What do you think as Hermione's career would be post battle of Hogwarts? To me her being minister for magic really doesn't make sense. She does not have patience or tact to wade through murky waters of politics 😭😭
So hard to say! The Trio are so, so young when we leave them, I find it almost impossible to project their futures farther than a few years out. The job that suited me at 17 would be radically unsuited to me now. That's why of all the Trio, Ron's ending strikes me as the most realistic — he jumps straight into the save-the-world business again, burns out, realizes he's actually Done The Fuck Enough, Thanks, and pivots into a low-stress career where he gets to see his family a lot. Feels accurate! The others are weirder to me because they do seem to just... pick a lane and stay there.
With Hermione, you could spin her a couple ways. You could say that she leans into her bookish side and does research or teaching, which is not my preference for a couple reasons (namely, I don't think Hermione would like academia as a profession; she finds her classwork interesting and enjoys intellectual validation, but she'd be stifled and wasted in a DPhil program, and she'd be infuriated by the administrative politicking of your average higher-ed faculty). You could say that she gets disaffected with politics and ends up as a barrister or a lobbyist of some kind, but if anything that requires more political finesse, because you don't actually have institutional power, you're just handling the people who make decisions and trying to persuade them of your goals. This is not Hermione's preferred method of influence. She's not even particularly good at persuasion, she just happens to be smart enough (and right often enough) that people take her ideas seriously.
Or you could say her brashness fades with the years into a softened flavor of tell-you-like-it-is honesty, which some politicians actually do successfully trade on; as we see in British politics today, you don't have to be all that charming or clever to get ahead, you just need to be really driven and well-connected (which Hermione completely is; she fought shoulder-to-shoulder with the first postwar Minister and her bestie, the Literal Messiah, runs the Auror Office.) But I don't know if Hermione especially wants to be Minister, after the war. She's just watched years of horrendous bureaucratic incompetence plunge the country into a violent civil conflict. She's had not one, but two Ministers of Magic try to bully or shame her friends into complicity with fascism. Her view of government is... likely extremely dark.
But Hermione also isn't the kind of person who sees her life as a quest for happiness. Babygirl has a savior complex that makes Harry look selfish. (She basically kills her parents — yeah, obliviating is a form of murder, #changemymind — "for their own good," and justifies every batshit, vindictive, mean-spirited move she ever pulls on the grounds that it "helps" one of her friends.) She is a mean, lean, dragon-slaying machine, and she needs a dragon. After Voldemort, the Ministry is the no. 1 threat to muggle-borns and non-wizarding Beings. As a war heroine with basically infinite political capital, I'd be surprised if she didn't try to do something there. That said, Hermione is so vivacious and dynamic that she could potentially grow in a hundred different directions; it's possible that all of this, while true of her at 18, becomes completely inaccurate by 22. That's why I'm not too fussed about any particular fanon interpretation.
35 notes
·
View notes
I’m thinking about the angst of the restraints headcanon again. There’s the two with the least physically violent crimes, and they rank relatively low in strength. There’s the child who was violent but had to be really crafty about it; she’s the weakest of all of them. And the most dangerous of the guilty prisoners cannot be restrained.
This makes me so emotional!!! All three are the smallest of their circles. Two of them are extremely ordinary people who have never experienced/expressed physical violence before. One hadn't even fathomed the idea of someone dying until they actually did. And yet, they're subjected to the type of restraints you'd expect to see on someone who is uncontrollably violent. The fact that prisoners who committed very gruesome murders can walk free (including Mikoto) just adds insult to injury. I still couldn't everything into words, but here's a Mahiru-centric drabble featuring the same thoughts. It takes place after T1 closes but before the attacks.
“Where are our rights?”
Fuuta’s shout caused Mahiru to wince. She perched on her bedding, watching the two prisoners she’d invited to her cell. It hadn’t been the fun kind of invitation, though. Back in school, she always wanted to have parties and dates back at her place. Moving to the city, she imagined what it would be like to make university friends and take them back home with her to talk, eat, and have fun.
Sitting in her dim gray cell with Fuuta and Amane, all of them held fast by complex sets of restraints, was not what she’d had in mind.
Amane knelt in the corner. Her arms were crossed, as if pouting, though the opposite was true. A moment ago her eyes had lowered in prayer, but it was difficult to find any peace of mind now. Fuuta snapped and shouted as he paced the length of the cell bars. They were unlocked, but like the others, he didn’t feel like being out in front of everyone. He’d give his uniform a violent jerk every now and then, but it didn’t do any good. Between his strides and growls, he made Mahiru think of those poor wild animals they keep at the circus.
“Take it easy, Fuuta.” She mustered up a smile. “Come rest with us.”
“I can’t believe you two. You’re just gonna sit here and take it? I didn’t do a fucking thing! They’re acting like I’m some big danger to society,” he yanked his arms again, to no avail. “All I did was type some things onto a screen. I’m not gonna go around stabbing anyone or anything. And you, you didn’t hurt anyone either!”
He nodded his head to Mahiru. If her arms weren’t already folded over her chest, she would have hugged herself anyway.
“Well… I did hurt him in the end… I broke his heart badly enough that… I mean, he…”
Fuuta made a disgusted sound. “That’s all stupid romance stuff. I’m saying, you never stabbed him. Never strangled him. Never poisoned his food, or –”
“Oh god, no! How horrible…”
“Exactly! From what we’ve heard, it sounds like Haruka killed someone with his bare hands. I think Muu had a knife or something. Shidou had a whole arsenal of grisly doctor tools. Kotoko has openly talked about how she beat that guy to death. Why are they allowed to walk free while we’re tied down like wild animals?”
Mahiru was glad she hadn’t mentioned the circus.
“And Amane! It’s not like she did anything violent, and here she is!”
“That is not true.”
Both paused as Amane spoke up for the first time.
“Eh?”
“While I disagree with my verdict, the restraints make sense.” The others still stared blankly. As matter-of-fact as always, she continued. “I killed with my own hands. I used the amount of force I was instructed to. Just as the sinner fears the wrath of heaven, I can understand how the godless warden would fear my justice.”
Fuuta’s passion wavered, but Mahiru could feel her heart ache for the girl. “Oh Amane… I had no idea. To be pushed to the point of violence at your age…”
“I am not to be pitied. As I said, I am dangerous, and proud to be. I am doing god’s work. All heroes must be dangerous.”
Fuuta grunted, but said nothing. Mahiru gave her a gentle smile. “It’s not pity. Even if you were dangerous, it’s horrible to restrain someone like you. You’ve already had to brave so much, as the smallest of the bunch.”
She looked between the two. A sad laugh escaped her. “Now that I think of it, I guess we’re all the smallest here, hm? Aside from maybe Muu, we don’t have much height or strength on the others…”
“That’s what I’ve been saying!” Fuuta cried. “The fuck do they think we’re going to do?” Mahiru was just glad he’d focused on that rather than the fact she’d just called him weak.
Voices raised in conversation down the hallway. Mikoto’s laugh echoed faintly into the cell.
It warmed Mahiru to hear. Things had been so hard on him here. Though it had been frightening to hear him shouting at the restraints til his voice was raw – well, it wasn’t him shouting – it had been a relief when he appeared free and relaxed the following day. He seemed sheepish that he wasn’t able to help the others, having no memory of his escape. Mahiru just kept telling him how happy she was for him.
Fuuta didn’t share in the sentiment. “Meanwhile, Mikoto gets to stroll around free, and he beat the shit out of Es! He could snap and kill any one of us here, and they don’t even give a damn. But ooohhh, god forbid the guy who’s never been violent a day in his life is allowed to use his own two hands!”
The harshness of his voice wasn’t doing his argument many favors. Still, his words were beginning to get through to Mahiru.
She’d worked so hard to be a model citizen. She was supposed to have a perfect life. She could cook, clean, sew, and take care of children. She did herself up every day; she was never a slob or a slut. She was generous to everyone she met. She showered the world around her in love. Wasn’t it unfair that her hands were tied like some common criminal? What was all that effort for – being patient when people upset her, being kind even when she disagreed with someone, all of that – if she was going to end up in the same place as someone who had stabbed another out of sheer malice?
Amane didn’t seem to be whirling with the same doubts. She closed her eyes once more. “It is simply a trial from heaven. We may be small, but all of us have an internal strength that will carry us through the ordeal.”
“I don’t think it’s any sort of religious thing, but you’re right,” Fuuta puffed his chest out. “Trials like this only make people stronger!”
“Do you think so?” Mahiru wasn’t sure if she was asking either of them or just musing to herself. It was a nice thought. This was all part of destiny, something meant to be that would make her stronger in the end.
But she wasn’t so sure she believed in destiny anymore. It hadn’t quite worked out the first time.
“Hell yeah!” Fuuta must have assumed she was in fact asking him. He gave a wide, toothy grin. “It’s not like we can get any weaker, right? The warden better watch out next trial – they’ve got a big storm coming!”
36 notes
·
View notes
if dorian didn't show up, do you think louis would have shot minnie?
I do. I know some people think either he wouldn't have or he would've missed so that's why the writers had him shoot Dorian instead, but mmmmmm no, I don't personally think so. I like to think that if he had taken the shot, his shaky hands would've caused him to shoot her fatally.
Mostly because I'm already so normal about the fact that of the Ericson crew, Marlon and Louis are the only ones with a body count. Well, that we know of, but shown to us in the game, at least. Plus, we know it's Louis' first kill.
Like yeah, Clementine and AJ become part of the crew and they have bigger body counts, and if we're counting indirect kills caused by actions, then Tenn has a count... and I guess everyone has blood on their hands for blowing up the boat... but I'm talking about killed directly with a weapon like....... I lied, I'm not normal about that at all, Louis and Marlon are the ones who have killed someone in Louis' route. I'm also not normal about the fact that Louis kills Dorian and then even as he's clearly in shock, he tries to go with Clementine to get AJ, and then later on when they talk about it, he says it feels like bile but not quite and he's glad he has it in him to do it.... listen, listen, listen... I'm obsessed with that.
Anyway, so if Louis shot Minerva, I think he would've accidentally killed her and can you imagine? He's already enough of a mess after killing the woman who pinned him down and tried to cut his finger off [or succeeded] but he knew Minerva, they were friends before the twins were taken. Even Violet couldn't kill her even though that would've been the smarter thing to do, and we know thanks to meta knowledge that killing her would've saved lives, but Violet couldn't, and I don't think Louis would intentionally either.
Speaking of Violet, if Louis killed Minerva, I hate to think about what that would've done to Vi. I think she might've actually left at that point, like what was planned before it got changed to her being burned. I don't think she would've attacked Louis over it, though, like yeah she attacked Clementine in the cell but Louis? I don't know, but I don't think so just because it's Louis and he'd be a mess about it anyway.
Though if he did kill her, it would be a neat parallel to draw... y'know, because Louis forgave AJ for killing Marlon even though he was pissed and heartbroken, and Violet was annoyed with him the entire time... but could she ever forgive Louis for killing Minerva? Y'know? We already have a similar parallel with AJ shooting Tenn, but still.
If Clementine killed Minerva in that moment, though, then I could see Violet attacking her since in her eyes, Clem proved her right.
So yeah, I get why they added the Dorian kill to his route. It adds another compelling element to Louis as a character, but we also need Minerva alive for episode 4; Louis can't kill her, he can't miss, and he's not going to stay with her because we need Violet to stay on the boat and him to be on shore for all routes.
29 notes
·
View notes
RELEASE THE AUGUST CUT!!!! (tbhc doc)
OKAY SO the document has some incredibly embarrassing notes and ideas + its linked to my email with my full name so i'm not gonna share a link to it BUT here are some screenshots from it + pictures and stuff
re-reading some of these, i have no idea what the fuck i was talking about
i have no idea when these photos are from but they are sooooo tbhc the frontman #To Me
i liked the idea of the frontman coming with his band to the moon and being the in-house lounge band, (hence part one being "lounge singer shimmer") and playing there for a while. the part in star treatment about being a little too wild in the 70s, i think, could be imagined as the frontman is now a little past his peak - or at least, this is how the public/audience sees him. which i say because i think that a lot what builds up the character is the perception of how they are viewed by the people who consume the product, in this case, the art and the singer. i was reading annotations of tbhc songs on genius.com and i found this one for the lyric "maybe i was a little too wild in the 70s" that i wanted to use a bit as a background for the character: Alex Turner himself could never have been too wild in the 1970s; he was born in 1986. As such, here he is most likely playing the role of an aging rock star whose career peaked in the 70s and is now forced to get by as the resident singer at the futuristic Tranquillity Base Hotel and Casino on the moon. This narrator crops up a number times across the record and is used to draw parallels between his form of isolation and that of Turner.
i didn't want to see it as "forced" to take the job as the lounge singer, but instead as a way to seperate from earth, and who the singer was in the 70s - too wild. to be able to become a more refined artist (for lack of a better word). it might've been a post from you, or from a mutual or something, that talked about how alex turner will sing about the melacholia of achiving your dreams and the sadness that can come with that. i can't find the post but i do think this idea is very interesting, and can lend into the characterization of the frontman, and what drives his emotions. genius says this about star treatment: Turner personifies a washed up lead of the fictional band The Martini Police, and crafts a rich metaphor for how idolized celebrities are never seen except from a distance, similar to the light of a star. i think that the frontman should feel very disconnected to the people around him, less so to his band, but especially the guests at the hotel. just like how the monkeys went from am to tbhc, i wanted to add that a bit to the plot. the frontman, now sliding away from the 70s persona he had, wants to branch out and try something new. but sex sells! even though he no longer wants to be that guy, or play that role, he still wants to make something people will love. so its a bit about deciding to just do your own thing and create the art that you want to create without the worry of what the consumers will think. art, not a product.
i hope this makes sense. please tell me to shut up if it doesn't.
i also wanted to play a bit into the idea of double lives, and personas and playing character, although i haven't quite worked that out yet fully. that's why i called part seven i think it was??? "i suppose a singer must die." i also considered using "what a death i died."
i think also themes from the car can also be pulled into this, because i think, more than any other two am albums, the car and tbhc are a little connected. with mr schwartz and how he, the actor mr schwartz, is connected very much to the people working on the set, who help him get into character. big ideas with coming up with something new and being excited about it. "your horrible new sound" lyric in sculptures of anything goes. the lyric about keeping on the costume to use as a writing tool in body paint. themes of being a performer rather than being a lover and being in love. but idk man, maybe this makes no sense at all. but the car and tbhc are sister albums To Me because they are my two favourite am albums and they will always be loved by me. ALSO pretty visitors and the look into fame at such a young age. also the dream synopsis and the bourne identity by tlsp.
i also thought a bit about how the hotel might look. the taquería - "the information action ratio", a lounge, obviously, where they will perform, a pool, a spa, all that stuff. so its most like a resort than a hotel. and i thought the line "everybody's on a barge /floating down the endless stream of great tv" and the idea of giving the hotel a little movie theater called "the barge" as a little nod to the lyric. visually, 2001: a space odyssey is, of course, a huge inspiration in terms of looks. i don't know if you've seen 2001 but there's this spot on a space station where its all very white and blank except for massive, bright red chairs. i like the idea of decor like that, maybe even a spot just like that, to pay homage to the film. i think also "retro realism" is a good jumping point. how people from 50 years ago imagined what the future would be like. blade runner, that sort of thing.
i think also "retro realism" is a good jumping point. how people from 50 years ago imagined what the future would be like. blade runner, that sort of thing. 1950s astropunk. taking inspiration from older science fiction movies rather than newer ones. also vintage interiors and hotels that look like the one in the shining.
i did also think about the idea of leaning more into a horror, like psychological, but i think it should be more of a study in character. a tbhc horror film would still be cool though.
so yeah. idk if any of this makes sense and maybe i'm off my rocker and don't understand the album at all. but it's a little fun to think about.
63 notes
·
View notes