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flowering-darkness · 2 months

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I FIGURED OUT HOW NOT TO BREAK REBORN'S TIMELINES (MUCH)

TLDR: in my version of events, my self-insert (Adriana) now appears in all three timelines, not just the last two. The first is used for my selfship with Elena, and is reset as normal with nothing bad happening to Adriana; the second is used for my selfship with Luna, and is reset with an extra sacrifice needed due to Adriana’s fate there; the third is also used for my selfship with Luna, and ends in success thanks to the player being an additional presence. Adriana has a different outfit or appearance in each timeline, to help with differentiating them all.

Further explanation can be found under the readmore, if you'd like to know more! ..There will be some spoilers mentioned for the game, but I hope that the things I talk about are helpful for assisting your understanding if you aren’t as familiar with Reborn itself. I'm also more than happy to answer questions if anyone has any!! ^-^

The first timeline (pre-gameplay)

We don't know as much about the first timeline compared to the other two, and it also doesn't get to the same point that the other two do, but it's the one where everything technically kicks off from, so it's still important. In this timeline, Adriana is a Pokémon Trainer of some sort who travels to visit the Reborn region from her home in Kalos, and eventually ends up getting into a relationship with Elena of the Elite Four after bonding over a shared fondness for Ghost-types, gaining a greater appreciation for them in the process. (I have yet to figure out how Corey factors into this; for now, I am saying Elena has two hands.) More details will hopefully come with time.

The first timeline is eventually reset after the continued distortions and earthquakes afflicting Reborn, caused by Solaris wielding the power of Giratina, force Zina to have to fix things, sealing Giratina away in Byxbysion in the process and sacrificing her existence to facilitate the change and reset. Adriana was not a particularly prevalent character for many of the actual ongoing events here.. but this ends up changing after the timeline starts over again.

Anything I make within this timeline - so, anything to do with my selfship with Elena - can be identified by Adriana having a different outfit, and possibly also hairstyle. My first pass for this outfit, made within Pokémon Y, is this:

The second timeline (Episode 18)

This is the timeline seen by Miss Fortune, as well as being the one that has more direct relevance to in-game events, particularly in the postgame. Here, Adriana once again comes to Reborn, but at a slightly different time in her life - specifically, she decides to pick the region’s league as her first league challenge after finding some slightly misleading (in that it’s ten years out of date) marketing for it. From the moment she arrives rather explosively at Grandview Station, her journey goes completely differently to how she was expecting it to, as she ends up entangled in trying to stop Team Meteor while also collecting Gym Badges, eventually succeeding in obtaining all 18 (even if she did have to get two Poison- and Fighting-type ones due to.. extraneous circumstances). She ends up in a romantic relationship with Luna along the way as well, and even successfully rescues her from the Void.

This timeline follows the game’s events as they existed in Episode 18, with two key exceptions - Euphie still exists as Euphie, and Fern either does not join or eventually breaks away from Team Meteor. This is to fit what Miss Fortune sees. It also extends past the gym battle against Hardy, despite the game only being finished up to that point when this episode was the most recently-released one.

In this timeline, Adriana fully takes on the player character’s position as the protagonist, and experiences everything in the story as it existed in E18. The story then continues until she reaches the final battle with Lin, who drags her into the New World and removes its oxygen; Anna summons everyone’s hopes to make a wish to help her, but it turns out to not be strong enough, and she ends up unable to be saved, leaving Anna and others distraught. Fern then steps up to be the hero, working alongside Cal, Euphie, Arclight, and others to try and counter Lin and the havoc she is playing in the region - but he also doesn’t succeed. As a result, Anna ends up following in her mother’s footsteps by resetting the timeline again to fix the problems caused by Lin, with Nostra (her Jirachi) as the sacrifice; however, a second sacrifice is also deemed to be required to bring Adriana back, and this ends up being Euphie’s body, allowing Shade to exist as he is seen in-game in the next timeline.

Anything to do with my selfship with Luna that is set in the second timeline can be identified in two ways. The first is that Adriana uses a wide variety of Pokémon here, with no clear type specialty; examples include Delphox, Roserade, Ampharos, Silvally, Honchkrow, and Aegislash. The second is that Adri’s freckles are an ordinary dark brown colour; while she does become void-kissed in this timeline, I don’t know if I will say that this has any physical consequences on her here.

The third/current timeline (Episode 19)

This is the timeline that you actually are in when you play the game itself, so it arguably has the most prevalence. Here, Adriana’s first journey as a Pokémon Trainer is around her home region of Kalos, before she then decides to go and challenge the Reborn League. On the train there, she is sat next to another person (the player character), and is therefore able to be saved alongside them by Amethyst at the beginning. From there, Adriana travels across the Reborn region in a way that largely mirrors the path of the player; she appears many times throughout the story and experiences many of the same events that they do, so would arguably be counted as their rival if not for how she doesn’t actually push the dynamic in that direction. She once again ends up in a relationship with Luna, whom she is able to spend more time with here due to not having to experience every single story event, and her presence is indeed able to help make Anna’s wish succeed and save the player from suffering the same fate that she did. (I am only familiar with the Anna Route of postgame, so I tend to treat that as the default when Adri is present.)

Before the postgame begins, Adriana becomes the second person to make it through Charous Hall after the player, so she becomes their reserve (or, Shadow) Champion, having not been able to actually battle them for their title because she achieved this while they were temporarily missing. In the postgame itself, she does a small number of the in-game legendary quests, and eventually fully realises her status as the previous timeline’s hero when reunited with the original Giratina. This property turns out to be key to letting the player reach the grand finale.

My portrayals of Adriana, and/or my selfship with Luna, that are set within this timeline can be identified in two ways. The first is that Adri uses almost entirely Ghost-type Pokémon here; the only exceptions are her Shiny Silvally, her Gothitelle (whom she later gifts to Luna), and possibly some of the legendaries and mythicals she catches in the postgame (like Cresselia and Darkrai). The second way to identify third timeline events is that her freckles are white from the beginning, which was a physical consequence of having to bring her back to life and mess with the timeline to make sure she made it back (since.. Nostra ended up choosing another person, the player, to be the protagonist for this timeline - but it was vital that Adriana also came to Reborn as well as them, despite not having their role this time, because otherwise there might not be enough people to power Anna’s wish again if she needed to make it one more time. However, because Adriana is not from Reborn, it wasn’t guaranteed that she would return there after the timeline got reset. So, more meddling than usual had to happen to bring her back, mostly carried out by Shade, but this ended up having effects on Adri herself - this is how I bring in the whole anamnesis aspect). These consequences also get worse after she becomes void-kissed again, as a white star-like pattern forms all across her face and hair, and culminate in the full visibility of a pair of spectral wings on Adriana’s back, resembling the wings of a Reborn-Shiny Giratina.

Bonus: Another Time

This is the name given to the alternate/hypothetical future that you visit during the postgame while doing the Celebi quest, as the player ends up travelling ten years into the future with Celebi during this quest before returning to the present day. Due to the player disappearing from the present in this version of events, Adriana once again fills the role of Champion in their absence, just as she did before the postgame started. However, she is eventually defeated for the first time by Shelly, some time after the cast are able to figure out that the player travelled through time. She continues to hold her role as Shadow Champion when Shelly first becomes the Champion, but eventually steps down to allow her to select a new reserve. By the time of the player's return, ten years later, Adriana has taken over Shade's role as the Ghost-type Gym Leader of the Reborn League; she takes her battles in Iolia Valley, just as Luna did.

Since Another Time is explored after a ten-year timeskip, Adriana's appearance will definitely have changed in it like how everyone else's does, but I haven't quite decided how yet. However, since it is an alternate version of events within the third timeline, her physical appearance will stay the same as it does there (white freckles, etc.)

Thank you so much for taking the time to read this!! Please don’t hesitate to ask me if you have any questions, no matter how big or small!

#heart of the void #selfshipping #..sort of #info posts #this post is okay to reblog if anyone wants to #creations from the void #why not #self‑inserts #self‑insert: soul‑touched (adriana)#of a city reborn (pokémon reborn)#and I did kind of mention both of the girls so #love: soaring skyspectre (elena)#selfship: birds in the night sky (elena/adriana)#love: dark dreamer (luna)#selfship: void‑kissed (luna/adriana)#first timeline adriana #second timeline adriana #I may not actually use those differentiation tags but if I at least put them here then it means they exist #crumbs I love this game

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bigskydreaming · 9 months

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Spoilery thoughts on the Wheel of Time Season 2 premiere:

The casting remains the show's biggest strength. Nynaeve is still pitch perfect and my absolute fave. She is everything Book Nynaeve always had the potential to be if gently (forcibly) removed from Robert Jordan and his complete inability to write female characters. That scene where she drank the water just to get out of that lesson without technically losing ground......lmao this woman absolutely will cut off her nose to spite her face and say you're damn right I meant to do that, who needs a nose anyway?

Ishmael is also perfectly cast....I'm not familiar with his actor but he conveys the character's emblematic charismatic menace PERFECTLY. His scene gave me chills. Rosamund Pike continues to be great as Moiraine, what more is there to say about Lan other than Best Warder Is Best, I would kill people for Perrin as long as they were completely hypothetical people who don't count stop looking at me like that its a figure of speech you KNOW what I MEAN gosh, and Egwene's character isn't even close to getting to the real meat of her character arc but her actress has already displayed more than enough range to convince me she's going to nail it. Liandrin is perfectly awful, A+ depiction, and of the new characters, Verin is everything I hoped that character would be. Too early to say if I'm sold on this Sheriam though. Same with Elyas though he seems promising, and we only got a glimpse of Lanfear in the 'this season on Wheel of Time' preview, but what little we saw has me excited. (Lanfear is my ultimate fave baddy, I have such high hopes for her character though, you don't even know).

In terms of characters who don't have rave reviews from me, its mostly just a lack of content so far, leaving me undecided as of yet. I still don't know why they recast Mat before last season even ended up airing, and I liked the original actor for Mat quite a lot, but I THINK I'll be just as happy with this one. He didn't have much to do this episode so its hard to gauge, but he seems likable enough, and its not like Mat's currently in a position to be his usual devil-may-care self at this point in the story.

Honestly, Rand remains the weakest link in the show so far, to the point where even though he's nominally the most central character, the fact that he was barely in this episode didn't bother me even a little bit. I think it was a good choice, pacing wise - I'm just not sure what it suggests about the production's view of the character/actor that they were confident they could sideline THE 'main' character of the series for almost the entire first episode of a ten episode season and nobody would mind. And the fact that I didn't really miss him this episode has a lot to do with him easily being the least compelling of the cast in the first season.

That said.....over the course of the books, Rand's character undergoes the most dramatic evolution out of all the major characters, and we're still at a very early part of the narrative where he's just....at most mere hints of the character he ultimately becomes. His character hasn't yet been given a ton to do, relatively speaking.....like in terms of screentime, he's certainly been front and center, but as of right now he's SUPPOSED to be hesitant, mild-mannered, unsure of himself and all that....which is exactly what his actor is delivering. Its just.....not as interesting as what other characters are already undergoing, and especially when you have his book character arc to compare it to, knowing what kinds of things are coming for his character makes what we've seen so far feel a bit like treading water.

Which brings me to my next point, which is that I am pretty impressed with the show's pacing so far. In hindsight, the books start out pretty slow compared to how the story flows once it fully gets going, probably around the fifth book or so, IMO.....and those first books were still just as long as the later ones. So I do think the show's done a good job of condensing an enormously long narrative into something that can viably be told in ten seasons or so, & in such a way as to 'get to the good stuff plotwise' without actually cutting out too many of the early events necessary to build a foundation for the more complicated later storylines.

I do not envy the writers trying to figure out what to keep, what to streamline, what to alter and what to cut out entirely, so it is pretty impressive that as of this episode we very much FEEL like we're in familiar territory, like I recognize whereabouts in the narrative we're supposed to be, but most of the storylines' specific events have been so heavily altered as to make it feel unpredictable and I'm not sure what entirely to expect, in terms of how the show will get from where it is to certain major beats that I'm expecting to happen. Rand's storyline in particular has been pretty dramatically deviated from how the events after the Eye of the World stuff played out in the books....but he's still positioned to be right where he needs to be for all the Lanfear stuff. On the flip side of things, Mat's storyline technically doesn't have him too far removed in the show from where he was in the books at this point, but they've changed just enough that it FEELS completely different and has a much more ominous tone to it than the way that part of his storyline in the books felt like just kinda.....him sitting around until the Seanchan were in place and his storyline could really get going.

And speaking of Mat's storyline, ugh Liandrian is just the worst. I mean. She's supposed to be. So....good job, I guess.

Elayne and Aviendha should be showing up soon, and definitely impatient for that. Aviendha's a fave. I don't dislike Elayne by any means, but Elayne showing up soon also means that Elaida, Galad and Gawyn are all about to show up and I literally hate all three of them. Gawyn hasn't even appeared onscreen yet and I'm already ready for him to shut the fuck up. LMAO. He.....irritates me. Like Galad's full of himself and self-righteous as fuck but at least he KNOWS that and is like yeah, I get why other characters don't like me. Book Gawyn spends several volumes absolutely convinced he's in the right about certain key things he absolutely is NOT in the right about, and he never is actually made to own that or face it, once its made undeniably clear the narrative just kinda....moves on from anyone ever being in a position to point out hey dude, you just spent five books being an absolute dick about this thing that never even actually happened, maybe you should reflect on that. And like. Change. As a person.

Book Gawyn: Nah. Even though I wasn't right I didn't KNOW I wasn't right so I was basically right to do all the stuff that I now know was completely wrong.

Me: Ugh, shut the fuck up Gawyn.

Ohhhh just realized, Faile should be showing up soon too. I love Faile, so that is also something to look forward to. I'm STILL pissed about their totally unnecessary decision to introduce a whole extra helping of backstory trauma upon Perrin when like....nobody fucking asked, and Im very curious who's idea that was exactly and what their precise reasoning for it was, like what the fuck did they think it added to Perrin's arc that he needed, how does it benefit his storyline at all, you didn't need to fucking do that lmfaaaaao, but oh well. Course, its inevitable that its going to alter the shape of his storyline with Faile, particularly their earliest interactions, and I guess I'll wait and see if that's for the better or not, I just....don't see the point of those specific changes. Whatever. I'll die mad about it I guess. Its fine.

Other than all of the above, my biggest remaining thoughts are I want them to hurry up and clarify just which of the Forsaken made the cut and will be appearing in the show and which five got left on the editing floor. I hope they don't drag it out, they better at LEAST get named this season so we know who we're working with and don't have to wait a whole additional year to like, find out whether Sammael will be in the show or if he got scrapped for someone like Belial for some random reason.....mostly I just want to know if Demandred the Dull is going to be taking up one of the slots simply because the books like to pretend he's important even though he literally only appeared in one book and a chapter and there's nothing he does that can't be done just as well by far more developed characters like Aginor. Who unfortunately probably WON'T make the cut. Even though he's fantastically terrible. As a person. Not a character. He's the worst. But in that 'I can't wait to see him get murdered' kinda way. You get it.

Also I hope Asmodean's passive aggressive ass is in this season because the only thing better than Lanfear is Lanfear vs Asmodean: The Passive Aggressive Olympics.

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logos-of-experience-and-truth · 1 year

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Podcast Transcript - Practical Use of Belief

Podcast Transcript - S3EP28 - Practical Use of Belief

Audio and Show Notes 0:00:22 Welcome back to the Logos of Experience and Truth podcast, where I continue to unlock the mysteries of the Beatific Vision. I am still running through my mind the why. The reasons why studying, learning, understanding, and thinking more deeply on each of those aspects to spirituality or religion, and especially in thinking about them in a practical way. And what was crossing my mind was belief. Belief itself and what is the practical use of belief? Is there a practical use of and or for belief? And is there anything deeper going on beyond the common idea of either belief in a deity, belief in God and that that is all belief really is. Or the only other time I am sitting here thinking of when people use the term believe, it is in believing in yourself. Right? You know, believe in yourself to succeed or something on that order. So, belief in God and or believing in one's own self and or abilities. In my podcast on the Logos of God episode, I compare knowledge of the self to knowledge of God and that they go hand in hand. Gaining one gains the other. I am thinking in historical terms right now because I am trying to picture the origin of belief and if, how and why it may have and continues to benefit humankind. 0:02:05 The two caves I am most familiar with are the Lascaux and Shanidar caves. And when I am talking caves, I am talking of cave paintings. These go back to like ten, fifteen thousand BC, I think is their time frame. You can look up the imagery for it. Last time I studied some of this stuff, there was no consensus on what exactly is painted on these walls. Of course, if there's animals, right, there's animals, but their use, their purpose, their reason for being there. The most common explanation that I have heard about this is some type of shamanism. Painting these animals or the hunt or the rituals, that maybe they were doing in the hopes of a good hunt, something on that order, something that is translatable to tribal peoples that still exist today and our knowledge of these peoples across the centuries versus going across ten thousand years going to the time frame of these caves. The basic idea of that these were painted as some form of shamanistic practice, some sort of shamanistic idea. But if we look at the basic concept of them . . . let us just assume that that is what they were doing. That somehow painting this on the walls beyond just some type of memory, that it's some type of a shamanistic idea or practice that by painting this on the wall and either focusing on it or praying on it in some manner or doing some kind of ritual with the image of it in the cave will somehow produce the effect in reality of these animals showing up in some way or the spear hitting them or the arrow hitting them in some way that will cause them to have a good hunt. 0:03:59 All of that is belief. That is entirely belief. Let us go a little bit further into this. Let us just say and I know this is hard for a believer, easy for a non-believer, but let us just say there is no God.

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#Belief #Mystic #God #Religion

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ennsane · 2 years

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Being in love with depression

“I’m sad” “I don’t feel anything” “I could kill my self right now” “I just dont feel like it” “why me” “my life is so shitty” Sounds familiar? I think i’ve said those phrases about too many times to count, and I could say its my depression that is telling me this but i’ve came to far with this mental disorder that i have learned to embody this monster I can call home. Growing up i’ve always been a pretty sad kid, and also very emotional with constant let downs, always wanting what i can’t have, comparing my self to others, and crying when I should be happy. I call depression a home because once you become familiar with depression you kinda gradually move in with it or vise versa. I found comfort in my own pool of sadness, its a familiar routine you get used to and you kinda learn to love it? Why feel any emotion when the emotions can hit you ten times better. Its like a hot stove, when you touch it you immediately respond with backing away and disliking the feeling but then we touch it again, and again and again. Our brains can’t help it. In this home of depression, I wake up and I dispise that i’m awake but there likes level of depression as it progresses in us. You feel emotions intensely, about nothing makes you happy and then you ease your self into the lovely feeling of numbness. Absolutely nothing will make you feel alright, life gets slapped with a black and white filter with possibly the most saddest song in the background playing on repeat. Being depressed often leads me to suicidal thoughts and to feel like you truly want to just disappear into thin air is a very agony feeling in its self. You’re suffering and thats that. My whole chest gets tight and theres this dark void in me that gets bigger and bigger and its so inviting and mesmerising, whispering “come and join me” and its not that I want to but it feels as if thats all I got that can be exciting. Yes death. When I was severely suicidal death was inviting I no longer feared the what if, I did things as if death is on my side. But thats just my depression in me trying to win this battle of life. Its shitty but I truly hate to admit that I have became in aw with my sadness. Its there to remind me that I am a peice of shit and my life truly does suck. Its almost a selfish feeling when we remind our selves how sad and how bad we got it, its like being narcissistic but in a very gloomy way. No matter what is told, or what we got were going to make it all about our selves although we cant stand looking in the mirror. When my depression is making a famous apperance I cant bear to even get up and turn the faucet on and scrub my hair, let alone brush my teeth twice a day…its nasty but im being honest. My room has half eaten plates, and dirty clothes piling up in the corner. My hobbies are abandon and I play sweet sweet songs to numb the pain. Like let me listen to some one singing about how lonely they are because im so accostumed to this depressive lifestyle. It truly fucks me up in the worst ways. Sweat pants, stained hoodie and a bowl of mariuajna that will probably give me an anxiety attack but of course it doesnt matter because I feel like constant sadness anyways. the feeling of nostalgia is another form of sadness i undertake, something about reminising about my past and reminding my self of the good times feel good. Its like a subtle reminder that life can be like that, but how good can it get with out my depression coming into to sabotage everything good? The thing is we need sadness to survive, do we need sadness 365 days a year? No no no, but coming out of depressive episodes i’ve learned that I would have never reached out to certain loved ones and acknowledge that their love is good for my soul, I would’t have learned how I enjoy to treat my self because when im in relationships for example and they say something that hurts me I know then that I can’t stand certain behavior because I’ll be led to sadness. Its truly teaches us what can hurt and upset us. We have to learn to embrass when we feel these emotions of sadness, theres nothing to be ashamed of when were sad. Its a natural emotion. Along with depression, if we are depressed so be it but dont stay there too long. I go back to saying how sadness is such a powerful feeling because we have a literal mental disorder relating to it. We feed our depression when we sit there and sulk, but if we just got up while were sulking and remind our selves with the little things like a sunset or messaging a friend and letting some one know whats on your mind I promise you life goes on. Like i’ve been told “treat your mind like a bad neighborhood, never go there alone and bring some one with you.”

Being in love with depression

#depression

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florrickandassociates · 3 years

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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.

#tgf thoughts #the good fight

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heyheydidjaknow · 3 years

Text

I do not have a decent title for this. I’m also not even going to bother with an image (even though I know it would generate more traffic) because I’m not going to steal someone’s shit. It’s about 3500 words, so have fun with that.

Chapter 1

Dying is not fun.

I do not know if you knew that until last night. Maybe you figured that since it was romanticized so much that it would not suck as much as it so clearly and obviously did. Maybe you dreamed of dying relatively peacefully, surrounded by your loved ones. Alas, those dreams were dashed last night when you, oh so wise Y/N, decided that you were going to try baking and forgot the most essential step; taking the thing out of the oven. You remember that night so clearly, the screams of your family begging for their lives still bouncing around in your ears like a torturous golf ball that made a habit of forcing itself into your throat, the feeling of your hair catching alight as your skin bubbled and charred, and rational thought became a foreign concept. You do not remember if you had died from a heart attack or hyperthermia or smoke inhalation, but you had a general idea that, yes, that night had been your last on Earth.

So, where the fuck are you?

You pull yourself into a sitting position, your back pressed against something hard as your eyes struggle to adjust to the darkness. The air smells like rotten food and exhaust engines as you pull yourself off the concrete, looking around the alleyway that you had found yourself in. It’s small, narrow, unremarkable in every way, with graffiti covered dumpsters near the entrance. Dazed, confused, generally out of sorts, you make your way to the entrance, patting yourself down for injuries you did not seem to have.

You rub the side of your face with your hand. ‘My head is killing me.’ You slip your hand into your jacket pocket, feeling a key and a piece of paper. ‘God damn it is cold in this alley.’ You zip up your jacket, walking out into the open as you pull the note out, beginning to read.

“Dear Y/N,” you mumble as you read, “we are pleased to inform you of your acceptance into our transference program, yadda yadda yadda, whoopdeedoo…” You skim ahead of some introductory jargon before getting near to the point of the note. “From this point forward, enjoy your permanent residence at ten West.. fifteenth street… apartment number six two two… New York, New York?” You blink. ‘I… that’s not my address.’ You pull out the key. ‘Wait, hold on.’ Your eyebrows furrowed. ‘New York? Wait, I was dead, wasn’t I?’ Your eyes become unfocused. ‘I don’t live anywhere near NYC. Where am I?’ You look around for some sort of landmark, street name, anything to give you some idea of where you are.

You hear a car squeal to a stop on the street corner in front of you, snapping you out of your stupor. As identical men start climbing out of the back of the vehicle, all marching deliberately towards you, a fifteen-year-old girl, your immediate reaction is to run like hell. Unfortunately for you, apparently your speed was not comparable to that of the men who quickly apprehend you, scooping you up and dragging you kicking and screaming into a van. You hear vaguely familiar voices outside, but your focus is less on the mayhem and more on the more pressing matter of getting yourself out of the van. You pound at the door, feel for any sort of locks on the inside, something, anything to get you out of the van, still screaming your head off as you hope whoever was outside had the common sense to call nine one one. You feel your eyelids droop as your breathing slows, your voice dying as your pounding becomes less intense. You slide to you knees, eyes closing even as you mentally scream at yourself to get up, keep at it. You passed out.

You wake up laid on the floor this time, the pulsing of electricity above your head almost soothing as you open your eyes. You stagger to your feet, looking around your well-lit enclosure, pink florescent lights lining the ceiling and walls like arteries. After taking note of your new bruises and checking to see if you still have your few personal belongings—you do—you ran over to the door, eyes fixated on the mind boggling, ridiculous scene taking place in front of you.

‘Oh, for fuck’s sake.’ You back away from the slot in the door, trying to process the blatant larping headassery. You had not thought that you would honestly be able to say that, apparently, you were kidnapped by the mother fucking Kraang, yet, in some stroke of tomfuckery on behalf of whatever deity controls your universe, you have, obviously, been kidnapped by some seriously hardcore cosplayers. If nothing else, you must admire the obviously advanced set up.

You run your fingers through your hair, chuckling almost manically. “So,” you say to yourself aloud, “I got kidnapped by TMNT fanboys. Great. Fantastic, even!” You pace around the room, throwing your hands up in exasperation. “I guess this makes me April O'Neil, then? Cool.” Your voice is extremely tight as you shake with intense, mostly negative emotions. “So, I’m somewhere in New York, kidnapped by the Kraang in the worst convention ever. Let me guess,” you laugh, losing your mind a little as you speak to nobody. “I’m gonna have a run in with the Teenage Fucking Ninja Turtles next, right?”

As if on que, you hear laser blasts and shinking metal. The high pitched beeping on an alarm sounded as you heard people—‘Male, teenagers… fuck my life,’— talking about power or something as their footsteps approach your room. You pound on the door. “Hey! Over here!”

You see a brown set of eyes look in through the window. Your suspicions are confirmed; ‘Definitely TMNT larping.’

“We found her,” the owner of said eyes, the one cosplaying as Donatello, calls to the others. Lasers shoot by his head as he turns to stare death in the eyes.

“We’ll hold them off. You pick the lock.” ‘Leonardo.’ You breathe a soft sigh of relief; if nothing else, you are apparently on the side of the people trying to get you out in this game. You hear footsteps going towards the firing.

“Don’t worry,” “Donatello” reassures you, voice tight with apparent anxiety, “I’ll have you out of there in a second!”

“Thanks, Donnie.” You give him a half-hearted thumbs up, trying to see what he was doing through the window. “Take your time.”

His eyebrows furrow. “Wait, how do you know my name?”

You sigh. “Look, man, I don’t know the script for the first episode by heart. You’re gonna have to cut me some slack for not being off-book.”

“Off—what?” He stares at you blankly.

You purse your lips. “I’ll explain if you let me out,” you promise. “Just pick the lock before the blue one gives you shit.”

“Oh, right! The lock!” He nods, grasping onto the logical thing you say and leaning down to start working on the alien technology. He pulls the cover off a control panel by your door, starting to fiddle with the wires.

You lean against the door, watching him work curiously. You hear the battle cries of “Michelangelo” and the toppling of robots as he works, clearly focused on his task. You zone out again. “This is some serious shit,” you mumble.

He mutters in frustration. The one dressed as Raph marches over, more impatient. “Oh for the love of—get out of my way,” he snarls, proceeding to take a very real looking sai out and stabbing the panel with a very in-character ferocity. You almost feel the urge to applaud the acting, and you might if this weren’t such a high stakes situation.

The door in front of you and behind you open at the same time and, deciding against getting captured again—you remember something about hanging from a helicopter in that scenario and you want nothing to do with that—you run alongside the turtles like your life depends on it, stumbling to a halt once you reach outside and slamming the doors closed behind you, blocking it with your back.

Your feet scramble to gain some traction on the cement. “Donnie,” you snap, almost impressed by the force used to pound against the doors, “put your staff in the handles of the door. We gotta go ASAP.”

“Wait, hold up.” The one dressed as Raph jabs his thumb towards you. “How do you know his name?”

You groan. “For fucks- it’s Teenage Mutant Ninja Turtles, not fucking Happy Sugar Life. Get the thing in the thing before the vine thing kills us!”

“The what?” Donnie and Raph seem much more confused than before, staring at you inquisitively and angrily respectively.

“Uh, guys?” Mikey pointed. “I think she means that vine thing.”

From the shadows emerges a towering creature made of plant life, its vinelike limbs draping across the ground like roots as it rears its ugly head. Its exposed, pulsating heart pressed against what remains of the creature’s ribcage. “You did this to me,” It growls. “Now you’re going to pay!”

“It’s-“

You cut Leo off. “Snake guy. Mutated into a weed. If you wanna kill it, go for the heart.”

He looked back at you, joining the other two pairs of piercing stares. “Cut that out.”

“Then don’t monologue and kill it before it has mobility!”

“On it.” Raph charges at its lumbering form, and within moments, it falls to the ground in a heap.

The pounding against the door is getting more intense. “Donnie! Staff!”

“Right!” He runs over, sliding his staff in between the door handles.

You stumble forward, the pounding already starting to crack the wood. “Alright, now we can leave.” Without waiting for the others, you sprint away from the building like your life depends on it. The others, clearly confused, follow.

You got a fair few city blocks away before you slow down, breathing heavy and palms stamped with the outline of the key you were holding desperately onto. “You run really fast for cosplayers,” you pant, “with all the- the paint and all.”

“Yeah, about that.” Donatello stops next to you, a thousand questions apparently swimming around in his head. “How do you know our names?” His mouth moves a mile a minute. “How did you know the weakness of that vine creature? What do you mean, cosplay? Who are you? Who were they?”

You cut him off. “One question at a time, hot stuff. Deep breathes.”

His pupils dilate. “H-hot stuff?”

Leo cuts in. “How did you know what we were—uh—cosplaying?” he asks tentatively.

“Odd time to cut the act, but alright.” Your heart rate lowers to a decent pace as your mind still struggles to comprehend what had just happened. You slow your breathing. “I mean,” you explain, gesturing with your hands, “it’s TMNT. It’s iconic.”

“Iconic?” He nods. “Well, since you know so much about it, then why don’t we test your knowledge? To see if you’re a real fan..”

“Y-you think I’m hot?”

“I don’t see the point, but I’m down.” You shrug, deciding to ignore the melting turtle for a second. “Shoot.”

He thinks for a moment. “Who’s the main character?”

You shrug. “You four, I guess.”

Mikey jumped in. “What’s the theme song?”

“Gonna have to be more specific there, buddy.”

“Is it really a great idea to just talk out here in the open?” Raph crossed his arms across his front.

“Probably not.” You look around. “Unless you have a map on you, I’d suggest we go back to your lair.”

“Our—what kind of stalker—”

“Look, honey,” you sigh, “if we’re going to go over every aspect of their lives that I know about we’re going to be here for a long time. For our purposes, just assume I know everything I need to know, and if you’re curious about specifics, we’ll go on a case-by-case basis.” You start walking down the sidewalk. “I’m guessing you guys hang out in the sewer, right?” You feel almost tempted to say that they’re just flat out psychotic, their blatant conviction in their own characters almost frightening. ‘I’ve heard of kinning,’ you think, pulling up a manhole cover you see at the end of an alley and wincing at the smell, ‘but this is ridiculous.’ You blink at the surprising lack of weight.

“Yeah.” Mikey—no, the Michelangelo cosplayer—walked over, already hopping in. “Our show must be super popular, right? Who’s the favorite character? How long have we been running?”

“Oh, you guys are—” You stop talking. “Wait, what year is it?” You start climbing down.

“Two thousand and twelve. Why?”

You step off the ladder, starting to walk behind him as he lead the way. “Well, it’s not tweny twelve where I’m from. It’s twenty twenty.”

“Wait, hold up.” He turns around to face you as he walks. “You’re from the future? That is so freakin awesome!”

You rub the back of your neck, trying to ignore the smell. “I mean,” you confess, “being from the future would be cooler if I was from a better time, I think.” ‘I wonder where they—’ You shake your head. “But, If we were running on the same time, I’d only be seven, I think, so it’s pretty cool I get to be here, I guess.”

“Dude, totally!” He turns a corner. “Our first day up top and we meet a time traveler?”

“Technically,” a voice from behind you makes you jump, “if what she’s saying is true, she somehow also knows interdimensional travel as well.”

‘Mother fucking ninj—cosplayers, focus. Don’t let them pull you in too.’ “Well, I really wouldn’t say—”

“Guys, is there not a clearly bigger concern on our hands?” You were already getting sick of not hearing footsteps. “Like, say, I don’t know, the fact she’s claiming we’re fictional characters?”

“Look, man,” you roll your eyes, “I already said I’m more than happy to answer any questions I can. In fact,” you continued, stopping in your tracks as you stared the red—clad turtle in the eye, “I’ll even stay put until we sort this whole situation out.”

“Fine by me.” Leo and Raph both face you, eyes boring into your soul as you stand there awkwardly.

“Let’s start off with the basics.” Leo’s tone is awfully light compared to his blatant skepticism. “What is everyone’s name?”

You force yourself not to roll your eyes again. “You’re all Hamatos.” You point at the tall one with the gap in his teeth. “That one’s Donatello, the yellow one next to him is Michelangelo, you,” you point at the red one with the broader shoulders, “are Raphael, and the sensei appointed leader is Leonardo. Easy.”

Leonardo nods. “Okay, you got the easy one.” It is at times like these when you wish you could read people. “What are we?”

“Teenage mutant ninja turtles.” You don’t have to hesitate.

“How did we become the way we are?”

“Splinter had a Kraang run in and you got ooze on you. Last thing you touched before you transformed was a person, so you became turtle/human hybrids.” You rest a hand on your hip. “Oh, happy birthday, by the way.”

A sea of blank faces face you. “Wait, you know who those things are?” Donatello is the first to speak after a pregnant pause.

“Well, yeah.” You shrug, the reality of the situation not yet dawning on you. “They almost take over the world in at least two season finales.

“They what?”

“Yeah.” You stick your hands in your pockets, fingering the key and note, confused by their apparent horror. “I mean, I’m still on the season three finale, but alien invasion is this show’s bread and butter for the most part.”

“I- what?” Raphael appears to be having a stroke. “What- bre- I- huh? What the-“

“Is he okay?” You look, completely unconcerned, at Donatello, who is swaying on his feet.

“Alien.. invasion…”

You blink, walking over to him and placing your hand on his cheek. You were surprised at the feeling of skin under your palm. ‘Not face paint..’ You look his incredibly pale face over curiously. ‘Not a mask…’ “Oh.” Your fingers slide down and off his jaw, falling slackly. “You weren’t joking, were you?”

If nothing else, he seems less concerned than he did a second ago.

Leonardo—‘The actual—hold on a minute.’—grabs your shoulder. “This isn’t a joke.” His face is stone. “You’re being serious, right?”

You felt blood drain out of your face. “Sadly? Yes.” You force yourself to take deep breaths so as to not pass out. “But, on the bright side,” you smiled weakly, “I can guarantee your survival for at least a few months.”

“What do you mean a few months?” Raphael is shaking as he yells, his voice roar echoing in the enclosed space. “How is it only—what the hell?”

“The show only ran over the course of an in-universe year.” You fight to keep your voice steady as dread seizes your throat. “I don’t know what happens after the year is up, or if it even lasts the whole year.”

“So we have less than twelve months to live?”

“This is so not cool.” Michelangelo is having a bit of a mental breakdown. “So, so not cool.”

“Hey, it’s not a guarantee!” You put your hands up reassuringly. “That’s just how long the show runs. Besides, it’s a kid’s show. There’s no way they’d kill off the main characters.”

“The hell they—who the hell is they?”

“Nickelodeon.”

“What the fuck is Nickelodeon?”

You groan. “Look, I’m just saying that you four are definitely going to survive the next few months!” Your voice rises easily to his volume. “I don’t know what happens after those months are up! I haven’t gotten to that point!”

“Why the hell not?”

You ran your fingers through your hair, laughing incredulously. “What, do you think I knew I was going to meet the IRL Teenage Mutant Ninja Turtles and had a chance to plan accordingly? No!” You throw your hands up in the air. “I died last night and now I’m here! Hell, I don’t even know where the fuck I’m going to go, fuck knowing who’s going to get the fucking axe between now and the series finale!”

“Will you two both cut it out?” Leo snapped, shutting you two up.

You put your hands up, still fuming and glaring at Raphael. He responds in kind.

“What’s your name?” He looked at you.

“Y/N. Y/N L/N.” Your breathing slows slightly.

“Alright. Y/N, you said you’ve seen up to season three, right?”

“Yeah.” You nod.

“Meaning you know what’s going to happen in the next few months, right?”

You nod at the leader.

He thinks for a moment. “Then we need to stay in contact. If what you’re saying is true, your knowledge of our show could be extremely valuable to us.”

You rub your eyes with your hands, sighing, trying to cool down. “I can do that.” You put your hands down. “If nothing else, I’m more than happy to offer up emotional support. The next few months are going to be extremely physically and emotionally difficult for you guys.”

Donnie pipes up. “Do you have a place to stay?”

You pull out the piece of paper. “I have an address and key, but I don’t know my way around NYC.” You smile slightly at the unintentional rhyme. “Do you guys know where ten west fifteenth street—wait, it’s your guys’ first day.” You nod. “I forgot.”

“It’s alright.” Donatello is oddly quick saying that. “I-if you want, I—we can help you find it.”

You rub your arm, your previous indignance replaced with extreme embarrassment at your previous actions. “Nah, it’s alright,” you reassure him. “I’m sure I can find a map or something.”

“It’s really not safe to just wander around New York so late.”

You pause at that. “That is an extremely good point.” You nod. “Alright. But I owe you guys dinner or something for trusting me this far. Also,” you smile teasingly, “what you’re currently eating is legitimately revolting.”

“Amen to that.” Raphael, if nothing else, seems to have calmed down.

Mikey hopped in. “Oh, we just found this crazy awesome food—”

“I can order pizza,” you reassure him.

He punches the air excitedly. “Let’s go!”

“If you want, you can sleep on the couch for tonight,” Leonardo offers. “It’s going to get light pretty soon, and we really shouldn’t be seen.”

You shrug. “Works for me.

As you follow the teenagers down the sewer, conversating as you walk, you take a moment to reflect on all that has happened so far. A part of you, oddly enough, is almost excited by the prospect of spending time with these guys. But a stronger, darker part reminds you sweetly of the dangers you knew lay ahead.

You close your eyes. ‘I’m never going to see my family again, am I?’

How that is the least of your worries, you don’t know.

Table Of Contents

Chapter 2

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21secondsofchristoph · 3 years

Text

Here is a full translation of the interview featured in Max Magazine.

Original text by Andreas Wrede

This was a lot of work so PLEASE don’t post this elsewhere without credit.

--------------------------------------------------------------------------------

This story with and about Christoph Waltz is a story coming full circle. A little more than 3 decades ago, a small group of editors and photojournalists, graphic artists and authors started developing the pilot for the first German issue of MAX, made possible by Dirk Manthey, the publisher from Hamburg’s Milchstraße, who knew the magazine from Italy, France and Greece. And who made me the founding-editor in chief. Three decades later, the derivative is released, thanks to publisher Max Iannucci. In 1990, Christoph Waltz was in an episode of “Der Alte”, among other things before he played the torn schlager music star Roy Black in “Du bist nicht allein – Die Roy Black Story” – but we will get to that later.

Now Christoph Waltz is an award-winning, internationally known actor, who won two Oscars for best supporting actor. That is unique for a German-speaking actor. Born in Vienna in 1956, he now lives in Los Angeles – if you want to play a role in Hollywood, literally, you must be present in Los Angeles. And during our conversation in a red, furry saloon of the legendary hotel Sacher in Vienna, he emphasizes, “Hollywood is always the goal”.

The place is very fitting, considering Christoph Waltz grew up in Vienna, in a family that cultivated a great affinity for the work on stage for two generations. He says laconically, “You grow into a thing, you grow up with it, and thus, you acquire a familiarity early on, which you’d otherwise have to conquer with a lot more effort.” He often went to the movies from an early age on, but he spent even more time at the opera. “When I had time and had finished my homework, I enjoyed going to the opera.” Back then, a standing room ticket cost about ten Schilling, just a few cents in today’s currency. Little Christoph loved smuggling into the fascinating, secretive opera house.

Later he attended famous acting schools like the Max Reinhardt Seminar or Lee Strasberg’s Actors Studio with significantly less pleasure. “I didn’t like attending acting schools. They didn’t exactly broaden my horizon.” Christoph Waltz hardly found them inspiring. And when he received offers for movies and theater, he accepted them “instead of dealing and struggling with teachers”. He says this with few gestures and in an almost reporting tone, he has always trusted the energies inherent in him. He had his TV debut in “Der Einstand”, where he played a teenage delinquent. That was fitting, considering he continued playing roles which were different, unexpected, and specific, or roles he filled differently, unexpectedly, and specifically.

Christoph Waltz remembers his beginnings as an actor in the 70s a little wistfully. “There were still movies on TV, which were made as movies for television, as one dramatic entity.” Or when there used to be directors like the great Federico Fellini, who was “very, very specifically Italian in everything he did.” Christoph Waltz continues: “And because of this specificity he was able to reach so many people.” A phenomenon like Fellini is marked by obstinacy, nonconformity, and distinct individuality. However, some significant conditions also irritated Christoph Waltz, for instance, when he was hired for the Krzysztof-Zanussi-film “Leben für Leben” in 1991. “I wasn’t adequately informed about the conditions and backgrounds. And so, I found myself – surpsised – in front of a camera in Auschwitz.” How does one react to something like that? “Today, I would know how to react”, he stresses thoughtfully, “but today, that would be due to the self-confidence I acquired over the past years. Back then I felt: Now I’ve been hired for this film.” Alright, he adds, one grows through experience, some conflicts are worth going through. “It helps building character.”

Was the decision to play Roy Black a crystal clear one? Not at all, he responds smiling and closes his eyes for a second. “When my agent called me about it, my spontaneous reaction was: Complete humbug, and I can’t even listen to this music for three seconds.” It only became interesting for him when he learned that Roy Black originally wanted to play Rock ‘n’ Roll. Then he became interested in the tragedy of this character. And the thought that Roy Black’s wish was the desire for freedom and wildness, a wish many Germans shared, “which was inherent in the promising American machinery.” Although this freedom and wildness had always existed in Germany, lived out by people like Nietzsche, Schopenhauer, or Kandinsky.

“The film itself was great, but the marketing-weisenheimers managed to break this film. It would be a great cine film, but they advertised it as a sob story for television. Consequently, the real Roy-Black fans were disappointed, while the people who might have been interested in the movie judged: Leave me alone with this sob story twerp. Well, the weisenheimers are the weisenheimers, what can you do”, deems Christoph Waltz with a beautiful touch of Viennese sarcasm and barely noticeable risen eyebrows. One does not always have to instrumentalize the entire acting equipment with him. A few little cues are enough.

Many more films follow before someone calls from Hollywood and say he is supposed to participate in Tarantino’s Inglourious Basterds. In our interview he calls this his “Quentin-jump”, where he is at eye level with Diane Kruger, Brad Pitt and Michael Fassbender in front of the camera. “Tarantino, we mentioned this before, stands for specificity and authenticity, he has an eye for both.” Did Christoph Waltz go into this production with a lot of respect? “With great respect.” He remembers an encounter with Sylvester Groth in front of a theatre in Babelsberg. “Every Thursday, Quentin showed movies during preparation. Once, Sylvester and I stood in front of the theatre and we both said: Imagine this, now we’ve been doing this for so long and suddenly we find ourselves here.” Then we paused for a few moments and kept going: Yes, and despite everything, we’re doing what we’ve always done – what we do, because that is what we do.”

Before Tarantino’s office could call again, other international projects followed, like The Green Hornet (with Cameron Diaz, Tom Wilkinson, James Franco) or Carnage (with Jodie Foster, Kate Winslet, John C. Reilly). Then Django Unchained (with Jamie Foxx, Leonardo DiCaprio, Samuel L. Jackson). For his role in Django Unchained, Christoph Waltz wins his second Oscar for best supporting actor in 2013 and Quentin wins another one for best original screenplay. But Christoph Waltz remains humble: “The opportunities presented to someone for personal growth always come to you through other people.” Although the actor always makes a binary decision. “Yes or no. Am I going to do it or not.”

Can one also make the wrong decision? “You decide for one or the other and from that other possibilities develop, but neither is better or worse.” That was not any different for Quentin Tarantino or for his first film and its director Reinhard Schwabenitzky, who saw him in acting school. Christoph Waltz leans forward and says confidentially: “The essential chances and opportunities were those which were presented to me by another mind, by a great talent, through a vision, which came from another person.” Nothing more, nothing less.

Yes, humility is a virtue. But we do not want to conceal the fact that Christoph Waltz was the first German-speaking host on Saturday Night Live and that he received a star on the Hollywood Walk of Fame (No. 2536, 6667 Hollywood Boulevard). The quote: “And Hollywood is always the goal.” Is correct, “like others say their goal is to get into heaven.” Hollywood, heaven: “I don’t mean to compare the two goals, but the setting of these goals. Especially Hollywood has been mythologized into more than it deserves credit for.” In this respect, as a myth, it is always the goal. Please don't tell anyone Christoph Waltz is over-the-top - the opposite is the case.

During our exchange in the Sacher, I mention one of my favorite books on film. It is Peter Biskind’s Easy Riders, Raging Bulls – How the Sex-Drugs-And-Rock’n’roll Generation saved Hollywood. It says: „There is no worse career move in Hollywood than dying. Hal Ashby is now largely forgotten, because he had the misfortune to die at the end of the 80’s, but he had the most remarkable run of any ’70 director. After ‚The Landlord‘, in 1970, he made ‚Harold and Maude‘, ‚The Last Detail‘, ‚Shampoo‘, ‚Bound for Glory‘, ‚Coming Home‘ and ‚Being there‘ in 1979, before his career disappeared into the dark tunnel of post-‘70’s, Me Decade Drugs and paranoia.“

It can be assumed that this won’t happen to Christoph Waltz? “That is a good example for the mythologizing I was referring to”, he responds. “I would claim that a legend like James Dean probably wouldn’t have developed at all, had he not driven himself to death in his Porsche at such a young age. Who knows what would have become of Marilyn Monroe, had she not put an early end to her complicated life.” And parallel to Hal Ashby, there probably were thousands of directors, who would have been happy to pay their next rent – by working in their profession. It is therefor about comparativeness.

Onto another career step, the James Bond movie Spectre, in which Christoph Waltz portrays the dark Blofeld, a character, who appeared in previous Bond movies. How do we have to imagine that? One sunny day the agent comes along and says: “You’re on the list for the next Bond movie”? Christoph Waltz knows there are no rules to this, especially when it is something like James Bond. A series that has been at the peak of possibilities for more than 50 years.” The producers have a lot to lose, they have to look very closely. Not only to keep up the standard, they also want to be ahead of their time.

Was it intriguing to play this bad boy a second time? Is it about an additional nuance of expertly irony; is it about the myth that is Bond? “This was another unique opportunity for me”, says Christoph Waltz, “a unique opportunity to include myself into such an incredibly successful series.” Now after Spectre, for the second time in No Time To Die – a title that can offer a bit of comfort in times of the world wide covid pandemic. And Christoph Waltz is in the Bond movie that will be Daniel Craig’s final Bond. “It’s his fourth Bond movie”, he counts, “the actors change but the role remains the same. Of course, the role acquires a different profile and thus, different facets.” But it remains James Bond. “And when a new actor gets the role, he has to fit into the role, not the other way around.” Once again, we will have to wait for this Bond movie. It will probably hit theatres in spring 2021.

It reminds one of Shakespeare’s Troilus and Cressida – we’ve seen it a dozen times but keep going to see it again. Nowadays you go to see the production, in the past you went to see whosit faithless. Speaking of productions: Are the demands towards a Bond director more extensive compared to other film projects? “Surely there are more things to keep an eye on compared to a low budget movie or an independent film. In productions like that, you often have to use the tools you have. In Denmark they had demands referring to this “, Christoph Waltz comments in a slightly mocking undertone. He means the group around Lars von Trier? “Precisely, they called it Dogma for fun, and the world took them seriously.” But that is part of it, right, part of the business.

Anyway, every little detail is carefully manufactured for a Bond movie. And that takes, apart from a lot of money, a great level of expertise and many employees, which combine into a story on film. “Legions of people work on every pixel, not to mention the light and the meaning of the music.” With all this in mind, it’s understandable how appealing it is to be in a movie like No Time To Die. Christoph Waltz has a lot of praise for the director, Cary Fukanaga: “He always knew exactly what he was doing and we knew exactly, why he did this or that”. Audiences were able to see this in previous projects, like the brilliant first season of True Detective, where he directed all eight episodes.

Christoph Waltz wouldn’t be Christoph Waltz if he didn’t show his extraordinary talents in unconventional projects as well, like the show Most Dangerous Game (with Liam Hemsworth, produced for Quibi). “What interested me there? The new dramatic form, it’s a story in 16 sections, each section only eight minutes long. We’re dealing with a new form of storytelling.” Does it remind him of the continuous comics that used to be in US-newspapers a few decades ago?

“Yes, it’s connected to that – but it also reminds me of Charles Dickens, who published many of his novels as newspaper installments. In Most Dangerous Game the great story arch is not lost, the suspense is carried from one episode into the next. “That is a sleight of hand.” And for that he received an Emmy nomination, and it wouldn’t be surprising if he was to win the prestigious award one day. But he pulled off other sleight of hands in the past. Or how the New York Times says in a headline: “Christoph Waltz directing Opera, moves from Tarantino to Verdi.” Adding his old comment to this: “The full-blooded, juicy movie experience has a lot of operatic qualities. I’m not talking about the film music, but about the rhythm and color and phrasing.” After “Der Rosenkavalier” (Music: Richard Strauss, Libretto: Hugo von Hofmannsthal), which he staged at the Antwerp Opera, came Giuseppe Verdi’s “Falstaff”, his second opera there.

“I’m not a fan of the never-seen-before concept”, says Christoph Waltz. He agrees with Susan Sontag’s essay Against Interpretation – in opera, there is a fix story, and the music is the central transmitter of this story. Over-interpretations can quickly become “dangerous sliding tackles.” Waltz wants to avoid those. “I want to show what the composers and authors meant.” He stayed true to Sontag’s principle in all three of his opera productions, the third on being Beethoven’s only opera “Fidelio”.

He is self-critical enough, “to personally take the risk of failing.” What would be the alternative?

“I’m just an actor, now what do the music critics, who take themselves so seriously say? Some foam at the mouth and brawl ‘the movie-bod is interfering in the opera’.” He prefers the critics that are capable of formulating things between the lines. “When I read elsewhere, that the very thing I was trying to convey can be seen in detail, then I’m quietly happy about it.” Sadly, the live performances of Fidelio fell victim to the covid-crisis, but there was a TV-screening on ORF, which can certainly be called presentable with 11% of the market-share. “During ‘Fidelio’ I first realized physically that music is a spatial experience.” Here fits another Waltz-quote: “Strip away anything that us unnecessary.” Ergo: Reduce the action to the interaction between the characters. That is an art he mastered to perfection in acting.”

For once, I could surprise the cleaned up, chatty, well-tempered Christoph Waltz with a little research.

In his birthyear, 1956, his fellow countryman Walter Felsenstein, founder and artistic director of the “Komische Oper” in Berlin filmed a version of “Fidelio”. To this day, it remains the only film adaptation of the opera. Probably because – so the actor quotes Felsenstein – “this opera technically is impossible to stage”, he says with aplomb, an attitude that suits him. In ballet an aplomb describes the ability to absorb a movement, the balance.

Christoph Waltz not only shoots a lot of movies, but he also enjoys reading one particular movie critic: Anthony Lane of the New Yorker. Surely one of the most sharpened critics, who outtalks someone or rubs the reader’s nose into his alleged ignorance. We start talking about Lane via a new movie by the fabulous Agnieszka Holland, “Mr. Jones” – referring to Gareth Jones, advisor to the former British Prime Minister Lloyd George. Jones uncovers that the devastating hunger crisis in the Ukraine in 1932/33 was exclusively due to Stalin’s exploiting politics. Anthony Lane writes in inimitable fashion: „Is it conceivable that Holland’s bleak, murky, and instructive film could prompt a change of heart in the current Russian establishment, or even a confession of crimes past? Not a chance.“ Greetings from Belarus.

And of course, we also talk about COVID, what does an actor do who can’t act during these times? Is he reading Robert Musil’s novel The Man Without Qualities, which has more than 1000 pages? “Oh, I’ve already attempted to read this three times. The first time, I got to page 200, the second time I got to page 400, the third time I put it away after 100 pages.” But he doesn’t fully abandon the idea of finishing it one day. “But that would really be a true accomplishment of discipline”, he underlines, allusively smiling. Less amusing is the current stagnancy in Hollywood, where Christoph Waltz lives with his wife and daughter for the most part. “It will be illuminating once things pick up again”, he ponders “will a reforming spirit take over, or will everything fall back into the old, ignorant patterns, or even cause worse?” The temporary dysfunctionality of Hollywood is comparable to a dysfunctional family, which mechanisms become especially clear during crisis. Now he visited his mother here in Vienna. I allow myself the question, “Is Vienna your home?” “Vienna is my home, home is something you can’t choose, like your parents. Everything else can become your center of living, all that is willingly moveable – but home, home cannot be changed at will.”

#christoph waltz #max magazine

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restapesta · 3 years

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Okay, so, after over 12h of reading different opinions on this episode and how people perceived what Mickey and Ian were doing, i finally decided to give my own to cents even if you disagree.

1. I am 100% sure this is the first and last time they'll do this.

When you think about it, the whole convo regarding the "only fuck other people together" suggested they discussed it but haven't done it, and I'm pretty sure that since Byron, they have been in an exclusive relationship (obviously when they got married). So, not only do i think this was the first time, i also think this is a one time thing. Please, like they would actually go out of their way to have sex with other people just because being with their spouse isn't enough - hell no!

2. We should stop feeling bad about this entire thing!

Yes, I too was shocked and definitely could've gone on with life without this storyline, but then i realize how okay they are with it -- and although people may say this is totally OOC while others will say it isn't, i believe that, in general, Gallavich as a healthy, stable relationship doesn't have enough screentime on its own. We didn't see how the convo leading up to this decision went, how they perceived it, what it implied -- that's the writers' fault, but it is obvious that they are both completely and utterly okay with it, and it's also very clear that they subtly ask beforehand -- Mickey's question about whether or not they could go back for handies, Ian replying definitely; Mickey's expression asking whether or not they should join in, Ian heading in first when he decided they should, not after long consideration. Also, we honestly don't know if they truly indulge in sex with other people -- i don't think they do, which leads me to:

3. I honestly think this is a kink.

Now, i don't know if this is a controversial opinion, considering how much talk there is on what polygamy/polyamory actually is, but this is what I think this is -- i don't think that this is Ian and Mickey trying to change partners because their sex life is becoming too familiar and they 'wanna fuck other people'. That just doesn't really fit in well with them -- they've been fucking for ten years, have fallen in love, and obviously aren't bored of each other. So i just think this is a kink.

Something like an exhibitionism kink -- i have no doubt in my mind that the orgy they attended was just them getting horny over seeing the guys fucking and then fucking each other, or just them getting off on each other's expressions, moans of pleasure ect. You can't tell me they would just fuck other people (obv no kissing or excessive touching, neither would allow that), not give a shit about what the other was doing and just walk away pleased.

Fuck no. They probably just get off on watching the other guys watch them, or just get off on watching the other guys, but they do everything together. Also, the entire episode was really about them having fun, understanding each other, communicating with simple touches and looks, so the entire thing isn't even supposed to be perceived that strongly (i mean, we've had so many things happen with other couples that were worse but we wouldn't bat an eye; this is our otp and we're protective, but this is better than making them fight over who the man is and outright cheating, like Shameless would dare do)

4. Past traumas never really seem to affect them

Like, y'all talk about how possessive they are and how they would be too jealous to do this, but all in all, that isn't really true.

Ian never seemed too bothered Mickey had fucked Byron. He seemed like he didn't care, only ever really being hurt when Mickey alluded he was in love with him. And Mickey never really showed much jealousy when Ian told him about his 'boyfriend', he knew it wasn't anything compared to what Ian felt for Mickey. They've always felt that sort of security, you can't tell me otherwise.

There is the whole s3 part, but they weren't certain of each other's love back then and it was when they weren't exclusive but obviously wanted to be, so i have a feeling it doesn't really count.

In conclusion, Ian and Mickey, in my opinion, are definitely monagamous. They are married, will not see other people, will not indulge in sexual activity with other people unless it's when they're together, and again, that just sounds more like a kink to me than an outright need to fuck other people to feel some sort of content in your life (not that I'm saying that's what polygamy is; honestly, i don't really understand how people would want it, but i dont judge it one bit).

Ian and Mickey are always just going to be Ian and Mickey and tbh this is something that will probably never be brought up again not talked about, and you know they probably will never do it again either.

And even if they do (again, completely doubt they will) at least they'll be fucking happy doing it.

Tbh fuck shameless, they really know how to fuck you up lol.

#gallavich #ian gallagher #ian and mickey #mickey milkovich #shameless #this is long lmao I'm sorry #i have a lot of feelings

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extraordinarilyextreme · 3 years

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Crown Prince Li Kaiqing, Chen Ji, and Fushui

MAJOR spoilers for 《骊歌行》 Court Lady (2021)!!! This is just me blabbing about my feelings.

so we all knew that Crown Prince (CP) and Chen Ji (CJ) were gonna be BE cuz they have historical prototypes. after Chengxin was executed, Li Chengqian grieved for a long time, refusing to attend court and also building a shrine for him in the palaces.

well, even with that knowledge, i still cried like a little baby at the end of the drama. there’s not a single un-sad 感情线 in this entire show, but i really do think that the mess of these three is tragic.

before we dive into the mess that i’ve become, a huge round of applause to Li Zefeng for his amazing portrayal of the Crown Prince—the good-intentioned, sort of foolish boy that we first meet and then later the wide-eyed, paranoid, remorseless man. and of course similar props to Wang Yizhe’s two roles of sweet Chen Ji and scheming Fushui (and Sun Langlang for voicing them! Wang Zhi’s VA!).

so as i’ve already said, CP is really a whole different person after CJ dies. and the contrast between CJ and Fushui (FS) is very plainly evident: CJ dressed in pale white-blue, FS mostly in grey-black; CJ kept his hair loose, FS wears a bun (or hat, when he rises thru the ranks); CJ is a lowly palace entertainer, FS is well-trained in combat and medicine (and ends up as Senior Imperial Physician, somehow); CJ was terrible at weiqi, FS is good at weiqi but pretends to be bad at it. CJ was targeted and subjected to rumors, but no one dared question CP’s relationship with FS—because CP was in so much grief after CJ died, how could anyone bear to do that to CP again? even though FS was absolutely the one that everyone should have removed from CP’s side immediately…

when CP and CJ first meet in episode 7, CP is kind of a typical princely character: he’s kinda entitled, the world is his, his future is bright… and i firmly believe he 一见钟情 because while CJ still treated him with courtesy and respect, it’s obvious that CJ didn’t expect or want anything from him. and this continues in episode 9, when CP is trying to clear his thoughts by the riverside and runs into CJ who is fishing: CP brattishly orders CJ to stay and keep him company, and CJ is honestly more confused than anything as to why the freaking Crown Prince of the country wants to spend the whole goddamn day here. of course, it’s because CJ represents a freedom for CP: here, the Emperor won’t compare him to Prince Zhou or Prince Han; here, the Empress won’t admonish him over and over again; here, there’s no scheming advisors who try to curry favor with him. here, as CP tells CJ to use, it’s just “you and I” without care for rank or formalities.

(but also the death flag in episode 9 was atrociously obvious LOL with CP promising “I will make you a grave” to CJ’s absolute terror. on-the-nose. still made me sad later on, so that’s that i guess. in any case, the episode ends with a 定情信物 whereupon CP gives a jade from his belt to CJ.)

CP watches CJ perform (as he is an entertainer from Prince Han’s mansion) for the first time in episode 10, and we see it again in episode 12, episode 16, and episode 17. based off 《三国演义》Romance of the Three Kingdoms, the lyrics are as follows:

大丈夫只患功名不立 A great man should only worry about not gaining fame and honor/

何患无妻 Why worry over not having a wife/

舍生忘死报恩住 Leaving behind life and death to repay my Lord/

忠肝义胆待友朋 Treat my friends with righteous loyalty/

我要做有血性的英雄 I want to be a hot-blooded hero/

为义而生 To live for righteousness (loyalty)/

为义而死 To die for righteousness (loyalty)

CJ plays the main role of Zhao Zilong (Zhao Yun), and he helpfully compares the story to a game of weiqi in episode 16.

“A gambit [sacrificing insignificant pieces to protect the significant ones] is what Zhao Zilong did in the Battle of Changban. In order for Zhao Zilong to save A Dou, he couldn’t save Madam Gan. So, Madam Gan committed suicide. Isn’t Madam Gan a gambit?”

to which CP responds: “Thank goodness you are Zhao Zilong, and not Madam Gan.”

CJ: “The Crown Prince regards me as his soulmate [知己]. Even if in the future, the Crown Prince were to sacrifice me as a gambit, I would be willing.”

CP: “What are you saying? You and I are friends. No matter what happens in the future, I will never treat you as a sacrificial gambit.”

(so, like, death flags everywhere! 知己-mention! and, c’mon, i think for CP’s consort to be jealous/insecure is a little bit justified considering the amount of times CP has CJ perform this piece with a line like “Why worry over not having a wife”.)

backing up for just a moment before everything goes to shit, other notable events are CP finding out his wife is pregnant in episode 13 (but he spends the day fishing and then cooking the fish with CJ at the riverside, and they walk off with arms draped around each other’s shoulders), CJ hurting his leg after climbing a cliffside to pick red flowers after CP mentioned his wife loves the color red most in episode 14, and finally CP leading a blindfolded CJ to a new house just for him to tick off another romance-y trope in episode 15.

CP: “Didn’t you say you didn’t have a home? So I bought you this little estate. When you fall in love someday, have children, and have a great career, this will be your home.”

(the point is they’re both still kind of in a honeymoon phase right now, tho it ends quickly in episode 16 when our FL Fu Rou warns CJ against being so close to CP—but CP is a little bit too idealistic right now, a little bit too stuck in his blissful fantasy, a little bit foolish. foolish, and incompetent, and unable to protect the people he loves bc he unwittingly endangered them to begin with.)

of course, things come to a head in episode 17 when CP’s wife tells her sister about CJ, leading to the Emperor eventually finding out. but while that’s happening, CP goes to see CJ at the estate he bought for him.

CP: In the future, I won’t come here anymore. Therefore, let’s put aside differences for today and be friends like we used to. We will never have those kinds of days again.

CJ confesses he’s going to leave Chang’an: I want to learn swordsmanship well, and become a wandering hero, feeling at home wherever I am. When the Crown Prince becomes Emperor in the future, I can help you take care of bad guys along my journey out there. This will be my way of helping the Crown Prince to keep the empire stable.

CP gives his dagger to CJ: This is not a reward, but a gift for my friend who is about to leave. In the future, whenever you look at it, it will be like looking at me.

CJ: A gift from my soulmate. Chen Ji will definitely take good care of it.

(for ppl who’ve watched Qing Ya Ji, the parallel to Zhongxing and Fangyue here killed me. but there’s also a parallel within the show itself near the end when Fu Rou gives the Emperor a collection of scrolls and explains that the late Empress hoped that he would treat her writings like he were seeing her—one of Court Lady’s many confirmations that CP and CJ should be read as a romantically by paralleling it to visible, het relationships. ALSO, CP has CJ perform Zhao Zilong again right after this conversation, like a last nail in the coffin.)

so the Emperor finds out in episode 18 and angrily orders CP to kill CJ himself, lest he be stripped of rank. Fu Rou warns CJ, but he refuses to escape.

If I run away, the Crown Prince will not be able to fulfill the Emperor’s order—what would happen to the Crown Prince? […] Life and death are not the most important things; the most important thing is to stay true to yourself.

and so CJ unsheathes the dagger CP gave him.

The Crown Prince regards Chen Ji as his soulmate, Chen Ji also regards the Crown Prince as his soulmate. ‘A man of service dies for the one who knows him.’ (An upright man can die for his soulmate.)

CJ quotes “士为知己者死” from Sima Qian’s 《史記·刺客列傳》Records of the Grand Historian, tho if you’ve watched Winter Begonia, it should probably also look familiar.

CP pushes aside the soldiers who’ve accompanied him on the journey to CJ’s home, but it’s too late: CJ took his own life, using the weapon CP gave him, in order to protect CP.

the chorus of Lu Hu’s 《万里》 Ten Thousand Li plays as CP staggers toward CJ’s lifeless body.

呼吸，想着你, When I breathe, I think of you

在梦里，在心里, In my dreams, in my heart

怪完相遇，怪自己, After I’ve finished blaming that we encountered each other, I blame myself

别离，痛彻心扉！Farewell, my heart is broken

(this is a song from the OST we hear multiple times with the other couples in the drama—and we also see many couples by the same river that CP and CJ would fish together by. i think, like, all the couples associated with this song except our main one have a BE…)

in CP’s immense grief, he has the weiqi pieces from his last game with CJ glued to the board, never to be moved again, and he has the flowerbed outside flattened. we get our callback to episode 9: “Chen Ji has no family. I promised him that if he died, I would make him a grave.”

CP doesn’t meet FS until episode 37, but what the Emperor says in episode 19 about Chen Ji is what really makes the whole thing a tragedy.

You must be cautious when choosing friends. He would only have misguided you.

and that’s the thing, the Emperor isn’t wrong!!! it ultimately truly is the Crown Prince’s love for Chen Ji that destroys him. his love for Chen Ji ruins him, ruins the imperial family and threatens the dynasty as a whole. because when Fushui shows up, a man who shares Chen Ji’s face, the Crown Prince trusts him unconditionally—it’s the Crown Prince’s desperation to see any small part of Chen Ji again that leaves him vulnerable to FS’s manipulation: CP forgets who he truly is. because how could a man who looks like Chen Ji ever betray him?

CP is thrown from his horse in episode 37, striking his head upon a rock.

he wonders: Chen Ji, have I also died? Did you come here just to pick me up?

(but of course it’s FS, who was actually going to kill him but the soldiers arrived too quickly.) they meet officially in episode 38.

CP: I thought I was going to die. Dimly, I felt someone approach me—he wanted to save me. I originally thought it was Chen Ji who couldn’t bear for me to die, so his spirit appeared. I didn’t expect that it was you.

FS remarks that CP has brought up “Chen Ji” several times already; immediately, he understands that this is a weakness to exploit.

CP basically throws a temper tantrum in episode 39 when he discovers he will have a permanent limp from now on. (idk if it was an intentional parallel, but CJ also had a limp after falling from the cliffside in episode 14.) FS is the only person that CP allows to approach him, and FS gets him to eat grilled fish (which is apparently CP’s favorite food—how much of the people we love do we carry with us?)

FS acts innocent: I really am bad at lying; as soon as I lie, you see right through me.

it’s everything CP wants to hear.

CP tells him: When I fell off my horse, and was on my last breath, you came to my side and encouraged me to continue living. I’m now crippled and in despair, but you talked sense into me to eat grilled fish. Everything that has happened—if it were Chen Ji, he would also have talked sense into me, encouraged me. Sometimes, I feel that you are Chen Ji, just with a different face.

(obviously it’s the same face for us tho cuz he’s played by the same guy. but anyway, when FS comes clean about everything in episode 51, he mimics the words CP says here.

I am not Chen Ji. I, Yang Fushui, came to your side to find an opportunity to take revenge.)

back to episode 39, FS says he doesn’t want to be “another Chen Ji” because he doesn’t want to die so young—he’s afraid of death.

CP: I guarantee you that I won’t let anyone harm you. What happened to Chen Ji will never happen to you.

(and it’s true! FS gets away with so much goddamn shit because CP’s wife doesn’t dare criticize FS, and even the Emperor doesn’t after knowing what it’s like to see his son in such heavy grief. CP’s wife thinks this is her chance at making amends; she felt real remorse after CJ died, and honestly that line from It’s Quiet Uptown sums it up best: “If I could trade his life for mine/He'd be standing here right now/And you would smile and that would be enough.” a shame, of course, that CP was FS’s freaking main target. nobody wants to repeat the tragedy of Chen Ji, so no one questions Fushui.)

but, like, FS isn’t truly even that subtle—it’s just that CP is so blinded by his love for CJ. from episode 46:

CP: I have taught you for so long, but you’re still terrible at playing.

FS: I am doing it on purpose. Only if I play poorly, will the Crown Prince be willing to continue teaching me.”

CP: Even you put on an act before me? […] You are the person I trust the most. Don’t lie to me.

(太子，你醒醒吧!)

so FS successfully sows discord between CP and his brother Prince Han; the Empress passes away (always sickly, but her illness was very much exacerbated upon seeing her beloved sons turn on each other); CP’s wife kills her own sister in what she believes is a beneficial political move for CP; Prince Han’s wife is wrongfully executed; Sheng Chujun is killed and silenced too after he discovers FS’s plans. CP stages a coup against Prince Han. (the man who looks like Chen Ji must only want the best for him, right?) FS gets away with everything and goes to visit CP in prison in episode 51.

AND HERE! HERE! FS is supposed to kill CP; that’s been his goal from the very beginning. CP hasn’t eaten for days in the prison, but FS shows up with a grilled fish and CP eats without a second thought that it could be poisoned.

but. FS has been at CP’s side for so long now. he’s orchestrated CP to lose everything. there is nothing left that CP could give to him but the mere fact that he’s still breathing.

in episode 49, FS poisons Lian Yan’er and Yan Zifang is obviously upset on behalf of blissfully ignorant, head-over-heels Ma Haihu.

FS: I will kill whoever gets in my way.

YZF: What about someone you love? If it was someone you loved, you would be just as ruthless, right?

FS: It is human nature to be greedy and selfish. Where does love come into play? This question—you’ve asked the wrong person.

(but FS’s expression changes. someone he loves? he’s startled, he looks afraid.)

FS ruined CP’s life; and at the same time, gave CP reason to live again. CP started playing weiqi again, his relationship with his wife improved; he started smiling again. there was a passionate fire to him that he never had before (this was his second chance to do everything right, to protect the people he loves!)... the kindling, unfortunately, was his trust in Prince Han and his parents. from episode 39, FS comes in and sits down next to CP after CP trashes his room during his tantrum.

CP: Do you know why I treat you differently from other people?

FS: Because I remind Your Highness of your friend who already passed away—Chen Ji?

CP never stopped loving CJ; he loved Fushui, because he never stopped treating him as Chen Ji. after the failed coup against Prince Han, CP smiles in prison in episode 51 when FS visits him.

CP: It was fate who made us each other's soulmate [知己]. [...] If you can continue living well, I wish that you live your life to the fullest, with both smiles and tears.

how can Fushui bear to take the Crown Prince’s life when he’s received nothing but unwavering trust from him? when he explains who he truly is, when he calls CP foolish for trusting the wrong person, FS is on the brink of tears. his mouth trembles, his breaths shake. when the poison begins to take effect, and CP agonizingly reaches for him, FS takes his hand—just as CP gripped CJ’s lifeless hand so long ago, just as CP reached out to the person he thought was CJ when he fell from his horse. FS takes his hand, sobs, and gives him the antidote.

(Consort Yan’s eunuch is, of course, outraged.

Yu He: If you can’t bear to kill him, then I will!

Fushui: I forbid you. [...] He has nothing left to lose. I forbid you from killing him.)

so, we have the Crown Prince, ruined by his love for Chen Ji—and Fushui, who both took and freely gave the Crown Prince’s life back to him. it’s a love story; it has always been a love story.

and finally, FS gets Ma Haihu killed in episode 53. he picks up the comb MHH carved for Lian Yan’er (a 定情信物!), and when he speaks, ends up telling the story of CP and CJ as well.

There was a woman who sacrificed her life for your bright future. You only needed to enjoy it, yet you took the road of self-destruction.

and then he remembers what CP said to him in the prison in episode 51.

CP: If, in this world, fate truly exists, then so do the hearts of men.

FS remarks now: If you have a heart, you will be easily hurt, or even lose your life.

heartless Fushui, who kills without batting an eye, who nearly upturned the entire Tang dynasty, who doesn’t know of love. in the end, he couldn’t bear to end the Crown Prince’s life.

so, yeah. these three broke my heart. i really wonder what Chen Ji would say to the Crown Prince when they see each other again at last in the afterlife. what the Crown Prince would say to Chen Ji. how violent love can be. what it means to live in someone’s memory. or maybe they would return to the river and spend a long day fishing together again.

#court lady #骊歌行 #cdrama ramblings

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languagelearningcorner · 3 years

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Six Months

It's been a while since I've updated! It has been a little over six months since I challenged myself to focus on Persian. Although I haven't posted much on here, I have been trying to stay consistent with it behind the scenes. The intensity of exposure/studying of the last three months definitely decreased as compared to the first three. However, I made sure to get daily practice in even if all I could spare was ten minutes.

Anyways, below are my summary of how my skills have progressed over the last six months~

Speaking

In the beginning, this is the skill that I saw the most rapid progress in. Easy enough, as I was basically starting from zero. Even in college, I was never really challenged to speak. The only speaking I had to do was either in a small group or as part of the final exam (for which I memorized all my answers). The biggest reason for the giant leap though was no doubt the tutor. Getting a tutor was the scariest thing at the beginning but definitely had the biggest payoff overall. Not only did it improve my speaking, but all other skills as well. For the past three months, I have continued to make gains in my speaking ability, although they have slowed down. Despite all the progress, I would say this is my weakest skill.

Writing

Writing is definitely a skill that has plateaued. As my speaking skills trend stagnant, so do my writing skills. I am good at spelling, have good handwriting, and can copy effortlessly. The issue is expanding my thoughts and really fleshing out my writing. Although in writing I can definitely express myself much more and do so in a more grammatically correct way than when I'm speaking, I don't think I can really improve it until I gain some skills in my expressive language. I also have been practicing this skill the least. I'll write a diary entry once in a while, a few texts to friends occasionally, and complete a writing assignment from my tutor once in a blue moon, so I'm not really that surprised that this skill has seen minimal progress.

Reading

I'm not really sure when my fluency started picking up but I've felt a definite increase in fluency with my reading. By that, I mean two things. First, my decoding is much faster. I can see a word and instantly produce it either in my mind or out loud. If it's a word I'm not familiar with, then of course, it's harder - I just guess the short vowels (and am wrong 99% of the time). The other thing is my reading comprehension. So, maybe I can't decode all the words in the sentence or for some remember what they mean, but there's a greater chance of me understanding the gist of the entire sentence than before. I'm able to understand a greater percentage of what I read. It takes me less time to get through a paragraph than before. I don't really practice that much more than I used to; about 20-30 minutes a week. I think that my increase in reading comprehension is due to the fact that my receptive language has skyrocketed in the last three months.

Listening

At the beginning of the six months I couldn't understand anything. Just a few greetings, some commonly used verbs, nouns, and prepositions. I really started to panic when I was three months in and still not quite able to understand much. Listening to TV and music felt a little uncomfortable because I kept thinking I should understand more!! I think it started to solidify when I was watching Asheghaneh. I was consistently watching 40 minutes a day and focused for the most part. I was understanding more and more per episode. I finished all of season 1 lol but I'm still listening to Manoto and other content creators on YouTube. Now, my tutor will sometimes tell me anecdotes or make comments (slowly and related to the subject matter) and I will understand probably 90% of what she says.

Overall: I think consistency has been the biggest factor in increasing my fluency level and overall confidence in all skills. The intensity of my studies has taken a downturn, but being consistent and practicing to some degree daily has helped keep my skills afloat. The other huge factor that has really helped has been tutoring. It has forced me to express myself verbally enabled me to make mistakes and learn from them, as cliche as that sounds. With tutoring, I've also learned a lot about colloquial spoken Persian and, very importantly, I've learned so much about traditional and contemporary culture as well. It's been fun to compare and contrast American/French culture with Persian and the European country my tutor lives in. I was originally supposed to stop after 6 months and rotate to Korean , however, I'm nowhere near the level I wanted to be before switching so I think I'm going to continue for the next six months and re-evaluate then.

My whole life, I 've been told I'm "gifted" for languages. I'm not- I'm just curious and fascinated by them. Because of this it initially killed me that Korean and Persian didn't seem to be sticking whenever I tried to learn them. Through this journey, supplanted by updates to track my progress, I realize just how colossal of a task learning a language is (for me, at least). It's a lot more dedication and time than I had ever put in for a language before. I knew it took time but I was naive to the amount of diligence and consistency it required. I'd always assumed that since I was "gifted" all I had to do was sit in class, do my homework, and get good grades without any upkeep after. To a degree, I did learn that way but I lost all my skills just as quickly as I gained them because I never maintained them. I also never allowed myself to make mistakes; I memorized and "solved" grammar problems, erroneously assuming that my grade accurately reflected my level of acquisition.

#persian langblr #farsi langblr #update #hope it makes sense

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shotgun--rider · 4 years

Text

One Digit Off

A Jared x Reader Oneshot

After a hard day at work, Y/N just wants some peace and quiet. Instead, an accidental phone call might just change the whole evening.

Word Count: 2300

Warnings: Brief discussion of suicide attempt (not a main character), bad t-shirt puns, cat Rowena, useless fluff

*Reader gender/pronouns: any

A/N: Some silly apology fluff because I’ve been a useless rat about posting.

The couch in your living room was an overstuffed monstrosity that liked to consume anyone that sat on it, slowly but surely. It had been a thrift-store purchase in college years ago that somehow left anyone who sat on it pulled so far into the cushions that there was almost no leverage to stand back up. Nevertheless, it made the perfect place to hide at the end of a long week.

After the exhausting and entirely depressing shift you’d had at work, you wanted nothing more than to give in and let the couch eat you. You were wearing your favorite old, worn novelty t-shirt, the completely stupid one that read ‘SQUIRRELS JUST WANNA HAVE FUN’, and an equally embarrassing pair of shorts with tie-dyed handprints on your butt. Armed with a plate of haphazard snacks, you settled in on the hungry hippo couch, laying sprawled sideways and accepting your fate. You’d already taken a shower and jammed your hair behind a messy bandana, solidifying your look of “disaster got run over by a truck”. It was classy.

You just wanted to get cozy, watch some TV that you knew well enough not to have to think about anymore, and try to forget the sounds of a hysterical ten year old in your headset, screaming that Mommy was killing herself.

Working as a 911 dispatcher meant that you heard people in the worst moments of their lives all the time, and most of the time, they hung up without you ever hearing the ending. You were trained to talk down panicked callers, to get the most important information out of them in the quickest and safest way possible, to keep everyone calm and everyone alive until the first responders got there. And you were good at what you did, good at compartmentalizing what you listened to so that it didn’t follow you home, so that it didn’t distract you. And most of the time that worked.

You blew out your breath and refocused on the TV, having put on one of your old favorite Supernatural episodes as a distraction. Your black cat was huddled up kneading her paws on your feet, the couch was slowly swallowing you between the cushions and the backrest, and the hollowness in your chest eased bit by bit as you listened to Sam and Dean bicker.

On the coffee table in front of you, just past your snack plate and out of reach, your phone lit up, buzzing with a FaceTime call. You lifted your head halfheartedly to peer at the screen, unable to make out the caller at the angle you were at. It didn’t matter anyway; you weren’t in the mood to talk to anyone. Besides, it wasn’t like you really had anyone in your contacts who would be especially put out if you waited until tomorrow to talk to them. Your friends were all very casual people.

Stuffing a ranch-dipped cucumber slice into your mouth while you were sitting up, you proceeded to flop back down onto the couch, earning a death look from Rowena for moving your feet.

“Yeah, yeah,” you muttered to the cat. “You’re the one sitting on my feet, you know what you signed up for,”

And now you were talking to your cat. Great. This was probably the sort of thing that kept you perpetually single, you reflected absently. There weren’t a lot of people out there in the market for a put-crazy-cat-ladies-to-shame introvert who worked weird hours and was more awkward than entertaining. Not that it mattered, though. You weren’t really relationship material in general, you’d found, and after realizing how many boyfriends you just seemed to inevitably disappoint, you’d decided you were fine being single.

Ten minutes later, just as Sam was losing his shoe down a storm drain, your phone buzzed again. There was no contact photo coming up, which probably meant it was a wrong number, and you ignored it once more. Until it rang again, and again, followed by a flurry of pinging text messages.

Cursing to yourself as you fought your way upright (dislodging Rowena, who hissed at you), you flailed for the phone, not bothering to read the texts as you picked it up. If a wrong number was going to call you that many times, they either had an emergency or really needed to be set straight. Pushing your bandana higher off of your forehead carelessly, you swiped to answer the FaceTime call, setting it on the couch next to you without even looking at the video loading on the screen as you fumbled to pause the TV. “God, what!” you snapped in the vague direction of your phone. “Stop hissing at me, cat,” you added irritably for Rowena’s benefit.

There was a long pause, and then a man’s voice. “Um,” he said inelegantly. “I’m sorry?”

Rowena prowled over to the phone, then, batting at it with one paw and nosing the screen inquisitively. “Rowena, you menace!” You reached over, trying to pry the phone out from where she was currently sitting on half of it, sighing heavily.

“Hey, look, I think you called the wrong number, and I’m really sorry my cat’s sitting on you right now--” you started, just barely able to make out the bottom half of a man’s torso in a loose gray shirt from underneath Rowena’s black fur.

A laugh, then, “No, it’s a cute cat. Well, as far as I can tell,”

Your phone’s speaker was muffled by Rowena’s tail, but there was something about that voice that almost sounded familiar. “Jesus Christ, Ro, let me apologize to this guy properly,” you huffed, failing once more to pull your phone free when she batted her paws at you defensively, claws out.

“Wait, your cat’s name is Rowena?”

“Uh, yeah,” you frowned, trying to figure out why hearing your cat’s name in a stranger’s voice bothered you so much. “Yeah, I--Rowena give me the phone!” you snapped suddenly, making a dive between her paws. Finally, your cat relinquished the phone, fixing you with an Oscar-worthy dramatic look of anger befitting her namesake before flouncing off the couch. “Damn cat,” you grumbled, finally lifting the phone to get a look at who’d been calling you. At least being virtually sat on by a cat meant he got a little payback for harassing you with calls for the past half hour.

As soon as you brought the phone up to your face, you froze, your slow blinking the only proof that the screen hadn’t just frozen up on you. “Uh.”

He was several years older than the one currently paused on your TV, wearing a black beanie and looking mostly ready for bed, but no, that was definitely Jared freaking Padalecki staring back at you. And you were wearing a squirrel shirt and had a rat’s nest for hair. Clearly, the universe had just built this entire day to laugh at you, because what the fuck.

He was smiling at you, eyes crinkled up at the corners and looking unfairly put together compared to your gremlin-impersonation in the corner screen. “So, are the squirrels having fun?”

“What--oh!” you looked down at your shirt, embarrassment flooding through you, and decided on the spot to go with it. It wasn’t like this could get any weirder. “They were,” you returned, “until somebody called them six times in twenty minutes,”

Jared’s expression turned sheepish. “Yeah...sorry about that. My buddy got a new phone number and I obviously saved it wrong. I wouldn’t have bothered you if I didn’t think it was just Jensen ignoring me,”

A slightly incredulous sounding laugh burst from your lips, and you shifted on the couch, still trying to wrap your head around the fact that you were casually carrying on a conversation with Jared Padalecki. After your cat had sat on him. “You didn’t bother me that much,” you conceded. “Sorry I snapped at you. Rough day.”

“Oh yeah?” Jared tucked one arm behind his head, shifting around but never taking his eyes away from your face. “Wanna talk about it?”

“Um,” you faltered, tucking a loose strand of hair behind your ear. You didn’t need to spill your guts to a random wrong number who also happened to be one of your favorite actors. What you did need to do was get out of this with some decency, hang up the phone, and forget about it.

“You don’t have to,” Jared was saying softly, his forehead pinched like he was concerned about you. (Which was laughable).

“No…” you shook your head, wrinkling your nose. “I don’t know, I just...isn’t this weird?”

“What do you mean?”

“Uh, talking to a stranger because of a misdial?”

Jared pouted, his eyes turning dangerously puppy-looking. “And here I thought you liked me,”

“Wishful thinking, Padalecki,” you shot back without thinking, only realizing after the words were already out that you’d just confirmed that you knew who he was.

Meanwhile, Jared’s eyes had lit up triumphantly. “If you know who I am, then you’re not talking to a total stranger,” he pointed out, smiling easily at you.

He didn’t seem like he minded, but that did little to put you at ease. Pinching the bridge of your nose to stave off a stress headache, you sighed. “I’m sorry, that’s got to be so awkward, I--”

“What? No,” Jared just looked genuinely confused. “You’ve got a cat named Rowena, I kind of figured you’d know who I was,”

You groaned, covering your entire face with your hand now as embarrassment burned through your cheeks. “You probably think I’m some crazed wild fan, naming my cat after a character,”

“I don’t,” Jared reassured you firmly. “I think you’re funny, and I like the squirrel shirt,”

You peeked out from between your fingers. Jared Padalecki liked your dumb squirrel shirt. “You’re just saying that,”

He laughed, shaking his head. “No, I’m not! This is the best thing to happen to me all week,”

“You must have had a pretty lame week,” you observed sarcastically, leaning toward your phone to better examine your own image in the corner. “I look like a gremlin,”

“You do not!” Jared was laughing at you now, shaking his head emphatically. “You look cute,”

“I look--and feel--like I crawled out of a trash can, but thank you,” you deadpanned, a yawn distracting you from Jared’s further counterargument. You heard the smile in his voice before you opened your eyes to see it, and something caught in your chest at his soft expression.

“Tired?” he asked gently, shifting onto his stomach on the screen, face propped up on a pillow to look at you. Vaguely, in the back of your mind, that surrealness of being on a FaceTime call with Jared Padalecki was still there, but mostly, it just felt unbelievably normal.

“Twelve hour shift,” you confirmed with a nod, one hand moving beside you to lazily pet Rowena, who had apparently decided to forgive you. At the look of puzzlement on Jared’s face, you elaborated, “I’m a 911 dispatcher,”

“So when you say you had a rough day…” Jared’s face cleared in understanding, his expression patient. “You don’t have to tell me anything if you don’t want,” he reminded you softly, falling silent after that as if just content to watch your gremlin face on his screen. (Which would be ridiculous).

Your mind flickered back to the sound of the panicked girl on your headset, and you sighed. “No, it’s fine. I, uh, picked up a call from a girl today. Moriah. She was ten. She, uh, she found her mom in the bathtub with a knife,”

Jared sucked in a breath. “I’m so sorry you had to listen to that. Did she...uh, is she okay?”

Your mouth twisted wryly. “That’s the thing. Everybody hangs up as soon as the ambulance gets there. I hope so, though. Kid said she had vitals,”

Jared was shaking his head at you. “And you do that every day,”

“I mean, not every day, it depends on shifts. But yeah.” you shrugged. “I try to help,”

“That’s incredible. You’re incredible.” he murmured softly.

Squirming at the praise, you scowled playfully at him. “You don’t even know me,”

“I’m not taking it back,”

“Yeah, okay,” you feigned annoyance like there wasn’t a blush all over your face. Then you winced, suddenly noting the little red battery symbol on top of your screen. “Crap, my phone’s gonna die,”

That seemed to shake Jared out of just staring vaguely at the phone screen, and you watched him sit up cross legged on his bed, still with that same heart-stopping smile. “Yeah, we should both probably go to bed anyway,”

You sighed with a nod, strangely reluctant to hang up. “I’m still sorry Rowena sat on you,”

Jared laughed, throwing back his head. “I’m not,” he told you brightly. “You probably woulda hung up on me if she hadn’t. Tell her she’s a good cat,”

“I will not, it’ll make her head bigger,” you retorted easily. “Goodnight, Jared,”

Jared touched his fingers briefly to his lips, covering the camera with them a second later. “Goodnight,” he whispered, ending the call before you had any time to process what that meant.

It only took a few minutes for your phone to buzz with a new text, and you opened it with a laugh, scrolling briefly back through Jared’s pestering of “Jensen” before focusing on what he’d sent you this time.

So since you turned out not to be Jensen, I need a name for my contacts

Are you sure you’re keeping my contact? You shot back, smirking at your phone screen.

Yes??? Jared sent back carefully, and you could almost imagine his hesitantly sheepish expression.

Jensen 2. Not-Jensen. Crazy cat lady.

He sent back a sad emoji. C’mon.

Y/N L/N

Goodnight, Y/N.

You tossed your phone back onto the coffee table, falling back into the couch with what was probably a vaguely stunned expression on your face. Jared freaking Padalecki. You fell asleep with a little smile still playing on your lips.

#supernatural fanfiction #supernatural rpf #jared padalecki x reader #jared x reader #spn #rpf #x reader #reader insert #oneshot

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composereggwrites · 4 years

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Oh hold me close, there’s nothing here which Chokes

Fandom: The Magnus Archives Rating: T Characters/Ships: Alice “Daisy “Tonner & Jonathan Sims, Martin Blackwood/Jonathan Sims Additional: Non-Sexual Intimacy, Shower Sharing, Hurt/Comfort, brief panic attack, Fluff, sharing a bed Author’s note: Written for a gift exchange! This is for @osirisjones!

Summary:

It starts after the coffin. After the nightmare of TooCloseICannotBreathe. Finding yourself pressed against another is far more comforting than the rough rock and stone, or grime of dirt.

Showers remind Jon a bit too much of what it's like to not be able to breathe.

Daisy understands. Martin has his own issues with the feeling of mist in his lungs.

Ao3 or Below!

It starts after the coffin. After the nightmare of TooCloseICannotBreathe. Finding yourself pressed against another is far more comforting than the rough rock and stone, or grime of dirt.

It starts with Daisy declaring that she's going home to shower now because it's been a week since she's done so, and the sensation building up on her skin is a bit too much like being buried. It starts when she looks at Jon and says, "You look like you could use a shower too."

He grimaces, looking at her from his seat at his desk. "Probably. Hard to take one at the institute, though, and I haven't gotten around to getting a new place. I got uh... Evicted, during the whole six-month coma thing," he says, sheepish smile on his face as an explanation.

An eyebrow raises, as she gives him a Look. Which is probably fair, considering she’s got her stuff and a place already, even though she was gone longer than he was. Jon never claimed to be functional. “Yeah, and what have you been doing all this time, then?”

“It’s remarkable how well you can keep clean, given some no-wash shampoo, body wipes, and time alone in a bathroom here. Plus, there’s a laundromat not too far away,” he says. It’s true, he can manage just fine like this. He has to, as his life spirals ever more out of control, less time and mental energy able to be dedicated toward tasks such as cleaning. Even if he prefers it that way.

A familiar hand joins his as Daisy rolls her eyes, and pulls him out of the chair. “Well, that won’t do. You’re coming back to my place and taking a proper shower, Jon.”

She doesn’t give him a choice. No chance to protest as she drags him out of the institute. In a way, that’s easier than having to confront the idea that he wants this.

Everything is fine. He keeps repeating that in his head with each step. Daisy’s warmth bleeds into him from their connected pinkies, a pinpoint prick of security as they walk to her apartment.

(Neither of them take the trains through the tunnels nowadays, if they have the choice to avoid it.)

It’s a silent walk. Jon keeps his eyes on Daisy, and she keeps hers on the path they follow. The hunter knows the way home, and the watcher knows better than to let his eyes stray to targets, to food, with her so close by.

“Order some food while I take my shower. You’re crashing here tonight, and don’t think about trying to argue your way out of that,” Daisy says, as she unlocks the door and bustles around. He diverts his eyes as she grabs fresh clothes and steps into the bathroom of her single-bedroom apartment.

It’s…

Not as utilitarian as he expected, in all honesty. Photos of her and Basira hang on the wall, blankets draped over the couch. It’s not warm or cozy, but neither is it barren of signs of life. He can hear sounds of the Archers coming from the bathroom, indistinct through the walls.

Jon sits on the couch, and orders pizza. Tries desperately to distract himself with mindless phone games. Tries to ignore the lure of the owner of a shop they passed on the way here, who has a statement fresh for the picking. Tries not to Know about anything in this apartment, what stories and fears might lie under the false comfort of a quilt. What the pictures might hide.

When Daisy emerges precisely ten minutes later, hair still damp and looking far more refreshed--though she still has bags under her eyes, like all those who work in the archives--she’s wearing casual sweatpants and an old t-shirt for the Archers.

“Got us pizza, since I know what you like on it. Half and half, because you refuse to accept pineapple on it.” A grin flickers on his face, and he gets one on return.

“What blasphemy, putting fruit on a pizza! I’ll stick to my pepperoni and extra cheese, thank you.” She rolls her eyes as she speaks, and steps into her room, door left open so they can continue speaking.

“It’s really quite good. You just can’t grasp the intricacies of it!” he shoots back. An argument they’ve had a hundred times before flowing freely from his lips. He knows all the lines, like they’ve rehearsed.

The fun in arguing dies on his lips.

She tosses some old clothes at him, and he knows (not Knows) that they’ll be slightly too big and baggy, because he’s stolen clothing from all his assistants at this point. The resident laundry thief’s work is never done.

(It’s grounding, having pieces of the others to carry with him. His favorite is Martin’s hoodie).

“Go shower, Jon.” Daisy slides down onto the couch as he stands. No doubt she’s tasted the shift in his mood in the air, bitter on her tongue.

He takes the clothes and walks into the bathroom. Small, yellow walls. There’s a fresh towel on the rack already, so he sets the clothes on the counter and slips in.

The spray of water is a blessed relief compared to the days of rubbing and scrubbing away at the dirt building against his skin. Heat seeps into his aching muscles and world-wracked soul. Washing away the damage wrought. The layers of soil walls crumbling down.

It’s humid. It’s hot. The room is small. The steam makes breathing hard.

Jon huffs, and focuses. He just. He needs to ignore the unsettling feeling growing in his stomach, the fear that lingers like mint, there no matter how hard you try to kill it. Invading where it is not meant to be.

The mist coils around his lungs. Damp skin sticks as he bumps against walls. The shower is so small, how does Daisy survive it all?

A knock at the door is what makes Jon realize he’s knocked over the bottles, crouched on the floor. Hands embedded in his half-shampooed hair.

“I think I might actually get in trouble if you die in my shower. You alright in there?” she calls, door opened a crack so he can hear, though the curtain is still solidly in place.

Daisy’s voice washes away the suffocating anxiety better than any water could, and he takes a breath. “Yeah, I-- Ah. It felt… small. Difficult to breathe. You know…”

And she does know. She must, because she slips into the bathroom, and he can hear the toilet lid being set down so she can sit. “It’s why I play sounds on my phone.”

He snorts, and manages to get his legs back under himself, standing again. “Harder to lose yourself to the fear of choking when there’s a soap opera to listen to?” he asks, tone wry.

“Oh hush. You ought to try it.” She’s laughing, and he can picture the roll of her eyes as he washes out the shampoo. It’s easier, with another presence here. The heat is less oppressive, not trying to pierce his skin. Instead, it simmers and soaks, driving out the icy cold.

“I--I think I’m good now.” It slips out of his mouth, even as he wishes to swallow the words, to beg for company until he’s done.

“Well, I think it’s rather fitting. Soap opera for when you’re all… soapy. So I’m going to start the next episode you were on, since you’re so woefully behind.”

It’s hard to not laugh when Daisy makes a bad pun, and he doesn’t try to hold it back. Doesn’t stop himself from listening to the absurdity, talking with her about the drama and plot as he works to scrub his body clean.

When he steps out of the shower, smelling of her lavender products, Daisy politely averts her eyes until he’s dressed. Then she links their fingers together once more, and they trot out in time to catch the pizza man.

Jon Knows later, as they sit and eat their pizza with dramatic flair, held loftily above their mouths sprawled out on the couch and each other, that the delivery person thought they were a couple. When he mentions it to Daisy, she cracks up, and he joins her, pausing the episode they were on.

“Us? A couple?” she repeats, for the tenth time. “Like, no offense Jon, but even if I were into guys, you’re not my type.”

“Some offense taken,” he replies, free hand held to his chest. “Oh how scorned I am by your rejection! You like Basira well enough, and she’s good at being a stuffy academic.” The air quotes are audible, dripping from his tongue as he takes another bite.

“She’s an academic who knows how to shoot a gun. Got more muscle than you could ever dream of, bone boy,” she shoots back, elbowing him in the side. Taking care to hit where there’s still ribs.

“Ah, I see. With my bountiful eyes.” She snorts, because if he actually had extra eyes, she’d be the first to know. “You like someone who you have a chance of losing to in an arm wrestle. No wonder I’m so woefully disqualified.”

“I’d let her do more to me than win an arm wrestle.” Daisy waggles her eyebrows.

When he processes what she means, Jon lets out a long, drawn out sigh. “Every day. Every single day I am bombarded by innuendo. When shall I be freed from this curse?”

“Whoa there, no need to bring the Sahara into my apartment with that dry tone, Mr. Sandman.”

“Wrong entity. How dare you accuse me of being aligned with the Dark?” He has to set his paper plate down, or risk dropping his food at this point, with the amount of laughter going on.

“Whatever, eye guy. Let me braid your hair once we’re done eating. Maybe now that you’re cleaned up, your prettyboy looks will lure your man out of the fog. I bet he’d love to win an arm wrestle against you. He totally could, too.” She gestures at him with the pizza slice, smirk across her lips.

Jon stammers, hiding the blush creeping up his cheeks behind his hand. “I--uh. Ah. Daisy-- Even if... Even if you’re right, I--”

She softens into a smile, and puts a hand on his arm. “I’m sure you can ace your way into his heart.”

Two seconds of silence.

Then giggles, as he covers his mouth with a hand. “That was-- That was awful. That’s the type of joke I’d be making in uni!”

“Unless my puns are bad enough to drive you out of my apartment, I stand by the offer. The only condition is that you’ve gotta braid mine, too.”

He takes another bite as he ponders it. Really, the answer he wants to give is on the tip of his tongue, but-- Denying himself what he wants is habit, ingrained in himself by now.

Still, it’d be nice.

“Sure, why not,” he says. “Hair braiding and listening to The Archers. Sounds like the perfect night.”

The couch is comfier than the Archives, that night. Daisy’s apartment warmed with the small spark of vanilla candle friendship.

In the coming months, it’s easy to make a habit out of this.

----

Collapsing into bed at the safehouse the night they arrive is one of the easiest things Jon has ever done, and that’s counting the amount of time it takes to get Martin to join him. They both still smell of sea salt and taste of fog, but he pulls Martin into bed with him despite the ever-constant protests.

“Martin, it’s fine,” he murmurs. “We’re both tired, we can share the bed. Hell, Daisy and I have shared a bed before, at her place.” It’s out of his mouth before he can think to stop it, and one hand goes up to the messy braid of his hair, from just two days before.

“O-oh. You and-- and Daisy?” Martin asks, paling a bit in the moonlight. Eyebrows scrunched together in the most adorable way that makes Jon want to reach out and run his fingers through Martin’s hair. “I didn’t know?”

“Because there’s nothing to know.” It dawns on him that he can do that. So he reaches up, and cards his fingers through the messy strands of reddish brown. “It was-- it was a friend thing, nothing more. A couple times a week she’d drag me to her place, and really, it was-- It was easier in the end, to just share the bed. Rather than have me sleep on the couch. Helps me deal with the nightmares, if I have someone there. I figure… If you have any, it might be the same.”

It’s enough for Martin to soften, and stop looking so jealous (which, now that Jon can recognize that, he finds it touching). He slides into bed without any more fuss, and soon enough Jon finds himself wrapped up in Martin’s arms. All pretenses of pretending to not want to cling immediately dropped.

Sharing a bed with Martin is different from sharing one with Daisy, he discovers that night.

With Daisy, they link hands, arms intertwined, and lay back to back. Neither of them were inclined to spoon, and he knows suggesting it would’ve gotten a joking threat with a knife (nothing like before, no real danger in her words, and she would’ve grumbled but wrapped him in her arms like she did when the nightmares got too bad, and they needed more contact).

But with Martin…

Martin is full of warmth, despite the wisps of fog that still want to encroach. At some point in the night, between becoming an octopus and clinging right back, Martin rolls over on top of him in his sleep, and Jon melts.

Martin is a solid, heavy weight against him. Grounding him to the mattress. Jon still catches bits and pieces of nightmares, but the pressure isn’t oppressive, not near as much as he feared. A spark of terror in his heart, at first, but all he has to do is open his eyes and see Martin there. Another person, not the dark-dirt pressing-walls of Choke. He thinks, perhaps, that the fear has receded, if he can handle this.

It’s only on his way to shower the next morning, that the terror comes roaring back. Gripping his heart and making him pause outside the bathroom door. He can hear Martin singing in the kitchen as he bustles around, cleaning up the breakfast mess.

But will it be enough?

He takes a breath, steels himself and turns the handle. Prepares to face this.

And then stops, turns his head, and calls, “Martin?”

Martin must hear the waver in his voice, sense the way Jon is a rubber band pulled taut, because he immediately drops what he’s doing and comes to Jon’s side. Sees the way he’s shaking, ever so slightly in his skin (skin that still doesn’t feel like his after what Nikola did), and places a hand on his shoulder. Soft, tentative, as he asks, “Are you alright?”

“I-- I’ll be fine, it’s just…” He could still turn back, say it’s nothing, though Martin would still worry. And…

He’s safe with Martin. Just like he was safe with Daisy.

Safe enough to ask for help.

“The uh-- The reason I went to Daisy’s so often was because I needed to shower, but the feeling. I hate cold showers, but the steam made it harder to breathe. And I needed-- It helped if someone was there, with me?”

He looks up at Martin, and confusion-fear bubbles in his stomach when Martin laughs a little, but it’s quickly abated by his words. “I was actually thinking of asking you for the same thing? It’s just, for me… Being alone in a room full of mist doesn’t seem like a good idea?”

Jon chuckles, though it’s quickly cut off when he slaps a hand over his mouth. “Sorry, sorry, that was-- You’re right. I’d be glad to be there for you, Martin,” he says, and it’s amazing how a few simple works make Martin light up. The blush against his cheeks is something Jon feels he can be proud to put there, now.

“Might be best to take one at the same time. I don’t know how much hot water this place has,” Martin says, before immediately backtracking. “If you don’t want to though, I understand!”

He shakes his head, and pulls Martin along with him into the bathroom. “It’s fine with me. It makes sense. Amazingly, this place has a bigger shower than Daisy’s apartment. And I’m thankful to find that there are no bloodstains on the tub here, either.”

Martin snorts, and Jon smiles. He takes out the shampoo, conditioner, and body wash from his bag of toiletries as Martin undresses, making sure that there’s a clean washcloth as well.

It’s a bit cramped, but they have enough space to navigate. The bump of their bodies against each other is reassuring too. Silent moments of I’m here and you’re not alone, you’re not going to choke on your own fear.

At some point, he finds himself helping Martin clean his back. Slow, methodical scrubbing. At another, Martin’s hands are in his hair, combing through the strands as the conditioner makes it silky. When Jon starts to sing a song, Martin grins, and sings along. As they sing loud and offkey--which is part of the fun--Jon thinks there’s no place he’d rather be.

(Later, curled up in Martin’s lap, in front of the lit hearth, he’ll have that thought again, as he presses a kiss to Martin’s lips.)

#tma #the magnus archives #jonmartin #jonathan sims #martin blackwood #daisy tonner #alice tonner #alice daisy tonner #johnathan sims #Jonathon Sims #jon archivist #the archivist #listen to the quiet #jondaisy #magpod #MagnusPod #my writing #egg writes #fanfic

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theatticoneighth · 3 years

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Watching The Queen’s Gambit; on the Remarkable Unexceptionality of Beth Harmon

‘With some people, chess is a pastime. With others, it is a compulsion, even an addiction. And every now and then, a person comes along for whom it is a birthright. Now and then, a small boy appears and dazzles us with his precocity, at what may be the world’s most difficult game. But what if that boy were a girl? A young, unsmiling girl, with brown eyes, red hair, and a dark blue dress? Into the male-dominated world of the nation’s top chess tournaments, strolls a teenage girl with bright, intense eyes, from Fairfield High School in Lexington, Kentucky. She is quiet, well-mannered, and out for blood.’

The preceding epigraph opens a fictional profile of Beth Harmon featured in the third episode of The Queen’s Gambit (2020), and is written and published after the protagonist — a teenage, rookie chess player, no less — beats a series of ranked pros to win her first of many tournaments. In the same deft manner as it depicts the character’s ascent to her global chess stardom, the piece also sets up the series’s narrative: this is evidence of a great talent, it tells us, a grandmaster in the making. As with most other stories about prodigies, this new entry into a timeworn genre is framed unexceptionally by its subject’s exceptionality.

Yet as far as tales regaled about young chess wunderkinds go, Beth Harmon’s stands out in more ways than one. That she is a girl in a male-dominated world has clearly not gone unremarked by both her diegetic and nondiegetic audiences. That her life has thus far — and despite her circumstances — been relatively uneventful, however, is what makes this show so remarkable. After all, much of our culture has undeniably primed us to expect the consequential from those whom we raise upon the pedestal of genius. As Harmon’s interviewer suggests in her conversation with Harmon for the latter’s profile, “Creativity and psychosis often go hand in hand. Or, for that matter, genius and madness.” So quickly do we attribute extraordinary accomplishments to similarly irregular origins that we presume an inexplicability of our geniuses: their idiosyncrasies are warranted, their bad behaviours are excused, and deep into their biographies we dig to excavate the enigmatic anomalies behind their gifts. Through our myths of exceptionality, we make the slightest aberrations into metonyms for brilliance.

Nonetheless, for all her sullenness, non-conformity, and her plethora of addictions, Beth Harmon seems an uncommonly normal girl. No doubt this may be a contentious view, as evinced perhaps by the chorus of viewers and reviewers alike who have already begun to brand the character a Mary Sue. Writing on the series for the LA Review of Books, for instance, Aaron Bady construes The Queen’s Gambit as “the tragedy of Bobby Fischer [made] into a feminist fantasy, a superhero story.” In the same vein, Jane Hu also laments in her astute critique of the Cold War-era drama its flagrant and saccharine wish-fulfillment tendencies. “The show gets to have it both ways,” she observes, “a beautiful heroine who leans into the edge of near self-destruction, but never entirely, because of all the male friends she makes along the way.” Sexual difference is here reconstituted as the unbridgeable chasm that divides the US from the Soviet Union, whereas the mutual friendliness shared between Harmon and her male chess opponents becomes a utopic revision of history. Should one follow Hu’s evaluation of the series as a period drama, then the retroactive ascription of a recognisably socialist collaborative ethos to Harmon and her compatriots is a contrived one indeed.

Accordingly, both Hu and Bady conclude that the series grants us depthless emotional satisfaction at the costly expense of realism: its all-too-easy resolutions swiftly sidestep any nascent hint of overwhelming tension; its resulting calm betrays our desire for reprieve. Underlying these arguments is the fundamental assumption that the unembellished truth should also be an inconvenient one, but why must we always demand difficulty from those we deem noteworthy? Summing up the show’s conspicuous penchant for conflict-avoidance, Bady writes that:

over and over again, the show strongly suggests — through a variety of genre and narrative cues — that something bad is about to happen. And then … it just doesn’t. An orphan is sent to a gothic orphanage and the staff … are benign. She meets a creepy, taciturn old man in the basement … and he teaches her chess and loans her money. She is adopted by a dysfunctional family and the mother … takes care of her. She goes to a chess tournament and midway through a crucial game she gets her first period and … another girl helps her, who she rebuffs, and she is fine anyway. She wins games, defeating older male players, and … they respect and welcome her, selflessly helping her. The foster father comes back and …she has the money to buy him off. She gets entangled in cold war politics and … decides not to be.

In short, everything that could go wrong … simply does not go wrong.

Time and again predicaments arise in Harmon’s narrative, but at each point, she is helped fortuitously by the people around her. In turn, the character is allowed to move through the series with the restrained unflappability of a sleepwalker, as if unaffected by the drama of her life. Of course, this is not to say that she fails to encounter any obstacle on her way to celebrity and success — for neither her childhood trauma nor her substance-laden adolescence are exactly rosy portraits of idyll — but only that such challenges seem so easily ironed out by that they hardly register as true adversity. In other words, the show takes us repeatedly to the brink of what could become a life-altering crisis but refuses to indulge our taste for the spectacle that follows. Skipping over the Aristotelian climax, it shields us from the height of suspense, and without much struggle or effort on the viewers’ part, hands us our payoff. Consequently lacking the epochal weight of plot, little feels deserved in Harmon’s story.

In his study of eschatological fictions, The Sense of an Ending, Frank Kermode would associate such a predilection for catastrophes with our abiding fear of disorder. Seeing as time, as he argues, is “purely successive [and] disorganised,” we can only reach to the fictive concords of plot to make sense of our experiences. Endings in particular serve as the teleological objective towards which humanity projects our existence, so we hold paradigms of apocalypse closely to ourselves to restore significance to our lives. It probably comes as no surprise then that in a year of chaos and relentless disaster — not to mention the present era of extreme precariousness, doomscrolling, and the 24/7 news cycle, all of which have irrevocably attuned us to the dreadful expectation of “the worst thing to come” — we find ourselves eyeing Harmon’s good fortune with such scepticism. Surely, we imagine, something has to have happened to the character for her in order to justify her immense consequence. But just as children are adopted each day into loving families and chess tournaments play out regularly without much strife, so too can Harmon maintain low-grade dysfunctional relationships with her typically flawed family and friends.

In any case, although “it seems to be a condition attaching to the exercise of thinking about the future that one should assume one's own time to stand in extraordinary relation to it,” not all orphans have to face Dickensian fates and not all geniuses have to be so tortured (Kermode). The fact remains that the vagaries of our existence are beyond perfect reason, and any attempt at thinking otherwise, while vital, may be naive. Contrary to most critics’ contentions, it is hence not The Queen’s Gambit’s subversions of form but its continued reach towards the same that holds up for viewers such a comforting promise of coherence. The show comes closest to disappointing us as a result when it eschews melodrama for the straightforward. Surprised by the ease and randomness of Harmon’s life, it is not difficult for one to wonder, four or five episodes into the show, what it is all for; one could even begin to empathise with Hu’s description of the series as mere “fodder for beauty.”

Watching over the series now with Bady’s recap of it in mind, however, I am reminded oddly not of the prestige and historical dramas to which the series is frequently compared, but the low-stakes, slice-of-life cartoons that had peppered my childhood. Defined by the prosaicness of its settings, the genre punctuates the life’s mundanity with brief moments of marvel to accentuate the curious in the ordinary. In these shows, kindergarteners fix the troubles of adults with their hilarious playground antics, while time-traveling robot cats and toddler scientists alike are confronted with the woes of chores. Likewise, we find in The Queen’s Gambit a comparable glimpse of the quotidian framed by its protagonist’s quirks. Certainly, little about the Netflix series’ visual and narrative features would identify it as a slice-of-life serial, but there remains some merit, I believe, in watching it as such. For, if there is anything to be gained from plots wherein nothing is introduced that cannot be resolved in an episode or ten, it is not just what Bady calls the “drowsy comfort” of satisfaction — of knowing that things will be alright, or at the very least, that they will not be terrible. Rather, it is the sense that we are not yet so estranged from ourselves, and that both life and familiarity persists even in the most extraordinary of circumstances.

Perhaps some might find such a tendency towards the normal questionable, yet when all the world is on fire and everyone clambers for acclaim, it is ultimately the ongoingness of everyday life for which one yearns. As Harmon’s childhood friend, Jolene, tells her when she is once again about to fall off the wagon, “You’ve been the best at what you do for so long, you don’t even know what it’s like for the rest of us.” For so long, and especially over the past year, we have catastrophized the myriad crises in which we’re living that we often overlook the minor details and habits that nonetheless sustain us. To inhabit the congruence of both the remarkable and its opposite in the singular figure of Beth Harmon is therefore to be reminded of the possibility of being outstanding without being exceptional — that is, to not make an exception of oneself despite one’s situation — and to let oneself be drawn back, however placid or insignificant it may be, into the unassuming hum of dailiness. It is in this way of living that one lives on, minute by minute, day by day, against the looming fear and anxiety that seek to suspend our plodding regular existence. It is also in this way that I will soon be turning the page on the last few months in anticipation of what is to come.

Born and raised in the perpetually summery tropics — that is, Singapore — Rachel Tay wishes she could say her life was just like a still from Call Me By Your Name: tanned boys, peaches, and all. Unfortunately, the only resemblance that her life bears to the film comes in the form of books, albeit ones read in the comfort of air-conditioned cafés, and not the pool, for the heat is sweltering and the humidity unbearable. A fervent turtleneck-wearer and an unrepentant hot coffee-addict, she is thus the ideal self-parodying Literature student, and the complete anti-thesis to tropical life.

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sinceileftyoublog · 3 years

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Wobbly Interview: Going for Happy

BY JORDAN MAINZER

Thurston Moore Ensemble/Negativland band member Jon Leidecker has been releasing electronic music under the moniker Wobbly for over two decades now. In Chicago experimental label Hausu Mountain, he seems to have found kindred spirits, matching his far out idiosyncrasies. 2019′s Monitress and its follow-up, Popular Monitress, which came out earlier this month, are albums about and by machines, as Leidecker ran his music into pitch trackers and synth apps on his phones and tablets, embracing the errors and randomness that were produced along the way. While the source material on Monitress was mostly improvised, the songs on Popular Monitress are more structured and composed, resulting in songs like “Authenticated Krell”, which follows a comparatively clean synth arpeggio before being enveloped by texture, or “Lent Foot”, where the various instruments trail each other. It’s remarkable just how familiar certain sounds are even if not traditionally instrumental ones, like the typewriter clacks of “Illiac Ergodos 7!” or the zooming notes of the thumping title track. Blurring the lines between what’s instrument and what’s not, and even further, what’s composed music and what’s not, Popular Monitress is a defining statement for both Leidecker and Hausu.

I was able to ask Leidecker about various songs on the album and their inspirations. Read his answers below!

Since I Left You: You chose to write more structured songs this time around before running them through the pitch tracker. Do those nuggets of recognizable structures make the final product all the more disorienting?

Jon Leidecker: Hopefully! On both albums, the main thing is keeping the focus on just how live those pitch trackers are. It’s Monitress as long as you can hear how they’re listening. For years, it was strictly a piece for live performance--I needed to be improvising myself, and able to respond instantly, to really underline just how spontaneous the machine responses are. So the first record tried to keep more of that sense of flow. Large stretches of it are simply baked down from stereo recordings of concerts & radio performances of it. Overdubbing more layers of trackers seemed legal, as long all the voices were following that one original sound.

Of course, when you play a tune, something composed or even quantized, it definitely becomes easier to hear what they’re doing. The exact same code running on each phone will respond in very different ways to the same source audio, and you get a chorus of individual voices. They play a lot of wrong notes, but oddly, if you feed the trackers lots of consonant, major chords, it stops being dissonance, and you can tell they’re going for happy. You hear these weird things, trying to sing in unison, and..the result is just pure delight. Weirdly emotional! What’s a mistake? What’s music?

SILY: How did you come up with the song titles? For instance, is there anything particularly Appalachian about "Appalachian Gendy"?

JL: They’re mostly mashed up references to landmark works in the field of generative & algorithmic composition, from the 50’s up to the early 90’s. The recent push of stories on AI musical tools seems to be about automation and labor-saving, but the field of how to develop tools for more creative ends goes back all the way to Bebe and Louis Barron going to the Macy Conferences on Cybernetics and designing their first self-oscillating feedback circuit.

So while my tracks aren’t really in the musical style of the works they reference--something like “Appalachian Gendy”, which sprung up a fantasy Spiegel/Xenakis tribute, got paired to that stompdown track, and once it did, I added a solo on iGendyn.

SILY: To what extent is your music here inspired by the inner workings of the brain?

JL: Once you get a grip on just how simply neurons and synapses interact, how reassuringly physical thinking is, the electronic music I’ve always found most inspiring often involve feedback systems, self-playing devices, generative music, things that learn rather than settle. Music that helps you model thought. The whole East Coast/West Coast 60’s divide in synth design boiled down to Moog reducing your options until you could easily dial in what you already know you want, and Buchla designing uncertainty machines to be networked together until they approach the complexity of an unknown brain.

SILY: "Synaptic Padberg" and "Every Piano" have moments of recognizable instruments as opposed to alien instruments (strings and piano, respectively). Was that just a product of the errors/randomness of the music-making, or purposeful?

JL: It's supposed to sound orchestral, so I hit my Mellotron and Chamberlin apps pretty hard with this piece. Not like anything remains plausibly real once they're getting hammered by the trackers. That is a real grand piano, however: me playing the tune at SnowGhost Music in Montana. Brett Allen deserves an engineering credit, but I also wanted the first listen to make you wonder.

SILY: There's almost a funky rhythm to "Motown Electronium". Do you envision folks dancing to this record?

JL: Would have been plain wrong to put that title on an unworthy beat. What would a room full of people dancing to this even be like? Maybe in Baltimore.

SILY: Do you think "Training Lullaby" is what a computer trying to write a lullaby would sound like?

JL: Not that relaxing, is it? That’s ten seconds pulled from a five minute live improvisation, just a little burst of fury in the middle. Which I’ve heard enough now that I can sing along to it; so now, for me, it is calming.

I finally had to admit to myself that I’m a fan of the OpenAI Jukebox stuff. It’s right at that stage where their results are still primitive enough to remain a little mysterious. All the context and relationships intrinsic to what humans call music is irrelevant to those GANs. They don’t need culture to make music, they just need waveforms. What does it tell us that simple pattern analysis and brute number crunching on a large enough data set can produce those sounds? They’re training us. I have twelve hours of their Soundcloud dump ripped to my phone, and I play it a lot, though I wouldn’t play it for anyone under four. Can definitely sing along to some of the weirder ones by now.

SILY: How did you approach the order of tracks on the record? I'm struck by, for instance, the chaos of "Grossi Polyphony" following the comparative lull of "Every Piano".

JL: Just trying to show the range, and keep the surprises coming. Perpetual variety becomes monotony so quickly, so there is a very careful balancing act to play between shorter and longer tracks. I like a record where on first listen, any new section that begins, you feel like there are no guarantees how long it’ll last, eight seconds or eight minutes. Even things that sound like they should be songs: no guarantees. I still remember the first time I heard The Faust Tapes as a teenager.

SILY: Did you actually use musical dice to write "Wurfelspiel"?

JL: “Wurfelspiel” is just name-dropping Mozart’s generative piece--again, a real piano, but no musical dice involved.

SILY: The beats towards the end of the album--the pseudo hip-hop of "Cope By Design", techno of "Dusthorn Sawpipe", krautrock of "Help Desk"--seem to me to be far more propulsive than anything else here. Do you see a connection between those tracks?

JL: The album hits you with all these miniatures in the middle to keep things moving, and those three are the last little barrage of them before the shift into the final stretch with the longer, more hypnotic pieces. Can be tough to sequence an album when you’ve got so many short tracks, but it’s also total freedom.

SILY: How did you like getting the Hausu Mountain album art treatment?

JL: Totally family. All the Monitress packaging has always been iPhone panorama mode artifacts, visual glitches not entirely unlike what my phone’s trackers do to what they hear. I gave one of those images to [Hausu Mountain co-founder Max Allison] to work with the cover of the first Monitress, and he sent back this image, saying, “Here’s the initial stage: Your photo reduced to color blocks I’ll carefully render out later.” So when the second hyper-detailed one came back in a more proper Hausu style, they already seemed like a sequence, and this second one was already in place, so it all clicked. Any version of Monitress, the music is different, but it’s always the same piece. I’m really happy they asked me for something. [Label co-founder Doug Kaplan] and Max are just coming from the good place.

SILY: Are you doing any live streams or socially distant shows any time soon?

JL: Multi-location live streams are a blast. The time modulation inherent in all streaming is deeply psychedelic. The kind of listening you have to do when you know that the relationship of sounds together in time is different for each musician involved? I’m learning utterly new tricks, and it’s astonishing just how live the result is. I sat in on a live stream with Thurston Moore Group a few months ago, the four of them in London, and me hooked up to an amp not far from where I normally am when I play with them. And everyone agreed: It felt like I was there, right up until the instant I quit the app.

I’ve been pre-recording some home live sets for Hausu, Curious Music and High Zero Foundation. Negativland is putting together an hour long performance with Sue-C for the Ann Arbor Film Festival in late March. I finished an album mostly recorded outdoors with my old friend Cheryl E. Leonard for Gilgongo, and we’re going to try to a few outdoor concerts, too.

SILY: What else are you currently working on/what's next?

JL: The second album with Sagan, with Blevin Blectum & J Lesser, is coming out in late April. That one took 14 years to finish. There’s a trio record with Thomas Dimuzio and Anla Courtis coming out on Oscarson. Doing a revision of the last episode of my podcast on sampling music, Variations, to incorporate that OpenAI music. Some Negativland releases tying together the last two albums. There are about four of five other albums that might be done, though it takes time to be sure.

SILY: Anything you've been listening to, reading, or watching lately?

JL: This month has been Maryanne Amacher’s collected writings, Keeping Together in Time by William H. McNeill, Ministry For The Future by Kim Stanley Robinson, important even with happy ending. Interview with Karl Friston - Of Woodlice And Men. Listening to a lot of “Blue” Gene Tyranny, Xenakis & Lang Elliott, and last week every Ghédalia Tazartès album in reverse chronological order. I don’t care what anybody says: That guy’s immortal.

SILY: Anything I didn't ask about you want to say?

JL: Thank you for your questions!

Popular Monitress by Wobbly

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