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daughterofluthien · 3 years

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“decisions were respected” Sorry but didn’t Scott violently throw Isaac against a wall more than once just because Isaac liked his ex girlfriend in canon? That’s the literal opposite of healthy...

Hey, anon!

This is in reference to this post about Scallison for the shipping meme, where I said that one of my favorite things about Scallison is that the show lets them have a healthy breakup, and even date other people while still remaining friends. The scenes you are referring to are a pair of scenes in 3x13 Anchors.

So lets’s take a look.

(under a cut bc it turns out that when you try to be comprehensive, things get v long v quickly 😅)

The Scenes

I’m actually gonna copy/paste the dialogue of both scenes (along with minimal action/inflection notation for context) so that we can really make sure we know what we’re talking about here, so bear with me:

The first of these scenes occurs as Scott and Isaac are getting ready to head to school in the morning. After some initial ‘hey, what’re you doing, are you heading to school’ dialogue—during which both boys seem a bit awkward—we get the following:

ISAAC: [anxiously] Can I ask you a question? SCOTT: Okay... ISAAC: Are you angry with me? SCOTT: No! ISAAC: Are you sure? SCOTT: ...No. ISAAC: [awkwardly] What's that mean? SCOTT: I guess I'm not really sure how I'm feeling... ISAAC: [nodding] Okay. ...Do you hate me? SCOTT: [sighing] No, of course not. ISAAC: Do you want to hit me? SCOTT: [taken aback] No. ISAAC: I think you should hit me. SCOTT: I don't want to hit you. ISAAC: Are you sure? SCOTT: Why would I want to hit you? You didn't do anything, did you? ISAAC: [stammering] No. I mean, um... What do you mean? SCOTT: I mean, like, you didn't kiss her or anything, right? ISAAC: No! Absolutely not. No. SCOTT: ...Did you want to? ISAAC: Oh, yeah. Totally. [scene cuts to hallway outside the room. Isaac flies through the doorway and hits the wall] MELISSA: Hey! You two teenage boys? Don't test my entirely un-supernatural level of patience! ISAAC: ...Feel better?

The scene then ends, and we cut to subsequent scenes of Stiles and then Allison also getting ready for school.

The second scene is much shorter and happens later in the episode, after Isaac saves Lydia from an arrow that Allison fired while hallucinating. He and Scott are in Scott’s room again, and he’s telling him about the incident:

SCOTT: Right at her head? ISAAC: Almost right through it. And she keeps saying the same thing-- that she keeps seeing her aunt. Whatever's happening to you guys is getting worse. If I hadn't been there, then Lydia would be dead. SCOTT: ...What were you doing there? ISAAC: Uh... [scene cuts to hallway outside the room. Isaac flies through the doorway and hits the wall] MELISSA: [groaning] Oh, you guys, come on! This house does not have a supernatural ability to heal! So, stop it!

But of course just the text of the scene isn’t enough to accurately convey everything in even a tiny portion of a larger narrative, because nothing happens in a vacuum. With that in mind, let’s look at...

The Context

The first of these scenes occurs immediately after the opening credits, and is the first time we see either Scott or Isaac this season. (Assuming you consider 3B a separate season, of course, which is a whole ‘nother can of worms. This tv show we all choose to enjoy sure is Something.)

Often, the opening of a season is used to reintroduce the audience to the main characters—letting us know where their characters arcs are starting, and what they’ll be struggling with this season. Teen Wolf did this previously (and did it well, imo) in 3x01 Tattoo. Act 2 of that episode begins with a series of four scenes showing our main characters getting ready for school in the morning, highlighting where everyone currently is, and setting up where their arcs are going to go.

Scene order taken by itself would seem to indicate that they were trying to do something similar in this episode. It starts off with the hook of Stiles’ extended nightmare sequence. He can’t tell dreams apart from reality anymore, and wakes up screaming. Cut to black, cue opening credit sequence.

Immediately after the first ad break, we get a sequence of three scenes. The first is the longer of the two Scott and Isaac scenes (which, as previously mentioned, occurs as they’re getting ready to head out to school). The second is of Stiles. He’s packing for school, and the audience learns that he’s been struggling to read when he’s awake as well. Finally, we see Allison leaving her and her dad’s apartment. She seems like she’s doing fine, if a little over-focused. But then she gets into the elevator, and has an extended hallucination/flashback of Kate.

We learn soon after this that all three of them (Scott, Stiles, and Allison) are suffering from the aftereffects of their sacrifice in the previous season. According to the explanations we get both from Kira and, later, from Deaton, they’re slipping into bardo, or the space between life and death, and there’s a door open in their minds.

Okay, problem established.

It stands to reason, then, that all three of those opening scenes are supposed to serve to set up this problem. We’re shown, in three successive scenes, that all three of our sacrificees are, as the kids say, Not Doing So Hot.

(yes I know the kids don’t say that, let me be an increasingly out-of-touch millennial in peace)

This is all well and good, and honestly makes sense! Under this paradigm, the Scott and Isaac scene should be highlighting that Scott is Losing Control. Bardo is affecting him, and it’s causing him to be more aggressive. Giving in to violence in a way that he generally holds himself back from. Heck, the scene even starts with Scott flexing his fingers, and we (and Scott) see the shadow of a clawed hand against the door.

In the context of the narrative, it makes sense.

Except.

eXCEPT—

The Framing

The thing about the medium of television is that, when we’re talking about a scene, we can’t just look at the narrative structure. We also have to look at the scene itself: how it’s shot and directed, how it’s edited, even what music is paired with the scenes.

In the Stiles and Allison sequences, the scenes are very clearly shot for tension and horror. Long lingering shots on the things that Just Aren’t Right. Music that heightens the tension. Stiles gets some nice lil scare chords over the shot of the book that he can’t read, and there’s a very quiet droning in the background of the Allison nightmare sequence that slowly grows into some classic horror soundtrack music.

Okay. So far that tracks with the narrative thesis.

Now let’s take look at the Scott and Isaac scene.

We start out with some of those lingering shots I was talking about, as Scott is halted in his tracks when he notices the shadow of the clawed hand. We see his own hand is human and unshifted. There’s quiet, percussion heavy music over this portion of the scene that increases in tension at this point. Shaken, Scott closes his hand into a fist, and when he opens it, both the shadow and his own hand are smooth and human. The tense music fades out to silence, and he breathes a sigh of relief.

Scott opens the door to reveal Isaac, which startles him. There’s a short musical sting to underline this moment, and then the background music cuts out completely, leaving us (and them) in the awkwardness of this moment.

And OH BOY. IS IT AWKWARD. 😬

You can kinda see the Awkwardness Inherent in the System in the dialogue that I pasted up at the top—it’s a lot of back-and-forth, short statements, trailing off... And both Posey and Sharman are playing up the awkwardness as well. Neither boy looks like they really want to be there, and that includes Isaac, who initiated this entire conversation.

But here’s the thing.

The thing that really frustrates me about this scene.

It’s not the sort of awkwardness that exists to increase the tension. The sort that builds and builds until it reaches a fever pitch and you know something just has to give. You know, the sort of tension that you would want to build if you were showing how the protagonist of your show is no longer fully in control, and is on a knife’s edge of lashing out at his friend and beta.

Instead, it’s played for comedy.

And once again, a lot of this is down to the music.

Before the dialogue that I quoted at the top even begins, the music starts back up, and this time the tense percussion has been replaced by light, pizzicato strings. (That may not be the exact right term, fyi, I only really know enough about music theory to be dangerous.) But you know, the playful, plucked strings that often accompanies comedic or otherwise not-serious scenes.

Background music tells the viewer how they’re supposed to feel about the events in a particular scene, and the music here is saying that we’re not supposed to find this whole confrontation that dramatic. In fact, we’re supposed to find it funny.

But it’s not just the music that that frames this scene as comedic. It’s also the fact that we don’t actually see Scott shoving Isaac. Instead, the scene cuts to the hallway, and all we see is Isaac flying through the doorway.

Now, obviously I don’t have a direct line to the director and editors’ minds here. But I would bet money that those particular shots were chosen 1). because it’s so much easier to do a wire pull stunt when you don’t have to show what it’s in reaction to, and 2). because it’s kinda difficult to show your main character directly doing a violence and make it funny.

But show someone yeeted into frame, and that’s funny. Right?

(Spoiler alert: not in this context, it isn’t)

Now, I know I’ve been focusing on the first scene a lot—partially because it’s longer and partially because it’s really the only reason that the second scene exists—but I do want to take a look at the second scene really quickly as well. It’s much shorter and generally adopts a more serious tone than the first one, mostly due to fact that we’re smack dab in the middle of the action at this point. The weird visions that the sacrificees have been having all episode have started endangering lives, and they can’t just wait for it to resolve on its own.

But then the focused, intent exposition is broken by Scott’s question of “why were you there.” Then smash cut to a near identical shot of the hallway,and Isaac yeeting into frame.

The thing is, this scene is entirely dependent on the previous one. It only “works”—and I use this term loosely—as a call back to the scene at the beginning of the ep. Heck, both even have the stinger of a frustrated Melissa at the end of both scenes, frustrated at all the boys-will-be-boys roughhousing going on in her house.

Much like the first scene, this one is also set up and framed for Comedy.

Which is um. A Choice.

But What Does It All Mean

What frustrates me about these scenes, at the end of the day, is that the narrative intention and the directing/editing seem to be fundamentally at odds.

On the one hand, it makes narrative sense to say that the purpose of the scenes is to show that Scott is losing control. That he’s being affected by bardo and the open door in his mind, and it’s putting the people close to him in danger. But then on the other, the way the scenes are actually used are as comic relief. As a way to release tension between very tense, dramatic scenes.

I don’t think it works, as I don’t personally find it funny at all. But that really does seem to be the intention.

Once again, absolutely wILD choices were made on the part of tptb, and I really wish anyone had thought for two seconds about the implications of all of this, but nO

Ahem.

So now (literally 2K words later I’m so sorry 😅) what does this tell us about the characters? Certainly no one here is arguing that shoving someone is a good or defensible choice, whether it’s due to forces outside the character’s control or not. But even taking the influence of bardo in mind, is it even in character for Scott in the first place?

Because canon can also be written inconsistently/out of character, especially when we’re talking about a long-running show like tw.

One’s an Incident, Two is Coincidence...

Well, we all know the end of that saying.

So let’s end by looking at a few patterns.

As I mentioned at the beginning of this, once again, eXCEEDINGLY long post, this is reference to a post I made about scallison. I said the following in that post:

And I also really like that they [Scott and Allison] didn’t get back together. That they were allowed to be friends. That even though sometimes it hurt to watch someone you love loved love become romantically close to another person, decisions were respected, and no friendships were broken over it.

The first pattern we need to look at, then, is this:

What’s Scott’s pattern of behavior toward Allison and Isaac’s relationship?

And does Scott’s behavior toward Isaac in these two scenes match the pattern, or is it an outlier?

3x11 Alpha Pact: Sacrifice Prep The revelation that Allison and Isaac have grown close enough for him to act as emotional tether for her is very visibly a blow to Scott. He looks like the rug has been pulled out from under him, but he doesn’t look angry or upset, just.... sad. In fact, it looks like he’s swallowing back tears. But he nods towards the two of them and just says, “It’s okay.”

3x12 Lunar Ellipse: “I look for my friends” This is the epilogue of the season. Scott walks into the hallway at all of his friends in turn. Satisfied. Happy. First at Lydia and Aiden, then at Danny and Ethan. Then he turns and watches as Isaac and Allison walk down the stairs, and they’re laughing, and so obviously happy, and Scott’s small smile grows. He isn’t jealous here—he’s happy for them.

3x14 Illuminated: Mutual Recognition Scott and Allison are both at Danny’s halloween party, but they’re not here together. He sees her from across a crowded room, just like he did at the winter formal, so many months ago. But so much has happened, and they’re different people now. Allison’s with Isaac, and he’s starting to having feelings for Kira, but that doesn’t mean it doesn’t hurt, and that he doesn’t miss the relationship he and Allison had. For a moment, his fingers slip away from Kira’s, and he and Allison share a sad smile.

Believe it or not, these are actually the only other examples I could find of Scott reacting to Isaac and Allison’s relationship. And uniformly across them, he’s sad, yes—after all, he loved her, and that relationship is very definitively over now. But he never seems jealous, and he isn’t angry.

So, if the Scott and Isaac scenes in Anchors don’t fit the pattern of Scott’s behavior towards the new couple, what pattern do they fit?

“Hit me.”

The teen wolf writers have a... really upsetting habit, honestly, of “resolving” interpersonal conflict between two characters by having the “wronged” party hit the other. Afterwards, the tension is almost completely broken between them, as if letting the person act aggressively in a way consensual to both parties has somehow solved the problem.

2x11 Battlefield: Derek and Peter After Peter comes back from the dead, he confronts the now pack-less Derek and offers to help him. Derek, likely remembering that Peter killed Laura and was responsible for most of the events of S1, attacks him instead. After taking a beating, Peter says the following:

PETER: Okay, go ahead! Come on, do it! Hit me. Hit me. I can see that it's cathartic for you! You're letting go of all the anger, self-loathing, and hatred that comes with total and complete failure. I may be the one taking the beating, Derek, but you've already been beaten. So, go ahead. Hit me if that will make you feel better. After all, I did say that I wanted to help.

3x13 Anchors: Scott and Isaac We’ve already discussed this scene in uh. Detail. So I don’t think we need to go into the specifics again. But just a reminder that this dialogue exists:

ISAAC: Do you want to hit me? SCOTT: No. ISAAC: I think you should hit me.

5x15 Amplification: Scott and Liam During the previous supermoon, Liam—swayed by grief, the full moon, and Theo’s manipulations—tried to kill Scott and take his power. They’ve since rediscovered an equilibrium in their relationship, and Liam’s back in Scott’s pack, but they’re both still dealing with the implications of that event. In this episode, they’re attempting to break Lydia out of Eichen, but they’re not as strong as they should be, due to the mountain ash laced through the building, and are having difficulty breaking down a door. Then, the following exchange occurs:

LIAM: Hit me. SCOTT: What? LIAM: Hit me! I'll get angry, then I'll get stronger. STILES: Hit him. Hit him! LIAM: I tried to take your powers. I tried to kill you. Hit me! STILES: He also left you for dead. LIAM: I wanted you dead!

6x16 Triggers: Liam and Theo No one actually directly says “hit me” in this one, due to the circumstances, but the sentiment’s there. In this sequence, Liam and Theo are trying to convince Gerard and the hunters that the whole pack is hiding out in the zoo, so Theo goads Liam into hitting him, in order to stage a very audible fight.

THEO: Okay... Then they have to believe us.[shouts] Isn't that right? LIAM: [whispers] Why are you yelling? THEO: [shouts] You got a problem? Oh, that's right, you always have a problem! LIAM: [whispers] What the hell are you doing? THEO: [shouts] Shut up! [punches Liam] Yeah, you see that, Scott? Your little Beta can't even take a punch. And what do you think, Malia?

While there’s a variety of primary textual reasons here, all of them deal with personal issues between the pair, and all of them involve some level of catharsis for the person doing the punching. Taken all together, it’s honestly a pretty troubling pattern, especially given the inclusion of an actual canonical abuse victim initiating and receiving the violence.

TL;DR

This is a writer issue, not a character issue. The serious narrative context conflicts with the comedic framing in a way that is honestly baffling to me, and it doesn’t fit the established pattern of Scott’s character and actions. Moreover, it’s an example of the writers’ apparent belief that interpersonal conflict can and should be solved through consensual violence.

The pattern we do see, is that the Scott is saddened by the knowledge that Allison has moved on, but he’s glad that she and Isaac are happy. Similarly, Allison is saddened that Scott is moving on as well, because she does still care for him deeply. Despite their conflicted feelings, neither tries to disrupt the other’s new relationship.

On other shows, that would be a season-long, drama-filled plotline. Here, nothing.

And I legitimately love that so much.

#asks #anonymous #scott mccall #teen wolf #als;dkjlfkjf i'm so sorry that this turned out so long y'all #but it turns out that I have Thoughts #my meta

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firebirdsdaughter · 5 years

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Alright…

… This might come off a little rant-y, but I got a pebble in my shoe about it last night and then woke up at five thirty this morning and couldn’t fall back asleep.

Reasons I don’t think the brothers have killed anyone before:

This is Sentai. They’re Sentai heroes. I know Toku gets dark sometimes, but I still highly doubt they’d have members of the hero team have repeatedly killed people.

I don’t think they've had to. We know they’ve been destroying them the normal way––we saw a shot of them doing it in ep 1. Touwa’s reaction to the Minusaur getting away seems to indicate that’s never happened to them before (and it went to his head ^^)

On that note, we have no real time frame for how long the Minusaurs have been appearing. I find it unlikely the Druidon were waiting around too much before trying to seek out their old foes and the temple to ensure the Ryusoulgers couldn’t stop them. So while it’s likely there have been some, I think Kreon (and Tankjoh, who was the main factor in Medusa’s escape) weren’t focusing so much on protecting them. Plus, their lines in their first appearance indicate Kreon had never seen any of the Ryusolgers before, and it definitely seemed surprised at meeting the brothers in ep 3. So it’s probable they weren't interfering in the fights so much before, which would make defeating the Minusaur immediately significantly easier. It does leave the question of where Dragon came from, but it seems like it was hiding in the mountains or something? Don’t know if we’ll ever get an answer for that.

Another reason is, ironically, the same reason I think they went after Ui in ep 3. Time. It’s significantly easier to find a monster than it is a certain person appearing to be having a heart attack that might occasionally glow green. The trio found Mishima purely by coincidence, and while Ui was likely targeted bc Kreon recognised her, I doubt Minusaur hosts usually just plop right in front of them like that. Why would they waste time hunting down the human host, time which would let the Minusaur gain even more strength, when they could just destroy the monster right in front of them? It seems counterproductive and slow––and the brothers clearly prefer to focus on getting rid of the monster as soon as possible. I think they have a time limit of some kind, perhaps an estimation of how long it takes to grow? Like, if the Minusaur gets away and they can’t find it w/ in the time limit, they go into ‘any means necessary’ mode bc they didn’t have their Kishiryu. But, like I said, I don’t think they’ve ever lost a Minusaur they’ve engaged in battle before. Naturally, I bet Minusaurs are going to start becoming more powerful, which will require them to work w/ the trio––but I suspect part of the reason Touwa was being so arrogant at the others was that they’d never had one escape before (and he’s a little shit XD).

Reason I don’t think they killed their Masters:

Because I highly doubt the village would merely exile them for that, or let them keep the Ryusoulger powers. I also doubt that the Elder would have told the trio to seek them out and work w/ them if that were the case. I have no reading on how much to trust him at all, but I don’t think he’d tell them to work w/ the brothers if they’d done that w/ his knowledge. It could be that one or both of the Masters did become Minusaur hosts (I have a hazy theory that one of them was the host for Dragon, but I’m not sure if that would make their death too recent), and that their deaths are why the brothers are aware that killing the host works, but I’m not convinced they killed them. The only way I could accept that is if the Master(s) literally told them too, bc presumably they couldn’t summon the Kishiryu, either. But I think it’s more likely that either they killed each other, killed themselves, or died the Minusaur completed––w/ the last one, esp if it caused a lot of damage, would likely give the brothers a lot of guilt for not being able make the sacrifice to stop it. That wold explain why they were prepared to take that step if necessary.

I’m gonna see if I can go back to bed. I dunno, I just wanted say something. To say it what I was trying to say in a less unnecessarily large amount of words: It’d much easier to just find and destroy the monster most of them time, bc normally, they wouldn’t be talking to the host/someone who knew the host, and the host probably didn’t usually fall in the road in front of them. And if Tankjoh and Kreon weren’t interfering, which it seems like they weren’t, it’d be pretty straight forward. I think part of Touwa’s overconfidence is that the brothers haven’t had a problem taking care of Minusaurs w/ the just the two of them, so it went to his head a bit. W/ Tankjoh and Kreon now getting more directly involved, though, it’s going to be a harder time, so they need to both expand their arsenal by finding the Kishiryu, and (even if they don’t accept it yet) team up w/ the others. And they do now know that the others have their Kishiryu, so the ‘time limit’ isn’t as iron-clad as it was before.

… That was still a rather large amount of words, sorry. DX

It’s six fifteen, I’m gonna go see if I can sleep a little more.

#Kishiryu Sentai Ryusoulger #my precious Dino Children #my precious grumpy big brother in shining armour #my precious little green knife cat child #I'm sorry about how rambling and I'm certain obnoxious this is #really I am #sorry #I just #it felt like people were immediately assuming that was obviously how they were doing it #when really that'd be a significantly more cumbersome tactic compared to just destroying the monster normally #I doubt Minusaur hosts usually just fall into the road in front of them like that #perfect storm of desensitisation and convenience #so to speak #I'm not saying that method is right #they were wrong and they didn't need to be going that far yet #but I can see how they got to the conclusion that they had to #not having the Kishiryu etc.#but like I said in the post (and others)#I don't think they've ever had one escape like that before #I think that was part of why Touwa was ragging in the others so much #like 'we've never had a problem w/ them before what's up w/ you lot?'#and a bunch of other stuff of course #but that was likely part of it #anyway #it is very early #I am going to try and sleep more #now #O_o #Birthday Sentai #Dino Dragon Knights And Their Cat

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felikcs · 7 years

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Okay so I've played through all three routes of The Lovers (minus bonus stuff in Asra's and Nadia's bc I can only afford to be hopelessly devoted to one of the three), and here are some Interesting Facts that have been revealed. I'm on mobile so I can't add a cut, but MAJOR spoilers below this point for all three routes!!

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

NADIA ROUTE

The Count died ~1 year 3 months ago

Shortly after his death, Nadia went into a "deep sleep" for about a year.

After awaking, Nadia's last memory involves the bridge into the palace, from when she arrived in Vesuvia long ago. She remembers nothing of the Count, and has based her current distaste for him off of what remains of his presence.

The MC also doesn't remember anything of the Count - their memories are all from after his death, though the time period of when their memory started wasn't made clear.

The MC used to get headaches like Nadia, before they learned to control them (seemingly by not trying to fill the gaps, but also maybe bc Asra?)

Lucio did have the plague, and according to the Consul/Nadia, that was the direct reason for the search for the cure - implying that if Lucio hadn't gotten sick, the palace would not have searched for the cure

On the night of the Count's death, the other four courtiers (other than the Consul) were at the door to the room as he died, and did absolutely nothing but yell about it apparently. (v suspicious if you ask me)

The Consul handles the day-to-day "minutiae" of running the city, and is in fact the one really controlling/directing the city guard

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

ASRA ROUTE

When we meet with Asra, he's sort of in a place between places. A "gateway"

He doesn't dodge the questions about the MC's amnesia (g o o d), but doesn't start piling memories back onto them in this Book.

Not revealed WHY MC lost their memory, but Asra has tried to restore the memories before, plunging the MC into various mentally unsound states, before wiping the memories again to protect them from that

The MC is apparently now strong enough to remember maybe? Exciting.

It's unclear (at least it was to me) whether Asra has gaps in their memory.

We see some memories tied to books the MC finds in the library, which seem to indicate that Lucio was a danger to specifically Asra in some way?

Also that Asra has loved the MC since before Lucio's death and may have been manipulating Julian by faking affection, but that last part is not entirely guaranteed

He does scoff at Julian's attraction though so. At least at SOME point Asra scorned the affection.

EDITED: The nature of Julian & Asra’s relationship is confirmed by devs HERE. Since the two of them being Hot Messes has injected some contention into the fandom, I wanted to link to the Word of Law from Nik, the writer, which will hopefully answer some questions/lighten some hearts.

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

JULIAN ROUTE

The "curse" from Asra allows Julian to heal the wounds of others, which exhausts his body

But it also seems to heal wounds inflicted directly on Julian immediately, with no cost? He says that a knife in the back is nothing, but taking a wound away drains him heavily.

Parts of the city have been locked down/abandoned & left to ruin/overgrow - my guess is as a long lasting effect of the plague

Julian escaped imprisonment but then came back to try and get answers BECAUSE

He literally doesn't remember if he killed the Count or not

He clearly, definitely remembers Portia, and his relationship with Asra, so it seems that he has less memory missing than either Nadia or the MC.

The MC finds that there is "red poison" in the aqueducts, flowing from the palace, which is apparently the cause of the red plague BUT

Julian seems unconcerned by this, and all but states that a cure was discovered and that it's no longer any great threat to the people - seems to imply that he wasn't part of the final discovery in any way, so it probably happened after the Count's death

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

So from least to most memory missing, it seems to be:

Asra, Julian, Nadia, MC.

I'm so glad to have a solid time frame of when the Count died and things went into motion! More questions now of course, but a nice chunk of answers. Please add anything I forgot, and heavily tag it for spoilers if you reblog!

#the arcana #the arcana game #the arcana spoilers #the arcana game spoilers #julian route spoilers #asra route spoilers #nadia route spoilers

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