Thinking about how most of the time when you have the option to stay quiet during a companion quest you get approval for letting them handle it and sometimes even get disaproval for talking over them

And then with Shadowheart's quest speaking up with Viconia not only gives a +5(while *keep silent* gives nothing) but also if you don't do that she will look genuinely scared when Viconia asks you to hand her over

Love the snippet’s that we’re hearing about Ncuti’s (upcoming) season as the Doctor. I don’t want to spoil things for people, but I’ve followed some behind-the-scenes news, kept up with some offical announcements and there’s one or two extra things in this special that just got released that give me a hint as to where this season could be heading.

Speculation and discussion of a) offical announcements/already released news and footage and b) possible leaks, below the cut:

I think Ncuti’s season is going to be more musically charged than any past season of Who. Music plays in big part of Fifteen’s character, if the jukebox smack dab in the middle of his TARDIS is any indication.

Meeting Ruby Sunday at a club, the first episode (very publicly) featuring a custom-for-Who song, are all indicators of this too.

Jinks Monsoon has been officially cast as a Trickster style character, with both costume design (notes, music lines*, etc) and RTD (posting a music note with the casting announcement) heavily suggesting this character is musically themed.

The second episode has been titled “The Devil’s Chord” (RTD broke the news in an DWM issue), and this may also be the episode with the Doctor and Ruby in their 60’s costumes.

Pure idle fantasy/speculation, but Jonathan Groff has been cast (in an upper-class-looking role) and that man can sing. So… who knows. Probably not though

Now to leaks and spec;

(DONT READ IF YOU DONT WANT TO KNOW)

———

Set costuming and casting leaks show that ABBA may be involved (Seventh Doctor juggled to ABBA, but Ncuti is singing it, so this may be more direct). There is also speculation that people dressed like the Beatles have arrived on set. I saw this for a moment before it was gone so don’t trust me for a second, but there was a leaked trailer label that said it was for Millie’s/Ruby’s Vocal Double. So the companion may sing too.

———

This is my brain poison rotting out, so this may all be nothing. This could be a short arc anyway. All these events could take place in a short montage, and nothing else.

I thought it was interesting though, because the one new detail in the TARDIS is the jukebox, and that should invite speculation, both for the future tone of the show and also for our new Doctor; someone who finds delight in the simple things, enjoying music, running, jumping, meeting goblins and even regenerating in front of a man who could wipe out a planet if he lost a game. Finding this Doctor’s breaking point is going to be interesting.

*Re “music lines” comment, please don’t hate on me, I have no idea what the lines on sheet music are called and my brain is full of feral energy telling me to type all of this and give a damn about the non-Who specifics later

(EDIT: didn’t realise autocorrect had called Jonathan Groff, Johnathan Geoff. My bad. Also, the very kind @starlightbright has pointed out that music lines are called ‘staffs’.)

I just finishes making two creepypasta OCs and I'm planning on writing a story about them. Well, even though Toby isn't going to be a main character, I still want to include him bc he's my favourite and I relate to him. I'm making this post about his characterization bc I want to get it right, and I hate how some people infantilize him in fics, or write his tics.

Anyways, Toby's characterization!

Attitude!

Now, I am thinking hard about this. So, isn't it canon that Toby continues to age even after his story ends, so I wanna say he's probably around 21-22 ish. He's mature but not completely mature. He has his funny moments. Toby is a proxy who obeys Slenderman's every command. Bc of that, he tends to be serious most of the time, unless he's not actively doing something, then he lets loose and relaxes. I also like to think he can be a smartass when he needs to be. He doesn't take shit from no one. But, if someone is nice, then he'll be nice as well. Toby, when he's working and whatnot, is quiet, barely talking so he can focus, but when he's with any creepypastas he's comfortable with, he can be quite talkative. He has a soft spot for anyone who can't easily defend themselves bc when he was still living with his father, he was in the same boat.

Toby isn't exactly a prankster, but if someone asked him for help with a prank, then he'll gladly help, especially if the victim of the prank is someone he's doesn't like.

Tics!

Now, I know in recent fics, at least the few I have read, people are writing Toby's tics in a more realistic way, and I'm happy about that. As someone who has tics, I wanna explain how I'll write them. Just a disclaimer, I only have motor tics (I might possibly have chronic tic disorder) so I might not write the vocal tics good. If that's the case, anyone feel free to correct me. Anyways...

Toby's motor tics consist of his nose twitching, head jerking, his eyes looking to the left uncontrollably, which causes intense headaches (I'm projecting). His right shoulder also jerk occasionally but that isn't a very common tic that he has. Another motor tic is that his arms will randomly extend outward, hitting anything in the way (not something that I do but I have seen in a fic I read years ago).

Vocal tics includes clearing his throat, repeating something he heard (in my fic, I really want him to say, "ding dong ditch, you are a bitch" bc my oc will write that (my oc doesn't talk so he writes)), whistling (from what I've seen, is a common vocal tic), and lastly, stuttering. NOW, I'm not talking about constabtly stuttering, no. He only stutters when he's really emotional or stressed or just in a very intense situation.

Relationships!

I'm not gonna go into detail about his relationship with every creepypasta (humanoid creepypastas Ig), but I will briefly mention how close he is to a select few, just the ones that comes to mind rn.

Jeff- Toby doesn't like Jeff bc in my fic, he's kinda an asshole. Though Toby does admire his honesty and how surprisingly trusting he is? Like, if you tell Jeff something, he won't tell a soul. Also surprisingly, he can be quite helpful, which Toby admires as well.

Masky + Hoodie- They're not creepypastas, and in Marble Hornets, are shown to actively go against Slenderman, so I like to think that Toby, who obeys Slenderman, despises them. They would try to get him to see through Slenderman's brainwashing, but he refuses to listen to them (who knows, maybe one day, he will listen and finally break free from Slendy~)

BEN- I like to think of them as friends (not bc they're my two favourites) but because despite BEN's age, he can be quite mature at times? And helps Toby if Toby ever needed information about a target. They play games every now and then.

Sally- Everyone loves Sally. End of discussion.

(I was gonna do more but I don't feel like it bc it involves thinking)

With my OC!

If you're not interested in anything about my OC, feel free to skip this part but I am in love with my OC and have been dying to talk about him!

Now, how is Toby around my OC? My OC is named Noah, and he doesn't talk, like at all. He has the ability to, but refuses to ever speak bc of his speech impediment: rhotacism. When he wants to talk to someone, he writes what he has to say on a notepad. Since he's quiet and minds his business, Toby is fine around him, but there's a part of Noah that unnerves him. It feels like Noah isn't just Noah, like there's another part of him that's more... evil. As a killer himself, Toby isn't scared of Noah, far from it. Noah is probably one of the most pacifistic creepypastas in the entire mansion. He never actually kills anyone, he just somehow makes people so angry that they start attacking each other. Toby is just a bit... curious about him. But they rarely see each other since Noah is either always in his room or disappeared somewhere, and Toby is mainly in the woods. Whenever they do see each other or hang out, it's always a calm experience. It mainly involves Toby talking about something with Noah writing back his responses. Not like Noah doesn't take the lead in conversations at times. When he gets excited about something, he hastily writes it down, which makes it difficult to read, but Toby doesn't care. Honestly, at times, Noah feels like a younger brother he never had. If Noah ever needed help, Toby would probably help.

(Gah, now all I can think about is Toby being an overprotective brother figure <33 especially since Noah never had any siblings. Also, this went off the rails a bit. I just really like my OC and Toby <33)

Please give us new folk a rundown on your OCs here >:D

CRACKS KNUCKLES

you just said the magic words bestie get fuckin ready

OKAY SO...

the setup for mrawdrs is that the four main characters all work at the same company (named MRaWDR: Magical Runoff and Waste Disposal Regulations, because the founder is about as original with naming things as i am LMAO) working as a field service team, the same way a crime scene cleanup or hazmat crew would work, but way more magical

first is addie dunbar, the security/medic (still working on her certification on that last one tho)

shes a unicorn, a trans lesbian, and has NO INTERESTING BACKSTORY AT ALL HAHA WHY WOULD YOU EVEN ASSUME THAT... here have some random facts so you stop thinking about it

her favorite author is jane austen, shes a huge classic lit nerd and listens to audiobooks constantly

her sharp teefies are veneers that were an absolute goddamn NIGHTMARE to get put in, because unicorn magic is healing-based and they just kept fucking popping off

shes actually SUPER fucking powerful as far as unicorns go, but being able to refine and direct her magic in a useful way is Very Very Dangerous to do on her own, and theres no unicorns around to help guide her

none that she would want to learn from anyways

hehehahehhahehaheheha

her great-great-great grandmother is brooklyn supreme

her voice claim is hozier, because take me to church is an extremely addie song

her job on the team is to act as a living battery for elmira to use to supercharge her runes, do (VERY MINOR) healing if one of them gets hurt, and to take care of any violent flora/fauna/sentient goo that may show up on a job. support tank!

up next is the teams technician, jones nolastname

a human engineering magic specialist, ball of anxiety, and Ultimate Nice Guy (genuine), they maintain and reconfigure all the equipment that the team uses on all of their jobs

yes thats their real last name. they fucked up the application for name change and never corrected it because they were too socially anxious

theyre a DDR master and will hog the machine at their local arcade for 12+ hours if you let them

theyre also a huuuuuuuge anime/manga/video game enthusiast. were it not for my infinite mercy as their god, they would be addicted to genshin impact

theyre actually the only native resident of the city that everyone lives in, called The Island of Steve (the name changes pretty often lol), everyone else moved from different states or countries

they grew up in the foster system, and were bullied so heavily by their foster siblings for being autistic and having a severe stutter/other speech impediments that they became mute. when they were younger it was by choice, but now as an adult their vocal cords have completely atrophied and theres no chance of recovering their ability to speak

BUT. sign is taught as a second language in all schools by law, so its a little easier on them to adapt

as such, they dont have a voice claim, but the song i most associate with their character is Worlds Smallest Violin by AJR. sometimes i think about paying someone to translate it into asl so i can make an accurate animatic of them "singing" it

third is elmira quickroot, the charms specialist and recordskeeper

fucking ultimate weirdgirl, i love her to death and i want to rattle her around like a maraca. she's a faerie, very british, and yes she does dress like that in her daily life. this is not a faerie thing shes just fuckin weird. her job on the team is to record absolutely everything that happens to the letter (for legal and billing reasons), and doing more intricate charm/rune work (which is essentially like magical computer coding)

elmira has perfect memory! much more intense and detailed than the eidetic memory or hyperthymesia that humans can have, literally every second of every day has been perfectly branded into her memory since the day she pupated into an adult. she doesnt know why, this isnt a normal faerie thing either, and her coping mechanisms for escaping the constant recall are.. not good, to say the least

shes a HUUUUUGE textiles nerd, she makes all of her own clothing on as minute a level as she can manage- by which i mean she weaves her own fabric, spins her own yarn, makes her own patterns, and on and on and on. dont get me wrong, she can and will raid the local Fantasy Michaels or Joann Fabrics for any supplies she can get, but the girl is kind of bugfuck nuts and on bad days she'll get really deep into it

her home country is a cut off faerie-only kingdom in the UK called The Realm, made from the ruins of an old castle built by giants waaaaaaaay back in the day, i need to do concept art of it because its genuinely beautiful

her voice claim issss. complicated. the closest human equivalent is florence welsh but pitched up, but in reality it would sound way less human. the way i usually describe it is if someone sang a sentence backwards into a microphone and then reversed the audio. i might do a demo of what i mean at some point lol, but thats pretty common for faeries

she stole her name from the city in new york and her gender from a random barista

the boobs are implants lol

her wings are based off of a blue morpho dragonfly

and finally... the man of the hour, your grandpa and mine, ultimate babygirl.... TOUFOR!!!

(THUNDEROUS APPLAUSE)

toufor is the customer relations guy, he goes out and does surveys on non-emergency jobs and coordinates with the clients to make sure they get all the right services they need. he is the most well adjusted motherfucker in canon and hes a corpse

(okay thats a lie theres someone who very nearly ties with him, but thats a sentient pair of pants who sounds exactly like sonic the hedgehog. his name is frankie we love him.)

toufor is a ghoul, the only one that has ever existed or ever will exist because hes a ~walking human rights violation~

i wrote out a whole list for toufor and then my computer restarted and deleted all of it so im gonna crawl in a hole for a while. aaaaaaaaaaaa

OKAY

toufor is a huuuuge music nerd, his record/CD collection is valued in the hundreds of thousands of dollars and he listens to everything in it regularly

the only guy in the world who says his music taste is everything and really means it

he has achondroplasia, but is shorter than the average height for people w the same condition. that plus the general constantly rotting a little faster than your body can replenish its cells thing means that he has a lot of health issues

BUT. he has a whole platoon of specialists that have dedicated their careers to keeping him healthy and with a good quality of life. its my city and doctors can be good if i want them to be. their work and the treatments he goes through are inspired pretty heavily by the Lenin Lab, which i recommend you check out this video by Ask a Mortician to learn more about it!!

this body isnt his original, and the elaboration on what happened and how his Whole Deal works is an entirely different post on its own. it will involve diagrams

i have an au that i write with my bestie where some of the characters in mrawdrs work at a strip club, and toufor comes in to do nothing but eat chicken wings for the entire night and then tip $500 to every dancer. they all love him dearly and this vibe extends into the core canon storyline

he cannot perform any kind of magic! due to the way his soul-body situation works, he has no way to access the magic inside of his body, or the stuff that exists in the environment ambiently. going along with that, any magic performed on HIM takes much more "juice" to actually take effect and takes MUCH longer to do so. he isnt a complete dead zone (HAAAAAAAAAA) but his... tolerance? is much higher.

his voice claim is corpse husband. i shant elaborate.

aaaaaaand thats the main bitches. theres also a fuckin LOT of side characters, sexy irredeemable antagonists, and background characters ive put a ridiculous amount of thought into, who all deserve their own posts in time... this is a threat

thank u for the opportunity to gush about my babbies <3

BNHA X DP Crossover HCs

After the long wait and finals, here are my ideas for all the quirks/occupations and other concepts I devised for the DP characters in the BNHA universe. This was just for fun and for inspiration towards others interested in this crossover au in general. 

Tagging the people that were looking forward to this post based on the replies: @qoinq-qhost, @floralflowerpower, @tgfangirl4eva @goodfish-bowl, @whitehairglowinggreeneyedcrush and more. 

Anyways, happy reading, folks!

Mr. Lancer

Hero name: Mr. Scholastic

Quirk: Bookworm

Involves his iconic usage of literature titles & quotes for swears to become abilities corresponding to the novel’s contents/themes. Course, he is limited to only books he has read and can quote accurately. Additionally, his voice gets very raspy past two or three quotes as well.

Occupation: Homeroom Teacher for Class 1- A; He’s very dedicated to his new students and teaching the fundamentals of being a pro hero and more! Course, I don’t think his chamomile tea with a wedge of lemon is enough to help him relax from his students (*cough* Danny, Tucker and Poindexter) from their antics at times. 

Danny

Hero name: Phantom 

Quirk: Ghost core (Ok, @coffeecakecafe had the best name for this one gotta give credit here)

Able to do anything a ghost is perceived to do. Go through walls, disappear and fly. This is a one of a kind quirk as it was obtained from Danny’s old quirk being altered by a machine his parents made that would repurpose/alter an individual’s quirk based on their past family members' own metahuman genetics.

Danny is doing his best and trying to understand his new quirk without causing too much attention to himself while doing so but it seems like its been doing the opposite as of late. Thankfully, he won’t be doing it alone with all his classmates around to help him!

Sam

Hero Name: Black Dahlia 

Quirk: Overgrown 

Able to create any plant that she knows the biological makeup and content of in almost any environment. However, it is important for her to drink lots of nutrient rich water and take in enough sun if she plans to create larger versions of these plants.

Tucker

Hero name: Tech Master

Quirk: Tech Core

Located on his chest/heart area is a special energy core capable of powering electronics at a rate faster than anything made-man could ever hope to achieve. As a kid, Tucker would tinker away in his family’s garage on a suit that would harness his power to the fullest extent and lead a new era of support tech in the hero world.

Valerie

Hero name: Red Huntress

Quirk: Electromagnetism (Someone I’ve been trying to find their post on my blog had posted this idea and I fell in love with it ever since)

She’s like Static Shock but with a dash of magenta/ruby lasers she can create through focusing her electromagnetism through her finger tips. She is an expert with her quirk and has the best handle of her quirk than most of her peers. She is the most frequent visitor in the support equipment workshop next to Tucker, Poindexter and Danny. It’s how she built the hoverboard she has in the show that utilizes her electromagnetic abilities for both offensive and defensive maneuvers. (Also, I enjoy the idea that Bullet is Val’s uncle on her mom’s side and is her biggest supporter alongside her dad, Damien Gray).

Jazz 

Quirk: Serenity 

Helps calm individuals and give them a sense of safety/security when they’re around her in a 10 feet radius. Though, anyone out of range cannot be affected by her quirk and she needs to be conscious in order to use it.

She planned on becoming a pro hero but felt her powers were best suited for her dream profession as a psychologist. She has used her quirk a lot when Danny was overwhelmed with his studies prior to UA. Course, a phone call and sibling chat over the phone certainly does the job for Danny now when it comes to preparing material for exams. (Course, its up to you guys to decide)

Dash

Hero name: Rager

Quirk: Strength Magnification

Improves his physique and stamina by a large percentage for a set amount of time. Needs to be careful of how much/long he magnifies his body or else his body will become immensely sore. 

Kwan

Hero name: Rallier 

Quirk: Team Rally (50/50)

Able to duplicate himself 3-4 times while being able to power-up allies’ quirks or stamina with a rally chant to help the team. The more duplicates there are the rally effect multiplies/stacks on the individual but it can lead to dangerous outcomes for their quirk output. 

Kwan is the class representative for 1-A, he’s the best at the job and was more than thrilled to be the one leading his class in more ways than one.  

Paulina

Hero name: Enchantress

Quirk: Charm

If the opponent is flustered by her taunts or flirting, their vision will become altered and start seeing things that are not there. It works better on men than women and the opponent can snap out of it with enough willpower or if they’re not interested in her.

Star

Hero name: Ms. Meteorite

Quirk: Comet

Similar to Gran Torino’s Jet quirk except faster and she can create an explosive impact on where she lands. Similar to a meteorite landing on earth, she also learns to use this as a long distance move by punching fast enough as she descends to create wind pressure punches.

Poindexter

Hero name: Tex (like in Tex Avery; Danny gave him the idea!) 

Quirk: Slapstick

His appearance is black and white just like an old timey cartoon character as well as having the durability and cartoon powers of one. However, his quirk can only work as long as what he does with it is funny in the circumstance it’s used for. Sort of like “Who Framed Roger Rabbit” rules in a sense. 

Sidney is part of Class 1-A just saying, I don’t care, this is Poindexter’s time to shine here to be the coolest/funniest person in the class. Also, Tucker’s most loyal friend/tester for new support items. 

Wes Weston

Hero name: Vigilance

Quirk: Deduction

He is able to deduct people’s identities to flaws/weak points for him to use against them and  exploit against problems. 

Class 1-B Representative and the most annoying/terrifying person that Danny has dealt with in his life. He was able to figure out that Danny’s quirk is not his own or more so that it's not natural and takes every opportunity to state this regardless if anyone is listening or not. 

Amber Mclain

Hero Name: Ember

Quirk: Fiery voice (50/50)

Her quirk uses the vibrations in her sining voice to conduct intense heat waves onto opponents or utilize to rumble the structures around here and even put out the flames from her quirk. Its like a combination of Present Mic and Endevours quirk but it leaves her with a strained or inflamed vocal cords with overuse. 

Third year student or an upcoming rock star that has certainly gain huge popularity after her song “Remember” was a nationwide hit amongst the younger generation. She’s striving to be the top hero while making her next hit to become the 1# song on the listings. 

Dani

Hero name: Phantwo (lol jk; unsure what her name would be)

Quirk: Poltergeist 

Similar to Danny’s quirk “Ghost”, except she has the additional ability to melt herself to a slimy puddle and use her ectoplasmic slime to trap or surprise opponents.

Clockwork

Hero Name: Clockwork

Quirk: Time Keeper

Clockwork’s quirk allows him to stop time for 5 to 15 minutes and be able to rewind it in the same amount of time. It can be one to multiple objects as long as he touches them in order to interact with them.

Principle of UA in this au. He’s quite a reserved man but still manages to visit and congregate with students throughout the school during lunch period. 

Flynn Fenton/Flynn Walker

Hero Name: The Green Knight

Quirk: Mineralization 

His quirk allows him to manipulate the minerals and inorganic materials in the atmosphere to create into crystalized constructs that are almost stronger than diamond. Luckily, the crystals have no value so he doesn’t have to worry about that aspect of his quirk. He does have to worry about his skin becoming dried out as a result of his quirk usage. 

Flynn is a third year student that loves to check up on his cousin, Danny, any chance he gets bc of the amount of work he does with his internships.

James Walker (or James W. Hausermann)

Hero name: Warden Wraith

Quirk: Plasma Apparatus

His quirk ionizes the electrolytes in the blood system into plasma. His entire body is composed of plasma giving him his skeletal appearance. He can create plasma chains, teleport from point A to B and more as long as he focuses and has enough energy at use. Course, he can have minor to severe dehydration and imbalance in his electrolyte levels from overuse. 

Occupation: CEO of an infrastructure security company/Provisional License Examiner just like Gang Orca.The ghost prison guards become his backup/helpers for the exam phases. (They’re just trained stuntmen with combat or military experience for the occasion).

Also, I like to think Walker has kids in this au who are in the Class 1-A group; they’re not hard to spot they take after their father with their skeletal complexion. 

Skulker

Villain name: Quirk Hunter

Quirk: Tracker

The moment Skulker makes eye contact with his target he will be able to hunt them down and find them anywhere no matter how good they are at covering their tracks. He can lock on to only one target, but he will be able to know their heart beat, quirk, be able to place a tracking/scent line that only he can see and will lead him to his target’s location. It lasts for over a day or a half.

Occupation: Skulker is known for capturing, info-detailing or “retiring” newcomer pros or specific quirk users for his clients that pay him handsomely for their targets, dead or alive. Thanks to Vlad, Danny was strictly intended to be captured alive by Skulker but sometimes he gets too thrilled by the hunt to not have a memento. Trust me, it's more of a dangerous 

Nicolai Technus 

Villain Name: Technus 

Quirk: Technopathy

A genius in his own right, even if he’s a little crazy, with the best ability possible for a man of science and innovation. As long as he knows the makeup and attributes of the machine, Technus is able to completely repurpose or change a machine’s qualities for offensive and defensive qualities. Whenever that be for a mech suit or hacking a high tech system for entry, he’s able to do it as long as he knows what it is and how it functions. An example is repurposing a slot machine into a submachine gun that shoots coins at the target. 

Vlad Masters

Name: Vlad Plasmius

Quirk: Vampire

Can do anything a vampire can supposedly do. However, he was able to manifest an additional aspect of this quirk which is the ability to copy any quirk users ability. Based on the type of blood he ingests decides the amount of time he can use the copied quirk for.

Occupation: CEO of his own hero firm, he is extremely selective with the interns he has that there is a major waitlist to be even consider for Masters Inc. Course, imagine the surprise Danny must of felt when he received an offer from Vlad right off the bat after the Sports festival. 

Bruce Guiles (Bullet)

Hero Name: Bullet 

Quirk: Sphyraena or Chimera Fish

Able to do anything a barracuda can do or the quirk is a 50/50 mutant quirk in which he has both the traits of a barracuda, Chimaeras and a touch of piranha from his parents being of one of these fish species hence Chimera. Bullet can do anything those fish can do overall but he can’t go too long without hydration from water. Water quality and its oxygen content also affect his abilities by a noticeable percentage but he still remains quite formidable as a quirk user.

Occupation: Captain of a coast guard team, he’s a strict military man with an amazing record of saving people from any disasters both on land and sea. Him and Walker are best buddies ever since they went to school together. 

Vortex

Hero Name: Vortex

Quirk: Storm Warning

Vortex can utilize any variation of a natural disaster depending on the environment he’s in. Hurricanes, tornadoes, thunderstorms, you name it he can create it for his use. However, despite his amazing control over his quirk it is still possible for him to create these disasters if he lost control or magnify another pre-existing one if he loses focus. 

Occupation: Storm-chaser/Forecaster; His control and knowledge in combating/predicting these natural disasters has led to him to be part of a storm chasing crew and they’re the best in helping disaster prevention teams evacuate citizens as a result.

Petra Eris

Hero name: Pandora

Quirk: Butterfly Effect

Can manipulate or prevent a chaotic event to happen if she was in proximity and present to prevent it to happen. Or even give a little chaos to the opponent to deal with during battle. 

One of the top ten heroes and most beloved heroes in the country. She is the best strategist in any team and has a way to predict any event before they happen given the necessity of it for her quirk to work in her favor. 

Johnny 

Vigilante name: Johnny 13

Quirk: Unlucky

Johnny manifests his bad luck into a shadow that will latch onto opponents and cause unfortunate events to occur more for that individual as a result. However, the shadow cannot exist in complete sunlight; it can only remain if there are already shadows in his general area or it’s nighttime and its effects are strongest at that time obviously.

Occupation: Johnny is the leader of a biker gang or de-facto leader of said biker gang who loves to raise hell and helping folks that need saving whenever he’s around or is up to the task. Kitty tags along with him to help him out of jams and bc she loves him. :3

Kitty

Vigilante name: Kitty

Quirk: Lovesick

Kitty sends a smooch towards her opponent which if it makes contact causes the individual to have nausea or become disoriented for around 10 minutes. It can also have a chance of lasting longer if the individual was sort of infatuated with her regardless of gender. 

Pariah Dark

Villain name: King Pariah

Quirk: Ultimate Adaptation 

Similar to all for one except with the unpredictability for both the user and opponents. Pariah can manifest any type of quirk needed to defeat anyone that stands in his way both one-on-one and in groups. Course, drawbacks are the learning curve to some of the quirks and that multiple adaptions he utilizes at once will destroy his cells in the process. 

Pariah is a former follower of all for one who had unique quirk that All for one augmented to help him succeed if both Shigaraki and Tomura failed in their own conquest for the world. But now Pariah has his own plans to succeed where they failed and become the leader who shapes a new world order with an iron fist. 

Frederick Kingsmen

Villain/vigilante name: Fright Knight

Quirk: Burning Energy Infusion

Able to form/infuse objects with his own burning energy life force that is capable of burning or slicing through any in his sight. The sweat he gives off is what provides the material needed to ignite his unnatural flames despite it causing his body to overheat still. 

Fright Knight is Pariah’s second-in-command with a loyalty to him as strong as his control over his power. Fright Knight has faced many pro-heros as he carried out the smaller phases of Pariah’s plans and most of them barely came close towards defeating or leaving as much as  scratch on the knight. 

Rodolfo Gonzalo  

Hero name: Wulf

Quirk: Werewolf + Portal creation (50/50?)

Can do anything a werewolf can supposedly do; somehow it allows him to create portals with his claws to locations he has marked with them or visited in the past. 

Wulf was abducted on by Pariah’s forces and sent into the Nomu labs for experimentation to force on another quirk and instill complete allegiance to their cause. Course, Wulf broke free as a result of that new additional quirk allowing him to escape their clutches and his previous one helping him survive the endeavor. However, he lost his memories in the process and could only remember his native language, Spanish, and his hero name Wulf. 

Overgrown

Villain/vigilante Name: Overgrown

Quirk: Plant Manipulation

Can manipulate any pre-existing plant matter or create new vegetation if water and soil is present for the process or he understand the biological makeup of the plant in question. 

Occupation: Pro-hero or eco-terrorist who is tired of humanity from abusing the environment from quirk battles to industries using the land for their own benefits and none others.

That’s all I have for now! I hope this was worth the wait, guys. As well as, inspire ideas for your takes with a DP x BNHA Crossover! 

Ok girlies I’m here w the tea !

I follow some larries and was v bored so I got the link to everything and let’s just say I used to like harrys music but not anymore 🤺.

Anyways, starting w the good bc I’m nice , the hs1 leaks were two shallow songs and one was clearly the proceeder to watermelon sugar, but it was lowkey a bop. The 1d demos were so bad that everyone on my dash was reblogging a post thanking Louis for firing the 1d writers(😭😭).

Oh Anna does go hard ngl. Now a new song called satellite was catchy as hell and actually cohesive w some depht too and that’s the only fully good thing I have to say abt his new stuff 😬. One called daydream had nice production too but very basic lyrics. The sex one he debuted at cochella was catchy but it’s the least Sexy sex song I’ve ever heard… it’s giving suburban vanilla and annoying peoples sex lives. Most this album has absolutely no depht and when it does it’s about a literal fictional character(Matilda) or it’s self pity. Never feeling bad for the people he talks about wronging though 🤓.

Now for the bad… most of the album sounds like it was written by a 5th grader. Idk if he did that on purpose but lord Jesus Christ what I ended up doing is putting the few decent songs in a playlist w a bunch of his old songs I downloaded for this ✨experiment✨and lord… even the sound is extremely lacking compared to fine line/hs1 honestly. The harmonies have no women this time and his old stuff all has rlly nice harmonies. The sound is literally just boring as hell. The fucking sushi and driving songs… death. We already know about the confusing conjugate switch in the whiny boyfriends one… as if he’s not a BOYfriend😭.

The one song that’s clearly for larries is literally bitter as hell saying “I shouldn’t have let u go, i used to sneak u around, I’m not gonna try w u again, I can’t write an interesting bridge, xx angst, u were the loml.”

The song called little freak is him admitting to wronging someone (I don’t think Louis) and getting karma. The one about wine is him saying he found the perfect person (who he would sneak away 👁👁) and then he chose “something old and red” instead of what was perfect for him, and now he’s paying for it hardcore ( karma 💜). The one called daylight is abt dating the most lame ass crackhead Hollywood trash. Def NOT about Louis( the details don’t match him).

Matilda has nice songwriting and did make me a lil emotional bc I relate a lot to the story. That’s the only deep/pretty song on there.

The one about objectifying Olivia Wilde made me go through the 5 stages of grief. BUT WHATS WORSE IS THAT HIS VOCALS LITERALLY HAVE NO EMOTION IN MOST THESE SONGS. Like not at all. His vocals are fine and his falsetto is smooth but idk he just sounds lifeless.

I just don’t get how the same guy who made fine line or hs1 made these songs. When Louis says happy songs can be lame and cheesy and says most songs need a guitar… THIS is what he’s talking about.

Shoutout to harries bc I wouldn’t b able to defend this shit. Idc how far up someone’s ass I am, even if Louis pulled this I would drop him so fast.

That is all. Do not stream that album guys you’ll actually cry at how bad some stuff is.

Oh my god, do you guys want to read a Coachella review that’s honest 👀 it’s actually funny as hell.

How on earth do Buzz & Stu fit the Bad Randoms into their strict schedules, with Buzz being a lifeguard and Stu being... something? More importantly, how did they become a band if they've got nothing in common? Are they off-screen friends?

One Band Origin Story coming right up!

🥁🎙🎸

So Buzz, I like to think that he got a littttllee bit of flak from a few other Brawlers about how "ineffective" he is and how he's "just making things worse" as a lifeguard. (like Jacky, Carl, Frank and Bull.)

Some of his friends (Shelly, Jessie and the Junker Line) defended him, but the Dino was like "eh, I'm fine guys, really. Who needs them anyway?" Then proceeded to wallow with pity for a few days because he loved that sense of accomplishment that came with being a lifeguard but apparently not everyone felt that way so whatdoesitmattereventrying--

But, since he has to work somewhere in the Park to stay, he opts for a different job, at least for the time being.

So he looks around for a bit, and lands a job with the Entertainers Trio! Amber, Primo and Poco welcome him with open arms because they're arguably the friendliest Trio in the Park and they've already got the place mostly Amber-Proof so it's all good!!

It's been shown that Buzz does like the beat of music, as shown when he started grooving after saving Sunny the Duck Turret and being hugged by Jessie. So for sure he would have a strong appreciation for Poco's shows.

Though he would quickly catch on, Poco plays a lot, but he doesn't....sing?

Poco: well, it's because skeletons don't have vocal chords, and can't sing.

Buzz: But then how can you talk?

Poco: :) *strums his guitar nonchalantly* so anyway--

Poco absolutely loves collaborations and partnering up for different musical bits, (playing at Barley's, collaborating with Frank, Sandy and Piper, etc.) so it wasn't long until he and Buzz decided to work together on a piece, but first they had to find a good genre of music.

Enter the #1 most difficult robot in all of Starr Park...

I couldn't answer where Poco and Buzz were practicing different instruments to see what kind of music genre they could collaborate on, but it was cacophonous.

Buzz tried his whistle, his trombone, a harmonica and other wind instruments because as a life guard, you would just be silly to not use anything involving your lungs (in his mind.)

Poco's a very patient skeleton and didn't mind the discordant start of this collab at all. Thankfully, as that's what Buzz needed. Encouragement and patience!

However it did bother someone passing by. Stu, who's a little rude and mean because it's cool to be tough and you always have to show you're on top of it, drops in and asks what all the ruckus was.

"Terrible. Really t-t-terrible! Can't anybody go-o-o around without being f-forced to listen to a couple o-of noisemakers?" Looking around, he notices that there's countless instruments. "What's e-e-even going on here?"

Poco, ever the peacemaker, is about to say "Hey, no problem! My friend and I can just go if we're really bothering you that much."

But Buzz is Not going to stand that. One insult that hit too close to home leads to another and, surprise, surprise! A Brawl is how The Bad Randoms formed.

After the wreckage that ended in a weird kind of draw, because Poco healed the both of them to get them to stop, they finally talked like civilized Dinos/Robots/Skeleton.

It was explained to Stu that Poco and Buzz were planning a collab, and honestly that sounded pretty cool to Stu--

He asked what they had so far, and they sheepishly said that what he heard was what they had.

"Oh." He doesnt know how to go about saying it so he just takes the dive. "....would you. Maybe consider a third person."

Poco is delighted, because anybody interested in music is a big treat for him. "Do you know how to play anything?"

Buzz is a little reluctant because of the, oh I don't know, the Brawl they just had? Poco manages to convince him to glaze over that-- at least for now. If Stu chooses not to try and play nice, then he just won't play in the band at all.

I'm pretty sure Stu came up with the idea for heavy metal as their focus, and Poco was all for it again.

Everything actually clicked into place after that! Buzz decided that a wind instrument would not be heard over electric guitar or drums at all. Singing was the way to go, since he's great at yelling and making noise

Stu and Buzz do eventually get over their first bad meeting, and find out they have several things in common. Like the crippling need to be adored/needed by others staying active, similar movie tastes, humor, and socializing. :)

The only thing I'm drawing a blank on is if they're a recently public band how did Edgar have a t-shirt of their logo since last December?

So, that's how the Bad Randoms came to be!

~

Did Edgar make the shirt + design himself and the Bad Randoms liked it and paid to license it? Does he get royalties?? (between the Gift Shop, Goldarm Gang, and this, I wonder if he's actually well off in Gems and Coins now after that really rough patch. He shares with Colette but she blows it on Merch anyway.)

~

(And, just as a little bit of character detail for Stu.)

He doesn't like being told what to do. The Mechanics, Arcade Players, Max + Surge and other robots around the park who care about him are no exception. He just sees them as trying to cramp his style when they try to get him help though.

That's why I think Stu's friendship with Poco and Buzz is so important. It's not that they don't/didn't care about him to "improve" him, it's because they gave him a different outlet without bringing up his depression or self-destructive tendencies. Stu simply isn't a robot who likes talking about things like feelings because he thinks they're flaws.

So, to wrap things up, The Bad Randoms bring out the best in each other even though they now all spin in Showdown, go AFK in matches, and choose level two Brawlers in Power League. :)

11x02: Acheron, Part 2 - Analysis

Okay, let’s talk 11x02. And 11x01. Because it’s a two-part episode, it’s important to consider them together. I have a LOT to say about what’s going on in these two episodes, so I’ll have plenty to post all week. Let’s dive in!

***As always, spoilers abound below for TWD 11x02. Don’t read until you’ve watched! You’ve been warned!***

Maggie

The first thing we see is a point of view from under the train car. The instant I saw that, I knew how things would go. I never thought Maggie would die (if nothing else, there are scenes with her in the trailer we haven’t seen yet) but I was curious as to how she would survive. When I saw this POV, I knew she’d end up crawling under the train. Just as Glenn crawled under the dumpster. Massive parallels to Glenn. Which by extension, massive parallels to Beth. Major resurrection theme.

It's also important that when she reappears, she comes from underneath the car. Obviously, that’s logical given that she crawled underneath the car, but they make a point of asking if the pounding is coming from the roof. Gabriel says no and then they open the bottom hatch for her. Her coming up from the ground like that is a visual representation of a resurrection.

So we see Gabriel, Negan and the others enter the train car. The spatial details here are important, and I had to watch the episode twice to get them all straight. It’s a little confusing the first time. So, the group jumps down into the train car through a hatch in the roof because they couldn’t get the door open in the last episode. The thing is, if you watch closely, you come to realize they’re not in the train car on the end. They must have walked along the roof for two or three cars before finding a hatch that let them in.

So, when Gauge shows up, he comes behind them, and that confused me because I was thinking they came from that direction. And they did, but they entered through the roof, not the door. Anyway, they can’t get the door open. So honestly, even if they’d tried harder, I’m not sure they could have saved him.

This scene accomplished a lot of things, character-wise, that we need to touch on. It’s important to note that Gauge’s death happened due to his own choices. Does that mean he “deserved” to die or that they shouldn’t have tried to save him if they could have? Of course not. No on both counts. But that doesn’t change the fact that his choices sealed his fate.

It's especially interesting that he called Maggie a Liar. Not only is that a throwback to the Governor, but it’s a particular type of mentality they’re showing here. Even the fact that he didn’t shut the door behind him is really interesting. My first thought was to be annoyed with him. Why WOULDN’T you shut the door. You live in this world. You know better. But it’s all ego. He can’t imagine something bad will happen. He just assumes if it does, someone will save him.

But the most telling thing was how angry he got before saying Liar. It just shows very much how he approaches life. When he messes up, he doesn’t feel bad, and accept that it was his fault, and try to learn from it. No, instead he gets pissed and blames everyone but himself and his own actions.

If this had been Daryl or Gabriel or Alden or any of our other heroes, they would have recognized that opening the door would have gotten their friends and family killed and would have sacrificed themselves. Especially if they realized they’d screwed up. But Gauge became angry and defiant, even killing himself.

Anyway, I’m rambling. This really has nothing to do with Beth or TD other than perhaps being a future template for something. But I thought it was a really fascinating character sketch.

The thing is, this isn’t really a matter of Gauge being wrong and everyone else being right.

Maggie is…not doing so well either. As I told my fellow theorists, Paola Lazaro said in TTD last week that Maggie was kind of off the rails. I think she said that a little prematurely, because we really didn’t understand Maggie’s state of mind just by watching 10x17 and 11x01.

It's not until she tells that messed up story about the house she found and the people in it that we understand that her state of mind really isn’t at its healthiest. Even saying she wanted to kill Negan before is…understandable given their past. But it makes more sense now why Negan is so nervous. He’s sensing her state of mind that her moral conscience isn’t as strong as it once was, so of course he’s fearful for his life.

I don’t know where they’re going with this Maggie story line, but I have a feeling this attitude of hers will cause conflict down the road. Several of my fellow theorists believe it will cause a rift between her and Daryl. And we can see that somewhat through Alden. At first, he was very much defending Maggie, especially against Negan. He has a lot of loyalty to her. But he didn’t like her abandoning Gauge, and you can see his loyalties starting to waver.

At the very least, what she said about not feeling anything about it is the opposite of what Beth always stood for. Daryl was trying hard not to feel things during Still, in the wake of the prison going down. She made him feel things because that’s the only way a person is truly living, rather than just surviving. Now Maggie is in that state of mind.

And I’m gonna argue that makes it a prime time for Beth to return to help her. But of course I’m completely objective over here. ;D

Maggie’s Story:

Maggie’s story was definitely dark and horrible, but interesting to analyze. I’m assuming there was cannibalism going on there. That’s why the missing limbs. The men in the house were eating the female prisoners. No only a callback to Terminus, but remember that Bob’s leg was taken for food, so I’m sure that’s what we’re supposed to infer here.

She talked about no eyes, no tongue, no limbs, vocal cords ripped out. So definitely the see no evil, speak no evil themes. With the limbs, it’s also a matter of not being able to escape or save themselves.

In terms of the plot, I do have one question about this that I think may be significant. Maggie first talks about three deformed people (she says, “I wouldn’t call them men”) coming toward her. She kills them, and only after that hears the noise from the attic.

My question is, why were they deformed? If they’re “men,” then they must be at least Maggie’s age, if not older, which means they’ve been around since before the apocalypse began. Even eating human flesh doesn’t cause one to become deformed, so why the deformities? I have no idea, but I wondered if there is a radiation theme going on here. Something they’re hinting at, but not saying. Just thought that was intriguing.

After that, things go sideways and everyone almost dies until Daryl arrives to save the day. So, let’s skip to his story.

Daryl:

We first see him bust through a wall with Dog. So, dog took off in the last episode, but the first time we see Daryl, he’s already found Dog again. At least, the first time. This is where he sees the murals on the wall, the walker with the handcuff and the suitcase of money, etc. I already talked about most of that in great detail HERE, so I won’t rehash it, though it’s very important.

One thing I will say about the mural is that thematically, it’s a match to Still. So, in the golf club, we had lots of rich people who clearly hid there when the world first went bad. And I don’t remember this particularly, but several of my fellow theorists have told me they remember the TTD after Still and that the writers talked about how the golf club was a statement about the class system. You have these very rich people, but their wealth couldn’t save them. Death, walkers, the apocalypse…none of these things discriminate based on wealth or position.

On the wall, we see people with crowns standing at the top, but below, they are homeless, and one of them is being attacked and torn apart. Meanwhile, Daryl sees a line of text that says, “it comes for us all,” probably meaning death.

Well, guess what? Angela Kang, in talking about the murals, said that this, too, was a statement about the class system. So thematically, this is meant to be a parallel to Still.

It’s just interesting to contemplate because if you think about it, most of our heros—Rick, Daryl, the Greene family, etc—weren’t at all wealthy. Rick was humble and well-grounded. Hershel worked hard his whole life and never had any glory or fanfare. And then there’s Daryl, who was “nothing. No one.” They all survived.

So of course it’s a socioeconomic statement, but it’s also one about mindset. It takes not only grit to survive this world, but a certain amount of humility. Ego always gets you killed eventually, as it did with Gauge.

I’ll also mention that I thought the guy with the crown who was being torn apart was being set upon by walkers, but AK says they’re specifically not walkers. They’re people.

So, it’s not a coincidence that we see this juxtaposed with the Gauge situation. His ego gets him killed and we literally see him being torn apart because of it.

Moving on.

Daryl finds a bag with a $100 bill with a letter written on it. This is a massive TD clue from start to finish. 100 is an important number. The hundred dollar bill features Benjamin Franklin on the front and Independence Hall on the back. Look either of those up and you’ll find lots of fun parallels we could point to. I won’t go into all that today except to say it’s definitely part of the Revolution theme.

This is what’s written on the bill Daryl finds:

“Dear Dad, you always said if you don’t come back in a week to move on. Mom didn’t listen and went looking. It’s been three weeks, so we’re going next. I’ll watch Jesse and turn on the radio every day at 10. See you both soon. Love Tom and Jesse.”

He also finds a picture of two kids. So, the “three weeks” jumps out because of Rick’s line in 5x10, “it’s been three weeks since Atlanta.” It’s also about missing family members, going searching for them, etc. Possibly important that the mom is also missing. I can’t help but think of the song from Still. “Our mother has been absent, every since we founded Rome…”

There is a 10 in there, which is an important number. The turning the radio on every day is both the radio/airwaves theme (also a line from the song) but a callback to Rick and Morgan and their walkie talkies. So, really interesting symbols here.

The two kids immediately reminded me of Noah’s twin brothers. I don’t think these two are supposed to be twins. I’m assuming the brother is older. But still obviously siblings. And it hearkens back to the last episode Beth was technically in. Which also had a lot of the CRM/Revolution theme in it. (X, X).

AK says this family probably didn’t make it, so I’m not expecting these kids to show up in the narrative. But it’s also important to note that the little girl is carrying the toy rabbit Maggie found earlier. So the rabbit also ties into all this symbolism. (P.S. I didn’t get to my rabbit post last week. I planned on it, but time got away from me. I should get it posted later this week.)

So, this is massive in terms of TD symbolism. I’ll talk about it fits into the bigger narrative in a minute.

Then Daryl kills the sleeping bag walker. I wasn’t sure the significance of this at first, but I think it ties to the tents and sleeping bags we saw in Atlanta in 5x06, Consumed. Daryl and Carol passed them while looking for Beth. So, this just shows us that this is tied to her storyline and Daryl searching for her.

You could also argue that the walker was “hidden” at first, and it’s significant that Dog found it/realized it was there before Daryl did. 

The other thing is that as he’s looking at the sleeping bag walker, there’s a random shoe on the ground next to it. Missing Shoe/Foot theory, which is also indicative of Beth. 

They hear another roaring sound and Dog takes off, running into the dark tunnel.

Here’s the thing. I think most people will assume the roar he heard was just more air being forced through the tunnels by the storm, as Alden explained it in ep 1. But I always watch with the subtitles on and I noticed at this part, the subtitles said, “Man Roaring.” So they actually did hear someone screaming. And that’s probably why Dog ran toward it.

After watching it again, I realized it’s probably supposed to be Roy. He’s the white-haired guy, played by C. Thomas Howell, who Daryl finds wounded after he emerges from the Tunnel. I think whatever happened to him when he went topside but then got attacked by walkers is what Dog heard and went running toward.

Maybe not terribly significant in the plot, but it’s important symbolically. Because once again we have something Daryl hears from a distance but doesn’t see. Dog (a proxy for Beth) runs toward it, and Daryl follows. When he does, he find someone who had previously separated from the group. They’re hurt, but alive. See the parallels?

I will say the Roy situation confuses me just a little. He’s clearly hurt, and when Daryl tries to bandage him, he refuses, saying, “just tell my kids I didn’t die a coward.” But then later he’s with the group, all bandaged up, and seems to be okay. (He dies when they reach the Reapers by taking an arrow to the head, so he still dies overall.) But it’s just weird that it seemed he would die, then seemed he was fine again.

It may well be something that foreshadows a future situation, and that’s why it’s not making tons of sense right now. Only time will tell.

Anyway, I kind of glossed over Daryl crawling through the dark tunnel. I don’t have much else to say about it except that it’s a SUPER potent symbol for Beth’s arc and very important that he emerges on the other side and finds this person. Annnd then goes to save TF. (Dark Tunnel Symbolism).

So, he hears the gunshots and finds the train they’re on. He comes up behind the walkers attacking them from the front, kills them, moves the bench blocking the door, and lets everyone through. Then he uses a grenade to blow up all the walkers. (Ew.)

After that they all get out of the tunnels and go topside. The next scene is also super important. We see the stars above. That’s partly to show that the storm has passed now, but also constellations = Sirius.

Maggie asks what he has and he tells her about it. There is one weird moment in this scene. When she tells them about the supply depot she wants to stop at, she says Georgie (from S8) set it up for emergencies, for people on the outside to use. When it says this, the camera focuses on Daryl for a LONG moment, and he looks almost sad. I’m not sure what they’re trying to tell us there.

Anyway, they all head out. Unfortunately, when they reach the right neighborhood, the Reapers are there to meet/kill them. And Roy is the first to go.

So, a couple of things here. I’ll probably do a details post because I’m leaving out MOST of the background details throughout the episode, and there are a lot of them. Lots of details to be gleaned in this scene.

But the second time I watched it, I was struck by the people hanging upside down. Obviously a grim sight, but it occurred to me that these people hanging this way look a LOT like the deer diagrams from Scars. Let me show you some pictures:

Top pick is 11x02. Middle and bottom one are from Scars.

See what I mean? So, chances are something about Scars foreshadowed the Reapers, which is interesting. They clearly see human beings in a certain way (as animals to be strung up and…perhaps eaten?) And that makes me think that what Maggie found in that house may tie into the Reapers as well. Just kind of interesting foreshadows of coming plots.

Eugene:

Let’s talk Eugene and then I’ll shut up for today. Eugene’s stuff was very intriguing. First thing you need to know. And understand, I didn’t know this. @wdway​ pointed it out. Some months ago, the actress cast as “Stephanie” was announced. This is her:

And that’s clearly not the woman who steps into the train car at the end. Which means this isn’t really Stephanie. She’s a decoy. In fact, the actress from this episode is billed on IMDb as “woman 2,” not as “Stephanie.”

Knowing that, if you go back and re-watch the parts with Eugene’s group, they mean something very different.

On the surface, it seems that Zeke, Yumiko and Princess are taken away in a sinister fashion. Then Eugene melts down and tells his story. (Note: while he focuses on his feelings for Stephanie and I think most of that is true, he still says he lied both to her and to his friends about being from a large settlement. So, he’s still keeping large chunks of the truth from them.)

Again, on the surface it seems that they accept his explanation and just decide to allow them all in. All the stuff with the other three is just a misunderstanding.

But if “Stephanie” is a decoy, that can’t possibly be the case. I think Zeke and the others told Eugene the truth as they know it, but they’re all still being manipulated.

After Princess left to pee, the guy told Eugene no one was in the room and acted like he had no idea who Princess was. They were definitely using psychological torture on him, trying to break him.

I think they know very well that Eugene's group is still lying about their settlement, and they're using a decoy "Stephanie" to find out the truth.

My point is that it goes back to the hallucination, making-someone-think-they're-crazy theme. It will be really interesting to see how this unfolds, because there's all kinds of psychological shenanigans going on here.

@galadrieljones​ made a really interesting connection some time ago. She noticed that back in 10x18, at Leah’s cabin, there is a metal, heart-shaped chair. The same chairs show up in the Commonwealth’s sales video from the trailer. So there’s some kind of link between Leah, Daryl’s memory of her, and the Commonwealth. We don’t know what it is yet, but all of this gives credence to the idea that she is either an outright hallucination, or Daryl is just remembering things wrong.

It also might mean that the Reapers are connected to the Commonwealth in some way. We don’t really know yet, but I’m having tons of fun trying to figure it out.

I want to touch briefly on the train car theme. Once again, there’s a parallel in both story lines (Terminus, and this one at the Commonwealth). Daryl’s group is in train cars this episode. And while Eugene’s group has been at a different compound, they started in the train yard and end in it here. But what I noticed is that Eugene enters the train car at the end, which is furnished inside, and finds his friends there. They all have a happy reunion.

It made me think of the fact that when Rick, Daryl, Michonne, and Carl enter the train cars at Terminus, there is also a family reunion. What happened beyond that was not good or easy. Clearly, Terminus was not a good place. Many of them almost died at the trough and they had to fight their way out through a walker blood bath.

I’m just saying that, while it obviously won’t play out exactly the same way, something similar is probably waiting for Eugene’s group outside that train car. Not good.

Acheron Overall:

Okay, let’s get to the big cheese, here. The overall narrative. The template.

These two episodes are called Acheron part 1 and part 2. So here’s the skinny:

Acheron = Underworld. Daryl’s group going into the subway tunnels (dark, underground) is what constitutes Acheron and why the episodes are called that. That’s why, at the end of this episode, they emerge from the tunnels onto the surface (i.e. the living world).

Given all the death, cemetery, and dark tunnel symbolism around Beth, given that she ventured into the land of the dead by being shot, maybe clinically dying for a time, and being thought dead for so long, what this tells me is that everything that happens in these tunnels is a foreshadow and template for what will happen this season.

I maintain that Dog = Beth and we will soon see something where Daryl hears something (not necessarily her; it was a man screaming so I still think it will be Rick he hears word of) and goes chasing after it. While searching for it, he stumbles across Beth. Then the two of them (both Dog and Daryl returned to the train car) go back in time to save TF from something.

This is most likely why the Roy thing is weird. In a super understated way, he represents Rick in the template. Daryl will find him, but only after he finds Beth. Even consider what Roy says. He says, “tell my kids I didn’t die a coward.” And that’s all well and good, but did we even know Roy had kids? No. Have we met them? No. But who has kids that Daryl IS concerned with? That would be Rick.

So I’m thinking that maybe when Daryl finds Rick, Rick will think he’s dying for some reason, and that’s why the dialogue here. But he won’t, which is why we see Roy with the group later.

And no, I’m not thinking that Roy dying via the Reapers will extend to Rick. It’s more like what they’ve done with countless characters that have been Beth proxies. Eventually, they kill them off. He’s a minor character they were using as a proxy, and when they are done with him in the narrative, he becomes walker chow. Or, in this case, Reaper fodder.

Anyway, I think everything will end up being a foreshadow for something. Maggie and Negan. The Gauge situation. All of it. I’ll try to keep coming back to this as the story progresses to show what everything foreshadows. I’ll stop there for today.

fangirl’s paradise - leo x reader

genre/vibe: romance, adventure, slice of life

word count: 2.8k

pronouns/perspective: first person present, no pronouns (I think), gn reader

au: soulmate kind of?? also traveling to other dimensions/multiverse

pairing: Leo x fic writer!reader

requested: nah

warnings: you think someone broke into your house for a minute, you feel like you’re going crazy for a minute, questionable pop culture/internet references, you get really embarrased about stuff you’ve written, you say fuck a lot, tiddy as an explative

summary: all you wanted to do was write some leo one shots for your blog, but finding out he’s your soulmate is good too

reccomended songs: havana - camila cabello, where do we go from here - amelie obc

a/n: got really meta and self indulgent with this bad boy, probs gonna do a part 2 at some point, cause this got really long and I started to get tired lol. For clarity, you’re from the riordanverse, but ended up in a world where it’s fictional. also some memories were erased. 

requests r open xo

All I wanted to do was dance embarrassingly and sing along to the same playlist I’d been listening to for the past three days in terrible accents while I wait for my ramen to finish cooking. That’s it. I really don’t think that’s too much to ask for. Plus, I’ve been home alone all day, so it’s really not too much to ask for. I flip over the waistband of my sweatpants while shimmying my way to the kitchen. 

“Half of my heart is in havana oh nana,” I sing along off key, in a pseudo growly voice that makes me giggle. I’m going to turn the corner, make myself some ramen, then finish the episode of love island I’ve been watching. Except that’s not what happens.

“He got tha-” I cut myself off with a scream, seeing a stranger in the hall way. He looks up. I scream more, way more, and choke out, “JFK’s left fucking tiddy!”, because this dude is either the best freaking cosplayer ever, or those tiktok reality shifting tutorials actually worked at some point. 

He looks too natural, too organic. The level of detail and strategic imperfection is beyond conscious choice. There’s no way he’s a cosplayer that broke into my house. Also, that would be a super weird crime. 

Either way, I’m standing in front of a dude who looks exactly like Leo Valdez. 

It feels… fake.

I didn’t really notice I’m covering my mouth with my hand to stop my hysterical scream laughs, but I’m able to get it under control after a second. 

He’s looking at me, eyes wide, examining me, probably wondering why I’m acting so erratically. Or why I just spat out such strange bullshit. In my defense, I’ve been watching chaotic tiktok compilations inbetween updating my blog for like, two days straight. Three other people round the corner. I don’t know what I expected, and it shouldn’t have been a surprise at this point, but I’m sure I’m looking no other than at Percy Jackson, Annabeth Chase, and Piper Mclean. 

“Jesus fucking christ, fuck me with a chainsaw!” I spit, retreating into the kitchen, reminding myself that while they are my favorite characters - and again, somehow real and in front of me? - they’re still technically intruders. I grab the nearest kitchen implement, a pair of red kitchen scissors I’d used to hack open the ramen packet, and point it at them. 

“Woah,” Piper says, “it’s okay, we’re not going to hurt you.” I count to four and breathe in, setting the scissors back down within arms reach. Hold for seven, exhale for eight. I repeated the process again, watching Annabeth whispering to Leo.

I can feel the initial freak out subsiding. I’m starting to calm down a little.

“We’re not going to hurt you,” Piper repeats. Well duh, they’re the good guys. A spike of pure what the fuck shoots through me, as I realize I’m already adapting to the fact that fictional fucking characters are standing in my kitchen. Leo’s ignoring Annabeth, and still staring at me, searching my eyes for... something.

Piper’s brow furrows. I call past Piper to Annabeth.

“Yeah, hi op, what the fuck?” They all have a silent conversation for a minute, and I continue, “Anyone want to tell my why the fuck fic-”

“We can tell you what’s going on, but it’s going to sound crazy.” Piper starts.

“After the past five minutes, probably not.” I glance past her shoulder, Leo’s still examining me. I look away, overwhelmed almost immediately. About 30% of my brain is just an endless loop of ‘ohmygodohmygodohmygod he’s real??? Like,,,, r e a l real????? Aj;dlfkajskdla ohmygod he’s looking at me what the fuck richard’, 20% was still trying to calm down from freaking out so much earlier, so I was at about half brain power for the conversation ahead. 

“Okay, wait. Let me get this straight.” they stare at me in silence. We’re standing in the hallway outside the kitchen, and I feel like a complete disaster trying to process what they’re telling me and not look like a total idiot.

“So, Calypso went missing, and Leo got Aphrodite to activate his soulmate link so he can find her and it led you here?” I’m already smiling. There’s no chance, I can’t get my hopes up. 

Piper continues, “Which means it might not be Calypso.”

“Unless you’re wearing a really good disguise or something,” Leo says. I’m pretty sure that’s the first time he’s spoken to me. I let out a breathy laugh and look away from him. If I try to look at him my brain goes haywire. Scenes from stuff I’ve written about him on my tumblr flash in my mind, and it makes me feel like I’m about to explode. 

“Yeah, the reason we know is-”

“The gods are real, monsters are after you, et cetera et cetera. Yeah.” They seem a little surprised that I’m more concerned with the soulmate part than the mythology part, but I’ve been reading these books since middle school. We been knew.

Piper keeps looking between Leo and me with a weird look on her face. God, Piper, don’t get my hopes up. A knowing look passes over her face and she looks around the room again.

“Gods, where did he go…” She gets up and leaves the room. No one says anything. Between right then and when she gets back should have been in a ‘top ten most devastating anime uncomfortable silences’ compilation. She enters again a few seconds later, a tall hot guy behind her. He has red flowers in his hair and isn’t wearing a shirt for some reason. He looks between me and Leo.

“I see… interesting.” he turns to me and says, “Can you tell me anything… personal about him?” My face flushes. I turn to Piper.

“Sorry, but who the fuck?”

“I mean the only noncanon stuff I know is what I came up with for like, writing and stuff but that doesn’t count-” I sputter.

“Eros.” she replies, “My mom sent him along to help find the right person.”

“Normally I’d be able to tell instantly, but my powers don’t seem to work here very well.” his voice is like honey, and it seems like he’s heavily implying something no matter what he says. 

“Yeah, go on hermosa,” Leo says, smirking, “take a whack at it.” His voice sounds so much more… real than I could have imagined. If I could verbally keysmash, I would have then and there. 

“Hmm… why don’t you try anyway. What kind of lover is he?” the room erupts into protests. They don’t want to hear personal stuff about their friend, I don’t want to talk about cripplingly embarrassing smut headcanons in front of the character they’re about, and he probably doesn’t want me taking a wild guess at his bedroom habits. Eros turns to Percy, Annabeth, and Piper.

“You two, out. You, leave but stay close.” They leave the room hastily.

“Since I’m the god of sexual desire, I know what gets people going. I’ll be able to tell if you’re right or not. ” Eros says. I risk a glance at Leo, who I have a feeling has been staring at me a lot. He leans forward, playful intrigue all over him. How is he not dying inside?? 

“Ah ah,” Eros says to Leo, “you too.” Leo obliges, and heads up the stairs.

“H- okay, uh… he acts like a top, but he’s really kind of a bottom,” I choke out, trying to remember details from past posts, and Eros nods in approval, encouraging me to keep going, “he’s really-” my voice falters, and I hide my head in my hands, “he’s really vocal, like really vocal… uh…” 

“Oh yes, I can tell.” Eros says, and I laugh slightly. “What else?” 

“More? God okay… uh… he really likes hickeys, and-” I choke on my words, still unsure of how I got in this situation. 

“He holds hands a lot in… the bedroom? God…” I trail off.

“The next morning, he kind of… he just sort of stares at you while you get dressed and stuff. I don’t know anyone else who does that.”

Eros studies me for a second. My heart is beating so hard. How long does it take to say yes or no? I’m uncomfortably aware of the distracting adrenaline in my arms and chest and head. 

“Interesting,” he says, then stands up and leaves the room.

What the fuck, is he not going to tell me anything?

I’m listening as closely as I can, and I’m pretty sure I hear Eros say five out of five. I got everything right or everything wrong. Nailed it or failed it. 

Piper speeds past me a second later and races up the stairs. After a few seconds she comes back down. She nods toward the staircase.

“You should go talk to him.” a knowing smile is playing at the corner of her mouth, and I can’t stop one from starting on mine. I run up the stairs, and see him, kneeling on my bed, reading what’s on my laptop. 

Oh god, no. 

He stands up. He’s staring at me so intensely, I look away immediately. I start sputtering out a panicked apology and sit down on my bed, moving to shut the lid of my laptop.

“Uh… I just listen to a song or something that makes me think of you,” my voice gets really tiny at that last part, “and stuff starts to pop into my head. I just keep replaying it, and uncovering more details so I can wr- wait,” I start to look up at him, but can’t bring myself to meet his eyes. I stare intensely at the pattern on my quilt instead. “Did you say remember?” He lets out a breathy laugh, and I can hear the smile in his voice. 

“-of course I never thought you were going to read any of that, or…” His hand is on top of mine, my hand and voice freezing at the same time.

“How… did you remember all this?” my fears are being squashed. He doesn’t sound mad, or grossed out, or judgemental. He sounds… impressed.

“Yeah, I mean, I’m only starting to get back bits and pieces, but you remember… everything.” 

“Wait wait…” I mutter, completely dazed, “so it wasn’t… it was all real?” I feel him nodding behind me, and he makes a noise of agreement. 

“It was genius, really… as soon as I felt like I was remembering something, I’d forget it.” His other hand rests on my shoulder, palm flat against my back. “Only you would think to write it like that…” 

“So… it all happened?” I breathe, my face heating up as I think of the titles marked with a little asterisk. 

“Yeah,” I bite my lip, feeling his breath over my skin. It’s quiet for a second. The mattress shifts and I can feel him leaning closer to me, feel the heat coming off his body. His lips are dangerously close to my ear.

“Want something else to write about?”

Oh my fucking god.

I nod before I finish registering what he said. His free hand moves to my cheek, tilting my face towards him, and my skin explodes with sparks where he touches me. 

Our lips brush.

We both freeze.

Flood gates open. Countless vivid images and feelings and scenarios flash across my mind. It was like watching a movie connecting every fic I’ve written. I gasp-laugh a little, and he does the same. It seems like the visions or whatever that he’s seeing are a lot more intense than mine. His eyes flutter open and he looks at me stronger, more intensely, more passionately than he had before. He lets out a soft, breathy laugh, and presses his lips to mine. Everywhere he touches feels carbonated, and I’m trying not to smile too much. I don’t think I’ve ever been more in the moment than right this second. He pulls me closer, tilting his head and deepening the kiss. I didn’t know a kiss could be deeper than it had been a few seconds ago. His mouth moves feverishly against mine. My arms move up on instinct, one hand playing with his hair, the other tracing the collar of his shirt. He shifts his weight, and one hand on my waist, lowers me back onto my bed. His left hand intertwines with my right, and I smile, remembering what I had told Eros earlier. 

“Estrella,” He groans into my mouth, our teeth scraping as we smile in spite of ourselves, and I get the sense the nickname was an ‘as you wish’ type of thing, from the Princess Bride. It feels like he’s saying I love you. My heart speeds up as he nuzzles into my neck, pressing kisses and little bites into my skin. I think about the nickname I always thought would suit him, the one I kept writing down over and over. Now or never.

“Sparky…” I smile, hiding my face in his hair. He freezes for a second, then lets out that breathy laugh again, his face in my neck. His lips graze my collarbone, and he starts to say something, but the door opens suddenly, and we jump apart. It doesn’t help much though, because he’s still hovering over me on all fours and we both look very flushed. And I’m pretty sure the start of a hickey is forming on my neck. 

“Right,” she replies, “we gotta get going, the door is closing soon, so come down stairs as soon as you’re… free.” 

“Sorry!” Annabeth yells, averting her eyes. Leo and I stumble over each other’s flustered responses.

“-looks bad but nothing… happened… we d- we didn’t like, do anything...” I trail off. 

The door closes.

“I’m coming with you guys?” I breathe. He looks over at me, that unflappable sense of playfulness present as ever. 

Leo sits back, scratching the back of his neck.

“Yeah, we should get back soon. Everyone else will be worried once they remember.” My heart plummets. I didn’t know you could go from feeling so incredibly euphoric to beyond miserable in about five seconds. I open my mouth to choke out a response, but before I can, he stands up and stretches a little.

“Do you wanna change before we go?” The question has such a normal tone to it, it’s a little bizarre after all the unusual things that have happened today. The bad feeling and tears at the corners of my eyes start to recede. 

“Of course you are. If you think I’m losing you again this soon you’re crazier than I am.” I let out a relieved laugh, and stand up. I look down at my monster foot slippers and sweatpants. 

“You know where to find me,” he winks before closing the door on his way out.

“Yeah, I should probably change.” He pulls me close to him, one hand comes up to the back of my neck, the other on my hip. He starts swaying us back and forth, dancing around my room.

“Well, if you need any help…” I laugh, and shove him away playfully.

I take a second to catch my breath. Oh my god. Thoughts are still racing in the back of my mind, but I don’t pay attention. I don’t have time to worry about what’s real and what’s not, I need to find the perfect demigod adventure outfit. I throw open my closet, start shuffling through dresser drawers, digging through my shoes. I don’t remember having one or two of the pieces, but after a minute, I find exactly what I’m looking for. It’s the exact outfit I’d always imagined myself in if I ever went to camp half blood. I search through my accessories, grab a bag, and hastily fill it with anything I think I’ll probably need. I turn back to my laptop, and change my blog description to on hiatus. I check my hair, flattening out the back from before, and determine I’m ready to go. 

I walk down the stairs, and everyone’s watching me. I feel like it’s prom or something, which sounds silly since I’ve got on ripped jeans and a backpack instead of a dress and clutch. Leo’s watching me with that look, the one that makes his eyes all sparkly, and he meets me at the bottom of the stairs. He puts his arm around my shoulder.

“Ready to go home, Estrella?”

I have never been more ready for anything.

TGF Thoughts: 5x02-- Once there was a court...

Season five is off to a great start. I’m feeling more energized about TGF than I have in ages, maybe since the beginning of season three. After the mostly standalone premiere, I wasn’t sure what to expect from the rest of the season. Episode two introduced a lot of new elements that I’m intrigued by and excited about, so here’s hoping the rest of the season can sustain that energy. (Many) more thoughts under the cut.

And, again, since the most consistent thing about Tumblr is its inability to roll out new features that are actually helpful, here is a link to view the post so you don’t have to read it all on your dash. (Omg, Tumblr, not only do you force people to keep reading on their dashes but you also jump down to the middle of the post when the full version opens? Do you have ANYONE beta test these features?)

Reddick/Lockhart is bustling when the episode opens. The fact they’re calling it Reddick/Lockhart seems like an indication that Liz chose to partner with Diane—it's not. The firm just needs a name, and it can’t have Boseman in it. (The signage still says RBL... for now.)

Everyone in reception is talking animatedly, except for Carmen Moyo, who’s just taking it all in. You might be tempted to read her as nervous. You would be very, very wrong. But we don’t know that now. Right now, it wouldn’t be wrong to assume she’s Maia 2.0. This scene strongly parallels Maia’s first day at the firm (opening with the reception saying “Good morning” and the firm name, then showing new associates waiting for an orientation by David Lee). And in that scene, Maia is absolutely nervous, like you’d expect a new hire might be.  

Carmen focuses on another associate’s hand. I assume this is meant to be a parallel to how Maia fidgets with her rosary ring in that initial scene. Carmen then peels a price tag off her portfolio—possibly another Maia parallel, since the portfolio Diane gives Maia is such an important symbol in Maia’s arc.

I also see shades of Alicia and her first scene here—Alicia's silent and focuses on small details (the thread on Peter’s jacket) too.  

I don’t say any of this in hopes of comparing Carmen directly to either of those characters. Carmen is not like any other character this show has had before. But these parallels are quite good at establishing character, building intrigue, and showing contrast (even if you don’t see them as parallels, we’re still getting a lot about Carmen just from watching her reactions, even if we don’t yet have the context to understand how to read Carmen). Since I’m now thinking about Maia and Alicia, I’m also now thinking about how Carmen is different from them and triangulating her spot in this universe—that's a good thing. She’s not a copy of either character, but I understand a little more about what the writers are telling me about her from the parallels.

The RBL sign in the background is being taken off the wall. It falls and adds even more chaos to reception.

David Lee walks in and screams, “Stand up! Those seats are for clients.” This is the exact same language he uses in the 1x01 scene; this is definitely an intentional parallel.  

Btw Carmen already has more personality than Maia and she’s been in one episode so far! I didn’t hate 1x01 Maia, but I will say that nearly everything that intrigued me about early Maia was that I could project more about Alicia (whom I, obviously, care a lot about) onto her. I can and will compare Carmen to Alicia, but when I do, it won’t be because Carmen is an interesting lens through which to analyze Alicia... it will be because Alicia is interesting precedent to use to understand Carmen.  

I still hate Maia, yep.

David Lee accidentally instructs a client to stand and then has to save face, heh.  

In David’s tour of the office, we see the partners squabbling. Sounds about right. And STR Laurie is still a thing, which explains why David is there (though not why he is giving a tour).  

Throughout the tour, we get a lot of shots of Carmen. Again, she’s silent and looks like she could be nervous. (Spoiler: this is a fakeout and when you rewatch this scene, you can see what new cast member Charmaine Bingwa is doing here—expertly putting on a face that looks like anxiety in one context, but is actually just Carmen calmly sizing things up.)

Marissa eagerly joins the tour. “That’s right. They’re letting you play lawyer, Marissa. How nice,” David says. Carmen takes this in, too. “Fucking prick,” Marissa mutters. Carmen hears.

David Lee introduces “someone from HR” which is a great sign that HR is very effective at this firm.  

In the conference room, the partners are still arguing about who should replace Adrian. Diane tries the “all options are open to us and we plan to decide in the next 48 hours” strategy, but this audience is too smart for that. Madeline asks about the new leadership structure. (I am kind of hoping that one nice side effect of having to kind of shoot the season in a COVID bubble will be that we’ll get more small recurring characters. Madeline’s been around for a little while but we’re already seeing her get to do more this year.)

“Diane and I are going to run the firm together. For now,” Liz says. Oh, no, Liz, do not open the door to change. Letting the partners know you’re not sure is probably the worst strategy. You’ve gotta decide or they’ll sense weakness.  

“Just the two of you? A black firm being run by a white woman?” a partner asks. “Well, I’m not running it alone. I’m here to assist Liz,” Diane says, trying to deflect. “Really? Because she needs assistance?” he counters. Diane doesn’t know what to say, but she and Liz both know these questions aren’t going to go away.

HR is running an orientation for the new hires and it involves having them all take pieces of toilet paper. Man, I hate ice breakers. Carmen takes a moderate amount and then passes it to Marissa, who takes only one square. Carmen notes this and makes eye contact with Marissa. And this is where it starts to become obvious that Carmen is not nervous—just observant and not chatty. Carmen knows Marissa is one to watch from how David reacted to her presence. She gives Marissa a look that’s meant to be noticed and start a conversation. It works, and Marissa explains that for each square you take, you have to share a fact about yourself. Carmen hates this and hides the rest of the toilet paper so she only has one square.  

Liz tries to say there will be a discussion about the partnership, and Daniel (that’s what the captions call him, though they do reference him as “Barry” at one point but I'm like 99% sure I know which actor is Barry and it’s not him) says it feels like they’re just being told what the new state of things is. Liz says she hears him but right now they need a senior associate to backfill Lucca.

Daniel doesn’t think they need one. I don’t get why, unless it has to do with the budget cuts.  

“We need someone with real experience to take on her caseload,” Liz notes. Hell yeah you do!

Liz asks if any of the partners want to take over family law. None do.  

After the meeting, Liz asks Diane if she can call a head hunter. Diane approves. David Lee pops up to ask which one of them is taking Boseman’s office and they haven’t discussed it yet. I love that they managed to order a sign with their names on it before they’ve talked about how being partners will actually work.  

(Also, Adrian’s office is quite obviously going to end up with Liz. And it would be weird if it were Diane, anyway, because it’s Diane’s old office from Lockhart/Gardner and it would look it if she sat there again lol)

David notes that an empty corner office looks like failure. He is correct. He gives them until Friday to decide.

Marissa does not like the ice breaker at all and pointedly notes she only has one secret, and it is that she used to be married to a mime. She makes a whole bit out of it and then whispers to Carmen, “I usually just make things up.”  

Carmen’s next and she finally gets to speak her first words of the series. You know who else didn’t speak at all in her first scene? Alicia Florrick. Very different scenes, but I can’t help but think this is intentional. From what I’ve seen of Carmen, both she and Alicia use silence strategically and are comfortable with quiet. Alicia’s first scene is silent because she doesn’t need to use words to be expressive, but it does establish that she’s going to be a character with a lot of internal thoughts she won’t vocalize and that she’s observant and tries to maintain composure. Sure, you can watch the first scene of Pilot and just see a woman who’s stunned into silence, but when you watch it knowing Alicia and realize how much of the essential parts of her character are in her totally silent intro sequence that kicks off the show... it’s kind of amazing.

So comparing Carmen’s introduction to that? I mean this as a huge compliment. Carmen deploys silence for reasons both similar and different to Alicia. While Alicia uses silence to maintain some kind of boundary between her inner thoughts and the outside world, Carmen uses it to get a chance to observe and take things in without showing her cards. (We do see Alicia do that as well, especially at work, but I would call this a side-effect of Alicia being a quiet person rather than her intention; Carmen seems to be more conscious of how she uses her silence.)  

Carmen is from Victorville, California. That means nothing to me but I’m sure there’s some significance. Carmen mimics Marissa’s response when asked for her secrets—she also responds with, “secret,” emphasizing she only has one. But what she says next also shows her in contrast to Marissa. She says her secret is she hates games. We already know so much about her and she’s said like ten words!  

I think it’s smart to set Carmen up as a contrast to other characters. I know who Carmen is not because of how she differs from more familiar presences like Alicia, Maia, and Marissa. Marissa hates ice breakers, but her reaction to them is to use them as an opportunity to say something funny and over the top. Many others (including probably both Alicia and Maia) would likely resent the activity but play along and say something unremarkable (I could see Alicia overthinking it and sharing something surprisingly quirky though!). Carmen just does not give a fuck, and in a different way than Marissa doesn’t give a fuck. Marissa insinuates that she thinks the whole activity is stupid... Carmen just flat out says it. I would not pull this move on my first day of a new job! And that is the point—who is this person who is so self-assured she’s willing to insult HR on her very first day of her very first job as a lawyer?  

ALL OF THIS FROM A FEW WORDS AND SOME WELL-ACTED GLANCES! As I said, I’m very intrigued by Carmen. I have some questions about the logistics of this plot, her endgame, and how she’ll function when brought into the firm drama/debate plots, but for now, I only have good things to say.  

Liz interrupts the ice breaker to announce that everyone will be assigned a mentor. She then pauses to greet Marissa, which Carmen, again, notices. Liz is really there to say that they’ll be working on client maintenance that day, and each new hire will get to help with one of their clients. When she reads off their top clients, all the hands shoot up—except Carmen’s.

Madeline’s last name is Gilford. Noted. John’s last name is Wilson.  

No one raises their hand to assist with Oscar Rivi, who is in a maximum-security prison. Carmen confidently raises her hand.  

Barry’s last name is Poe. Noted.

Marissa and Carmen exchange glances. Super curious to see how this evolves. There are too many Marissa/Carmen exchanges in this episode for the writers to not plan to have them interact more in the future.

I’m kind of loving that it seems like the show’s leads are now Diane, Liz, Marissa, and Carmen. Diane’s obviously great, Liz is someone who’s been deserving of leading material for ages, Carmen seems interesting, and I’m so impressed they have managed to make Marissa, usually good in small doses, into a character who can handle larger plots without wearing on my patience (like that awful Elsbeth centric episode of Wife).  

Diane has a client who received a summons directly, which Diane finds strange. But, since she is already working with this client on the same case (teaching kids during COVID) in another court, Diane is optimistic about this second suit. She thinks it could set a good precedent.  

Diane introduces Phoebe, an associate who will help out on the case. Diane says she’s not personally going because it’s a formality and Diane needs to work on the brief. I’m like 99% sure Diane isn’t personally going because Diane’s role here is to convince the client she’s getting senior-level attention while having junior people do the work, but nice story!  

Diane asks Marissa to go along with Phoebe. Marissa thinks she’s going to get to argue in court... Diane says no, Marissa gets to hand hold a client.  

Oscar Rivi is basically Lemond Bishop, which is the only explanation I have for why RL would represent him. And, you’ll recall, I didn’t understand why RL would represent Bishop either. But we’ll just have to go with it.  

(I think representing multiple drug lords is probably a bigger PR issue for RL than having a white partner! How come no one ever talks about this! Actually, new complaint: wasn’t Liz, who now has more power than before, the one who was most against representing Bishop?)  

(I guess it may make sense that she’d be more okay with this Rivi dude than Bishop. Whatever Rivi’s done, I don’t think he’s threatened Liz’s kid like Bishop did!)  

(Also, I’m fine with them switching it up and suddenly having this new drug kingpin. Mike Colter is obviously unavailable since he’s a lead on Evil, and I was tired of Bishop anyway. If the writers stop using Bishop and Sweeney as shorthands for corruption I will be very happy; I don’t think there’s much more mileage left there. Speaking of, Dylan Baker popped up in 2x02 of Evil!)  

“I don’t want you to be intimidated,” Barry tells Carmen as they arrive at Rivi’s prison. Carmen reads articles about Rivi on her phone, saying she’s taking notes. Barry tells Carmen to “sit, listen, leave.” But then he discovers his ID is expired (he didn’t get it renewed during the pandemic) and he can’t go visit Rivi as a result. Carmen says she’s fine alone—she'll sit, listen, leave. She’s calm and not at all cocky as she says it, and it really takes until she’s actually talking with Rivi to realize that she’s not (just?) a hypercompetent law school grad trying to impress. She doesn’t seem to care at all what people, no matter how powerful, think of her, as long as she’s able to find security of any sort. (Tbh, it is kind of amazing she doesn’t get fired in this episode.)  

(I’m getting ahead of myself but in Alicia’s first ep, she also changes up strategies on the partners. Alicia does it almost without realizing she’s gone against their wishes—she's just sure of the right strategy—and Carmen does it much more intentionally.)  

Marissa and Phoebe can’t locate Judge Wackner’s court. Marissa asks a security guard she’s friendly with (of course she is) for help. He says there’s no Judge Wackner there, and the security guard notices that it’s a summon for a “9 ¾ Circuit.” The guard laughs at the Harry Potter reference; Marissa is not amused. They leave the courthouse when Marissa spots a sign for “9 ¾". She follows the sighs down an alley. Phoebe wants nothing to do with this; Marissa and the client are intrigued. They end up in a store called Copy Coop and are directed to a warehouse.

In the warehouse, an argument is resolved through Rock, Paper, Scissors. Then it’s Marissa’s turn. She asks for a continuance just like she was supposed to, but she uses the wrong phrasing. Judge Wackner notices. That’s when Marissa notes she’s not a lawyer, and Wackner responds that he’s not a licensed judge. So it’s fine that Marissa isn’t a lawyer.  

Marissa tries to protest again that she’s not a lawyer, and Wackner basically tells her to proceed anyway. The client wants to stay, weird as this fake court seems.

Carmen reads with Rivi. She stares at him, getting him to speak first. His translator asks if there’s another lawyer with her; she just introduces herself. The translator does a terrible job of translating Rivi’s complaints, sharing very little of what Rivi said with Carmen.

Unsurprisingly (to me at least, because scenes like this ALWAYS have the twist where a character doesn’t let on that they speak the language until the exact right moment), Carmen speaks Spanish.

She lets Rivi know she speaks Spanish AND insults the translator in one go. Pretty big move. That gets Rivi’s attention and he kicks out the translator. He asks who she is and she repeats her name again (characters reacting like this will never not remind me of “Who are you?” “Kalinda.”).

Carmen notes that she’s just out of law school, explaining that’s why she’s eager to help. She doesn’t reveal that by mistake—she's using it to her advantage.  

Credits! As I predicted, things are blowing up again this week like normal. No more kittens and puppies. There’s a new couch that blows up in the credits. Wackner’s desk also makes it in. I can’t remember if the purses were in this position before; they might be new. All the exploding TVs show footage of January 6th (which I hear is going to be a major theme of the season, though it’s not heavily featured in this episode). And the zoomed in shot of the closet (that I’ve never really liked) is gone, as is the falling curtain!  

I still hate the font of the logo for this show. I also don’t understand why the show seems to have three logos—the one that’s the TGW logo but with “fight”, the one in the credits, and whatever the one they’ve come up with for this season’s marketing materials is. I like that they’re trying with the marketing of this season but I don’t get why the show has three logos.  

While I’m talking about the marketing, can we just talk about the “Goodbye Lucca” graphic the official social media account posted? It had a fucking crown drawn over her head like this is a 2013 Tumblr shitpost!!! Who are they targeting with this?! WHO ARE THEY MARKETING TO? DOES THIS WORK ON ANYONE??? It literally says, “Chi-Town” on it. I cringed so hard. Sometimes I feel like the marketing of this show is meant to cater to the people who would, like, watch the credits of last week’s episode and be like, “Yes! It IS all now puppies and kittens! Everything bad in the world has been resolved!”  

But hey, at least it’s better than the absolute trash they used to post for TGW. Remember when there’d be episodes about Alicia making career moves and they’d be like, “#TeamPeter or #TeamWill????”  

OR, OR OR OR, the fucking time they tried to crosspromote TGW and the Victoria’s Secret Fashion show (yes) with a tweet that read, “All ‘Saint Alicia’ needs is a pair of wings&she practically turns into an Angel.” I... have no words.  

Hey, Caleb is back! I was not expecting them to actually wrap up his arc with Liz. I think I’m actually pretty thankful it’s ending like this—he comes back for what I assume is one last episode and I don’t actually have to deal with the Liz/Caleb plot. Apparently the writers were setting that up so they could do some plots about power dynamics and interracial couples and who is seen as having power. Caleb and Liz were going to have an encounter with the police, who were going to listen to Caleb instead of Liz even though this encounter would’ve taken place in Liz’s house and Liz is the name partner and Caleb the employee. Interesting enough, but anything boss/employee just squicks me out and I don’t need it around and Liz deserves better.

But I did like Caleb as a character, so I’m glad he gets an exit, unlike past characters who have just disappeared. (Remember Robyn Burdine? Or that time Taye Diggs was a major character for two seconds?)  

Liz was NOT expecting to see Caleb as a candidate for Lucca’s old role. Things are instantly awkward. I guess Caleb left STR Laurie?  

Diane immediately senses that things are awkward with Liz and Caleb. Caleb is very professional throughout all this. Diane gets an important call and leaves the room, so Caleb and Liz can chat privately.  

Caleb says he thought Liz was reaching out; Liz says she should’ve reached out but things ended abruptly. Love that Caleb checks that no one else is in the room with Liz before getting even more personal. He says they should just act like nothing ever happened between them and Liz asks if he can do that. “I’m the employee. Of course I can,” he says. This is why you don’t sleep with employees.  

He says he really does want the job and he liked the firm. Liz says she’ll talk to Diane. Caleb says if it doesn’t work out he’ll be fine.  

Phoebe tells Diane about 9 ¾ and Diane does not understand... at all. “If it has no power, and it doesn’t have jurisdiction, what does it have?” Diane wonders.  

A little more on the case: RL is representing a woman who taught a small group of students during the pandemic, and some parents are suing her for preaching socialism at the children.  

The woman suing did NOT like being called a Karen by her daughter or being compared to the family from Parasite. She wants a refund.  

Marissa objects and makes up her own grounds, realizing that since it’s not a real court, she can object for any reasons she wants—as long as they follow common sense.  

These scenes could so easily feel ridiculous, like a gag that goes on for too long. They do not. There’s just enough zany humor and theatrics to make the 9 ¾ court feel surreal. And, most helpfully, Wackner is a GREAT judge. He is engaged with the work and only concerned with the facts and arguments rather than politics. He’s tough but fair. He’s direct and he maintains control over his court. He’d be one of the best judges in a normal court. His sincerity is enough to make you wonder why courts DON’T operate like this. It’s easy to see why the characters are sold on this BS-free, rational, and effective system, even if it makes no sense that it would exist and it has no power. It’s simultaneously idealistic (if only things were resolved fairly) and threatening (how can something like this exist?! What does it mean that the real courts are so ineffective that there’s a need for something like this?! What happens if this goes beyond what are basically mediations for simple issues?).

This type of thought experiment is where TGF excels. I think they were going for something like this with Memo 618 (which hasn’t gone away!), but that arc always felt like it was on the verge of going off the rails. Mandy Patinkin’s performance and the writing for the 9 ¾ court already have me more invested in this than I was in Memo 618.  

Marissa tries yet again to wait for help to arrive, but Wackner insists that they keep things moving. She tries to stall and ends up referencing George Clooney. Wackner cuts through that, too—he hates speeches “unless I'm giving them, and even then I’m just trying to stall.” Then he holds up a sign that reads, “CUT THE SHIT” and the audience laughs. He says this isn’t the kind of court where you can just run out the clock. Kind of ridiculous that real court IS that kind of court, no? (And that’s why this is an effective device so far.) (I say so far because I have watched content from these writers for long enough to know that things that work in small doses or initially can go wildly off the rails.)  

Marissa changes strategies and does what she does best: she goes on instinct and adjusts her strategy as she goes. She eventually catches the woman accusing her client of teaching socialism in a lie about Parasite. It’s very Legally Blonde and very smart of Marissa. And I’m rather proud of myself for seeing what Marissa was doing (getting the woman to commit to a time frame and then baiting her to talk about a moment that proved the time frame fake) before she revealed what she was doing.  

Sarah Steele is so good in this scene. I love her smile when she realizes the woman took the bait, and that she reacts with “AHA!” instead of something more proper. This is pretty much the perfect court for Marissa.  

Diane and Jay arrive; are confused.  

Carmen leaves Rivi after quite a bit of time has passed, making Barry nervous. Carmen tells him very little and repeats that she sat, listened, and left. She told the translator to go fuck himself (almost in those words) so she’s gotta know that Barry will hear what happened from someone. She does not care. She lies to Barry like it’s nothing.  

Diane does not understand the 9 ¾ court, nor does she understand why a non-lawyer like Marissa is arguing. She does not understand why losing in this venue would matter or why a lawyer she knows (ha, I looked him up to see if he’d been on Wife or Fight before, and he has... as a totally different character!) is there.  

“Okay, I’m losing my mind. Look, this is not legal. We have got to get out of here,” Diane says. Toni, the client, wants to stay.

I don’t actually know the answer to this—would there be repercussions to someone who is a member of the bar participating in something like this? Everyone knows it’s not real or binding, so nothing is being misrepresented, but this FEELS illegal?  

Toni notes that a lot of people suing her are there watching, so walking out or losing would look bad. She also likes Judge Wackner because he is “better than the judges in real court.”

“Diane, what is real?” the client asks when Diane points out again that this court is fake. The client’s spent 8 months on this case in limbo, so this feels like reality to her. Fair point.  

Diane chats with the other lawyer and asks what he’s doing here. He says he’s getting paid—with business down and court dockets backlogged (how much would that affect a large firm that settles most cases out of court? I’m actually curious about this), it’s a good source of money.  

Diane realizes it’s basically arbitration. Then says she doesn’t understand anything anymore. The other lawyer replies, “Sure you do. That’s why this is throwing you. Welcome to 2021.” Yup.  

Diane goes with it. A former teacher is on the stand. He’s got a grudge and wants money, so he’s helping out. He tries to say something that is the most obvious hearsay ever... and Wackner has no problem with it. Marissa likes that.  

Wackner basically says he’s fine with hearsay because he can use his brain to figure out what’s real and what’s fake, just like we all do every day. Crosstalk is also allowed.  

Wackner also doesn’t allow for bullshit breaks where lawyers tell clients what to say, because he “likes the truths found in sudden utterances.” All his rules make a lot of sense. They are all also counter to every single sneaky legal strategy these characters tend to use.

Toni made a comment that she “couldn’t fall in love with anyone who voted for Trump.” That gives a point to the plaintiff. Diane notes that this belief is shared with most of the country, and Wackner asks her if she shares it. “I’m not the question,” Diane replies, because she definitely doesn’t want to talk about her husband who worked in the Trump administration.  

Wackner flat out tells Diane that Marissa should argue instead of her. “Marissa is not a lawyer,” Diane tries to say. “Well, I’m not a judge!” Wackner responds. And that’s it for the day.

Diane asks Jay for intel, and then we get one of the most effective Jay scenes in a while—he bonds with the Copy Coop security guard, who only has good things to say about Wackner. I like how the writers use COVID in this episode—they treat it like it’s recent past (fingers crossed) and reference it when it makes sense, like how the courts are backlogged, or this guard was laid off.  

The security guard notes that he thinks Wackner is building something good in his spare time. He also notes that Wackner is a big Grateful Dead fan.

Carmen takes it upon herself to visit someone else in prison to help Rivi. She points out they’re under surveillance and convinces this other dude to take the fall for Rivi so he can go free. It’s very smart. I assume this is all her own strategy, as we see her look up this other dude before she’s even met with Rivi, though it’s possible Rivi came up with some of it.  

There is something about Carmen’s demeanor when she deals with clients that is very Alicia-like in interesting ways. She’s very direct and unflappable in a way that people seem to take to (remember how all the creeps loved Alicia?), and she only shows emotion when she decides to. The similarities stop there. Carmen doesn’t seem remorseful or conflicted (Alicia always did). Sociopathic definitely isn’t the right word for her, but I’d be lying if I didn’t say it didn’t cross my mind. Carmen knows that her clients are bad guys. That doesn’t trouble her. And she doesn’t try to take the easy way out—she does more than she needs to. I don’t know what she’s really trying to do here, but I suspect she does.  

Carmen is 28, just fyi.  

Liz gets a call from Charles Lester. Obviously, Lester now works for Rivi, because Rivi is New Bishop. (Usually I’m a bit against saying any character is the new version of an old one, like how Lucca was not the new Kalinda (even if she was brought in to bring new energy to the space Kalidna occupied) or how Carmen is not the new Lucca (same), but I’m pretty comfortable saying Rivi is New Bishop. He’s not the same personality, but he... is New Bishop.)  

Lester notes that Rivi only wants to meet with Carmen from now on. Liz does not understand this and she’s not thrilled with it. She notes that Carmen is a first year who has been there for two days, but she doesn’t want to lose Rivi’s business so she goes along with it. Was that Carmen’s endgame? Job security? Does she not care about the RL job and see a good opportunity to... just represent Rivi without a firm behind her? I can’t tell.

(This is where I could see this arc faltering. I get why Liz keeps Carmen on—she doesn’t want to lose the client—but I don’t really understand why Liz wants Rivi as a client. Losing Carmen who’s been there for two days and Rivi who she probably doesn’t want to represent seems like a fine outcome to me. And, beyond that, if Carmen doesn’t care about the firm and also doesn’t need them, what’s in it for her to stay? I don’t think she really cares that the firm would have more resources to use in defending Rivi. Like, why isn’t the outcome here just that Carmen teams up with Lester and leaves RL behind?)

Diane listens to the Grateful Dead and writes down lyrics she can use in court. Kurt gets home from work. Diane asks him if he thinks she should give up her name partnership since it’s a black firm. Kurt asks if she’s the best lawyer there. She says no, but she’s one of the best, and besides, it’s a bad look and she wants to do what’s right for the firm. “You and I disagree on so much. You obviously ask my opinion because you know that I will argue something you know you won’t,” Kurt says. This is a very good, and very accurate, response.

Diane keeps going, though. Kurt plays along and starts talking about identity politics. Diane starts debating back, ignoring that Kurt is not really wanting to play devil’s advocate. Kurt doesn’t give Diane an easy out and tells her she’s right—she should step aside. That’s not what she wanted to hear. Kurt laughs and then goes to take a shower.  

Liz is eyeing Adrian’s office when Carmen walks up. She’s invited Carmen to talk to her. She asks her how things are going. Carmen just wants to know if she did something wrong. Carmen says she likes the firm and it’s great to be out of the legal clinics.  

Liz shares the news that Rivi only wants Carmen going forward. Carmen is pleased and says that’s surprising... though she looks more pleased than surprised.  

Liz suggests maintaining a professional distance, to which Carmen replies “I’m very professional.” “Oh, I don’t doubt it,” Liz tries to backtrack. “Is the firm dissatisfied with my work?” Carmen asks bluntly. Liz says no. “It’s my intention to treat all my clients like humans. Even the ones who might be murderers, or definitely are murderers. And I think Mr. Rivi might be responding to that because it’s something that he hasn’t received at this firm previously,” Carmen notes. This is QUITE the tone to take with your boss.

One question I have—and this is mostly inspired by the recap at I think Vulture?-- is to what extent Carmen knows what she’s doing. It seems like a lot. I can’t tell how much Carmen knows vs how much Carmen THINKS she knows. She’s definitely smart, and I don’t think she is an idealist (when she says her intention is to treat her clients like humans, she means that’s her strategy), but she is young and new to the law and only out for herself, which makes her vulnerable.  

Liz does not take well to Carmen’s talk and notes she’s talking about her personal safety. Carmen thanks her and says she’d understand if Liz doesn’t want her on the case.

There is something a little unnerving about Carmen. She keeps saying things that are boldly inappropriate but masked by how professional and correct her arguments sound (like the line about treating clients like humans). And she has a way of gaining power over a conversation. Liz squirms way too much in that conversation and loses some of her control as a result.  

I just need to know more about her!!! The fact that I can’t understand her makes her immediately interesting.  

Diane and Liz interview Julius for Lucca’s position. They all know it would be a demotion for him, but they’re seriously considering it. I feel like this would look awful for the firm and they are going to handwave it anyway after a few lines about how bad it would look.  

Diane quotes the Grateful Dead in court and it works. The other lawyer tries to quote songs too... it does not work.  

Carmen gets Rivi a bunch of candy bars from the court vending machine so he can have a snack he enjoys. The security guard doesn’t want to let Rivi eat them, but Carmen is right that this is permissible. The guard smashes the bars in defeat. Carmen opens one for Rivi.  

It is a little distracting to see the main characters pretend that COVID is in the past when the extras have masks, but honestly, that’s kind of what life is like right now?

Carmen zones out a little in court—not sure if she just does that or if she is trying to look unfamiliar with the rules so people will go easy on her/have low expectations. I think it’s a combination of both, considering that we’ve seen her laser-focus on things elsewhere in the episode AND she tells the judge it is her first day in court.  

Court stuff happens; Carmen’s strategy works.  

The judge tries to give Carmen advice and a warning. Liz is also there, watching, which is good because I was shocked anyone would let Carmen do this unsupervised.  

Carmen is also kind of like if you removed all of Maia’s worst traits (her selfishness, her spoiled brat attitude, her sense of entitlement) and skipped right to her willingness to partner with Blum.

Liz and Carmen talk again, this time about the reputation of the firm. Liz notes that Carmen is clearly capable and reminds her sternly that she needs to conduct herself in a manner that does not put the firm at risk and that’s the only reminder she’s going to get. Carmen twirls a pen and stares at it instead of listening to Liz. She says she’s just listening like she’s perfectly innocent. It’s the right thing to say and, again, it’s SUPER UNNERVING.  

“Wow. You really don’t give a shit what people think about you, do you?” Liz says in frustration. “I’m here to do a good job for my clients,” Carmen notes. Is she??? Does she just not care who she’s representing and want to do a good job, and that’s her whole motivation?? I would find that interesting but I need more to believe it. She’s so perplexing.

(Again, I don’t really get why Liz hasn’t fired her, because if she and Carmen keep having these interactions, Liz IS going to end up ceding all of her power and looking weak. But maybe Liz is as intrigued as I am.)

Liz also tells Carmen she’s going to be her mentor. Carmen says thanks and that she respected Liz’s father. Liz does NOT take that well. Audra’s reaction—a mix of shock, irritation, and confusion—is perfect here. I think Carmen is trying to say that she respected Carl Reddick—but she has no such respect for Liz. (It could also be about the sexual harassment, but I don’t think that’s public knowledge.)  

I noticed earlier that the courtroom was #305 and was wondering why they chose that number (it’s similar to Courtroom 302, the book that inspired the bond court arc, which is why 305 stuck in my mind). I see now that the Copy Coop’s address is 305. Heh.  

Turns out that the woman suing Toni is someone who would break COVID protocol and be generally terrible. I’m shocked.

Wackner decides to skip closing arguments and rule. He sides with Toni.  

See, this is where this kind of thing is dangerous. Wackner is great and fair. But you can’t really replicate a system like this (though I also think this system would fail if replicated on too large of a scale; the reason it works is that everyone involved is buying into it and if it were to be corrupted no one would buy into it unless forced to—and if people are forced to buy into an extrajudicial system then that’s its own problem). What if some other judge were to just decide to skip closing arguments or decide suddenly a trial was over? That could be unfair in so many different ways.  

After the resolution of the case there’s clapping and even Diane is surprised at how reasonable the verdict was.

Wackner then insists that everyone shake hands because “the thing we all crave most is respect and acknowledgement.” They also have to say, “I respect and I love you.” And they do! And no one even seems that unhappy with it Marissa and Toni are super into it.

And, someone in the gallery wants to get Marissa’s number because she did such a good job. Yep, sounds about right.

Diane fills Liz in, and Liz can’t believe it. Liz wants to hire Wackner (jokingly). Then she says she wants Julius since they know and trust him. Diane’s good with that, but she also chooses this moment to playfully let on that she knows Liz slept with Caleb. We’ve seen Diane observe Liz’s reaction to Caleb/mentions of Caleb all episode, and I don’t think it’s coincidental that Diane brings this up now, and in a friendly way. Diane doesn’t need to bring it up. I don’t think Diane needs the answer. I think she just wants to throw Liz off without making it obvious that’s what she’s doing.

I really, really hate to say it, because my whole thing about this season is wanting to see Liz be a great manager, but I don’t... actually think... Liz is a great manager? She’s second-guessing herself far too much. She’s more thrown in this scene than Carmen, who has like two days of experience, is by anything she encounters. And worse, she doesn’t hide it when she’s thrown. I think Liz is very smart and capable, but this episode is a pretty good case for why she might not be able to manage alone.

I know I’ve said that I want to see Liz manage and think she’d be good at it. I still think she could be. But I’ve also tended to think that Liz is a good manager and Adrian talks down at her, and I’ve dismissed some of her less strategic ideas as the fault of the Adrian/Liz dynamic. But nothing in this episode seems out of character, so now I’m less sure. (And to be clear, Liz not being a great manager isn’t a problem with the show, it’s actually pretty interesting to me.)  

(Here are some of the things Liz has done in this episode alone that she needs to stop doing to be more effective: 1) Everything about her reaction to Caleb (and the fact she slept with him-- and yes I would, and did, say this about Will too so this is not a double standard!) 2) Not having a clear plan when meeting with the partners, even though she—and not Diane—is the one who is seen as having power. 3) Not being able to hold her own nearly as well as she should be able to with Carmen. I’m curious to see how the other partners hold up, and in fairness to Liz, I may be able to make this criticism of any character who doesn’t just immediately fire Carmen.)  

And, I say all of this now because Diane in this scene is SO smart and SO strategic. She mentions Caleb to disarm Liz, then casually notes that she thinks Liz should take the corner office since it’s a black firm.  

Liz isn’t sure if she should thank Diane for that (it is a little patronizing) but she does anyway.

Diane has another “last thing” to say, and it’s that she wants to bring on another partner, a black one. She wants to be in the discussion and to retain a name partner position. Liz says yes, as long as she has any power over the decision. This is a very smart move for Diane. It’s a compromise that’s to her benefit, and she makes the request of Liz at exactly the right time. I think Diane likes Liz as a person and wants to work with her, but she’s definitely buttering her up. This is kind of like an audition to show Liz that she should stick with Diane—Diane will be friendly with her! Diane won’t judge (but definitely knows about!) her indiscretions. Diane is reasonable and not power-hungry! Diane is understanding!  

(And again, to be clear, I don’t think Liz is falling for Diane’s trap or anything. If Diane is smart enough to plan all this out, Diane is absolutely someone you’d want to keep on as a name partner. It’s just that Diane showing how smart she is, is a pretty stark contrast to Liz getting disrespected by a first-year associate.)  

(And, because I feel like I'm being quite harsh on Liz, I don’t think Liz has handled the Carmen situation badly... yet. I just see signs that Carmen is able to shift the balance of power in her favor without really trying, and that Liz is getting flustered. I think Liz mentioning the mentorship is a way of Liz asserting power, and I think/hope that now that Liz knows the situation, she will try to regain control. And, I could very easily see this same plot happening but with Diane—it's just that there are a few other plots where Liz seems flustered in this episode alone, so it feels like a pattern. I’ll be looking out for more of this.)

Marissa and Carmen, both with large folders of casework, get in an elevator together. “So. I guess it begins,” Marissa says as the episode ends. I very much want to see more of Marissa and Carmen interacting. Mostly, I just want to see what Carmen does when she’s in situations that aren’t about representing a client or defending her work. I know what type of lawyer and employee she is, but who is she as a person?  

Wow, this might be the most I’ve written about characters on TGF—as opposed to plots—in quite a while. I think that’s what has me so excited about this season. Carmen is interesting as a character because she’s so unique (or, perhaps, because she feels so much like a part of this universe yet so little like any other character—that's why I keep trying to compare her to others and find out where to place her). The 9 ¾ court is interesting because Wackner is so grounded, because it challenges Diane’s sense of reality in a way that’s new and interesting (this whole series is about making reality seem like it’s shifting under your feet; this is a new take on a familiar theme), and because it is a great match for Marissa’s personality and will give her a lot of opportunities for growth. It seems like we’re heading for some interesting material with Diane and Kurt, and there’s been a little bit of a tense undercurrent in their interactions in these first two episodes—I truly can’t tell if it’s supposed to be part of their banter or if there are mounting frustrations; I think the former but could see it being the latter. And, as I’d hoped, Liz is getting a lot more material.  

Hey you’re writing is really cute and I saw your hcs for a mc with a girlfriend and I really loved it! Do you think you can do a ikevamp suitors react to a transgender mc? One who was born female but identifies as a man? Lgbqt otome fans don’t get enough love so I’d be super awesome if you could write something ❤️

Hello darling!! I’m so sorry this took me a month or so to get to, but I’m glad to be doing it now! I also had an ask for a non-binary!mc but since I feel like all the suitors would treat the two similarly, I’ll be trying my best to fit it into one/accommodate both here :) hope you enjoy, love! Please lmk if anything sounds sketchy/offensive, since I don’t have experience with this myself!

napoleon ; okay. You stare at him dumbstruck bc he’s not taken aback for a moment, he just shrugs and then asks if you want to spar. I feel like he’d treat you v similarly to issac and jean even if you are his lover, bc there’s a v specific respect and care he treats those two with, a way he looks out for them. Would never falter with your pronouns, and if anyone makes a comment he’s like?? Your point?? They’re obv a man/non-binary, idk how you’re seeing a woman. He would also never hesitate to draw out his sword if anyone dared to grow a little too bold/rude.

arthur ; handsome ol’ chap! absolutely slathers you in compliments to validate your identity and make you feel confident, you almost wonder if he likes the way calling you by your pronouns rolls off his tongue. Though he normally was into women, I don’t think he would be opposed to dating you at all, and would grow icy with others who made comments about your relationship. He’s be very vocally supportive, but his teasing compliments will take a softer, more sincere turn if you ever need him to remind you that you’re valid.

mozart ; I see him helping you fix up your appearance ngl? Like not spending a bunch like comte, but silently aiding you in how to appear/act manly/non-binary for the 1800s, such as fixing/trimming your hair into a more “fashionable” look for the times, or nonchalantly informing you that your sleeves should be a little longer. He doesn’t do this to invalidate you at all! He thinks it’s a more subtle way of helping you feel confident navigating their world in your own way. Never hesitates to inform you that you look rather dashing that evening, or to run his finger along your chin with a proud/loving gaze in his eyes.

leonardo ; he’s immortal, he’s heard many a things that haven’t been considered ‘the norm’ for the times. He just kind of nods and takes a step back to admire your face, saying that your features are beautifully androgynous/masculine. If you bind your chest, he’ll frown if you suggest using a kind of corset, and will instead get to work tinkering a more comfortable and safe binding for you to use. Always refers to you as your desires pronouns, and corrects anyone who uses incorrect ones nonchalantly. He likes that he can get away with certain things with you that normal het couples wouldn’t be able to.

vincent ; I think he’d be intrigued and easily adapt to your pronouns; he’d treat you with respect regardless. He’s probably heard of transgender/non-binary before, but I think he, like leo, would spend a lot of time admiring your face and the way you present yourself. Will constantly compliment you, but unlike arthur, it’s not to fluster you or subtly make you feel confident, but bc he keeps finding things about you to be in awe of. You’ll be a very common subject in his sketches and paintings because of the way you hold yourself.

theo ; His brows raise a bit, but they lower just as quickly and he accepts it. You almost think he doesn’t care/remember bc he always calls you a dog instead of your name/pronoun, but he instantly corrects anyone who uses the wrong one, and glares at anyone who gives you shit. If you ever get down on yourself for your appearance not matching your identity, he sternly sits you down and firmly lists everything about you he finds beautiful and fitting to what you want to be. And though it wasn’t his intention, you never fail to grow flustered bc of the little details he’s picked up on, due to the nature of his job rubbing off on his own perceptiveness.

issac ; A little flustered boy. Similar to jean, I think he’d have the right attitude but be a bit clumsy about it. He doesn’t want to offend you! Ofc being trans/a man/non-binary doesn’t matter, he just loves you, but he’s anxious and overthinks how he address you, how he acts around you. Should he not call you petnames? Are those considered feminine? Am I invalidating them by using them?? He just grows stiff and nervous and you have to remind him to breath: just use the correct pronouns and respect you, there’s not much else to it. After a while he relaxes and it comes easier, but he just doesn’t want to lose someone else he loves of his own doing.

dazai ; I will admit he’s a little hard to grasp for me, but I believe that elusiveness is a part of his character anyways lol. Nothing about how he perceives you changes. You’re still you, aren’t you? Doesn’t matter what gender you are, what name you go by, what appearance you have. Maybe his nickname for you will change, but that’s it. I feel like with him you may not even be aware of your gender/it’s impact, bc when you’re with him it doesn’t matter, so you feel light and free from having to think about/act like your identity. You’re just you.

jean ; I think he would be open-minded to it, albeit confused. If you took the time to explain to him what you identify as and what it means, he’ll accept it, not one for many questions. I personally believe he’d be awkward about it a bit?? But would never treat you wrong! I mean in the sense of those clumsy lgbtq+ supporters with the right attitude, if that makes sense lol? So unsurely asking if you’d like to spar...? Or constantly looking to you for confirmation on things you like, what you do, etc etc. Ik jean is supposed to be silent and intimidating, but I imagine him as a clumsy man whose seen too much and doesn’t know how to act bc he was robbed of a childhood, so yeah hopefully this makes sense!

comte ; he’s seen even more than leonardo bc he’s immortal and timetravels; it doesn’t phase him. Tbh he just beckons you to come shopping with him so he can find you the latest male/androgynous fashion, with charming suits and coats and hats. For binding, he’ll try his best to buy you a safe kind, or he may enlist Leonardo’s help or even go to the future to find you one—nothing is too much/expensive when it comes to you. Will always treat you right/like royalty, and remind you that you’re valid and anything you need to feel that way, he will make it so. Gets a v dangerous look in his eye if someone disrespects you.

sebastian ; he’s from the future, so nothing new. Honestly he may even be relieved?? Idk he’s just so formal and polite that I think he’d feel more relaxed with another masculine/non-binary individual from the future, bc he would be able to talk in a certain way he would feel wasn’t as “proper” with a woman, if I’m making sense? He’d have no problem refering to you as your identity, and will always find a way to make you feel comfortable/valid, even if he needs to try and sew his own version of a binder for you.

shakespeare ; okay I’m sorry for those who like shakespeare but I feel like he’d lowkey fetishize it oof. Just like how I think he’d use unrequited love of a lesbian!mc to fuel his plays, he’d think of you as interesting inspiration—at first, at least. He’d run his hand through your hair, down your lapels as he admires you, amused, and it’s only if you grew cross and forced him to see you as your identity/a person, that he may fix his unhealthy perception. After reading Vincent’s route, I’ve come to think that you really need to push against him to reach his actual feelings/past his unstable/dangerous side. Once he’s over that, he would love to cast you as male roles in his plays, bc you have even more conviction than the regular men tbh.

Sentient Omega AU - Relationships

Since people seem to be liking my Sentient Omega AU, I thought I’d give you an insight of her relationships towards other characters other than Rex and Alpha, as I thought it would be interesting and give a feel what she would be like in the series. Thought before I go into it, I should note something to clear things up. I like to think that on the day of the nanite event, much like Rex, Omega also kind of gets amnesia. However, she remembers a little bit more than Rex does, things like knowing that they’re friends, that he does have family, that they use to be in a lab somewhere with other scientist, but she doesn’t know the finer details unfortunately. This still keeps the mystery of who Rex is and what happened during the nanite event. Also, during the series whenever they can across something from their past, Omega does actually get flashes of the past, only bits and pieces though, rebuilding her memories like a puzzle over the course of the series everytime they run into something familiar. E.g Rylander or the Hong Kong Gang.  Normally she would tell the others what she learnt, but there would be times where she keeps it to herself for sometimes, either because she wants more details in case she makes a miscall, or she fears it might harm the present, like Rex’s relationship with Caesar. But anyway, into the relationships! If you want to see another character dynamic with her and someone I didn’t mention, feel free to request that!  -------------------------------------------------------------------------------------- Rylander: Omega has a lot of respect to the man, and even refers to him as father, mostly because he was the one leading the project of her creation, unlike Caesar who originally lead the Alpha project. His wise and kind personality helped teach her to understand the idea of what ‘gentle hands’ meant, especially early on in her life when she was getting use to being something alive. Much like Rex, he treated her differently than just another project, and even saw she was something more through the way she looked after Rex. When they meet again, you can imagine it was somewhat emotional for Omega, even if she couldn’t quite convey it. It was hard for her to see how broken Rylander seemed to become, always worried, on edge and failing to tell Rex or her anything, even if he was happy to see the two was ok. It hurt to see him ‘die’ after what happened to him and Van Kleiss, but she wasn’t one to dwell, instead taking on the things he taught her to keep going. When they meet again in season three, after he’s brought back, there’s a strange connection between them for a while given his new form was technology base, but they eventually get use to it.  Caesar Salazar: Their relationship is...quite complicated. Omega finds him to be a fascinating human being, being different from the people she’s known. But that detail about him can be hit or miss half the time, as while he’s intelligent, can do amazing things and is quite funny, he’s also distance, eerie and impulsive, often known to endanger people without realizing it until it’s too late. Many times she had to stop an emergency in his lab back before the nanite event, like if he almost set his lab on fire or something. She didn’t think much of it at first...until she started bonding with Rex. She doesn’t think Caesar is bad, but doesn’t excuse the danger he makes when not thinking of the consequences. It doesn’t help that he’s not easily sociable, and was known to neglect his brother because of his work. Omega does understand he can’t help some of his habits, but also knows he could be a lot better if he tried hard enough.  When they finally meet again in season 2, she is happy to see him, but returning memories reminded her of his negative traits, many which seemed to have stayed, and even gotten a little worse. It doesn’t help that Rex is dying to connect with his brother, which isn’t easy, and...she starts to remember that he and their parents were the ones to start the nanite event, something Omega doesn’t tell Rex until Van Kleiss admits to this. It isn’t until season 3 where things get pretty bad between them, as while she is unsure if Caesar is working with Black Knight because he’s turned evil or because of something else he has in mind, she can’t excuse the danger he’s doing and how he’s hurt Rex. She’s very much not afraid to speak her mind whenever Caesar does things she disproves of. Perhaps in someways, his ties to Alpha’s creation is a hidden reasons for her unsure nature with him too... Doctor Holiday: Omega and her have one of most civil relationships, as they both respect each other for what they’re trying to do, their motherly outlooks over Rex being something they bond over. It was somewhat surpising, as Rex thought Omega’s overprotective nature would get the better of her with Holiday, but Omega understands that while she may view Rex as her child, he does need an actual human to take on a proper motherly role, and has openingly voiced this to Holiday before.  While she doesn’t outright let Holiday experiment on her like a guinea pig, she does allow tests or research moments to help Holiday better understands Omega, nanites and Rex. The two have had debates about EVOs, has Omega has stated that in concept the idea of EVOs isn’t an entirely bad thing, thinking if they were more like Rex and his nanites, it could provide a great set in humans and connect both technology and people. Holiday does disagree with this, but the two are calm about these debates, Holiday very much understanding that Omega isn’t human, and does see things differently.  Agent Six: Despite Six’s moments, Omega has a lot of faith in the man actually, knowing very well he will take care of Rex. She had been unsure at first the moment Rex and Six first met, especially after what White Knight tried to pull, but after Six risked so much to keep Rex alive, something in Omega just knew she found a safe place for her boy, and someone able to provide so much more for Rex. Personally, the two don’t interact often, but when they do they have this aura of respect, but slight wariness of each other. However, some of that faith cracks a bit when his memories vanish, and he changes. She gets nerves that he will never be the man that protected Rex the way he did before, but Rex’s hope and Six’s wanting to be like his original self does restore some faith in Omega. She does keep an eye on him for a while though. Noah Nixon: She didn’t think much of him at first, believing him just to be a nice human who was willing to be Rex’s friend, which was good enough for her. However, after it was revealed that Noah was working for White Knight, it takes a good while for Omega to trust him again, even after Rex forgives him. She knows how much hard deal Rex has gone through in terms of his friendships and families, and it pains her everytime they get ruined by something. She does get over what Noah did eventually, but does make it clear to him he has a lot to make up for. But once they’re on better terms, she does tease him here and there. White Knight: Omega really doesn’t like White Knight for a good while. He’s nearly killed and hurt Rex many times, treats Rex quite awful, and the two clearly don’t trust each other, given she is a nanite part of what’s going on. Though, while the two might push each other’s buttons some time to time, they try and remind civil around each other...mostly because they know what the other can offer if they stay on their good sides. Omega knows it’s good for Rex, as this is his home and they need Providence’s help, and White knows that Omega is something valuable and could be a key to many answers. That doesn’t stop the occasional snarks or remarks thrown at each other.  But as Rex and White start to pack things over time, Omega does eventually grow to respect the man. By the time of season three, she really sees how much White has changed and grown, especially during the Alpha fight where he backed up Rex and Ben.  Van Kleiss: Much like Caesar, the two have a...complicated relationship. She knows that, in the past, while Van Kleiss wasn’t much of a socializing person, he wasn’t all that bad. He came off as off putting to others, but people were quite harsh on him, giving him a negative view on humanity. So when he turned out the way he did after the nanite event, latching onto the idea of EVOs and power because of how people treated him before, she can’t say that she’s surprised, and even pities him. She knows he could have been better, someone good, but things didn’t turn out that way. However, that does not mean she excuses all the cruel things he does, and will always be vocal about what he’s become. She does admit that, like him, she sees the ideas of EVOs being the next step in humanity, but both of them want to do it in other ways. Whenever they get the chance to talk to each other, it’s often them debating each other, mostly the future of Rex, EVOs and nanites, Van Kleiss even noting that once they figure out how to either destroy, remove or shut off nanites, the humans are mostly likely gonna do the same to her (Which she does admit deep down...does scare her, especially if it means Rex doesn’t need her anymore...). But she does often mention to him that just because the world was cruel to him, doesn’t mean he gets to be cruel back. Throughout each of the seasons, they dynamic will always be complicated.  Bobo Haha: Omega really wasn’t sure on how to feel about Bobo at the start, but had to get use to him when Rex started hanging out with him. She does get annoyed when he convince Rex to do something dumb or dangerous, and often tries to be the reasonable voice out of the three, but she does have a slight playful side that Bobo has a way of getting to show. Plus, she can’t lie that it’s nice to see Rex unwind and just...get to be a wild teen. Black Knight: A very frustrating relationship for her with this one. Because Black Knight is somewhat and EVO like Rex, she’s has this desire to be better than him, in terms of what they are. She wants the stronger powers, the better control over nanites, to be the EVO the world talks about. However, there’s a big problem there, in that while she has the potential to be better than Rex, she can’t for some reason. There is a reason she only showed her true powers once near the end, and that is because she can’t do them for long, and lack many of the powers Rex has. The most she can do is summon her powerful weapons, but they don’t last long. That’s when Omega comes into the picture, as Black Knight is convinced she is the missing piece needed to be better than Rex, the main difference between the to and why Black Knight can’t do what he does. Because of this, Black Knight is very open about the idea of taking Omega, often trying smooth talk and sometimes even bride or softly threaten Omega into joining her. She almost always uses her sickly sweet voice when talking to Omega, as if they were good old friends. However, Omega wants none of that and always rejects Black Knight, stating many times she doesn’t like her, doesn’t trust her, and knows she’s planning something bad. That doesn’t stop Black Knight though, who has made it clear that she will resort to darker means if things don’t go her way.  Ben Tennyson: Omega really didn’t have good opinions on the boy when he first showed up, fighting Rex, wreaking buildings and putting Six endanger. The way he behaved and acted, with so much power, it made her think he was nothing like a prideful childish teen who didn’t understand consequences.  But then he started helping, standing by Rex when it was clear of the dangers happening, what Alpha was doing. The fact Ben was willing to help a world that wasn’t his own, Omega had to admit it was noble of him. At the time Alpha’s presence was making her stressed, so she was glad that Ben was there to support both her and Rex during this troubling issue. She was most grateful for when he helped Rex when she was taken, going Upgrade to provide Rex the needed power he lost when Alpha took her. And since Ben helped the two reunite, she will forever be thankful for his help. Still, she does think he needs to calm himself of the cocky attitude, but she knows it’s not her place to speak. 

literally just a giant post of Bakugou faces.

today, 4/20 (actually it is very much still only 4/19 over here, but to heck with it, we’re getting an early start dammit), is Bakugou Katsuki’s birthday. and as someone who loves Bakugou and who also hasn’t found much worth rejoicing about in April 2020 in general, it’s important to me to celebrate the shit out of this day. but these are strange times and I am le tired, and so what my tired brain ended up arriving at was “just do a post about how much you love his stupid face.”

so these are my favorite Bakugou faces. I stopped after Kacchan vs. Deku because this post was already like 100k words (slight exaggeration) with like 40,000 faces (slight), and because this already took forever and the next 130-something chapters were only going to have about one fifth as many good faces compared to the first 120, even though there are some good ones there still to be sure. but anyway, so there are no spoilers here. 

happy birthday Kacchan, and happy birthday to Kacchan’s angsty side profile with his hair covering his eyes.

why I like it: he scured.

lol but seriously. because up until this point he’s just been a complete asshole. even after he gets grabbed by sludgeman, he’s all “AS IF I’D LET THIS MUDMAN TAKE MY BODY FOR HIMSELF”, and he’s all feral-looking, and at first you’re like “eh he’ll be fine.” but then along comes this panel to serve as our narrator saying “he was not fine.” because he really is not. and on the page before this too, you can see how tired and desperate his struggles are starting to get. and absolutely no one is trying to help him. and he’s fighting, he’s straining, but he can’t. fucking. breathe.

and then this panel. and he’s just a kid. he looks so very, very young here, like this is the youngest he looks throughout the entire series except for in his flashbacks, and it’s because all the pride and bluster and anger are stripped away and he’s just a boy underneath it and he’s scared. “you looked like you needed saving.” exactly. exactly. and for Katsuki to actually ask for help is so rare. so you know that when he does ask (and he absolutely was begging for someone to come help him even though he couldn’t vocalize it. credit to Horikoshi for conveying all of that emotion in a single panel), he really, really needs it. thankfully there was one person watching who finally snapped himself out of that “a hero’s bound to come along soon” mindset that had everyone else gripped, and realized that he needed to be that hero.

why I like it: because he’s humiliated and fairly shaken up and also the most handsome he’s looked up until this point, but most of all he’s just chewing his lip and being all “god fucking dammit did fucking Deku really just save me, fuck my life, why is the universe fucking dumb.” like even after this hugely traumatizing experience, he’s incredibly resilient to the point where after he calms down, his lingering emotions are mainly just “smdh this is a new level of irritated even for me.” he is so brave and thickheaded and tough and absurdly, ridiculously petty jesus christ.

why I like it: like the old man said. his face just screams “I’m a rotten thief.”

there’s so much personality in this one expression. and then it’s juxtaposed against proto!Katsuki who I really desperately just want to punch in the face. just. my son my be a dick, but by god he’s an honest dick.

why I like it: baby?? cute baby??? mine?? my baby?!?

he’s just like. “I got it all figured out. gosh I’m so good at life.” that is the face of a child who has never encountered a single difficulty in his very young existence. everything is easy and he expects to be good at everything and he always is and he’s so, so pleased with himself. with a kid that little you really don’t want to go and shatter their dreams just yet, but maybe someone should have taken him down just a peg or two before it all got out of hand. alas. he was so cute that nobody wanted to and I can’t even blame them because he’s just that fucking cute, though.

why I like it: this is a very underrated panel which I think most people probably don’t even recall. it’s from chapter 11 just after he loses to Deku and Iida, and specifically right after Momo just completely lays into him and explains in vivid detail exactly how stupid every single one of his decisions was lmao. and it’s like he’s just had his eyes opened. he talks about her speech later, too, so it clearly had an impact.

there is no pride here at all. initially when I was reading this, I thought he was still shell-shocked. but looking back at it, and knowing what I do now about his unexpected willingness to accept criticism (something I certainly wouldn’t have expected during my first readthrough of this chapter), I think this is also a genuine “!” face as he realizes that she’s completely fucking right. YOU DONE GOOFED SON. but it’s okay because he learned from it!

also look how big his eyes are. when they get all wide like that. it’s so rare that I have to appreciate each and every time it happens. also he has no right to have such thick eyelashes. goddammit.

why I like it: because he’s strongest at his moment of weakness! because he’s upset but he learned from it! because he is such a strikingly human character with such complex emotions and there’s such a lovely mix of them on display here and that shit is my weakness! because this is when I signed the adoption papers (well, had them finalized after I initially obtained them after the “you looked like you needed saving” face in chapter 1, at least)!! because he always cries in front of Deku and doesn’t get embarrassed, but then he does get embarrassed if anyone else shows up! because his emotions around Deku are so raw and out of control! because the intensity of them is as compelling as it is confusing! but mostly because someone showing fierce determination while simultaneously showing intense vulnerability is basically the cheat code to unlocking my heart, and also the best thing anyone can ever draw in a shounen manga. thank you I’ll take infinity of them.

why I like it: because half of 1-A saw this face and instantly thought “fuck that’s hot” and then went “!! oh fuck me” but it was too late! that’s right kids. even knowing firsthand what a trashpile he can be, you’re still not immune to his charms. that confidence, though.

why I like it: the face of a boy who has just realized that holy shit, there are other people in his class. nothing gets past him. his reflexes are too fast.

why I like it: the slow motion (this is such a cool moment even if it’s at his expense lol), and the fact that this is such a weird and totally unique expression, and yet he somehow almost manages to make it look good. actually he does make it look good, let’s be real. of course, this was back when Horikoshi had more time to roll up his sleeves and really get into the art. look at all that shading goddamn.

why I like it: he cares!! he has feelings!! he has concern about someone other than him omfg whaaaaaat.

he’s so unsettled by what he just heard about Todoroki. the guy who was so strong and cool turned out to have an absolutely horrifying shounen protagonist past that he never let on about. honestly this scene is one of the reasons why I’m so strongly in favor of not interpreting Katsuki’s parents as abusive; because I just really like the character arc of him actually having a pretty good childhood, all things considered, but still having all these problems. because sometimes people actually do have everything going for them and yet they still screw up, because people are only human and sometimes you can fuck up (or be fucked up) even on easy mode! and if that happens it doesn’t mean you’re any more to blame, or more worthy of derision or scorn, or that you already had your chance so screw you, or any of that! anyway so that’s just such an interesting and relatively rare thing to explore and so I like it.

anyway. so just, the idea of him thinking of Todoroki as someone who had it made all his life, only to realize that’s not actually the case at all and that he’s actually the privileged one in comparison, just makes for a really great character-building moment. it’s a really big wake up call for him, especially given that he’s so often just wrapped up in himself and his own concerns still at this stage of the game. and it’s a moment that has a lasting impact on him and that he doesn’t forget, and it helps contribute to him starting to learn more empathy.

why I like it: my child is rabid please help.

but he’s so happy to have Ochako prove to be such an unexpectedly worthwhile opponent. she was sneaky and she nearly got him and he only just made it out by the skin of his teeth and fuck yes, that was awesome. he was really ready to throw down some more with her and it was gonna be the highlight of his fucking day. I just love seeing him acknowledge other people’s strength, because we know the value he places on being strong. so that’s a ton of respect from him, and Ochako fucking earned it, and this is just a great moment.

why I like it: just casually spittin facts and launching ships. nothing to see here move along.

why I like it: for everyone reblogging that one scene of shoujou!Bakugou from the anime over and over again, I just want to remind you all that as great as that scene is, we shouldn’t forget that in the manga he can be effortlessly handsome without even trying.

why I like it: as I said above.

why I like it: another one of the infamous “haah!?” faces. whenever he does these that one raised-eyebrow eye always goes so wide, and even though he’s trying to look like a pissed off thug it always makes him look surprisingly young instead.

also I’m not crazy for seriously wondering if Horikoshi’s art peaked all the way back in the sports festival arc though, right?? you honestly can’t find a bad panel even if you specifically go out and look for them.

why I like it: babyyyy.

I still don’t get how anyone could watch this scene and not get that he was way more upset than he was actually angry. he looks like he’s about to cry honestly.

why I like it: MY PRECIOUS SON’S ANGELIC SLEEPING FACE. all tuckered out. he’s had a hard day.

but seriously when you smooth out all of the >:O it is amazing how young he actually looks though. this one panel is shaded in such a way that you can see that he still has baby fat in his cheeks!! he’s just a little boy! HE IS A LITTLE CHILD LIKE THE REST OF THEM AND YOU MADE HIM PARTICIPATE IN THESE HUNGER GAMES AND HE KICKED ASS AND THEN GOT SAD AND YOU MADE HIM SLEEP AND CHAINED HIM TO A POST WHEN HE WOKE UP ANGRY AND TRYING TO BITE PEOPLE. anyways what a whirlwind of events huh.

why I like it: this child is literally trembling. he has been shaken to his very core. also for real though how did Jeanist even do that. anyways great internship or greatest internship.

why I like it: this is from chapter 60, right after he basically declares war on Deku and says he’ll crush him during final exams. then he turns around and is just like AND LET’S NOT FORGET THIS ASSHOLE HERE!!! and his eyes are practically bulging out and Todoroki just has his trademark “!!!” totally blank stare. this panel fully kills me guys.

why I like it: how was he THE CUTEST CHILD WHO EVER LIVED?? look at his little fists?! I can’t even deal with this???

why I like it: I actually like this one even more than the more iconic “the strongest heroes always win in the end” panel right below it, because in this panel you can more clearly see that he was crying quite a lot (he was only six!!), but it seems to me that it was more because of the unfairness of it than because he was hurt. even though he was hurt. but these jerks bumped into him and then acted like it was his fault, and it was two against one and he was much younger than them and IT’S JUST ROUGH YOU GUYS! LIFE IS HARD WHEN YOU’RE SIX! but he’s a little tough guy though so he scrubs the tears away in this very clumsy and boyish fashion because HE WON ANYWAY SO TAKE THAT! he is so little but already so determined.

why I like it: his eyes are just so intense all the time. even when it’s not an intense moment at all. also the dot shading here is so cool.

why I like it: okay so technically it’s the back of his head and not his face. but I feel like the fact that Kacchan was twitching and flinching and shaking too doesn’t get enough attention in this scene. he and Todo were both wigging out here and I love it. during the third light novel he also gets freaked out by the whole Disney Channel “we were telling a ghost story but now it seems like the story has come to life” plot that goes on at one point, just fyi. Kacchan is absolutely that kid who will refuse to watch scary movies just because “they’re dumb” and definitely NOT because he is scared, how fucking dare you sir.

why I like it: because this is the first of many scenes in this arc and the next arc in which he is freaking out but doing an excellent job of covering it up with his natural ferocity. he and Shouto have just come across one of their classmates’ arms lying in the middle of the path being chewed on by a villain in a straitjacket. his first reaction is to ask Shouto which of their classmates had been out on the path in front of them. he has immediately put two and two together, and he is immediately ready to throw hands with this dude, rules or no rules. but you can see the shading over his eyes though, and I think that -- along with the sweat visible on his face -- is a huge indicator of how horrifying this actually is to him.

why I like it: because this blank “processing...” expression that he sometimes gets when a lot of people are talking at once and he’s not really sure but he is pretty sure that he doesn’t like where this is heading, is my favorite.

why I like it: because even now it’s still ambiguous just what exactly was the prevailing emotion in these eyes and this expression, and the prevailing sentiment behind the “stay back.” I happen to think it was fear! not the same overwhelming, helpless fear as the 14-year-old who was caught up in the sludge, but a very on-edge, controlled-panic fear of a 16-year-old who’s trying to remain in control because he’s a hero in training now. and I think the “stay back” is the “stay back” of a boy who knows the look in that other boy’s eyes, and knows that it’s no use this time. it’s not protective, and it’s not hostile or defensive either. it’s just... resigned. don’t do it, Deku. that could have been the last thing he ever said to him, and it was measured and brave even through his fear and I love him so much.

why I like it: this is one which has to be viewed in juxtaposition with the panel immediately above it lol. Tomura looks like he could literally stare a man to death with those crazy eyes, and Kacchan is comparison just looks so ridiculously young and small and out of his league. but he doesn’t crack. but his eyes are super wide and even the shadows underneath them are stressed almost to their breaking point. like I’m screwed I’m screwed I’m so goddamn fucking screwed oh shit. my baby, guh. this was such a fucking scary experience though for real??

why I like it: same deal as above lol. this whole situation just keeps getting worse and worse, and here he’s just probing for more information while simultaneously trying to buy himself more time to think of a miracle plan. there really isn’t much chance of him getting out of here unscathed at this point (or at least there wouldn’t have been if the heroes hadn’t shown up), but I don’t think he’s letting himself think about that yet. but I’m sure it’s there at the back of his mind all the same.

why I like it: this is my favorite Bakugou face ever. SO MANY EMOTIONS. All Might came to save him! his hero!! he beat the bad guys (or so they think for that brief moment anyway) and it’s all okay now! he was alone but now he’s not anymore and All Might is there! and he is relieved, and he actually lets his guard down to show it for just a split second! his lip is trembling! I don’t think he even realizes for a moment, and then he does, and he immediately goes all tough guy again and the moment is gone! but while it’s there! it’s so much! I have never so badly wanted to hug a fictional character in my life.

why I like it: don’t you think this person could one day inspire thousands of others. do you see this courage in those eyes. the way he pushes past fear and panic and fatigue. don’t think, don’t doubt. just win.

why I like it: by now you have probably detected a pattern of me liking all of the Kamino faces because he was going through so many emotions that for once the walls just couldn’t keep up. he always looks so much younger when he’s not making >: faces. everything just smooths out. I also like that Horikoshi never makes his expressions symmetrical; he almost always has one eye wider than the other, eyebrows doing different things, stuff like that.

also this is when he sees All Might’s true form for the first time, and you can just see it hit him like a punch to the gut. All Might weakened; All Might weakened because of him; All Might might lose (!?!); All Might might die???? Katsuki’s entire world is falling apart in an instant, and in this moment he’s just a little boy.

why I like it: it beginsss. the angstening.

he’s not even resisting the hand guiding him. none of his usual unruliness or general aura of barely-checked rage. he just looks tired. and completely lost in his own thoughts. which as we now know were not good. I cannot fucking believe we had to wait another 25 chapters after this to finally get this kid a damn hug.

why I like it: because Bakugou Mitsuki is fulfilling my (and dating sim!Momo’s) lifelong dream of ruffling Bakugou Katsuki’s (spiky yet fluffy!!) hair. and all he can do is just chew his lip and halfheartedly glare at her all “mooooooOOOOmmm.” he doesn’t even really look pissed off here (because it’s hard to be mad when someone is talking about how worried they were about you and how relieved they are that you’re safe now, especially when that someone is your mom who isn’t normally the type to be so open about this kind of stuff at all), just begrudgingly grumpy. and I swear to god his bottom lip is made of fucking rubber the way he moves it around, just look at it.

why I like it: those eyelashes though!?!? [grabs Katsuki by the shoulders and shakes him roughly] WHY ARE YOUR EYES SO PRETTY.

why I like it: this is right after he found out he flunked the license exam, and you can see how upset he is. obviously we now know that shortly thereafter he went and had a complete meltdown. and buddy if you keep grinding your teeth like that, your dentist is also going to have a meltdown.

and yet again Horikoshi manages to strike this uncanny balance between making him look pissed off and making him look like he’s trying very, very hard not to cry. he just failed, again. it’s like the whole world is screaming at him over and over again that he’s not hero material at all.

why I like it: because he drags Deku out to the middle of nowhere and is all “I know you have All Might’s power and we’re gonna fight”, and Deku protests, and you expect Kacchan’s reaction to be just about anything other than what it actually is. this is as close to pleading as Katsuki is ever going to get. he may not be drowning in sludge but he is still desperate.

why I like it: this may be the best Katsuki that Horikoshi has ever drawn.

why I like it: super ultra mega unpopular opinion: I like this panel even more than THE PANEL!! that follows shortly after it. I am a sucker for when Horikoshi does this thing where he shows Katsuki’s face from a side profile, and his eyes are covered by his hair so you can’t see his full expression, but you know it is something vulnerable because he only ever does this when Katsuki is trying to hide his vulnerability. I could make a whole separate post just about these hair-covering-eyes faces lol. but out of all of them this is my absolute favorite. I can hear Okamoto’s voice acting in my head just looking at it.

why I like it: because it is THE PANEL. he finally broke completely; he let the walls fall away; he couldn’t hide it any longer. he’s so unbelievably torn up about this; he hates himself for it and feels like a failure; he’s lost and doesn’t have the faintest idea how to find his path again. he ended the Symbol of Peace. he was weak and wrong, and Deku was strong and right, and he can’t even hate Deku for it anymore, he just wants to understand what it is that he keeps doing wrong, why it is that he keeps failing.

why I like it: it’s, uuuuuh, angst.

lol it’s funny because at the beginning of the series, it was always Deku who was always crying at the drop of a hat. and to be fair this is still true. but Katsuki also cries way more than I would ever expect a rival character in a shounen manga to cry. and specifically he has cried every single time he’s had a dramatic and overly emotional altercation like this with Deku (and that’s three separate times now). is it because he’s always felt like he has less to hide around Deku? or because his Deku Emotions are so much more intense and volatile than his other emotions? at any rate, whatever it is, if this happens one more time (and I guarantee you it will too because A Certain Someone still hasn’t officially made an apology yet) he will officially lose all authority to ever call Deku out for being a crybaby again. meanwhile poor All Might will just be beside himself. I’m sorry dude, both of your children are just like this, you just gotta deal with it and accept their feelings.

why I like it: HE FINALLY GOT HIS HUG, BLESS.

and more hair covering his eyes! and chewing of the lip! and his head is bowed so much here, he fully allowed himself to be pulled into this hug and to accept this gesture of comfort for once in his life, just for a moment! after everything he was feeling, everything he was beating himself up over, All Might comes and tells him it’s not your fault. and there’s still so much guilt there, but he needs to hear this so badly that he accepts it all the same. meanwhile he is also CRYING AGAIN!? because this was the chapter where Horikoshi said “I am going to put all of the angst and cathartic conflict resolution into a single fight and it’s going to be the best thing ever” and it really was. do you even understand how much I love this. do you??

why I like it: OH GOSH I FORGOT ABOUT THIS, THIS IS MY OTHER FAVORITE KATSUKI HAIR-COVERING-EYES PANEL.

oh no. he’s ruffling his own spiky fluffy hair. he’s tired and he’s beat up (and whose fault is that lmao) and he’s learning all kinds of new things about himself today. he’s got basically nothing left in the tank, but for the first time in ages he has his path laid out in front of him again and he knows the way to start moving forward. he has been absolved of his guilt, the guilt which was eating a hole away inside of him. and all of a sudden he realizes -- it occurs to him -- hey, All Might finally admitted it, he really did give his power to Deku. but it’s still a secret though, isn’t it? it’s important, isn’t it? and so he tells them, hey, look, I get it, I won’t say anything, you don’t have to worry. it’s partially gratitude -- he owes so much to All Might and it’s ridiculous, that’s a fucking debt right there, and this is the least and only thing he can offer right now in return -- and it’s partially just... the right thing to do. like, common sense. honorable and shit. and it’s not like it’s a big deal or anything. but just, let them know.

I love his side profile so much and I love his hair and his ear and the scuffs on his face and his beaten up hand and his hunched up shoulders and him being soft and trying not to show how soft he’s being and he is precious.

BONUS:

HAPPY BIRTHDAY MY HANDS IN POCKETS GRUMPY TRIANGLE EYES ROVING FERAL HOG SON, I LOVE YOU.

A Track-by-Track Breakdown of Taylor Swift’s 8th Studio Album: ‘folklore’

Taylor Swift’s 8th studio album, folklore, starts off with the lie, “I’m on some new shit.” Perhaps to someone who hasn’t been paying attention this would seem to be true. But to those listening, folklore is the essence of her skill and success throughout her entire career stripped down for all to see, but more refined, enhanced, and impressive than ever.

Even prior to her pop-world domination with 1989 (2014), Taylor’s storytelling ability has always been her most compelling strength as a writer. In 2010, she released her third album, Speak Now, penned fully solo to prove to the cynics that she does, in fact, write her own music. And it’s damn good. Widely considered her best song, “All Too Well” from Red (2012) is a five and a half minute epic about love had and lost, all in walks through autumn trees, almost running red lights, dancing round the kitchen, and a scarf reminiscent of innocence, unreturned.  

Yet her pop prowess over the last six years perhaps leads to her storytelling being overlooked to those more focused on the music. There is a particular genius in writing a successful pop song, let alone three successful pop albums, that still has hard-hitting lyrics underneath the synth. Take the excellent “Cruel Summer” from Lover (2019) for example. The song is just under 3 minutes, and the production is so enthralling and infectious that it can take such a hold on you, you might miss the tale being told along with it about a fraught summer relationship that was actually just the beginning of her own love story.

But without the pop production, her stories on folklore demand attention. Swept up by a strong wave of creativity and inspiration, Swift secretly wrote and produced this album in around three months with Aaron Dessner of The National, one of Swift’s favorite bands, and long-time collaborator and friend Jack Antonoff. A surprise album is a new endeavor for Swift, as she generally spends months meticulously planning an album rollout. It is refreshing, and as a dedicated, long-time fan of Taylor, it is thrilling. Due to the album cover where she is standing in the woods, and the genre of the album itself, there have been think pieces regarding the “man in the woods” trope and what it means that Taylor seems to be embodying it. As a result of over-exposure, people are unable to stop focusing on her image and the way she presents herself. It’s understandable, as she is a very smart and deliberate businesswoman, and clearly cares about how she is perceived. But with this album, it is clear that none of that was at play. We are in the middle of a pandemic. Her mother has been battling cancer for years. Isolate a creative person in a dangerous world and they will dream up an escape. She understands more than ever how precious each moment is, and does not want to waste another one. The woods being the landscape for the photo-shoot is most likely attributed to the fact that it is the safest place to have one under these circumstances. She’s not pretending she removed herself from society and became enlightened, she didn’t dabble into a more alternative sound to prove anything; she is just sharing stories she wants to tell that she is proud of, and nothing more.

Of course the music of the album is important, but the lyrics are the heart of it all, and I wanted to focus on them. Upon its release, Taylor explained in a foreword that the album was a mixture of personal and fictional accounts. The beauty of stories is that once they are shared, they never live one single life; each person who consumes a story interprets it uniquely, and the story becomes a multiverse, with different meanings and outcomes than what initially drove the pen to the paper. As explained by Swift in a YouTube comment prior to the album’s release, three songs on the album are all one story, which she has dubbed “the teenage love triangle.” The three points of the triangle are “cardigan,” “august,” and “betty.” But if someone had not seen her say that, they might not have figured it out. Maybe they’d interpret each song as their own story, and connect it to their own. Taylor knows this. It is why she loves storytelling and is why she is so good at it. The album itself is a mirror ball, shimmering with every version of the stories being told, reflecting a bit of each person who listens. These are my interpretations, but they can mean whatever you make of them. 

1. the 1 The melody of this song helps set the scene; picture yourself skipping rocks on a lake, reminiscing on the one that got away. “the 1” is about learning to assimilate into a life without them, resentfully accepting that they might be moving on, too. She ruminates on what went wrong and what could have been. In a very Swift fashion, she puts the blame on herself when she sings, “in my defense, I have none / for digging up the grave another time.” Perhaps this song is fictional, perhaps it’s a revisit of a past feeling or relationship, but its relatability makes it feel real and present. She searches for explanations, restraining herself from asking, “if one thing had been different, would everything be different today?” But it’s good she didn’t ask, because she’d never find the answer, anyway. Best lyric: “We never painted by the numbers, baby, but we were making it count / You know the greatest loves of all time are over now.”

2. cardigan (teenage love triangle, part 1: betty’s perspective) “When you are young they assume you know nothing,” Swift sings in her smooth low-register on this Lana del Rey-esque single. “But I knew everything when I was young,” she asserts. They say wisdom comes with age, but there is wisdom lost, too, of what it felt like to be young; but she has held onto it. In this track, the narrator (Betty) is looking back on her relationship with someone she once loved (James, as name-dropped in “betty” later on in the album). Her insight on his character was always spot on; she knew he’d try to kiss it better, change the ending, miss her once the thrill expired and come back, begging for her forgiveness in her front porch light. As soon as she was feeling forgotten, he made her feel wanted, his favorite. The ending in question is unclear, whether she granted him her forgiveness or not. But what is clear is Taylor’s understanding of the pull of young love, the intensity, the immortalization of all the smallest of details, the longing to be someone’s favorite. It’s why we look back on it so often, read stories and watch films about it, even as we grow old. It’s the cardigan we put back on when we want to be Peter Pan and remember what it was like to fly with Wendy. Best lyric: “You drew stars around my scars / but now I’m bleeding.”

3. the last great american dynasty The story of Rebekah Harkness and her destruction of the last great American dynasty, Standard Oil, is documented in this track, as each verse covers a different part of Rebekah’s life, going from a middle class divorcee to one of the wealthiest women in America by marrying into an empire. Swift paints Rebekah as an outcast, the Rhode Island town blaming her for her husband’s heart giving out. Rebekah used her inherited fortune on her ballet company, throwing lavish parties with her friends who went by the “Bitch Pack,” playing cards with Dali (Yes, as in Salvador Dali. It’s not clear if they actually played cards together, but her ashes were placed in an urn designed by him), and feuding with her neighbors. Then, fifty years later, Taylor Swift bought that very house and ruined the neighborhood all over again, bringing with her the triumphant return of champagne pool parties and women with madness, their men and bad habits. It’s a note on how women will be blamed for tarnishing what is sacred to men rather than celebrated, specifically when its related to wealth and power. They will call them mad, shameless, loud. But just like Rebekah, Taylor learned to pay them no mind, and just have a marvelous time. It is also interesting to note that Rebekah went by Betty. Perhaps Taylor felt inspired by and connected to her and gave her a whole backstory, and thus the birth of “the teenage love triangle,” or maybe it’s just a coincidence; but that’s the fun of it all. Either way, this track is a standout showcase of how Swift has truly mastered her craft as a songwriter. Best lyric: “Holiday House sat quietly on that beach / free of women with madness, their men and bad habits / and then it was bought by me.”

4. exile ft. Bon Iver You know that feeling when your parents are fighting and it’s upsetting you but you can’t help but listen? That’s kind of what listening to this song feels like. Bon Iver’s Justin Vernon co-wrote the track, and he lends his gorgeous vocals to play a man who has been exiled by his ex who has moved on with someone else while he desperately tries to understand where it all went wrong. The bridge is particularly poignant, both proclaiming, “you didn’t even hear me out,” while talking over each other. He thinks he was expected to read her mind, but she is adamant that she gave him plenty of warning signs. Miscommunication is one of the most common downfalls of a relationship, and the emotion in Swift’s and Vernon’s voices really draws you into the argument with them, transporting you back into your own exile from people you once called home. Best lyric: “I couldn’t turn things around / (You never turned things around) / ‘cause you never gave a warning sign / (I gave so many signs.)”

5. my tears ricochet Taylor describes this song in the foreword as “an embittered tormentor showing up to the funeral of his fallen object of obsession.” If you know enough, you can put the pieces together that the tormentor is Scott Borchetta, the head of Big Machine Records, and the funeral is of their professional and personal relationship. Taylor was the first artist ever signed to Big Machine. Borchetta and Swift had to trust each other in their partnership for it to be a success, and oh, how it was. But prior to Lover’s release, Taylor announced that she would be signing to Republic Records as her contract with Big Machine had ended and Republic offered her the opportunity to own all of her masters moving forward and negotiate on Spotify shares for all their artists. It all could have ended amicably there, but then Scott Borchetta sold all of Big Machine, along with Taylor’s masters from every album prior, to Scooter Braun. Braun manages some of the biggest stars out there, and had previously managed Kanye West. Taylor publicly spoke out about this purchase, stating that she was not made aware of this before the announcement, and how much of a betrayal it was considering she had cried to Scott before about Scooter’s mistreatment of her. Taylor has continued to be vocal about this, and so she sings, “I didn’t have it in myself to go with grace.” There is a lot to unpack in this song, but the main takeaway is that this betrayal hurts him just as much if not more than it hurts her, because his career was built on her achievements. He buried her while decorated in her success, becoming what he swore he wouldn’t, erasing the good times for greed, all just to be haunted with regret for pushing her out and stealing her lullabies. The pain is palpable, and it is notable that this is song is placed at track 5, the spot generally reserved for the most vulnerable on the album; it shows that there are different types of heartbreak that can shatter you just as much as those from romance. Best lyric: “If I’m dead to you, why are you at the wake? / Cursing my name, wishing I stayed.”

6. mirrorball On Lover’s “The Archer,” Taylor expresses her anxiety over people seeing through her act, her own grief at seeing through it herself, wondering if her lover does and whether he would stay with her regardless. “mirrorball” is about the act, one of the more obviously confessional songs on the album. She talks about how a mirror ball can illuminate all the different versions of a person, while also reflecting the light to fit in with the scene. Taylor’s critical self-awareness is heart wrenching, and it’s clear that the anxiety that surrounds the public perception of her is still prevalent. She describes herself as a member of a circus, still on the tightrope and the trapeze even after everyone else has packed up and left, doing anything she can to keep the public’s attention. It hurts to hear the desperation in her voice, but there’s hope in the song, too. She is speaking to someone (we can assume her long-term boyfriend, Joe Alwyn) and thanking them for not being like “the regulars, the masquerade revelers drunk as they watch my shattered edges glisten.” In 2016, the height of Taylor’s fame and subsequently her farthest fall from grace, all the people who pretended to be her friends and attended all her parties celebrated her (temporary) demise, continuing to dance over her broken pieces on the floor. But he stayed by her side as she put herself back together. And so now, when no one is around, she’ll shine just for him, standing even taller than she does for the circus. Best lyric: “I’m still a believer, but I don’t know why / I’ve never been a natural, all I do is try, try, try / I’m still on that trapeze, I’m still trying everything / to keep you looking at me.”

7. seven Her voice gentle and haunting, Taylor recalls the freedom and innocence of her childhood in Pennsylvania. She asks to be remembered for how she was, swinging over the creek, before she learned civility when she would scream anytime she wanted, then letting out a very pretty one. She sings to her old friend soothingly about taking them away from their haunted house that their father is always shouting in, where they feel the need to hide in a closet, perhaps literally, or figuratively, or both. They can move into Taylor’s house instead, or maybe just to India, just be sure to pack their dolls and a sweater and then they’ll hit the road. She can no longer recall her friend’s face, but the love she had for them still lives in her heart, and she wants it to live forever through story. Just in the way that folklore itself blends reality and fiction, but the truth within it passes on, so will the purity of that love and friendship. Best lyric: “Please picture me in the weeds / before I learned civility / I used to scream ferociously / any time I wanted.”

8. august (teenage love triangle, part 2: the other girl’s perspective) If you had to assign the feeling of longing to a song, it’d be “august.” It’s when you’re teetering at the edge with someone, unsure of where you stand with them, clinging to anything they give you and doing anything just to raise your chances, “living for the hope of it all.” August, the last month of summer, its heat causing it to slip away the fastest in a haze before reality hits. This track is a display of how sometimes losing something you never had causes an even deeper ache than losing something that was yours, and Jack Antonoff’s signature production intensifies the emotion even more. It’s the story of shattered hope, and the longing for the days where it could still fuel you. Best lyric: “To live for the hope of it all / cancel plans just in case you’d call.”

9. this is me trying “this is me trying” is like a drive through a tunnel at night, hearing your loudest anxieties and insecurities echo all around you, caving in. The track is another apt insight into Swift’s struggles with her self-image, with the pressure she puts on herself, so much so that she sometimes pushes herself too close to the edge, her fears luring her out of the tunnel and down, down, down into her own cage, stunting her own growth and keeping those who care out of reach. She tells us how she was “so ahead of the curve, the curve became a sphere.” Every action has an equal, opposite reaction, meaning that she was pushing herself so hard, she rolled back to where she started, and now has to reset. This could be referring to the period between the end of the 1989 era and the release of reputation (2017), or a different time in her life, or just a general sentiment. It doesn’t really matter, though, because no one’s growth is a neat, straight line; growth is jagged. Just like any of us, Taylor will always have to face new obstacles, new pitfalls, new reasons to get back up. She sounds most vulnerable as she cries, “at least I’m trying,” and you feel comforted knowing someone so beautiful and successful has to push herself to try, too, and yet that motivates you more to try yourself. Best lyric: “They told me all of my cages were mental / so I got wasted, like all my potential.”

10. illicit affairs A quiet, slow-build testament of the passion, the tragedy, the secrecy, the inimitability of a romance that shouldn’t exist, “illicit affairs” demonstrates how you can ruin yourself for someone from just one moment of possibility or truth, quite like the narrator of “august” does for the hope of it all. An illicit affair can be many different things: infidelity, forbidden love, a love that can never be fully realized, a relationship that is inherently wrong but electrifying all the same. It’s a reminder of what so many of us would do just to see new colors, to learn a new language, even if the one moment of enlightenment destroys us forever. We might lose the iridescent glow but we don’t forget it; we carry it with us, but must be careful to remember its blinding effect, to remember how fatal the fall is from the dwindling, mercurial high. Best lyric: “Tell your friends you’re out for a run / you’ll be flushed when you return.”

11. invisible string Clearly the most outright autobiographical track, “invisible string” is the plucky pick-me-up needed. The song is like sunshine, as Swift endearingly links all the little connections between her and her boyfriend, Joe Alwyn, since before they even met. She compares the green grass at the Nashville park she’d sit at in hopes of a meet-cute to the teal of his yogurt shop uniform shirt, and gives a nod to her smash hit “Bad Blood” from 1989 with the delightful line “bad was the blood of the song in the cab on your first trip to LA.” She reasons these coincidences as a fateful, invisible, golden string tying them together since the beginning, always destined to meet at the knot in the middle. She thanks time for healing her, (a callback to “Fifteen” from Fearless [2008]), fighting through hell to make it to heaven, transforming her from an axe grinder to a gift giver for her ex’s baby (the ex in question, Joe Jonas, and his wife Sophie Turner, happened to have their first daughter two days before this album’s release). As she has on her previous two albums, she uses the color gold to illustrate how prized their love is to one another. It’s sweet to know in all the gloom that the string has not been severed, and the trees are still golden somewhere. Best lyric: “Cold was the steel of my axe to grind for the boys who broke my heart / now I send their babies presents.”

12. mad woman Throughout her entire career, Taylor Swift has defiantly defended female rage, all the way back from throwing a chair off a platform on her Fearless Tour during the impassioned “Forever & Always,” to her patient, vengeful reliance on karma in reputation’s lead single, “Look What You Made Me Do,” to her most recent tackling of the matter on Lover’s last and final single, “The Man,” where she explores society’s acceptance and encouragement of angry men yet disdain for angry women. “The Man” is catchy and upbeat, and a fun thought experiment into how Swift’s career would be perceived if she was a man, something that is even more interesting to think about now as she releases an album in a genre heavily dominated and lauded by males. But on “mad woman,” she further explores the creation and perception of female rage, though masked under a smooth, haunting piano melody, her vocals subdued, taunting. In the album foreword, she describes the inspiration behind this song as “a misfit widow getting gleeful revenge on the town that cast her out.” This could be the continuation of Rebekah “Betty” Harkness’s story at her Holiday House in Watch Hill, RI, and how she further alienated herself from the rest of the neighborhood as they cast stones at her for the collapse of the last great American dynasty. (Or perhaps Daenerys Targaryen’s descent as the Mad Queen played a part in the song’s inspiration, as Swift has spoken of her love for Game of Thrones and her character specifically.) Taylor herself could also represent the widow, her music and masters as her love lost, and the men behind the crime as the “town that cast her out.” In the first verse she sings, “What do you sing on your drive home? / Do you see my face in the neighbor’s lawn? / Does she smile, or does she mouth ‘fuck you forever’?” It’s the first f-bomb of Taylor’s career (though a much more playful one will come two tracks later in “betty”) and it speaks volume. Taylor has received a lot of condemnation for expressing her anger at their transaction, for calling out their greed for what it is. Some view Swift’s stance on the ordeal as petty and trivial; they see the men as orchestrating a good business deal, and Swift as the girl throwing a tantrum. Ask any woman, and they can tell you about a time a man told them they were crazy for being justifiably angry; it only makes us angrier. “No one likes a mad woman,” Taylor states, “You made her like that.” Swift underscores that here, how they will poke and poke the bear but then blame it for attacking, as if they had never provoked it at all, and how dare it defend itself. Just as they blamed Rebekah for her husband’s heart giving out, they somehow manage to blame Swift for not being allowed to purchase the rights to her own work. And yes, she’s mad, but the song is measured and controlled; she’s used to her anger now, and knows just how to wield it. Best lyric: “Women like hunting witches, too / doing your dirtiest work for you / It’s obvious that wanting me dead has really brought you two together.”

13. epiphany This is another track Swift provided some background on, stating it was inspired by her “grandfather, Dean, landing at Guadalcanal in 1942” during WWII. The first verse paints this image, while the second verse depicts a different kind of war, happening right now, fought by doctors and nurses. She speaks of holding hands through plastic, and the escape folklore has granted you suddenly lifts. Watching someone’s daughter, or mother, or anyone suffer at the hands of the COVID-19 pandemic, just as watching a soldier bleed out, helpless, is too much to speak about. As she points out, they don’t teach you about that vicarious trauma in med school. We are living in a tireless world with barely any time time to rest our eyes, but too much going on while we’re awake to make sense of any of it. “epiphany” is a cinematic prayer, pleading for some quiet in order to find an answer in all the noise. We’re still waiting for that glimpse of relief. Best lyric: “Only twenty minutes to sleep / but you dream of some epiphany / Just one single glimpse of relief / to make some sense of what you’ve seen.”

14. betty (teenage love triangle, part 3: james’s perspective) It makes sense that a song reminiscent of Fearless would exemplify some of the best story-telling on folklore. The final puzzle piece of the teen love triangle, “betty” is a song sung by Swift from the perspective of the character of her own creation, James, attempting to win back his true love, Betty, who he slighted in some way. He proclaims that the worst thing he ever did is what he did to her, without explicitly stating it. Though the infamous deed is unclear, here’s the information we collect from this song: James saw Betty dancing with another boy at a school dance, one day when he was walking home another girl (from “august”) picked him up and he ended up spending his summer with her yet still loved Betty, and though he ended things with his fling and wanted to reconcile with Betty, he had returned to school to see she switched her homeroom (James assumes, after saying he won’t make assumptions. Classic men). So in order to make it up to her, he shows up at her party with the risk of being told to go fuck himself (the second and charming “fuck” on the album! Which is repeated!). Upon his arrival, there is a glorious key change (ala “Love Story”) and all the pieces fall into place for the listener; we realize Betty is the girl singing in “cardigan” as he lists the things he misses about her since the thrill expired, like the way she looks standing in her cardigan, and kissing in his car. He’s 17 and doesn’t know anything, but she knew everything when she was young, and she knew he’d come back. The way I see their story conclude is that she led him to the garden and trusted him, but as they grew older they grew apart, but the love she had for him never faded completely. Listening to this song is like being back in high school, whether you were the person who did someone wrong or the person so willing to forgive in the name of young love, or Inez, the school gossip, you’re right there with them. The other great thing about this song is that it is sung to a girl, and though it is set up so we understand it is most likely from a boy’s perspective, it doesn’t have to be. It’s really great that girls in the LGBTQ community can have a song in Taylor’s voice to fully connect to without changing the pronouns or names (even James, which is unisex and is one of the names of the daughters of Blake Lively and Ryan Reynolds, Taylor’s close friends, mentioned in this song). That is the beauty of folklore: the infinite ways a story can be told, perceived, retold from a different perspective, and told again. Maybe you’ll hear it from Inez. Best lyric: “But if I just showed up at your party / would you have me? Would you want me? / Would you tell me to go fuck myself, or lead me to the garden?”

15. peace One of the most beautifully solemn songs of her career, “peace” echoes the same fears explored in “Dancing With Our Hands Tied” from reputation; will the person she loves be able to weather the ever-present storm that comes with the life of a superstar, but also dwells within herself? Will holding him as the water rushes in be enough? Will giving him her wild, a child, her sunshine, her best, be a fair consolation? Presumably another confessional track and about Alwyn, Swift puts him up on a pedestal, praising his integrity and his dare to dream. She proclaims that she would die for him in secret, just as she told him she’d be on her tallest tip toes, spinning in her highest heels, shining just for him in “mirrorball.” She highlights some of the greatest gifts of love, such as comfortable silence and chosen family. She knows what they have is special, but she also knows the value of peace, the ultimate nirvana, and does not want to deprive him of that. It is so deeply relatable- to me, at least- to feel like you can give someone so much of yourself but know it still may never be enough, and to fear either losing them or robbing them of something better. But looking at what they have together, maybe peace is overrated. Or maybe, she’s looking for peace in the wrong places. The calm is in the eye of the storm, and sometimes, there’s nothing more freeing than throwing away the umbrella and soaking in the rain. Best lyric: “I never had the courage of my convictions / as long as danger is near / and it’s just around the corner, darling / ‘cause it lives in me / no, I could never give you peace.”

16. hoax The truest enigma of the album, the closer, “hoax” is a devastatingly dark ballad about the uncertainty, or perhaps incredulity, of someone’s love for you, a love that is your lifeline. The lyrics are ambiguous, which gives way to a plethora of interpretations. Perhaps she is speaking about a hypothetical situation that has yet to happen (and hopefully doesn’t) in which someone she loves and trusts betrays her. Maybe she is talking about a relationship, real (hopefully not) or fictional, in which despite the torment it brings her she holds onto it for dear life. I’m most inclined to believe that the song represents her difficulty in accepting that someone is willing to love her through such dark periods, that their love must actually be a hoax, but she chooses to believe in it anyway and uses it as the motivation to rebuild her kingdom, to rise from the ashes on her barren land. And even through the downs that come at some point in every relationship, she can still see the beauty in it all. Yes, their love is golden, but waves of blue will crash down around any partnership, because life does not exist without them. So even when things are as blue as can be, she’s at least grateful it’s with him. Best lyric: “Don’t want no other shade of blue but you / no other sadness in the world would do.”

Although we still have yet to hear the deluxe track, “the lakes,” as a fan of Taylor for almost 12 years, it feels so obvious that this is her strongest work yet. The storytelling I fell in love with on Fearless as a teenager (which, much like folklore, was highly inspired by imaginary situations and real emotions) is even sharper now as we have both grown into adults. The music on this album might not be everyone’s speed, and that’s okay. But it allowed Taylor to dip back into what made Fearless such a success: using pieces of her own truth and the whims of her imagination to develop a multi-faceted narrative that becomes universal. During her Tiny Desk concert, before performing “Death By A Thousand Cuts” from Lover, Swift explained the anxiety she felt around the possibility of stunted creativity when people would ask her what she would write about once she was happy. Taylor has released an abundance of beautiful, fun, complex love songs since the start of her relationship almost four years ago now. But “Death By A Thousand Cuts,” which is a fan favorite, helped her prove to herself that she can still write a killer breakup song while being in a happy, fulfilling relationship; the song was the last track written for Lover and was inspired by the film Something Great on Netflix. And so it makes perfect sense that Taylor used folklore to continue exploring this new avenue for songwriting. All of her discography and all of her life experiences have culminated to the folklore moment: as all the best artists do, she will never stop finding inspiration in hidden corners of this dark, mystical, wondrous universe, and falling in love with new ways to share those wonders. And that love will be passed on.

DISCLAIMER - REVIEWER’S BIAS: I love Taylor Swift more than any person in my life, yes including my parents, they are aware and have accepted this fact long ago ❤️

1998 Film Rumpleteazer Rewatch Part 4

This has been one of the more interesting part 4s, surprisingly. I believed the plot has thickened...

For The Moments of Happiness, the chaos twins are found where they usually are: together. Jerrie is still lying on the ground because Grizabella interrupted nap time and he’s still tired. 

Here’s where it gets interesting. After the verse of Memory that Jemima sings, we see close-ups of various cats repeating the line and contemplating it, trying to figure out what Old Deuteronomy’s trying to tell them. Most of the cats in close-up are either confused or just calmly repeating the line.

But, Rumpleteazer looks up, moved, but also as if she’s figured something out. She has some understanding of what’s being said. Since she’s barely seen anything of Grizabella, there’s no way she could know that Old Deuteronomy’s trying to explain why Grizabella’s the Jellicle Choice. He’s made the choice by this point, but the Jellicle Choice is more democratic than the cats seem to think that it is. They all have to understand and make the choice.

Why does Rumpleteazer, of all the cats, seem to be one of the ones who “gets it”? No other cat has this strong of an emotional reaction to what Old Deuteronomy and Jemima are saying, so this has to mean something to her, but I have no idea what it could be.

Jerrie also looks a bit moved, but he doesn’t look up like Teazer does, so he might just be responding to the emotions of the moment. This is a very emotional moment.

Anyway, the chaos twins stay quiet and off-screen during Gus the Theatre Cat, which was probably for the best. They come back for Skimbleshanks and Teazer is one of the more fun characters to watch.

It doesn’t take long for Teazer to get right up front behind Skimble, but she doesn’t try to make any trouble for him. Skimble, as rule-oriented as he is, should be a fun cat to mess with, but she doesn’t. She enthusiastically participates in his number without causing any chaos.

As for that enthusiastic participation. She imitates Skimble’s movements quite a bit. It’s not part of the group choreography, because Etcetera isn’t doing it. Teazer is just copying Skimble because she wants to. She’s not trying to attract his attention by mocking him, either. She’s just following along for the fun of it.

She copies Skimble’s “all clear” move. This is just another example.

I get the feeling that Teazer just really likes Skimble. I’ve theorized before that Skimbledad might actually be Teazer’s dad. She respects his authority more than the other elders.

Jerrie and Teazer much sense as Skimbledots kids. Skimble is a ginger, Jenny is a ginger, the twins have a lot of ginger on them. Jenny’s also said to have tiger stripes and the chaos twins, striped orange, black, and white, look more tiger-striped than any other characters. Also, back in Jenny’s number, Teazer mocked Munkustrap and was kind of a brat, but she stopped misbehaving when Jenny came out. Teazer likes driving authority figures up the wall as a chaos twin, but she has exceptions to the rule: Old Deuteronomy, Jennyanydots, and Skimbleshanks. Everyone respects Old Deuteronomy, so that’s no surprise, but the other two stand out a bit.

Still, Teazer is not happy when Skimble nearly crashes into her, but nobody’s happy when someone nearly crashes into them.

This is the Iconic Sneeze. Teazer most likely did it on purpose to line up with the lyrics of Skimble’s song. This was clearly not planned, because Victoria looks downright disturbed.

The moral of this portion is that Teazer is a Daddy’s Girl.

When Macavity shows up, Teazer is out in the open, so she doesn’t immediately huddle with the other cats like you can see Victoria and Etcetera doing. The run off to the side and stay together. Teazer just freezes in place.

But, almost right away, Skimble’s on the move. Instead of a Leg Tent, he forms a Leg Tunnel so that Teazer can get behind him. He stands between her and the danger and she’s down on the ground, hidden with the other younger cats.

Teazor cannot be seen in this picture. That is because after crawling through the Leg Tunnel, Mungojerrie had he get down on the ground with him standing over her. Like Skimble, he plans to stand and fight after ensuring the safety of more vulnerable members of the tribe. Skimble took responsibility for the two nearest kittens and Jerrie took responsibility for his sister, even though they’re the same age.

Then Macavity does an evil laugh and Jerrie ducks his head. Now he’s not so sure about fighting. Demeter hasn’t called “Macavity” yet, I don’t think, but Jerrie knows Macavity and probably recognized his voice. 

My headcanon for this whole situation is that Jerrie, as he was becoming a grown-up, wanted to turn his mischief into something profitable, so he started stealing stuff for Macavity. He did this behind Teazer’s back, because Macavity basically runs the feline mafia and he knew that it was dangerous and didn’t want his sister, who might be younger than him by five minutes, getting involved.

But, living a double life is hard. He stole for Macavity and he stole with Teazer and he had to keep them from knowing about each other. But, Macavity found out that Jerrie had been stealing without giving Macavity a cut of the profits, like he’s supposed to. He had to reveal that he was still stealing for fun with his sister. Macavity, realizing that the twins work better together, requested that Teazer work for him as well and Jerrie wouldn’t have it. It was too dangerous and Macavity had already done some things that Jerrie didn’t want any part in. He’s a literal cat burglar and vandal, but he’s not violent. Besides, he’s seen how Macavity treats women.

So, Jerrie left the feline mafia. But, leaving organized crime isn’t something you can just do, so he might believe that Macavity’s still mad at him for walking out. Macavity doesn’t actually care, since Jerrie wasn’t important and didn’t know anything about him that wasn’t already well-known, but Jerrie, now that Macavity’s here, gets a bit paranoid

Still, this is Teazer’s recap, not Jerrie’s, so going into all of this right now isn’t completely necessary. I’m explaining it because I’m trying to figure out how much Teazer actually knew. How much does she already know about Macavity?

We know that Teazer didn’t work for Macavity. Demeter mentions Mungojerrie and Bomba mentions Griddlebone, but they leave her out, when it would be an important detail. This is one of the few times one twin did crimes without the other.

During the Macavity number, Demeter and Bombalurina get in the faces of the girls they’re explaining this to from time to time and we see some reactions to their stories. When Bomba approaches Victoria and even Tantomile, an adult queen, the tremble in fear. Teazer, as seen here, doesn’t. Macavity doesn’t frighten her. She saw how frightened Jerrie was, she can see how frightened Demeter is, and the same fear in those around her, but she’s still calm.

The only time Teazer reacts to what’s being said is when Bomba sings about Macavity stealing milk. Stealing milk sounds like the sort of thing Jerrie and Teazer might do together. They’ve bragged about stealing food before. Perhaps she’s a bit upset that someone stole the milk and it wasn’t her and Jerrie. I don’t actually know.

But, though she turns her head away, Teazer doesn’t flinch or cringe. She’s still not scared. Whatever emotion she has about this, it’s not fear.

Demeter and Bomba are in close-up when it’s revealed that Jerrie worked for Macavity, so we don’t see Teazer’s reaction, but it appears like she doesn’t have one. That would suggest that this is something she already knew about. She spends the rest of the song just going through the motions of the choreography and back-up vocals.

My guess about Teazer and Macavity:

Teazer found out at some point that Jerrie was doing crimes without her when they usually do everything together. She felt a bit betrayed by this and Jerrie hand to explain Macavity to her. He thought serious crime would be fun, he got in over his head, but he knew better than to drag his twin down with him. So, Teazer knows who Macavity is and what he does and because Jerrie did a bunch of work for him and lived, she’s not that intimidated.

as someone who played thru both games blind (and kss/u first) the sheer disproportionate level of hate magolor gets in comparison to m*rx makes me 🗡🗡🗡

FUCKING SAME! Like yeah I was pissed at Magolor for a while until I discovered Kirby Has Lore In It and started actually looking in to things. That’s around the time I figured “oh shit he probably wasn’t himself through some of that” and started being Less Mad.

For fuck’s sake one of the songs is literally called Under My Control, that’s a pretty big hint that you were going to be fighting the crown(indirectly) as soon as he put it on. Magolor didn’t control shit at that point, he just got stronger, but his boss descriptions make it pretty clear that the crown was up to something besides being a fancy headpiece... such as possessing Magolor. The use of ‘My’ can easily be interpreted as the crown itself, not necessarily Magolor, when given the context of those descriptions. Also the crown wiggles and shit so denying that it is a being and saying it’s just a powerful object is pretty difficult to do in an honest interpretation. Regular cursed crowns don’t move of their own accord.

Nowadays my headcanon is that he wasn’t originally intending universal domination or to do anything to Popstar at all; he just wanted to rule Halcandra because it fucking sucks right now. The infrastructure is in shambles, there’s a pissed off military robot attacking people in Egg Engines, and the water supply is full of giant eels. Is becoming a god through lies the most moral way to go about solving that? Of course not! But if it had worked it would have been very effective. Throw out the current government speedrun any%. Of course the crown not only let/made him power trip, but also possessed him, and those things don’t exactly mix well when you think you’re invincible and you can’t quite tell what thoughts are yours and what are from the entity firmly digging itself into your skull.

In other words, no, this isn’t woobifying him like I’ve been accused of doing, this is giving him a more interesting motivation that could easily be corrupted and taken too far. Like it was. His actions aren’t being excused or ignored, nor am I writing it like “ohhh but everyone forgives him because he said he was sowwy!” Literally I have gone into detail how much Meta Knight still despises him, and how the majority of people don’t trust him at all despite not even being involved with what he did. The only two characters I’ve written actually forgiving him are Kirby and the Lor. Kirby because they’re just like that and value friendships over grudges, Lor because she thinks he’s dealt with enough natural consequences and consequences from other people. Also because she has some (imo understandable) bias; even if he kept the reasoning from her for years, she’s only around because of his actions, as awful as they ultimately were.

Also I write him as such 99% out of spite towards Marx stans, who tend to be the most vocal anti-Magolor group. THIS is how you do a villain redemption arc, not “he died but got better so things are chill now” like I’ve so often seen with the jester bastard. Forgiveness/acceptance and consequences/punishment are not mutually exclusive! Consequences/punishment with no forgiveness/acceptance isn’t really redemption, and forgiveness/acceptance with no consequences/punishment is woobifying. Some level of both is needed for an honest redemption, along with realistic character development.

Unless you want to just have Kirby yeet a friend heart at them, but that’s not very interesting to read, is it? Anyways sorry for the mega tangent but I have thoughts.