and honestly, that he thinks they’ll be able to do it now. After two instances of Jogress, these kids are very aware of what that entails -- so this is basically Takeru consciously acknowledging to Iori “yes, I understand that you’re trying to reach out to me, and I accept it and want to understand you.” Because Takeru is such a convoluted sort of person, this “understanding” ended up being something that didn’t span a single magical moment as much as it took several episodes and a diplomatic, conscious affirmation on both ends -- but it’s a fitting way to go for someone who had always indicated some pretty poor conscious awareness of where his feelings were taking him.

This is especially because, in 02 episode 37, his statements to comfort Ken are in pretty significant opposition to the sort of anger he’d displayed in earlier episodes, and are now a more pragmatic view of the issue in light of Iori’s efforts and everything he’d just witnessed with BlackWarGreymon -- and to drive the point home, the episode has, at the very end of it, Takeru making his first true explicit show of goodwill towards Ken after having been a bit touchy with him for so many episodes.

Iori himself, being the youngest of the 02 group, still has a lot to learn, and so Takeru, who had previously been one of the youngest in the Adventure group himself, now has his role inverted to effectively be a guiding mentor to Iori as he finds his own way. Basically, Takeru becomes responsible for the welfare of this young child, and so his way of treating Iori is markedly different from the more detached and playful way he would treat others from here on out. This is especially because, earlier, Yamato had informed him that Iori had taken a very roundabout way to help understand him better, and so Takeru probably understands that he scared the hell out of Iori earlier and needs to do better. While the Takeru of 02 episodes 38-50 still has a way of being playful, and while he still isn’t completely straightforward about his intentions, he is definitely much better about being open with the others, especially Iori, instead of doubling down on his “everything-is-fine” mode.

And perhaps this is what the other meaning of “hope” thus became in this situation -- learning to be forward-facing even in the midst of truly knowing and understanding everything that’s wrong with the situation.

Post-02

Although Takeru’s Spring 2003 track is addressed to no one in particular, meaning that it’s the most likely reason he’s so willing to be open about it, Takeru outright admits he’s having problems with his emotions -- especially those pertaining to Angemon’s death. We do, however, learn that Takeru’s started writing the early, early drafts of what’ll eventually end up becoming the novels he writes as a future career.

This being only a year after the events of 02, Takeru’s position is interesting. His decision to start writing is that he wants to have a record of everything before it’s forgotten -- because these things are very personal to him -- but he’s not emotionally ready for the huge task of finalizing everything in words, to the point he still hasn’t told his mother he’s started writing yet. After all, this is a book we eventually find out takes upwards of twenty years, and so this is the presumable reason why -- being able to get this down in a rational way that’s not emotionally compromising is going to be an upwards battle for him.

Even come Kizuna, there’s still a long way for him to go, because an actual line (in a very fast-paced movie) is dedicated to establishing that he’s still uncomfortable with his novel progress to the point he won’t even let Yamato see it. His official character profile and background details are revealing, too -- although he’s currently taking language classes in university and is even part of a children’s literature club, he still hasn’t actually decided on what to do with his future, meaning that he hasn’t determined that he’s going to be a full-time novelist with these yet. That means that even though he’s clearly still clacking away at his novel (multiple indications in the movie are given as such), his memoirs are still at the level of being so deeply personal, and not something he feels comfortable telling well, just yet.

I’ve pointed out before that despite not appearing directly with them in the movie, Takeru and Hikari have more in common with the others in the 02 group than they do with their Adventure seniors, and this is fully codified in the drama CD when Takeru is content to basically just “do whatever” with the rest of his friends instead of having any particular concerns about his future. And as someone who has a tendency to kind of just let his emotions take him wherever they’re going, this isn’t too surprising. Although he approximates as the closest to level-headed during most of the group’s antics during the CD, he’s still completely guilty of enabling them full-force, after all...

So, with the 02 epilogue, we get the massive meta reveal that the entire series was Takeru’s novels the whole time. This was planned to be the ending for Adventure before recording for the first episode had even started, but was postponed to the end of 02 when the second series was greenlit -- and if you’d followed the Japanese version, there are a ton of meta hints scattered around from day one:

The narrator of the series is Hirata Hiroaki, who played Takeru and Yamato’s father, and is revealed in this episode to voice him as an adult as well;

Episode 12 of Adventure is named “Adventure! Patamon and Me” and is the only episode title in Adventure or 02 to use a first-person pronoun -- and it’s of course a Takeru-centric episode, with the episode title using Takeru’s boku;

02′s first episode kicks off narrated by young Takeru opening the story, with Takeru himself suspiciously omitted from the opening vignettes;

02 episode 18 suddenly has the narration cut in when discussing Takeru’s trauma from Adventure episode 13, with the younger Takeru even filling in part of it himself;

02 episode 49′s “next episode” preview for 50 suddenly also starts using “we”, which also includes Takeru’s boku;

Finally, Takeru starts narrating right after Oikawa’s death, which fades into what’s revealed to be his adult voice.

In the context of Adventure, Takeru was “the youngest child”, so the idea makes sense that “the littlest one” would be the one to grow up and reflect on all of the adventures they had as kids -- and once 02 was added, it practically made sense that Takeru would be the one to recap both adventures, being the one person who was there to completely witness both (it also explains why Takeru and Hikari’s character arcs remain somewhat unresolved by the end of Adventure compared to others, since by this time it was apparent their story would be continued in the second series). So on a meta level, Takeru is, in a certain way, one of the most important characters in both groups.

On a level relevant to his personal character arc, on the other hand, the point here is that Takeru finally managed to put together his book and story in a way that he was comfortable telling the entire world about, to the point of choosing to make his entire career into it. That’s something that requires a lot of coming to terms with what happened, how he feels about it, how others feel about it, and everything about the whole ordeal in general, without compromise or (too much) bias.

And in the end, that’s really a lot!

#digimon #digimon adventure #digimon adventure 02 #takaishi takeru #takeru takaishi #shihameta

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duckprintspress · 3 years

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What is a Story?

When Duck Prints Press put out our call for applicants, we asked everyone to submit “a sample of their work (between 1,000 and 2,000 words)… [that] must function as a short story.” When we reviewed the 100+ samples we received, we noticed many areas where writers commonly struggled. Based on what we learned, we’ve planned a number of blog posts to discuss these challenging areas, and we’ve decided to tackle one of the most frequent issues first. Many otherwise strong submissions lost points on our rubric line regarding “plot and events,” and specifically, they scored a 1 or a 2 because “the story has no plot (for example, is a vignette).”

So, this begs the question, what is a story, and, of course, what isn’t a story?

(note that throughout this post, I use the word “narrative” to refer to any amount of text that may or may not be a story, and I use story only in a more narrow, specific sense.)

What is a story?

The answer is deceptively simple: a story is any narrative that has a plot. But...what is a plot? There are many ways to define a plot, but at its most basic, a plot has a beginning, a middle, and an end, and by the ending, something has changed. If, at the end of the story, nothing has changed, then it’s not a story. However, even if something has changed, it’s still not necessarily a story, because characters and time-frame also influence the definition. A narrative without at least one character is not a story. Likewise, a narrative time-frame, if it’s discussing events at a meta-level (“this happened, then this happened, then this happened”) may show that changes occur, but it’s still not a story - it’s an overview or an outline. The lines, of course, can be blurry - and where any given author, reader, or DPP reviewer draws the line between “this is a story” and “this isn’t a story” will vary.

How is a story communicated to the reader?

To function as a story, the narrative must include characters. Now, character doesn’t necessarily have to mean person, or even require sentience, but there must be some point of view being explored, and if the character is an animal or an inanimate object, writing it as a character will require a degree of anthropomorphizing. The key aspect is that the character has some form of agency - some ability to interact with and influence their surroundings. This character will have a point of view and a perspective that affects how they perceive the story’s setting, and by the end of the story this character should have either changed themselves, or changed their surroundings, or changed their relationships. The circumstances around this character must be different by the end of the story than they were at the beginning - or else it’s not a story.

What is change?

As part of the narrative, one or more characters in the story must engage in some form of activity that results in the world around them changing. Writing advice most oftenly calls this “conflict,” but honestly? I hate that word. The classic couching of “person vs. self, person vs. person, person vs. nature, person vs. society, person vs. fate” as the available types of conflict is tired. Defining the only kind of change as conflict and specifically describing it as “x versus y” is to automatically get a potential writer thinking in terms of antagonism. While antagonism is one available type of change, it’s not the only, and while many pieces of writing advice point out that these “versus” constructions don’t mean enmity by nature...why not simply choose a less confusing construction, one that doesn’t require addenda to explain the existence of narratives that clearly are stories but are less “versus” and more “and” - “person and self,” “person and person,” “person and nature,” “person and society,” “person and fate.” I’ve opted to use the word change, because one of the clearest ways to tell if a narrative is a story or not is to look at the nature of the character(s) are at the beginning, and look at the nature of them at the end, and say - what’s different? Maybe they’ve built something. Maybe they’ve reached a new understanding. Maybe they’ve conquered a challenge. Maybe they’ve altered their perspective. Maybe they’ve learned something. Maybe, they’ve changed the world, or maybe, they’ve just changed a light bulb - but something has changed.

Before some writing snob comes at me and says, “okay, fine, we dare you to come up with a plot that doesn’t fit into the classic five conflict types” ...of course we can’t. That model functions because all stories can be shoehorned into it, as long as very loose definition of “conflict” and “versus” are used. But because it’s described in oppositional terms, a lot of writers get distracted by that terminology and think there has to be, well, a conflict, in the narrow definition of the word. And that’s clearly absurd - many of our favorite fanfiction tropes, for example, are fluffy and comforting and soft precisely because they’re not about conflict, they’re about harmony. Yes, “enemies to lovers” is wonderful, but so is “friends to lovers.” Two people going on a date that ends with a marriage proposal is a story: they started out as a couple and ended engaged. Something has changed - their relationship status. But to call that “person versus person,” while perhaps technically correct, is ludicrous. Now, to keep it interesting, there might be some “person versus self” - “I’m not worthy of this love, omg do they really care for me, oh will society give us problems if we say yes?” which is how it can be shoehorned into the “conflict” model. But be it ever so soft, and their love ever so accepted, and their faith in each other ever so steady - if there really is no conflict, just those two people meeting up and having a nice night and ending in a proposal...it’s still a story. To say it’s not a story because there was no conflict, only an advancement of their relationship...yes, a story like that is borderline to being a vignette or “slice of life” narrative. Certainly, if there’s zero sources of tension, it may not be a very interesting story, but that doesn’t mean it’s not a story.

What else does a story need?

Honestly - not much. Don’t get us wrong - a story is stronger if it has a setting so that it doesn’t just take place in endless blankness. A story with multiple characters but no form of dialog (verbal or non-verbal) may be a little flat. A story where something changes but some of the introduced plot elements aren’t resolved will feel incomplete to a reader. A story without any negativity could be boring. Stories lacking these elements may not be good stories...or they could be amazing, and innovative, showing how a tale can be told without elements we usually consider essential! As long as something or someone has changed, and the story is told in a narrative, descriptive format that includes a character - it’s a story.

What isn’t a story?

Things that aren’t stories fall into two broad categories:

Narratives that have description, characters, dialogue, setting, and other story elements, but nothing changes. Examples of this are “slice of life” narratives and what, in fandom-parlance, would be called an episode coda or canon insert - a chunk of narrative deliberately meant to make a bridge between two established events but in which nothing can change because the surrounding events remain established. (A coda or insert might be a story, it varies.)

Narratives that are either entirely “show” (for example, a vignette) or entirely “tell” (for example, a synopsis), These can also be seen as relating to time - either there’s little or no passage of time (usually the case in vignettes) or far too much passage of time (usually the case in synopses). Narratives like this may or may not include a character, but even if they do, they’re still not stories. Why not? Because any story that is entirely “show” and involves minimal passage of time is unlikely to result in change, and instead will be an extended description of a moment. And any story that is entirely “tell” and depicts a large swath are overviews - there’s no element to actually grab a reader and no reason the reader should care about this dry relationship of events. That’s not a story - it’s a history textbook.

Drawing the lines between these categories can be difficult, and to some extent will come down to taste. Anyone who says there’s a hard-and-fast rule in writing is a liar. Just because a synopsis or a “slice of life” narrative isn’t usually a story doesn’t mean they will never be one. But, in general, if you’re looking at a piece of work and you’re trying to determine if it’s a story or not, there are some signs that will strongly suggest it’s not a story:

There are no characters.

There is no setting.

Nothing has changed between the beginning and ending of the narrative.

The entire narrative is an extended description of a single person/object/setting.

The entire narrative could easily be reworded into a sequence of, “thing one happened, then thing two happened, then thing three happened, then thing four happened.”

The narrative feels like a “pause,” or a “bridge” that takes place between two events that aren’t depicted in the narrative.

A central conflict or issue is introduced or described in details, but nothing is done to try to solve the issue.

Now, for the most important part of this discussion of what isn’t a story: writing something that isn’t a story isn’t a bad thing! Especially in fanfiction communities, we live for self-indulgent narratives that make us happy. We love to see those “moments between.” We live for a thought-out thousand-year history for some setting that didn’t originally have that much background. These kinds of narratives are fun to write, and especially when they’re part of an existing franchise, can be a delight to read. We are not saying that there is literally anything wrong with writing a narrative that isn’t a story.

That said, Duck Prints Press’s applicant call specifically asked authors to submit a writing sample that was a story, with the eventual goal of selecting authors to write short stories for an anthology. Which is to say: there’s nothing wrong at all with writing “slice of life” stories, codas, canon inserts, vignettes, or synopses - it’s simply not what we asked people to submit in this specific case, and we’ve come to see that a lot of people submitted non-stories without an apparent understanding of the difference, and we wanted to explain that difference.

But, to everyone reading this: write whatever brings you joy, in as much detail or vagueness as makes you happy, and share it with whoever you want. Just also understand, that for many types of narratives, if you’re asked “is that a story?” it’s not. That’s not to create a hierarchy - they’re all equal as art forms, they’re just not the same.

Okay I kinda understand this in theory but what do these differences actually look like in practice?

In long-form works, it’s usually relatively easy to recognize what is a story and what isn’t. Almost every novel ever published has a plot, and has things change, and is therefore a story. (though there are exceptions - Wikipedia lists a few longer vignettes and, when done thoughtfully, it can be astonishingly effective.) However, in shorter works, it can be difficult to tell the difference - and, as previously mentioned, the lines can blur.

In the interest of giving an idea of what the differences are, here are a few examples I quickly cooked up to try to show you all, since I’ve done a lot of “telling” so far (this blog post: also not a story, ha!) and very little demonstration. These are each around 150 words, to show that even in a tiny word count, any of these narrative structures is a viable choice. (Sorry these aren’t high literature - I just threw them together for this post, so I’d have something that suited.)

(read more)

A story - a narrative with a beginning, middle, and end, where something changes:

The door slammed open. Looking up from her embroidery, Victoria blinked as Margaret strode into the room.There was an air of expectancy that was inexplicable to Victoria; she grew more confused when Margaret approached and dropped to one knee.

“What are you doing?” Heart pounding, Victoria attempted self-restraint, but she couldn’t rein in her hope, because it almost looked like...it seemed like...but--

“Proposing,” announced Margaret, pulling a velvet-covered box from her pocket and opening to reveal an emerald set in a gold band.

“But you can’t!”

Margaret tilted her head to the side and frowned. “Why not?”

Objections occurred to Victoria, but examining them...she couldn’t think of a one that Margaret wouldn’t demolish with her usual brilliance. “You know what? You’re right. Who’s to stop us? And...I accept.”

And as Margaret slipped the ring onto Victoria’s finger, she knew: there could be no objection. Nothing had ever felt so right in her life.

“Slice of life” - a narrative with a beginning, middle, and end, where nothing changes:

“What a day!” said James, dropping onto the couch with an exhausted sigh.

“I know what you mean,” Tom agreed. He fumbled a hand across the cushion separating them, and James delighted in the simple comfort of threading their fingers together.

A beep, beep, beep sounded in the kitchen, announcing that the microwave had finished nuking their leftovers.

“You getting that?” asked Tom.

“It’s your turn!” James countered.

“But I don’t want to let go of your hand.” Tom gave his hand a squeeze, and a pleased glow suffused James’s chest.

It was Tom’s turn to retrieve their dinner.

But Tom was right - holding hands was wonderful.

“Let’s get it together,” James suggested.

Hesitating, Tom remained still as James sit up and gave a tug on their joined arms, then he broke into a smile and rose at James’s side.

“I love the way you think.”

“I love you, too, darling”

And together - always together - they got their dinner.

“Bridge” scene, episode coda, or canon insert-style fic - a narrative with a beginning, middle, and end, where nothing changes:

Arriving home after the battle, Sandy opened the rough-hewn door and shed her damaged armor. Her dented cuirass had left an aching bruise across her chest; she carried it to the smithy out back for repair in the morning. A gash on her thigh throbbed where an arrow had pierced the straps holding her greaves in places; she brought them to her leather-working station. Nicks and fissures marred her once-gleaming sword blade. All Sandy wanted was to collapse in bed, but resisted the pull of relaxation, because blood limned the damaged places red, and repair to the damaged weapon couldn’t wait. Taking a seat, placed her feet on the treadles that set her whet stone to spinning and set about polishing out every imperfection.

Yes, she was exhausted.

But her sword must be cleaned, and smoothed, and honed, and prepared.

Sandy must be prepared.

There would always be another battle to be fought.

Vignette, a narrative without a beginning, a middle, or an end, which may or may not have a character, and nothing changes and in which the emphasis is on showing, rather than telling (but, as in this example, a combination may be used):

The wind blew chill down the narrow mountain pass. All was silent, save for the rush of the breeze. All was still, save where gusts stirred the tall grasses and the branches of trees that reached, claw-like, toward the sky.

Once upon a time, a stream had carved this cut through the cliffs, forcing its way through soft chalk and hard shale, leaving jagged stones that emerged from the steep pass walls like teeth. The stream was long dry, now, only water-smoothed stones strewn across the ground to show where it had ever been.

Once upon a time, travellers had traversed the dried-up rill bed, pounding down the dirt, knocking the rocks aside, leaving scars where their fires burned. They’d lived, and laughed, and explored, and sought...and left, never to return.

Now, there was nothing: nothing but the storm.

And all was silent.

And all was still.

And the wind blew, chill, down the narrow mountain pass.

Synopsis, a narrative with a beginning, a middle and an end, which may or may not have characters, and where something changes, and in which the emphasis is on telling rather showing:

Emperor Xiang Zhen was born in 9884 to Dowager Empress Luo Zexi and the warlord Xiang Yijun. After his birth, there was a long period of strife. Those who supported Xiang Yijun’s claim to the throne battled those who still supported the Dowager Empress’s deceased husband Peng Zhenya. Eventually, the factions found common ground when Xiang Zhen came of age, and he was enthroned in 9902.

With his reign came peace and prosperity. The arts flourished. Scholarship advanced, and many great Dao masters arose, using cultivation to rid the land of evil’s left by the long war. Xiang Zhen longed to join a Night Hunt himself, but he was trapped by his political position. He didn’t dare risk the fragile stability in the Empire. If something happened to him, the results could be catastrophic. So he studied, and ruled, and adjudicated, and endowed, and endured.

Xiang Zhen did as he must.

But, oh...he wished he weren’t alone.

I know this is long, so we’ll leave this discussion at this point. Hopefully you found it helpful, and please do let me know if you have any questions! Duck Prints Press is always here to offer support to writers, and we love getting writing asks!

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witchoflegends · 3 years

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Going back and rewatching Strange’s episode of What If... just so that I can talk about palmerstrange. So below is all my thoughts and feelings about everything palmerstrange related in the episode. So spoilers under the cut. It did get long, so fair warning. Since I touch on practically every palmerstrange moment in the episode.

I love that all Stephen had to do to get Christine to come to his speaking engagement was to promise her crème brulee. Then he’s got that sly comment about how he thinks they can do better than that. I love it.

The way Christine wants to hear Stephen’s speech before anyone else does. How she wants him to just go at it in a way that she knows he normally would. Just for the fun of it. And the way he actually considers it. Even telling her in one of the loops that he will go full out and run up to the podium like a reality tv show contestant. Even if he doesn’t know what that exactly entails. He’ll do anything for Christine. As long as it makes her happy, and as long as she is by his side.

Oh, then there’s Christine saying he’s done something remarkable, and Stephen’s immediate response is, “I would say the same about you.” That just makes me squeal. Cause he sees her as remarkable, and anytime she compliments him, he’s turning it back on her. She’s all he can think about when she’s around.

Also, all the times we saw Stephen compliment Christine in that dress of hers? How he pushed aside her own compliment of him to tell her how stunning she looked. Even though he was wearing an Armani suit. All he cared about was how pretty she looked. How the next time he sees her after he starts trying to get her back, his heart flutters. Then says he might have had a mild cardiac event upon seeing her. So cute. Ugh, and then he tells her that he’ll give her the world.

As well as how in the first car drive, Stephen says “We’re okay. You’re okay” after the oncoming car scare. And he puts his hand on her shoulder to comfort her in that moment. He was so concerned about her. His main concern was her. It’s always been her, and I cry. Which is what makes it even more heartbreaking the next moment when they actually do crash.

“In this universe, Stephen Strange didn’t loose his hands, but his heart.” The fact that Christine is seen as his heart just kills me. Also, Stephen’s face and posture at her funeral. He is absolutely broken and you can’t tell me otherwise.

Okay, but can we talk about the scene where Christine is wearing Stephen’s shirt. Her laugh and saying that the shirt of his that she’s wearing is now her favorite. How happy and playful Stephen sounds when he reaches out to her and says he’s going to have to take it back. Only for her to respond equally as playful. Yes please. I love that soft little moment. They’re so cute together.

THE HAND HOLDING DURING THE SECOND CAR RIDE!

“You’re being delightful. I must owe a muffin basket for this personality shift.” “Maybe you make me happy.” Ugh. Of course she makes you happy, Stephen. How could she not?

All the different options that Stephen when through to save her. Even so far as to try and separate himself from her and stand her up. Only for her to die when he wasn’t there. Then there’s the death where she dies in the middle of them dancing. Absolutely heartbreaking. All of it.

Also, there’s the fact that when Stephen tried to convince Christine that they should stay in, she was focused on him. He was supposed to be getting an award, and she wanted to make sure he was recognized for it. That he was happy, and getting what he deserved. She cares about him just as much as he cares about her.

How happy he gets just being around her, and the little smile he gets on his face anytime she’s even remotely happy. Then there’s how broken and tired he looks at the bar after he stood her up. I have so many emotions about this episode.

“Aren’t we allowed to be happy?” Apparently not, Stephen. Apparently not.

Stephen’s almost defeated, “I only want you. You’re the only thing that matters,” when Christine is asking if he’s okay, and if he wanted to talk. As well as the way he remembers her right before he cries out to the heavens in agony.

Stephen Strange is so stubborn. Especially when he can’t get what he wants, and all he wants is Christine. So he’ll do anything to get her back, and I think that’s the most heartbreaking thing of all. As well as the fact that the “normal” him saw that he couldn’t/wasn’t able to save Christine and how devastating it must have been to come to that realization.

“Is she worth the pain?” “Every moment of it.” Ugh. I can’t. If only you would listen to the people giving you warnings after warnings, Strange. But you were already too far gone the moment you decided to try and bring Christine back. Such devotion.

It must have broken “normal” Stephen’s heart not to try and save Christine, but to try to keep her dead. Cause he immediately knew the moment that the Ancient One was talking about when she was explaining what evil Strange was planning to do. He had thought about it just as much as evil Strange. Yet he was never able to go through with putting the timeline in danger. So he allowed himself to be broken hearted for the sake of his reality. Also, how the Ancient one had to remind normal Stephen that he couldn’t save Christine. Cause I feel like he regularly needs reminders.

“But do you want to stop him? Weren’t you in love with this Christine?” “I think I have to.” Like I said, him choosing the fate of his reality over his own heartbreak and pain. That is the Stephen that Christine loved. The one that cares about people and is able to put their needs above his own selfish wants.

Then there’s the whole fight between the Stephens and evil Stephen trying to convince normal Stephen to save Christine. Two versions of the same man that loved the same woman. One driven practically to madness trying to bring her back, and the other trying to move on and stop him. Christine would have wanted Stephen to move on.

“They wouldn’t understand. They never knew her. We knew her. We loved her.” As he was the only one that ever loved her. Meanwhile, he things normal Stephen is lying to him when he says the world is breaking. Just because he refuses to see the truth, and the truth would cause him and his emotions to come crashing down.

Evil Stephen basically calling normal Stephen a coward because he hadn’t tried going back. Hadn’t spent centuries sacrificing everything for Christine. Ugh. I love the devotion of a villain.

My heart breaks at normal Stephen’s “and now can you save her?” cause I can tell a part of him was hopeful that he could. Hopeful that maybe they could have everything they wanted, but then he realized that wasn’t the case when evil Stephen grabbed him.

Honestly, normal Stephen is the Stephen that Christine would love. In my opinion anyway. Evil Stephen saying yet again that the Ancient One doesn’t understand and they love her. Then normal Stephen saying that what he’s doing isn’t love. It’s something that I think Christine would absolutely say. Choosing the greater good over any one person. Over herself.

Oh, and don’t even get me started on the illusion that evil Strange makes normal Strange see. Christine wearing his shirt. Her telling him she loves him, and his smile as her hand covers his cheek and his hand covers hers. How they can be together again, and he honestly looks so content and relaxed in that moment. God how he missed her. I was so hoping to hear him say that he loved her back before he started coming to his senses.

Then there’s evil Stephen succeeding. Getting Christine back, but she’s terrified of the monster he is, and what’s happening around them. The world crumbling and falling apart until it’s only Stephen and Christine left. Him desperately trying to stop the world falling apart. Only for her to die in his arms anyway. Leaving him trapped in his own prison. It’s so heartbreaking, and I don’t think I’ll ever fully recover.

That’s it. That’s my palmerstrange rant brought to you by What If...

#palmerstrange #otp: palmerstrange #what if spoilers

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